“Monk could have just picked my little ass up and thrown me through a wall”: 2007 Jazz D-bags Thread

hmm, anybody going to see this 70th b-day celebration for Ron Carter in NYC this week? Looks pretty sweet, Hancock, Hall, and a bunch of others. I would go, but I cannot.

Met Carter the other day at a studio session being run by Bob Belden - an album of former Miles Davis sidemen doing Indian-tinged versions of Davis-identified tunes, with Indian musicians punching in their parts from studios in Bombay. Some of it sounded pretty interesting - the bop-era stuff didn't work all that well, but there were really good versions of early '70s tracks like "Ife" being laid down, too. Lots of good people supposed to be on the final product - Michael Henderson, Pete Cosey, Badal Roy, Gary Bartz (he was there in the studio that day too), Carter, Rudresh Mahanthappa (who obviously never played with Miles but turned up and was invited to play something), Jimmy Cobb...a bunch more, too.

I happened to see Ron Carter play one song yesterday at J&R Music World but then I had to go to be somewhere else.

hmm, anybody going to see this 70th b-day celebration for Ron Carter in NYC this week? Looks pretty sweet, Hancock, Hall, and a bunch of others. I would go, but I cannot.

They should have gotten Wadada Leo Smith for a VSOP-style quintet.

All right, I think I'm going to keep on the trombone tip and go see Ray Anderson tonight at The Stone.

I went to 55 Bar and saw this Latin jazz thing led by Marco Marcinko and it was pretty good. Dude on guitar name Vinnie Valentino was burning it up, although if you listen to the stuff on his website, it is way too smoov jazz fusiony for my taste.

Roswell Rudd and Yomo Toro = a joy. Thanks for the tip, Phil! Although I don't actually know if that's a 2007 release.

We're discussing Yomo Toro on this thread? Cool.

I guess we are now. Is there another? I should search.

People on this thread might be interested.
Rolling salsa, merengue, bachata, and reggaeton thread 2007 (Ladies get in for free)

Although Phil is on both threads. I guess the reason I was surprised is that for a second I thought this was on the other thread.

You're discussing Yomo Toro on this thread?

Well, his name has been mentioned.

Although if we were to have a discussion, the participants in this thread are basically a superset of those of the other one, so we could probably just as well have it here.

I pretty much know him from Asalto Navideño, in particular "La Murga," which I think might have been a hit at the time.

Unfortunately my discourse on the Espiritu Jibaro album will probably be limited to "Whooo! That's funky!"

Is there a good web site or e-mail list for NYC area jazz shows? Like an Oh My Jazzness or something?

is this quote referring to tony shalloub ?

I don't have anything much to say about Yomo Toro either, except that he seems to me to deserve his enormous reputation. Also, he appears on lots and lots of recordings, into the present.

Is there a good web site or e-mail list for NYC area jazz shows? Like an Oh My Jazzness or something?

The monthly newspaper, All About Jazz, is a good source - you can find it in jazz clubs and record stores around the area.

You could also try their website:

http://www.allaboutjazz.com/php/calendar/calendar.php

For some reason that calendar site seems to be missing a lot of things that are listed in the print edition. I'd recommend downloading the PDF of the print version from here, and scrolling through to the Event Calendar section:

http://www.allaboutjazz.com/newyork/

All About Jazz is good. I think I'm going to try to see this month's cover boy this weekend, even though I don't like the venue he is at.

A good starting point is the Times Jazz Listings that comes out on Thursday night. Here is the latest:

http://www.nytimes.com/2007/07/13/arts/music/13jazz.html

which also can be accessed through a link in the middle column of

http://nytimes.com/pages/arts/music/

Coming September 18:

MILES DAVIS – The Complete On The Corner Sessions 6-CD box set (Columbia/Legacy)
By 1970, Miles Davis was on his way to creating a new orchestral approach to jazz music, one that drew from Ellington, incorporated electronic sounds and colors. His “jungle sound” would be developed out of these early-seventies experiments, and in his music would retain the spirit of renewal of an artist ever-changing. Don Alias remembers the time preceding the On The Corner sessions. “We had finished this tour of Europe [fall of ’71] and Miles had decided to go for a more funk oriented sound.” Jack DeJohnette rejoined the band upon its return to Europe. Keith Jarrett left by the end of 1971. The musical continuity that had begun with Coltrane ended with Jarrett and David Liebman. There would no longer be a majority of musicians within the band who had strong musical ties to the Davis tradition. Davis had moved closer and closer to the funk based sound of James Brown and Sly Stone, and the musicians he hired began to reflect this direction in his tastes. The first musician Davis would hire was Michael Henderson, an accomplished funk bass player. Henderson’s “locked in” bass grooves simplified the ground that Davis wanted to walk on. Davis’ sound headed to the bottom of the band. On The Corner has achieved a level of devotion among the hip cognoscenti. The LP, when issued, was received favorably by the newly converted Davis fans, as well as by the black music audience that had been following Miles. But the jazz critical establishment, which was still hung up on “Jazz-Rock-Fusion,” couldn’t find a kind word to say about it. On many levels, On The Corner was ahead of its time in the jazz world, but not so in the contemporary classical world. Tape manipulation was developed by the Paris and Darnstadt schools during the 1950s. Emerging from this world came Karlheinze Stockhausen, who became a “celebrity” in this world. Soon, all known musical boundaries were challenged, as much as Schoenberg did in the late nineteenth century. Paul Buckmaster brought that influence into Davis’ musical world and freed up Davis’ idea of “groove.” Buckmaster’s early experiments as a composer with what we would call today “looping” opened the mind of Davis and paved the way for his modus operandi from 1972 until 1980.

Plus, Hurting, if your question is serious, you could just check the websites of the various places like

http://www.jazzstandard.net/red/secondary/jazzCalendar.html
http://www.kitano.com/default.htm
http://www.55bar.com/

I'm thinking of going to one of the Monday or Tuesday shows at the Standard, if not both.

http://cahlsjukejoint.blogspot.com/2007/08/bassist-art-davis-dies.html

Coltrane bassist Art Davis RIP

I saw this vocalist Mina Agossi the other day at the Jazz Standard. She performs with bass and drums and that's it (she loves Jimi Hendrix).

Would ya pay money for a cd from her? Did you think she was good?

You mean you want me to post my opinion, my honest opinion, Steve? The next day I went out and bought a CD and I still can't make up my mind. She does lots of percussive sound effects that go along well with what the drummer is doing and I liked what they did with the trio format, they took their time to work a groove and didn't just go into a freakout jam to fill the space (the bass player could be considered to have cheated a little I guess, by hitting a little switch to loop a line and then playing against that, but this turned out to be a good idea), but there is something about her vocals that are a little too major key, breathy and "look at me, I'm singing and smiling!" that I can't decide whether I like or dislike.

Got Andrew Hill's Change from Amazon yesterday. It's a 1966 quartet date with Sam Rivers, originally paired with Rivers' Dimensions & Extensions under the double-album title Involutions, now out as part of Blue Note's Connoisseur Series. It's not as free as Compulsion, but it's pretty out with some nice trio cuts to moderate the generally headlong pace, and highly recommended.

I've really been liking Eric Reed - "Here." I forget when it's from at the moment (2004?) -- trio album with Rodney Whitaker and Willie Jones. It's not groundbreaking, but it's such a nice, tight piano trio album and it sounds so good. Falls on the headier side of straight-ahead, with a lot exploration in the middle range of the piano and very little pyrotechnic work. Maybe a bit of Herbie Nichols in it, and a bit of Keith Jarrett.

http://ec1.images-amazon.com/images/I/51uR47Id14L._SS500_.jpg

I don't even really like John McLaughlin, but that cover!

Dear Jazz Douche-Bags,

Four years after leaving Boston for LA, I still miss going to see The Fringe at the Lizard Lounge. "Pretend" I know nothing about jazz. Where can I go or what can I legally buy to get a similar experience?

xoxo,

Lukas

Went to see Franciso Mela lead a quartet at Cachaça last night. Hardly anybody was there for the 9 o'clock set so they waited until almost ten to start. It was cool, especially the young dude on guitar, Nir Felder, who was really burning it up.

Does anyone have anything interesting to say about Paul Desmond? I always enjoyed his playing with Dave Brubeck a lot more than Brubeck's playing. I just picked up a quartet recording of him w/Jim Hall - Desmond has some really nice improvisatory surprises in his playing, although at other times he sounds kind of rudimentary - at least he generally avoids bop cliches of his time though. Great sound, obv.

Sorry, I got nothing for you.

i haven't heard all that much Desmond -- just the big Brubeck recordings. One of my favorites is the Jazz Impressions of Japan LP, which at first glance sounds kind of cringe-worthy, but it's actually a really deep, melancholy recording. Desmond sounds great on that one. He's good on that Concierto record with Jim Hall, too. That's a nice album, for sure -- Chet Baker and Ron Carter are on there as well.

I originally opened this thread to rep for my neighbor, guitar player Jim Hershman, who last night did excellent versions of "Embraceable You" and then "Little Wing," with all the bells and whistles, at his usual Monday night gig at a nice bar/restaurant down the block called Novo.

what city?

New York. Borough of Queens.

A funny thing happened last night while I was at the jazz club- you know those weird humming/grunting noises you sometimes hear on jazz recordings, presumably from one of the players being picked up by a drum or piano mic? (I think they have their own thread). Well, I heard some yesterday, but they weren't coming from the stage, but from the audience.

It was the guy next to me. He was a musician himself, but I don't know if that is a valid excuse.

Here's that other thread: Jazz pianists who make weird humming noises during their improvisations

guys that new meshell ndegeocello record is really good

Cooper-Moore going wild on mouth bow

I went looking for videos because I put on Cooper-Moore/Assif Tsahar's America earlier, and it remains one of my favorite albums from the last several years. I like the degree of control on this album, and I like the variety.

just saw George Cartwright, who lives in Mpls now but has been in the free/improv scene forever and played with Ornette, Sharrock and a bunch of famous people...Saw him with a standup bass, drummer, and Andrew Broder from The Fog on guitar...was really great, Cartwright can flat out wail and Broder, who's def. not a school musician in the same way obv as the other dudes, does well by not trying to keep up, but using lots of delay and volume pedals to do atmospheric and textural stuff...they also did a stellar version of "Oxford Town" by Dylan that sounded like Dylan fronting Crazy Horse circa 72 with Steve Mackaye from the Stooges records... so great, I bought a CD by Cartwright called "A Tenacious Slew" which is poetry and the some pretty funky free/funk/improv stuff....local mpls super drummer JT Bates is on that.

http://www.georgecartwright.com/

also bought this record with is fucking AMAZING...

http://ecx.images-amazon.com/images/I/41Q73F5BZRL._AA240_.jpg

the vinyl orig. i bought has a way better cover though...

also bought Louis Armstrong - The Town Hall Concert Plus...am liking it...i really like it mostly...for some reason i have trouble with listening to armstrong on the vocal stuff, which i feel bad about for some reason, i guess it seems cheesy to me, but it shouldn't...too much overexposure to "what a wonderful world" over the years...also this is late 40s so maybe a little past his prime?

any Byrd/Armstrong recommendations would be very welcome..thx jazz d-bags thread.

if yo don't already have the hot 5/hot 7 armstrong stuff, you need it. there are various versions of this material floating around -- I've got the Columbia/Legacy 4-disc set, which can be found for pretty cheap, I think. It's as good as everybody says. I also like some of Armstrong's 50s recordings -- his albums of Fats Waller and W.C. Handy are very nice. As for Donald Byrd, you need "Black Byrd"! One of my fave jazz/fusion/disco/funk records. I actually haven't heard a lot of his earlier hard bop records, though he's good as a sideman on the prestige Coltrane dates.

i have trouble listening to the good armstrong stuff because of the recording quality :(

This has a lot of fans over at AAJ. Has anyone here heard it?

http://music.barnesandnoble.com/search/product.asp?z=y&EAN=094639153220&itm=1

That's: Terence Blanchard: A Tale of God's Will (A Requiem For Katrina)

Only listened to clips. I was hoping it would have the second-linish track that plays over the photo montage on the When the Levees Broke dvd, but I don't think it does.