"Music doesn't go seasonable to me." Rolling Jazz Dm7♭5 Thread 2017

A good piece on that Monk soundtrack - http://wbgo.org/post/new-thelonious-monk-album-emerges-soundtrack-classic-french-film#stream/0

What did you guys think of the Darcy James Argue from last year? I bought it on Bandcamp's ACLU day, eager to hear a 12-tone big band album. I've been playing it a fair bit; it's all at least interesting. I don't know if I'm as sold on some of the funk moves and don't really know what to make of the spoken bits.

I've actually been really getting into this.

seeing 75 dollar bill and company tonight and jazz passengers tomorrow; living that roulette life

Seeing Supersilent (first NYC show since 2004!) and Matana Roberts (solo) tonight.

i'll be at supersilent as well, pretty psyched tho i hate that venue

That lineup sounds amazing!

RIP Arthur Blythe, after a long battle with Parkinson's Disease.

I have only heard a bit of his 70's - 80's stuff Lennox Ave, Illusions + In The Tradition and they are all a+. I should listen to some more really.

The Giant Is Awakened is such a killer album.

I have his first four Columbia albums, and the two India Navigation albums that were combined onto a single CD.

75 dollar bill were great though first hour was definitely superior to second. lotta sound!

Supersilent and Matana on the same bill is straight up unfair.

It was a really interesting show. Matana played solo, without the video projections, loop pedals, and other stuff that she's been using lately. Just horn and two microphones, one of which she used to monologue. She talked about the death of her parents, how her dad got her into avant-garde jazz (which she hated as a child), and other stuff. She also got the audience to hum on pitch, and conducted us with one arm while playing sax that harmonized with our humming.

Supersilent were everything I hoped they'd be. They started out really quiet and beautiful, with Arve Henriksen taking the lead as one of the other dudes filled in very soft Fender Rhodes around him. Gradually it got into an early 70s Tangerine Dream zone, but then it started to get louder and louder. By the 20 minute mark Henriksen had put on a headset mic and was ranting into it while the music sounded almost like Autechre - really loud and pounding/scorching in an abstract and almost arrhythmic way. Crazy stuff.

If I wasn't already jealous...

I did se Matana do something similar at an ATP (GY!BE, I think) - very sultry, bluesy and beat. She was captivating.

Recently on Jazz Night In America: (Georgia Anne) Muldrow Meets Mingus (with Jason Moran and full band). She is with the Afrocentric current that flows through underground hip-hop, avant-R&B and psychedelic soul... a singer, rapper and beat-making producer. Fits the Mingus selections pretty well. Stream it while you can: http://www.npr.org/event/music/521222975/muldrow-meets-mingus

She also got the audience to hum on pitch, and conducted us with one arm while playing sax that harmonized with our humming.

She did this when I saw her in 2013! About 40 cents above Bb iirc?

(I checked that with a tuner, to be clear. Not claiming to have identified the number of cents by ear, although I was lucky enough at guessing the approximate pitch.)

Which reminds me, this is posted now---another one from Night Lights, source of that Mal Waldron spotlight show I linked on last year's Rolling Jazz (still available, when I streamed it again recently):

In the 1980s a new generation of women jazz musicians emerged who expanded their predecessors’ push against the patriarchal boundaries of the jazz world. On this edition of Night Lights we’ll hear music from pianist Geri Allen, singer Cassandra Wilson, drummer Terri Lyne Carrington, guitarist Emily Remler, and saxophonist Jane Ira Bloom, as well as recordings from women who were already jazz veterans, including Marian McPartland, Carla Bley, and Joanne Brackeen. The only one I hadn't heard: Emily Remler, whom I skipped during her brief career(RIP), because she carried on about Wes Montgomery in several interviews, and in general seemed like such a zealous noob---but the track here is pretty startling; I better start catching up.
http://indianapublicmedia.org/nightlights/jazz-women-1980s/
Still not really getting into Jane Ira Bloom though.

There's only one Remler album on Spotify, and it's called East to Wes. It's...fine. Good band - Hank Jones on piano, Buster Williams on bass, and Marvin "Smitty" Smith on drums.

75 dollar bill were great though first hour was definitely superior to second. lotta sound!

― Bobson Dugnutt (ulysses), Tuesday, March 28, 2017 10:08 AM (four hours ago) Bookmark

this isn't really jazz content but i have to ask -- did Mind Over Mirrors open? If so, that would explain the first hour being better than the second, haha! (Unless 75 Dollar Bill played for 2 hours?!?)

xpost The track selected for Night Lights may or may not be all that representative, but she's playing rhythm-as-lead, zigzagging between the others without jostling; seemed closer to mid-60s live Velvet Underground or McGuinn getting ready for "Eight Miles High" than to Wes, but yeah some of his influence in there as well---also seemed like a track Mary Halvorson might be into.

xp to lechera: they played for two hours! but with a lotta very solid guest artists including jim pugliese, cheryl kingan and karen waltuch... most of the show was nine musicians. ended with everybody walking through the crowd shaking maracas and too much time on ilx but all i could think was
http://i47.photobucket.com/albums/f163/courtneykaehler/maracas.jpg

damn that sounds awesome
1) i love maracas and 2) i am going to see them a week from saturday!!

to clarify, them = the band, not maracas
i have my own maracas at home to shake whenever i please (tbh i injured my right elbow and broke a cymbal with my maraca-enthusiasm so i am taking it a little easier these days)

you should bring your maracas with you they might get a workout.
Both sets were enjoyable but the second was more noisy and generally less filled with moments of rapture. They did a lot of 3-d sound, wandering in the audience type stuff.

am i on the outside in reading 75 dollar bill as "jazz"? I suppose they're technically "new music" or "instrumental" but i kinda lump all that stuff together these days, at least as far as my internal genre meter goes.

I def wouldn't call it jazz -- probably somewhere on the improvised/experimental spectrum, which is sort of a sonic catch-all whereas jazz has traditions and whatnot.

Showing up to the show armed w my maracas is both appealing and the most embarrassing possible thing I could do. Can't throw them in my bag without giving myself away, gotta commit or submit!

Did Mind Over Mirrors open?

nah, just jumped directly in with both feet and did a duet with rick and che
they closed with an ornette coleman song for the first half with chanting. loads o fun.

https://soundcloud.com/emptyeditions/sets/last-signs-of-speed

not jazz, I don't know what to call it

I interviewed trumpeter Christian Scott for Burning Ambulance. He's doing 3 albums this year; the first one comes out today.

Will check that---first of all, came here to exclaim over last night's rerun of Piano Jazz, with Mose Allison in 1988, at 62 and the top of his game---zingy ruminations of course, but as usual what really gets me going is the playing; a couple of times he even comes off something like the Professor Longhair of bop, like on a 4/4 "Tennessee Waltz" (McPartland's right in there too on that 'un)---stream the whole thing here:http://www.npr.org/2013/04/05/176333998/mose-allison-on-piano-jazz

Meanwhile over on Night Lights, last night's fabulous new Dorothy Ashby show hasn't been posted yet, but here's the recent one on Nica and others: http://indianapublicmedia.org/nightlights/nicas-tempo-hipsters-flipsters-onthescenesters/

Mainly the ace compositions dedicated to her.

Word From Mose has been my fave MA album so far, he was absolutely classic! I really dig his accent as well.

Night Lights' aforementioned Dorothy Ashby saga is now posted: http://indianapublicmedia.org/nightlights/fantastic-jazz-harp-dorothy-ashby/ On the earliest sides, the flute is most effective with long sustained notes around the harp, but more occasional tootling can get in the way (and sounds like the suits have her kinda mixed down on some of the early fluteless segments, like she's basically backing the male flautist), but lots of upfront Ashby too, especially with just bass and drums, that's all she needs--later things get more cosmic, but never too filigree, and when she starts singing, look out now.

Tonght's Night Lights is on Herbie Hancock in the 60s.

Very interesting Bad Plus news; Ethan Iverson is leaving, and Orrin Evans is replacing him. I'll be honest - I've never listened to the Bad Plus. I've always meant to at least check them out, but just never gotten around to it. But now I want to - both the original trio and the new incarnation. And this article, by Nate Chinen, is fantastic - really revealing quotes from everyone.

That is crazy. Haven't read the article yet, but seems a tiny bit weird to keep it going, since they've made such a big deal about it being a real band whose members are essential to the identity. But Dave King's got kids to feed and web series to make and I'm sure this is his main source of income, so no shade.

That is crazy. Haven't read the article yet, but seems a tiny bit weird to keep it going

How I felt as well

Wow, good jazz drama in that article! I always wondered how DK felt about some of those things, and I now I know.

When they were explaining that the primary musical forces were Anderson and King, it reminded me of that famous Rolling Stones story where Mick Jagger called Charlie Watts "my drummer" and Watts punched him in the face and said "You're my fucking singer!"

In unrelated news, I interviewed saxophonist Dayna Stephens for Burning Ambulance.

ILM's 2017 Rolling Jazz Thread Spotify Playlist

New Kamasi Washington track sounds p good: http://www.factmag.com/2017/04/12/kamasi-washington-harmony-of-difference-shares-13-minute-single-truth/

Bought two albums on Bandcamp today: Duo Palindrome 2002 vols. 1 and 2, by Andrew Cyrille and Anthony Braxton. They're as amazing as you might expect.

https://intaktrec.bandcamp.com/album/duo-palindrome-2002-vol-1
https://intaktrec.bandcamp.com/album/duo-palindrome-2002-vol-2

He is a great drummer. My current fave album featuring Cyrille is the Stuff Smith tribute album with Billy Bang/Sun Ra from '92, although tbh it is probably more down to Bang I like it.

RIP Allan Holdsworth, fuck.

Holdsworth was always a "one of these days" artist for me - I'm only familiar with his work with Soft Machine and Tony Williams. But just last week, he put out a 12CD box with remasters of all his solo albums, and it's on Spotify, so I guess I'll give some of that a listen.

^yeah, me too.

As noted elsewhere, spent countless hours listening to his cohort, Ollie Halsall, so should probably give him equal time.

I lasted about 5 songs - two from his first solo album, IOU, and three from Metal Fatigue. He was clearly an amazing player, but his sound and style were totally Not For Me; he basically sounds like a cyborg Frank Zappa. And he picked some of the most faceless, generic vocalists I've ever heard, almost as if he knew he needed a singer for marketing purposes, but didn't want any actual competition for the spotlight.

That said, I have heard him in three different contexts as a sideman - with Soft Machine, with Tony Williams Lifetime, and on Jean-Luc Ponty's Enigmatic Ocean - and liked him fine all three times.