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

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.

What about Tempest?

Back in 2015 Cuneiform put out a live album by the Holdsworth lineup of Soft Machine; I reviewed it for The Wire:

SOFT MACHINE
Switzerland 1974
Cuneiform CD/DVD, DL
Soft Machine started out as a psychedelic jazz-rock act in the 1960s; their best work was all thick organ washes with stinging horns on top, in the same vein as contemporaneous King Crimson but less disciplined. By the time of this live recording, though, three core members (drummer and sometime vocalist Robert Wyatt, bassist Hugh Hopper, and saxophonist Elton Dean) had departed, leaving keyboardist Mike Ratledge to gradually fill the lineup with players of a more showoffy, fusiony bent. The spongy, trance-like side-long jams of 1969’s Third were abandoned, replaced by a twitchily amped-up prog-fusion-boogie that sat squarely in between the Mahavishnu Orchestra and the Fripp-Cross-Wetton-Bruford lineup of Crimson. This live recording from the Montreux Jazz Festival is dominated by guitarist Allan Holdsworth and by material that would appear on 1975’s Bundles, the only Soft Machine album to feature him (and this lineup). It kicks off with the nearly 17-minute “Hazard Profile,” divided into five subsections in the studio but here presented as a solid slab. It moves from a hard-riffing opening, with Holdsworth tearing up the fretboard, to a somewhat delicate Ratledge piano solo, to a spotlight turn for saxophonist Karl Jenkins, and on and on. The rest of the pieces are significantly shorter, generally taking one idea and beating it into the ground in a brutally efficient manner, then moving on, with frequently seamless transitions. “Ealing Comedy” is a particular highlight, a mind-roastingly distorted Roy Babbington bass solo that’ll be as much fun for fans of Japanese garage-rockers High Rise as prog freaks. “Land of the Bag Snake” finds Holdsworth taking an almost cartoonishly fleet solo, while the brief “Joint” is a free-form eruption of synth noises and jackhammer drums from John Marshall. For all its complexity and high energy, though, the music is distressingly unmemorable; both Crimson and Mahavishnu had better melodies, which is probably why Soft Machine’s present-day cult is significantly smaller than theirs.
PHIL FREEMAN

that tempest bbc concert with both halsall and holdsworth is quite fine, though i'm not generally a fan... something about his tone, i don't know.

From Rolling Reissues a while back:

Guitar Legend Allan Holdsworth 12 CD Box Set Collection and Accompanying Double CD Collection
THE MAN WHO CHANGED GUITAR FOREVER Box Set
EIDOLON-a 2-CD Best Of
To Be Released on Manifesto Records on April 7th.

Los Angeles, CA-based Manifesto Records will release a new, complete 12-CD box set by guitar innovator, jazz, and progressive rock legend Allan Holdsworth titled The Man Who Changed Guitar Forever, along with a 2-CD updated and expanded “best of” collection selected by the artist, titled Eidolon.
Manifesto Records referenced the box set’s seemingly portentous title from the cover story title featuring Holdsworth in Guitar Player magazine’s April 2008 edition. Given his humble nature, Holdsworth is a bit embarrassed by the title and finds the notion that he changed “guitar forever,” somewhat overblown—more befitting of names like Orville Gibson, Leo Fender, or Ned Steinberger.
Holdsworth, born in Bradford England in 1946, embarked on a solo career as composer and bandleader exclusively in 1979. Holdsworth’s career as producer, bandleader, and lead composer is documented in this box set, and with the artist’s 28-track selection of favorites in Eidolon. Both packages include extensive liner notes, and an updated 2016 interview with Holdsworth discussing each release, his history, and approach to the instrument.

From 1982 through 2003, Holdsworth recorded a dozen albums that have been lovingly put together for The Man Who From 1982 through 2003, Holdsworth recorded a dozen albums that have been lovingly put together for The Man Who Changed Guitar Forever collection. Featured on the box set are eleven remastered studio albums, starting with the 1982 studio release, Allan Holdsworth, I.O.U., and the archival 2003 live release, Then!, recorded live in Tokyo in 1990. All feature additional bonus tracks added for special editions or the original Japan releases, along with the original artwork and studio credits. Also included are the Grammy-nominated Road Games, (1983), Metal Fatigue (1985), Sand (1987), Secrets (1989), Wardenclyffe Tower (1992), Hard Hat Area (1993), None Too Soon (1996), The Sixteen Men of Tain (2000), and Flat Tire: Music for a Non-Existent Movie (2001).

Holdsworth has been recognized by many of the world’s most accomplished and unique rock and jazz guitar virtuosos. Luminaries including Eddie Van Halen, Carlos Santana, Frank Zappa, Pat Metheny, John McLaughlin, Joe Satriani, Tom Morello universally expressed reverence and astonishment at Holdsworth’s pioneering approach to his playing and vast vocabulary of “uncommon” chord voicings.

He further expanded the guitar’s orchestral potential with a range of electronic effects, then moved on to become one of the early innovators of guitar-based synthesizer controllers. In the nearly five decades Holdsworth has been touring, collaborating, and recording, he has created an immense sonic and musical legacy.

In the ‘70s he played with legendary Miles Davis drummer, Tony Williams and Cream bassist Jack Bruce as the band Lifetime, and toured with Soft Machine. He worked with former Yes and King Crimson drummer, Bill Bruford’s first solo project, Feels Good To Me, and subsequent recordings with Jean-Luc Ponty, and Gong. Bruford suggested Allan for the progressive-rock “supergroup,” U.K., which, along with Bruford, also featured John Wetton and Eddie Jobson.
Both The Man Who Changed Guitar Forever and Eidolon will become precious to those who love the world’s great guitarists. Fans of deeply unique, sonically rich and pristine recordings of great musicians taking their music to the next level and beyond, will also be in awe of these collections.

#####
www.Manifesto.com | facebook.com/allanholdsworthmusic

Given his humble nature, Holdsworth is a bit embarrassed by the title and finds the notion that he changed “guitar forever,” somewhat overblown—more befitting of names like Orville Gibson, Leo Fender, or Ned Steinberger.

https://www.altpress.com/news/entry/limp_bizkits_fred_durst_hosts_a_weekly_jazz_night_in_la

The moniker for the weekly jazz showings? "Fred'z With A Z."

had a look at the recent Ugly Beauty columns - really good stuff!

Thanks! New one coming Friday!

Franck Biyong‏
@franckbiyong1

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"Jazz is the only music where the same note can be played night after night, but differently." - Ornette Coleman

Beyond certain points, if it's still different, gotta be jazz---is the way I take it.

I've really enjoyed Christian Sands Reach album this morn, it is more "nice" than groundbreaking - but I have plenty of room for that. The choice of covering a tune from An American Tail seems odd, but it is actually works fine!

Yeah, that's a good record - I meant to fit it into my Stereogum column, but wound up reviewing it for the NYC Jazz Record instead.

I'm probably selling him short by using the "nice" word, there is at least one hip-hop influenced experiment on there.

https://knockdown.center/wp-content/uploads/2017/03/17349780_10158609256325107_6143989830872634039_o.jpg

(From Luaka Bop---see their site for tickets, album, single below)

Alice Coltrane Tribute show on May 21st!
RBMA Festival New York As you may have heard, we are working very hard on a large celebration of Alice Coltrane Turiyasangitananda. This year marks the 80th year since she was born, and the tenth year after she passed to another place. We just announced a large tribute concert and ceremony in her honor, which will take place In New York at the stunning performance and arts space called The Knockdown Center, as part of Red Bull Music Academy Festival New York. The first part of the show (that we are involved with) is inspired by the Sunday ceremonies Alice held at her Sai Anantam Ashram in California. Timed to coincide with sundown, the powerful, spiritual music will be performed by an ensemble led by music director Surya Botofasina, who grew up at the Ashram. The latter half will be a concert led by her son, Ravi Coltrane, featuring an all-star band playing music from throughout Alice's career. Tickets are available here.

A few weeks prior to that, we will be releasing the compilation of her spiritual music, which we told you about last time. Titled World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda, it features a lot of beautiful artwork, photos and essays. You can pre-order it here.

Ps. if you have read this far, you may also find it interesting to learn that we have a handful of the very limited Alice Coltrane Turiyasangitananda 7"s we made for the "Come Together" Record Fair last weekend. If you would like to order one, you can do so

i'm pretty psyched about that show, dunno if i can make it tho

I've talked about this trio before, here's a tour plan that might give you a chance to see them live:

http://i.imgur.com/loWzaGJ.png

Going to see Vijay Iyer's trio at the Village Vanguard in a couple of weeks (writing a story on him).

Cool. Remember to ask him about the Fibonacci numbers.

My latest Stereogum column is live. I talk about Arthur Blythe, the Bad Plus (and Orrin Evans), the Preservation Hall Jazz Band, jazz Record Store Day releases, and a whole lot more.

another good column

but I think maybe I don't like hard bop :'(

Yes, very well done.

friend in CPH is re-issuing this marc levin lp. i'm stoked.

https://www.youtube.com/watch?v=2p-6NkzK47g&feature=share&app=desktop

marc levin doesn't have his own thread here !! c'mon guys let's start a thread and go through his discography and talk about how cool bill dixon is and stuff it'll be great yeah ??

So, turns out the aforementioned Alice Coltrane comp out next month draws from four cassettes that Alice released between 1982 and 1995 on a tiny local label devoted to Vedic teachings. The music is astounding.So says Hua Hsu here (with good overview of her work):http://www.newyorker.com/magazine/2017/04/24/alice-coltranes-devotional-music Apparently her kids got her into synthesizers, extending her range, rather than replacing the other instruments.