I don't know what they mean when they say 'swing hard' anyway. Rolling Jazz Dflat 2014 Thread

RIP bassist Dwayne Burno at the end of last year at age 44. http://blogs.ottawacitizen.com/2013/12/29/rip-dwayne-burno/

Age 43

Believe I spelled his name correctly, though.

Frank Wess tribute right now at St. Peter's http://www.broadwayworld.com/article/Frank-Wess-Memorial-Set-for-Tonight-at-Saint-Peters-Church-in-NYC-20140104

(I reverted to the old thread naming convention, hope nobody minds)

A successor to this thread: Rolling Jazz Thread 2013

WIth the long title, the long screenname and the not quite optimal searchability, don't know if this thread is going to make it.

Saw Mary Halvorson at BAM tonight, good stuff. Ches Smith on drums as usual/often, Jon Irabagon on sax, didn't catch the name of the trumpeter or bassist (tbh I didn't find them super noteworthy either). Overall I always find her sets interesting, although at the same time she leaves me slightly cold.

Never seen her, have seen the similarly named but unrelated drummer Eric Halvorson who runs a studio with another drummer Diego Voglino called The Sweatshop. Her regular bass player John Hebert is pretty good, he plays in Fred Hersch's trio.

Wait, you are going out of the house to see music. Who is watching K?

yesterday a friend was telling me about that new-ish Monk biography (last couple years I think), anyone read it?

http://www.npr.org/event/music/172713493/mary-halvorson-quintet-tiny-desk-concert

NPR's Tiny Desk Concerts don't usually include too many jazz ones, but last year they went for Halvorson emphasizing her decidedly non-standard approach to jazz's standard practices

xp saturday night it was my folks, who booked a visit without asking us. In exchange, I extracted babysitting as payment.

Sometimes we use the inlaws who live in the area, other times a babysitter. But fuck, it's expensive to go out when you add babysitting.

I've seen Halvorson at least one other time (maybe twice)? The set I remember well was with Ches Smith again and also the awesome Andrea Parkins on accordion, and Marc Ribot as well, and I forget who else. Much better band imo.

I think the band in the tiny desk concert is the exact lineup I saw

she definitely does fit into that "could compose offbeat jazz theme music for NPR shows" category, in a good way.

i already posted the Matt Ulery TDC, right? that one was nice.

x-post Jordan were you talking about the Robin D.G. Kelley book on Monk? It got lots of critical raves, but I haven't read it myself.

that's the one.

xp yeah I really like the Matt Ulery TDC, thx for reminding me. listening again now.

Full Newport set from last summer; can download too---I didn't get into all of it during live stream, but it's grown on me since (kinda understated/stealthy ambition; intriguing)
http://www.npr.org/event/music/208273900/mary-halvorson-quintet-live-in-concert-newport-jazz-2013

Not that she's all *that* subtle, or I wouldn't have noticed.

I'm such a dumbass because I never go out anymore, and I was like "Oh, Mary Halvorson, she's pretty esoteric, shouldn't be too many people there" and just showed up at like 5 minutes to showtime -- DERP, long line, turns out to be standing room only at the fairly large BAM cafe.

I doubt there's another person within a three block radius of where I live now that knows who Mary Halvorson is. Brooklyn and Queens are very different animals.

Here's an interview I did with saxophonist and now label owner Dave Rempis:

http://burningambulance.com/2014/01/07/interview-dave-rempis/

He's got two new albums coming out on 1/21 (though he's already shipping them if you order straight from him) and he talks about those (you can also stream one track from each), living and working in Chicago vs. New York, and why his new label's releases aren't available on Amazon, iTunes, or CDBaby. I think it's interesting; maybe others will, too.

Trumpeter Roy Campbell has died at 61. Amazing player, and an incredibly nice guy - check out everything by his Pyramid Trio and the fully improvisational quartet Other Dimensions In Music.

anyone watch the NEA thing last night? i caught Richard Davis' talk and solo. it was so Richard, like any given Black Music History class (not like a Black Music Ensemble class though, those were way more intense and rarely involved storytelling). loved the part where he realizes that Roy Haynes is in the audience.

Should appeal to those wondering to put on after Alice Coltrane/Pharoah Sanders. A little on the sedate side of that end of the spectrum (I am still waking up from a nap so don't complain about my phrasing):

https://www.youtube.com/watch?v=jv5eYs7fSGo

Sorry I guess I should have made that a link so this doesn't turn into another browser crushing/crashing thread.

Doesn't sound too much like the Balochi music I've heard, but that's okay.

I got that in the mail; didn't love it.

Maybe you need someone to re-set the vibrational levels of your chakras.

I just bought two CDs of Alice Coltrane devotional music not long ago, so I think I'm all set...

Waiting now for email answers to questions I sent alto saxophonist Sarah Manning. Her new album Harmonious Creature comes out Tuesday on Posi-Tone; it's interesting stuff, kinda boppish at times, kinda droney/country-ish at other times (the co-lead instrument is viola, played by West Coast avant-rock/improv/contemporary classical dude Eyvind Kang). In addition to original compositions, the group performs a piece by Gillian Welch ("I Dream a Highway") and one by Neil Young ("On the Beach").

The Monk book (Robin Kelley) is fantastic. One of the best music bios I've ever read.

Which one of these Shipp gigs would you go to?

Wednesday 19 February 2014, 8pm
With John Butcher and Thomas Lehn
£12 adv / £14 on the door

Thursday 20 February 2014, 8pm
With Paul Dunmall, John Edwards and Mark Sanders
£12 adv / £14 on the door

Friday 21 February 2014, 8pm
Matthew Shipp solo
£12 adv / £14 on the door

Either the Thursday or the Friday.

Got a couple of CDs in today's mail that I'm looking forward to checking out:

Jeff Platz, Past & Present Futures (he's a guitarist; the rest of the band is Daniel Carter on sax, trumpet, clarinet & flute, François Grillot on bass and Federico Ughi on drums)
Tom Tallitsch, Ride (he's a saxophonist; Michael Dease on trombone, Art Hirahara on piano, Peter Brendler on bass, Rudy Royston on drums)

Royston's debut as a leader, 303, comes out February 4, and it's pretty good, too; Jon Irabagon on sax, Nadja Noordhuis on trumpet, Nir Felder on guitar, Sam Harris on piano, Yasushi Nakamura and Mimi Jones on bass.

Got the new Jeremy Pelt album in today's mail. It's more or less the same band as heard on his album from last year, Water & Earth, and that one made my top 25 of the year. This is drifty music, that could easily head into In a Silent Way-meets-Mwandishi territory except that half the time the drummer (Dana Hawkins) is going wild, not just on the kit but with programmed breakbeats bubbling in the background, too. I don't love the fact that there are vocals on 3 of 9 tracks, but at least they're mostly wordless instead of lyrics. Anyway, Pelt has been one of my favorite trumpeters (if not my favorite, full stop) for a few years now, and this album continues his streak.

Which one of these Shipp gigs would you go to?

Definitely the one with Butcher and Lehn. Saw them both (without Shipp) a couple of years ago (and played briefly with Butcher, who was tremendous, on top of being a super nice guy), and a trio with Shipp sounds intriguing, to say the least. Lehn is one of the most sensitive electronic musicians around, incredibly reflective with an ear towards orchestration.

http://www.nytimes.com/2014/01/27/arts/music/grammys-laud-giants-and-upstarts.html?nl=todaysheadlines&emc=edit_th_20140127

Terri Lyne Carrington became the first woman to win the best jazz instrumental album category for “Money Jungle: Provocative in Blue,” based on a classic 1963 album by Duke Ellington, Charles Mingus and Max Roach.

And in a twist, three classical categories were won by Maria Schneider, a composer renowned for her work in jazz. Her album “Winter Morning Walks” took best contemporary classical composition, best classical vocal solo (for the soprano Dawn Upshaw) and best engineered album, classical. (It was also cited as one of the projects by David Frost, who won producer of the year, classical.)
Accepting the composition prize, Ms. Schneider spoke passionately about how technology has both hurt musicians and given them new tools. She complained about the continuing piracy problem but also pointing out that her album, which cost $200,000 to record, was paid for with the help of crowd funding.
“We need a sustainable business so we can continues as music creators,” Ms. Schneider said.

Got a promo of the new Polar Bear on Saturday; listened 2 or 3 times and it's quite different to what they've done before - quite minimal in places, more electronic, more beat-driven (but the beats are not 'driving', if that makes sense). It's long (67 minutes), and kind of feels like the opposite of last years Melt Yourself Down album, which was super-fast, hooks, beats, party music. This is very different.

Rolling Jazz in C thread:
https://www.youtube.com/watch?v=qTYzYpb1MY0#t=44

this looks terrible and i can't wait to see it:

https://www.youtube.com/watch?v=yHtRhESo9Q0#t=99
Driven by his demanding music teacher, drummer Andrew is determined to succeed as a jazz musician -- even if it destroys his personality. Under the shadow of his father's failed artistic attempts, Andrew practices until his hands bleed.

Which one of these Shipp gigs would you go to?

Definitely the one with Butcher and Lehn.

Seconded.

Just got a new Eric Revis album in this morning's mail - In Memory of Things Yet Seen, out in March on Clean Feed. Pretty ferocious band - Revis on bass, obviously, plus Chad Taylor on drums, Bill McHenry (who I've grown to like a lot more since Paul Motian died; I know that sounds weird, but his band with Motian sucked, to my ear, and the one he formed afterward with Orrin Evans and Andrew Cyrille was a million times better) on tenor sax, Darius Jones on alto, and Branford Marsalis guesting on two tracks. It's a really good disc so far.

Another one I'm excited about is alto saxophonist James Brandon Lewis's Divine Travels, out Tuesday on the revived OKeh label - it's a trio date with William Parker and Gerald Cleaver, and I'm told it's pretty free. I should be getting a download later today.

I would listen to William Parker and Gerald Cleaver accompanying a dog's farts

i saw Revis play once, in Kenny Garrett's band about 14 years ago. it was in a church and a young Chris Dave was on drums, the first time i ever heard him. completely ruinous. i remember feeling bad for Revis during a hyperspeed tune (something off Songbook i think), but he sounded fine of course and eventually it turned into a drums/sax duet. also remember losing my mind when Chris Dave dropped a stick and just switched over to playing the ride pattern with his left hand for awhile.

I second Jazzbo's recommendation of Kelley's Monk bio, and agree it's one of the best jazz biographies - or artist biographies - I've ever read. Hard to imagine anyone writing a book on Monk after this one; seems definitive in every sense. The style took some getting used to (fans of minutiae, rejoice: You will learn about who drove Monk to certain gigs, and who drove him when the other guy was busy, etc), but once I became immersed, I (pardon the cliche) couldn't put it down. Really, really great.

I've had Nica's book on my Amazon wishlist for over two years. One of these days I'll read it. A jazz fanatic friend of mine says it's great, with lots of insights about Monk, etc, but honestly, after the Kelley bio, I didn't feel like I was missing any piece of the Monk puzzle.

I bought one of the new Rempis titles - the one with Abrams and Ra, because I'm a big Josh Abrams fan. Haven't listened yet (it arrived today) but will report back.

Also, surprised no mention on here about the passing of Arthur Doyle.

And I too vote we not video-bomb this thread with Youtube clips if possible. I don't even open that Takoma thread anymore because it takes ten minutes to load. Links work just fine!

Turn off your images and they will be links!

Oh, I didn't realize that was a thing I could do. Thanks!

BTW loved that Rempis interview.

Hadn't realized that Howard Brofsky had passed away. http://www.nepr.net/blog/howard-brofsky-rip-1927-2013
RIP, Dr. Bebop.

Something neat for nerds: Bonham quotes Max Roach at the beginning of his Moby Dick solo

https://www.youtube.com/watch?v=edPEBB6VjRQ

So far I am loving 2014 for jazz releases—nothing high profile, no Major Statements (though I'm sure everyone's gonna jizz all over Vijay Iyer's piano-and-string-quartet thing on ECM; I haven't listened to it yet), just great, accessible records by players who can fucking swing. Sunnyside and Posi-Tone in particular coming out of the gate early and hard. Really looking forward to hearing the new Ambrose Akinmusire on Blue Note, too, and there are at least three (out of four) new titles on Criss Cross that I want to hear.

First on my list to hear of those would be the Misha Tsiganov.

See, that's the one I'm least interested in, though it's a very tight race. For me, in order: Seamus Blake/Chris Cheek, Donald Edwards, Zach Brock, and then Tsiganov. They all look good, though.

Somehow I knew you would say exactly that

TERRY WALDO "The Soul Of Ragtime"
Available March 25th, 2014 on Tompkins Square

Ragtime. The word itself evokes images of corny movies, bad record covers, overblown caricatures with baggy pants, cigars, funny hats, and those elastic bands around the sleeves.

Forget that.

Tompkins Square has released music across many genres : Folk, gospel, jazz, blues, old-timey, British pop, American Primitive, Cajun, Greek, singer/songwriters. But this is the first Ragtime album released by the label, from perhaps the most important living artist in the genre, Terry Waldo.

Terry's new album 'The Soul of Ragtime' is the culmination of decades of performance and study. Ragtime is one of America's truly unique and precious art forms. Comprised of original and traditional tunes, the album is stylistically so varied that to simply label it "Ragtime" is nonsensical. At times dissonant, rollicking, spacey, gospel-influenced and complex, "The Soul of Ragtime" celebrates tradition but moves the entire enterprise forward in surprising ways.

Terry Waldo has literally written the book on Ragtime. 'This Is Ragtime' is a definite history of the music, originally published in 1976, with a new version published in 2009 by Jazz At Lincoln Center, forward by Wynton Marsalis. Marsalis says about Waldo, "What he's done for Ragtime - in terms of the integrity of the approach, and the knowledgeable approach, and the playing of it - is the greatest service that can be done for any art."

Terry Waldo 'The Soul Of Ragtime" Available March 25th, 2014.
Hear/Post A Track: https://soundcloud.com/tompkinssquare/just-a-closer-walk-with-thee

I reviewed the James Brandon Lewis album on OKeh; also talked about his self-released 2010 debut, which is quite interesting at times.

Ethiopian keyboardist Hailu Mergia sounded real Jimmy Smith like last night live at a free gig at the Kennedy Center. Mergia's the taxicab driver whose mid-80s solo album was discovered and reissed by Awesome Tapes from Africa. He melds that jazzy organ sound with Ethiopian modal sounds nicely. He's backed now by Brooklyn guys, some of whom played in the "Fela" show band and one who was in Antibalas.

http://lens.blogs.nytimes.com/2014/02/24/keeping-jazzs-rhythm-with-a-shutter/?nl=todaysheadlines&emc=edit_th_20140226

Great old-school photos of Miles, Duke and others by Aram Avakian and described by Aram's daughter Alexandra

誤訳侮辱, just checked out that interview you posted with Dave Rempis upthread. Good piece (I've seen him and Daisy play a few times in Europe), but I'm interested in why you have a problem with the word "scene" in relation to Chicago. I don't know the city but it seems like a perfectly innocent word to me.

"scene" can convey to some a phony aspect where musicians can't be themselves, but I don't know much about the NY one and its traits that are being referred to and compared to Chicago's

In that case, I was avoiding the word "scene" because to my mind, especially in NYC jazz, it has a "seeing-and-being-seen" aspect that I feel/felt is less emphasized in Chicago. It's more collaborative, less showboaty.

ArtistShare newsletter: Gil Evans Project live at the Jazz Standard,the recording of which will be fan-funded, material, from 40s to late 60s, incl. newly discovered, prev. unissued. Also: Maria Schneider Orchestra at Lincolm Center (plus: Ute Lemper's Neruda Project, Fabian Almazan)
http://www.artistshare.com/newsletter/3-6-2014.html

Come to think of it, I liked the Gil Evans (Centennial) Project's Newport 2012 set, which gets a surround sound mix here; good on headphones: http://www.npr.org/event/music/170167531/ryan-truesdells-gil-evans-centennial-project-on-jazzset Original mix posted here:
http://www.npr.org/event/music/158020421/ryan-truesdells-gil-evans-centennial-project-live-in-concert-newport-jazz-2012

nice, thanks for posting!

Could someone recommend a jazz site/blog for keeping up with popular new jazz? Guardian seems cool but I wouldn't know http://www.theguardian.com/music/jazz+tone/albumreview

Some jazz sites publish 1000s of reviews every month, this is not what I need.

The ArtistShare newsletter is good on the jazzers in their loose joint, like the xpost Gil Evans Project--here's a new update on their May shows, also GEP live video, Robin Eubanks and others (register and get even more,oowee)http://www.artistshare.com/newsletter/4-8-2014.html

Saw the Cookers last night at Iridium. David Weiss and Eddie Henderson on trumpets, Billy Harper on tenor sax, Donald Harrison on alto sax, Dave Kikoski on piano, Cecil McBee on bass, Billy Hart on drums. They were great, and there were maybe 50 people in the audience. Oh, well.

Also picked up a 4CD Proper box, Big Ben, gathering Ben Webster stuff from the 1930s to the early '50s. I've never listened to Webster, so for under $30 I feel like this is a good starting point.

Great lineup, wish I could have seen it, made it a deck of 51 in the audience. Suspect maybe people out of town or staying in Saturday night with the holiday.

omg

http://www.npr.org/2014/04/20/303773614/first-listen-brian-blade-the-fellowship-band-landmarks

I tried to listen to this but it played The Boards of Canada instead.

OK, I see.

Brian Blade album is v enjoyable. Is there something new by BoC up there too??

Blue Oyster Cult?

Oh, you mean Boards of Canada. That was from last year. Maybe it is targeted ad for you.

Oh sorry that was me making a joke about the way the first track sounded.

I doubt there's another person within a three block radius of where I live now that knows who Mary Halvorson is. Brooklyn and Queens are very different animals.

Oh ha

Got interrupted listening to this. Starting again. Meanwhile see that I have some two year old Newport sets on the NPR app from Gretchen Parlato and Conrad Herwig which I will listen to next.

Not jazz, but I guess the audio for that Ted Leo Aimee Mann collabo already came and went over there.

But there is a Tiny Desk.

From The Wire's newsletter:

http://www.thewire.co.uk/2013/12/17/460x200xMarshall-Allen.jpg.pagespeed.ic.ItFlQKNLKj.jpg

Armin Büttner, a Swiss Sun Ra collector who provided some historical information for Val Wilmer's article on Marshall Allen's experiences in postwar Paris in The Wire 363, has formed a one off label, Little Rocket*, with fellow Swiss Sun Ra fan Hubi Horst to issue a new album by the current director of The Sun Ra Arkestra. *http://crownpropeller.wordpress.com/

Two Stars In The Universe was recorded in Poschiavo in Switzerland during the 2012 Uncool festival, where The Arkestra performed as part of a music theatre production, Oedipus-Akhenaten. It features the saxophonist, who turns 90 in May, in a series of duets with Arkestra member Kash Killion, who plays cello, sarangi and bolong. It has been produced in an edition of 250 copies pressed on 180 gm vinyl with hand printed silkscreen covers.

The album was recorded in the living room of Cornelia Müller, who runs the Uncool festival, and according to Büttner: "Marshall and Kash played beautiful improvised music for two and a half hours without ever talking about what to play next and visibly having fun doing so. We just sat there in awe not daring to interfere or make any suggestions. Apart from choosing the tracks for release we did not do any editing or much post production. The end product is a surprisingly quiet (for Marshall that is) moody, melancholy, beautiful record of many colours.

"Besides alto saxophone and flute Marshall also plays one of those old cheap Casio keyboards. I always think he is channeling messages from Sun Ra with it. If you listen to his Casio playing on "Cosmic Blues-Life Of Two", hearing the rattling sound of its keys struck by Marshall, you'll notice that he uses the same wobbling up and down hand movements that he uses when producing the freaky alto sounds he is known for."

The album will be launched during The Arkestra's forthcoming concert in Zurich on 22 May, the 100th anniversary of Sun Ra's birth, and is available by mail order direct from the label. Email dj at crownpropeller.ch for details. Büttner has posted a promo clip on YouTube filmed during the recording. Watch it below:
https://www.youtube.com/watch?v=6KUMI7X7Xl8

Also from The Wire:

Saxophonist Charles Gayle will be honoured with a lifetime achievement award by Arts For Arts in New York, at the 19th edition of Vision festival. Gayle will also play three sets on the evening of 11 June: as a trio with Daniel Carter and Miriam Parker, as the Charles Gayle Quartet with Dave Burrell, William Parker and Michael Wimberly, and with his Vision Artist Orchestra, with a stint in the middle by poet David Henderson.

This year's Vision festival also includes performances by Mary Halvorson, Henry Grimes, Matthew Shipp, a trio of Peter Brötzmann, William Parker, and Hamid Drake, and many others, plus panel discussions on the legacy of Amiri Baraka. The festival runs 11–15 June. More details here.
http://artsforart.org/event/vf19/schedule

7:00PM - 8:00PM - Charles Gayle Trio + Dance

Daniel Carter – reeds
Miriam Parker – dance
Charles Gayle – bass
Michael T.A. Thompson – drums

8:15PM - 9:00PM - Charles Gayle Quartet

Charles Gayle © Luciano Rossetti©Phocus

Charles Gayle – tenor saxophone
Dave Burrell – piano
William Parker – bass
Michael Wimberly – drums

9:45PM - 10:45PM - Charles Gayle & The Vision Orchestra
Charles Gayle – piano, conduction
Kidd Jordan, Hamiet Bluiett, Ingrid Laubrock – sax
Ted Daniel – trumpet
Steve Swell – trombone
Jason Kao Hwang, Mazz Swift – violin, viola
Nioka Workman – cello
Shayna Dulberger – bass
Andrew Cyrille – drums

on first listen the Brian Blade album is lovely as usual, if not as stunning as Season of Changes. i'll have to give it some good non-streaming listens when it comes out.

i feel like the Fellowship tracks that deviate from their 'standard' mode are really important to the records, like say the pygmy samples + drum solo from the first record. Season of Changes is sequenced amazingly, there's the no-solos 'Stoner Hill' (one of my favorites ever), the heavy backbeat track, the solo sax + drone tracks leading into the killer closer. the new one doesn't have nearly as much of that, but the songs are really nice anyway.

Still haven't gotten a chance to listen to this properly. Is Steve Cardenas on it? Didn't hear any guitar on what I got to listen to yesterday.

Also another guy told me a little while ago that Jon Cowherd pronounces his last name pretty much like Noel Coward.

Heard from another source that Cardenas likes to use the Harmonic Major scale, as namechecked on the Theory thread. Not saying that this is a reason for anyone here to use or not use that scale, just saying.

R.I.P. Steve Backer, championed Cecil Taylor, Anthony Braxton, and Henry Threadgill (among others) at Arista and RCA.

there's definitely some guitar, though not on every track (i think so, only listened to it once). NPR mentions Marvin Sewell (not familiar) and Jeff Parker (!), definitely no Rosenwinkel.

Oh, Martin Sewell's good too, on Jason Moran's fairly ingenious jazz-bluesoid Same Mother; also did some things in the same vein with Cassandra Wilson, but Moran takes it further.

In a very good way!

Lots of good free music tonight at the QJOG Spring Jazz Festival. Check out the stellar lineup:

http://www.flushingtownhall.org/events/event.php?id=1167

So xpost Landmarksseems like the great outdoors, though lower case: not dark, but not bright, in terms of treble; mostly midrange to bass, with sensuous sonorities, held notes, drones both fluid and hovering, like walking through spring air and shin-high grass, under canopies of trees (nothing too intimating, mostly old groves and orchards, not currently being worked much, or not visibly), as bass and drums keep me on my toes, while never showboating. Horns change enough, especially in the long excursion through "Ark.La.Tex," that corner of the map. Good to listen to during this tornado week, if a little redundant. Sorry, I'm a jaded ol' Southerner. The album's a grower, and this track, especially, keeps developing right to the end.
The guitars infiltrate; at one point, they're all folded into reverb. In his NPR interview this weekend, Blade says he writes on guitar, then sits down behind his drums, to study this thing "this guy brought in" with everybody else in the band. Out today, but still streaming here at the moment: http://www.npr.org/2014/04/20/303773614/first-listen-brian-blade-the-fellowship-band-landmarks

The guitars show up occasionally.

Dang--somebody go see this and tell me about it please, on Thursday May 15:
Fay Victor’s Herbie Nichols Sung (Thursday) Herbie Nichols was a pianist and composer of spellbinding insight, mostly overlooked in his postwar prime and later claimed as a cult hero. He isn’t an obvious source of material for a singer — but then Ms. Victor isn’t an obvious kind of singer, as she has proved time and again. Putting her own lyrics to Nichols’s compositions in this inaugural Brooklyn presentation by the Sound It Out series, she enlists Michaël Attias on alto and baritone saxophones, Anthony Coleman on piano, Ratzo Harris on bass and Michael Sarin on drums. At 8 p.m., Brooklyn Conservatory of Music, 58 Seventh Avenue, at Lincoln Place, Park Slope, 718-622-3300, bqcm.org; $20, $15 for students. (Chinen)

Don't know if I can go but I know someone who might.

And in fact, he is going. Maybe I should try to tag along.

After looking at that list was reminded for the second time this week that there are two bass players in town with names that are pronounced the same- Sean Conly and Shawn Conley. Almost posted that on the RONG DUDE thread.

Looking at that listing, I mean

What makes you so interested in that particular gig, don?

I'm intrigued by the idea of singing Nichols--hopefully not scatting only, but even so (with results to be YouTubed,pleeeze).

Apparently there is another bass player who does that gig who went to Hurting's alma mater. Wonder if he knows him.

https://twitter.com/JazzIsTheWorst

<3

Jazz is The Worst ‏@JazzIsTheWorst Jan 10
Hank Mobley's playing is the musical equivalent of a flaccid penis.
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Jazz is The Worst ‏@JazzIsTheWorst Jan 9
Hank Mobley was a pioneer of mono-dynamic unexpressive emotionless jazz, which is what most Jazz today is based on
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WAHT

hmm, actually I just put on No Room for Squares for the first time in a while, the band is great but he might have a point about Hank's solos

http://www.allaboutjazz.com/mise-en-abime-steve-lehman-pi-recordings-review-by-karl-ackermann.php#.U4tRBoUyyvQ

Repost from the Queens thread, in case anyone might be interested:
Music now starting at 8 on weeknights at Terraza. Check out their listings and new ad on page 48 of the NYC Jazz Record http://nycjazzrecord.com/

One of yr top drummers of today is over there playing his second set right now.

oh word? I'm stuck at the office though.

Do they pull a decent crowd on a weeknight?

Much bigger crowd on the weekend.

Another good drummer tonight, although not as well-known yet, in the States at least.

James, did your friend go to that thereFay Victor’s Herbie Nichols Sung? If so, would like to know what he said.

Yes. Said -and I quote- "it was great." Said producer recorded, but I don't know in what medium and whether it will be available.

Because I hate the soprano saxophone, I've always been kinda fascinated by the Steve Lacy repertory group Ideal Bread (instrumentation: baritone sax, cornet, bass, drums). Leonard Pierce reviews their new one, a double CD, for Burning Ambulance.

I have to admit I've always had a hard time listening to Steve Lacy records solely because of that squeaky soprano sound. They have all the other elements of something I would like. Coltrane is the exception for me on soprano.

Thought it was only a myth that Trane found the instrument left behind in a cab but I think it is more or less true.

Guess there are some other stories as well.

Went to the Jazz Gallery last night to see Jerome Sabbagh's quartet—Ben Monder on guitar, Joe Martin on bass, Jochen Rueckert on drums. I filmed the first piece, will post it on Burning Ambulance this week. They've got a new CD coming out on Sunnyside in September.

Cool. Looking forward to seeing that. Did you talk to them at all? Ben is a pretty interesting guy.

I talked to Jerome for a few minutes before the set. Nice guy. Looking forward to hearing the new album—the song I recorded is the title track, apparently.

Reviewed two new octet albums today on Burning Ambulance - the new Steve Lehman, and one by Chicago bassist Jason Roebke. I like the Roebke better. [link]

4th of July, so I thought of checking me out some Barbecue Dog, for the first time in ages: some bits (guitar synth, Massey's overdubbed saxes)* seemed a bit fusion-y cliche even in '83, but still a lot of wit and vitality bursting through the filigree, often enough. Except on "Mystery at Dawn, " where Reid's nice banjo conundrum is pretty much left alone with the damn saxes, but then, "Gossip," "When Cherry Trees..." and most of "Harlem Opera" (especially the end) mor than save the second half. This and Mandance were recently reissued as downloads, and I suppose remastering might help---anyway, Spotify's got several live albums I haven't heard yet, some with a later line-up; anybody know those?
*(Massey's okay solo; wish the trumpet got to solo more)

Of the ones available on Spotify, Earned Dreams and Montreux Jazz Festival feature that Vernon Reid/Melvin Gibbs iteration of the band, and both are great; I particularly love Montreux. Not sure about the others. I remember hearing some of the others, but I'm not 100% sure which ones, and I don't think they were as ferocious as the Reid/Gibbs material.

Thanks, I'll check those out. Also unearthed my ancient copy of Mandance, which I seem to recall preferring to Barbecue Dog(Justified? We'll see.)

Really been getting into this Argentinian composer/bandoneon player called Dino Saluzzi, his latest offering El Valle de la Infancia is the first I have heard of him and couldn't find any thread love on here. Nueva cancion jazz/improv/Argentinian folk/exquisite storytelling type music. It treads a fine line between too damn pretty and very nice at times but is worth checking out.

I heard a record of his on ECM from a few years ago that was really nice—Ojos Negros, a series of duets with cellist Anja Lechner.

Thanks I will check that one out.

I reviewed the new album by saxophonist Eric Wyatt (he's Sonny Rollins' godson, which makes picking up the saxophone a pretty ballsy move, if you ask me).

The New Yorker posted a satirical "interview" with Sonny Rollins. Jazz critics lost their shit on Twitter and Facebook. I had a few thoughts.

The jazz musicians I know have mostly remained silent. (A notable exception would be Nick Hempton, who tweeted, "I'M SO OUTRAGED AT SOMETHING I READ ON THE INTERNET, I'M THROWING MY COMPUTER OUT THE WINDOW!"

I did miss that - none of the musicians I'm friends with on FB posted anything.

Phil, do you subscribe to the Smalls newsletter?

long passages of squawking, clattering and clanging

Based on my reading of your blog and you on here, I thought you like this type of sound?

I do!

And no, I don't subscribe to the Smalls newsletter.

BTW, Nicholas Payton has now weighed in on the Rollins "controversy." TL;DR: He's as big an ignorant, gaping asshole as ever.

http://www.jazzwax.com/2014/08/sonny-rollins-and-the-new-yorker.html

He's as big an ignorant, gaping asshole as ever.

nah.

he's right a whole lot of the time.

can't hate on anyone who drops this kind of youtube post:
http://nicholaspayton.wordpress.com/2014/07/08/masters-of-funky-new-orleans-drumming-vol-1/

Been wracking my brain trying to think under what circumstances I might find that sort of thing funny. Came up with
1) It was delivered by an insider, perhaps playing the dozens, another cat who had paid his dues and knew where it was at, of similar stature or at least within striking distance of Sonny.

And
2) It was actually funny.

In more positive jazz news, I got the newish (it came out in May) Jemeel Moondoc album, The Zookeeper's House. He plays alto sax, obviously; Matt Shipp is on piano on two tracks; Roy Campbell on trumpet (I think this might have been his last ever session) and Steve Swell on trombone on two other tracks; Hilliard Greene on bass; Newman Taylor Baker on drums. Four originals and a version of Alice Coltrane's "Ptah, the El Daoud." It's on Relative Pitch and it's really fucking good; I'm in the process of trying to set up an interview with Moondoc for Burning Ambulance.

Miles at the Fillmore - Miles Davis 1970: The Bootleg Series Vol. 3
Yesterday I listened to the first disc (of five)

http://www.jazzmessengers.com/images/BigProductsImages/141490_1.jpg

The 2-LP Teo edit was the first jazz album I heard, and the best bits of that jump out of (my) ancient murk. Still an impression of a missing center, but man what a periphery. Great to hear the tracks added from April 11, but I do wonder if five versions of, say, "Directions," aren't going to seem redundant. Very vivid sound, up close, but with added perspective (the LPs were a bit thin, although that added to thee tendrils of smoke etc). Amazing finally to *hear*, not just sense Holland on electric bass; Miles is just suddenly there at the right moments (moments are the thing here, not sustained build); Grossman is the cogent journeyman, Corea and Jarrett slip and fling bits of texture, Dejohnette!!! I dreamed I was at a session of his last night, then woke up early and high.
Don't suppose that somewhere there might be a trio of Miles, Holland and DeJ--?

What other recent releases should I check out if I really like Landmarks?

Shorter's Without a Net from last year has really grown on me!

can't hate on anyone who drops this kind of youtube post:
http://nicholaspayton.wordpress.com/2014/07/08/masters-of-funky-new-orleans-drumming-vol-1/

― festival culture (Jordan), Monday, August 4, 2014 6:54 PM Bookmark Flag Post Permalink

I hadn't thought about the Hook and Sling in a while, one of my favorite all-time beats.

the real find for me out of those is Smokey Johnson's 'I Can't Help It', that beat is so New Orleans. very similar to 'Ain't My Fault', which i feel like every New Orleans drummer references (i got it from Shannon Powell and Herlin Riley years before hearing the original record).

This guy loves, loves, loves that Smokey Johnson record.

I wonder if Hurting knows him. I've met him many times, plays with various people I know. He is very intense but he loves all kinds of R&B drummers. Other one he likes as much Smokey Johnson is James Gadson.

Just received another Smalls broadside from Spike about the WP article about teh jazz.

Stan Getz, Focus, with Eddie Sauter's modernistic yet hep to the mainstream strings. Always heard good things about it, finally listening, and the first track, "I'm Late, I'm Late", jumps right out and runs around (Getz uptempo for 8 minutes and change! No prob), demanding that I make it my fave. It is, in part me because we also get Getz trading solos with Roy Haynes on this track (only), plus bass agility from John Neves, and only a small gaggle of strings--elsewhere, they can be a little too much with us. But Sauter, student of Bartok, can turn a phrase, though I keep wondering how it might be to hear SG's always articulate responses, without always having to hear what he's responding to (strings). But the whole thing may grow on me (Radio edit of "I'm Late, I'm Late" is one of the bonus tracks, and sure does get the gist of the original---maybe I'll call in a request to Bob Parlocha, since he's Mr. Mainstream Jazz 'n' shit).

Jazz pianist Cecil Taylor conned out of $500,000 prize

http://www.reuters.com/article/2014/08/12/us-usa-crime-taylor-idUSKBN0GC1GA20140812

That is fucking enraging. Can't think of anyone more deserving of that prize, and less deserving to have it stolen from him.

Ugh.

:( What a dispiriting story, I genuinely hope that con-man gets his comeuppance.

Jemeel Moondoc has a great new album out. I interviewed him.

hmm this is not very 2014 but was looking for a jazz box set and this seems like it's great value http://www.amazon.co.uk/The-Ultimate-Jazz-Archive-Lunch/dp/B005BV5E0O tempted, but then again I'm not sure, maybe I'd be better off buying one really good lp?

to add a bit to thread, the new Stefano Bollani record sounds pretty great
https://www.youtube.com/watch?v=VNryYt-e0fU

http://www.latimes.com/local/obituaries/la-me-gerald-wilson-20140909-story.html#page=1

a bandleader, trumpeter, composer, arranger and educator whose multifaceted career reached from the swing era of the 1930s to the diverse jazz sounds of the 21st century, has died. He was 96.

Arranged for Ella, Ray Charles and many others in addition to playing, and more.

http://theconcourse.deadspin.com/jazz-needs-a-better-sense-of-humor-1632954724

the pharoah sanders/rob mazurek album mentioned in there sounds interesting, i'm currently enjoying this live video (free playing against a rhythmic vamp >>>):

https://www.youtube.com/watch?v=bowL0boJE_w

Steve Coleman got a Macarthur Genius award grant

yep

http://www.macfound.org/fellows/911/

And at the Stone in NY for 2 weeks of gigs

Most of what I hate in modern jazz (long, winding, impact-free melody lines that never resolve in any satisfactory manner; non-swinging rhythms; hyper-complex compositions) comes directly from Coleman. So, um, hooray?

Coleman used to (maybe still?) draw from funk, but you don't think that swung?

from MVD Entertainment Group:

http://r20.rs6.net/tn.jsp?f=001Y_ltWSMhyfMs25j9gcwSlnjujwc9YGKc7k8owQ8XxWh_ZWYT4RTC6X9xtDcOXg4wPO0U40WfcWzDuqcRwZsaviTDK8kAGcWCaLgK0Rdz1_vvUwYASuacA2k_lPQ9G81rnRThcZAIHNvZL_W7P5ljzwN-OF_ZNQzdGHU-WDV2OIKEkxcI6IDv5VzkN5F9u-4WzrFpGabz4X46XM-Wam4j60Cnm1EqxqHC-Cyijz0wvoH8Nqc_jjek2Cwb0OJATard4FQYPK0aHYworOwYcAmneTJ0jcTMfU5KMU5ecNUupT5fFWqsltN64Ob4lGPY4BiNrizqi_-gfyG8yfocU-xo22iV8eo3wkUYNjJ2_vK_7KOqrTYBOuPjCDjcz-egvG4CRyGKt-CQDMJEKZaUvA3v9nAVn8VUoMmuNbmVB83RLuc=&c=is-H9NzMTqI_LxeyiqhdRk1_9Oq0m7Zs1yiusRnfrm79KzadDlBDog==&ch=S1HlKYonRMhXEPhZHL4NVPDacD2FP5F6dt-SyUdZpJ98B5oDDdqvWg==

Miles Davis' tour of Europe during the spring of 1960 marked the close of his five year association with John Coltrane.
Miles Davis & John Coltrane - All Of You: The Last Tour

List Price: $24.99
Your Price: $18.74
In Stock: NO
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Miles Davis' tour of continental Europe during the spring of 1960 marked the close of his five year association with John Coltrane. Although the controversial saxophonist had already embarked on his own bandleading career and had been lured back to Davis' group only reluctantly, creative sparks flew the instant the band took to the stage. Night after night stunned audiences witnessed the trumpeter and his star sidemen reinventing their regular repertoire like never before. As the tour progressed through Sweden, Germany, Switzerland and Holland, several of the bands appearances were broadcast or privately recorded, with the resulting tapes soon becoming sought after collector's items. This new Acrobat release compiles various recordings made during the trip, documenting the extraordinary creative alchemy of a legendary partnership about to disintegrate. In addition, the collection features a revealing backstage interview with John Coltrane, recorded in Sweden. The release also includes an in-depth essay by saxophonist and writer Simon Spillett.
Track Listing
Disc 1:

So What (March 21st 1960 First house)
Fran Dance (March 21st 1960 First house)
Medley: All Blues/The Theme (March 21st 1960 First house)
Interview with John Coltrane by Carl-Eric Lindgren
So What (March 21st 1960 Second house)
On Green Dolphin Street (March 21st 1960 Second house)
Disc 2:
Medley: Walkin' (March 21st 1960 Second house)
So What (March 24th 1960)
On Green Dolphin Street (March 24th 1960)
Medley: All Blues/The Theme (March 24th 1960)
So What (March 30th 1960)
Disc 3:
All of You (March 30th 1960)
So What (April 3rd 1960 First house)
'Round Midnight (April 3rd 1960 First house)
Walkin' (April 3rd 1960 First house)
So What (April 3rd 1960 Second house)
If I Were A Bell (April 8th 1960)
Fran Dance (April 8th 1960)
Disc 4:
So What (April 8th 1960)
All Blues (April 8th 1960)
The Theme (April 8th 1960)
On Green Dolphin Street (April 9th 1960)
So What (April 89h 1960)
'Round Midnight (April 9th 1960)
Walkin' (April 9th 1960)
The Theme (April 9th 1960)

Interesting that it doesn't have the famous Paris show -- maybe there's more being saved for a Sony/CBS Bootleg Series set? -- but still, should be great.

huh, she just keeps making records

http://www.freejazzblog.org/2014/10/mary-halvorson-reverse-blue-relative.html

O god that People album is like a Portlandia take on nerd jazz. Yes, they can sing anything they can write, educated chords, keys & all, but barely, and "Theese are the words/To this song," ha-hut you guise are kray-zee. A few good bits, briefly, and MH provids strong accompaniment, but to what end.jeeez

really enjoying matthew haslsall and the gondwana orchestra album "when the world was one"

great stuff in a spiritual jazz vein (very alice coltrane)

https://www.youtube.com/watch?v=iU9WphA_YpM

Just got two interesting-looking albums in the mail yesterday: Eric Hofbauer's Prehistoric Jazz Vols. 1 & 2: 1 is a re-working of Stravinsky's Rite of Spring, 2 Messiaen's Quartet for the End of Time (transformed into a Quintet). Instrumentation on both is guitar, trumpet, clarinet/bass clarinet, cello, drums.

Will have to check those out, esp. the Messiaen. Just got this press release:

http://d31hzlhk6di2h5.cloudfront.net/20141010/ac/77/28/43/7386c8148cfc167febb8eb88_280x280.jpg

RIVERSIDE RECORDS TO RELEASE VINYL BOX SET OF
PIVOTAL BILL EVANS LIVE PERFORMANCES,
THE COMPLETE VILLAGE VANGUARD RECORDINGS, 1961

Collectible package, out November 11, includes limited-edition lithograph,
carefully crafted production replicas, plus new and original liner notes

Release is the crown jewel in a year-long vinyl and box-set rollout
celebrating the legendary jazz pianist
LOS ANGELES, Calif. — Concord Music Group is proud to announce the forthcoming vinyl reissue of Bill Evans’ The Complete Village Vanguard Recordings, 1961, one of the greatest live jazz recording sessions of all time. Pressed on 180-gram vinyl, the four LPs are packaged with a 12-page booklet, complete with new liner notes by reissue producer Bill Belmont, as well as the original liner notes by the producer of the initial recordings, Orrin Keepnews. Reproductions of Keepnews’ session annotations and photographer Steve Schapiro’s proof sheets from the performances add vintage context to the packaging. As a bonus, a stunning metallic and black poster of the famous cover — Evans, in profile, deep in concentration at his piano — completes the box set.

Ranked time after time as one of the best live jazz recording sessions in history, and yielding two of Evans’ most classic albums (Waltz for Debby, Sunday at the Village Vanguard), The Complete Village Vanguard Recordings, 1961 represents the pinnacle of spontaneous musical communication: three men breathing as one on a tiny bandstand. The performances on these LPs demonstrate a new and more interactive approach to playing as a trio, one in which all instruments carry melodic responsibilities and function as equal voices. Keepnews recalls in his liner notes that “from the very first moments of the recording, it was impossible to ignore the importance of these performances.”

Everything Bill Evans, Scott LaFaro, and Paul Motian had been working on for the previous 18 months led to this moment on June 25, 1961. The little-known pianist and his trio performed afternoon and evening sets that Sunday to a small audience that unknowingly sat through what would become a very famous — and final — set by the trio (the 25-year old LeFaro died tragically in a car accident just days later). These recordings provide something of a sonic time capsule: sequenced in the original order of the five sets, the audience’s murmurings and applause are peppered throughout; even an interrupted take is left intact. Belmont recalls the process of piecing the performance back together during the remastering process: “As was the practice with early live recording, the songs [on the original album] were faded just after the last note, and much, if not all, of the audience and banter from the stage was removed. So the first stage of the process was to find the reels—if they existed—and try and make a reconstruction of everything that was recorded…The task was to try to make the show flow as closely as possible to what had been recorded.”

Fans of Bill Evans will be thrilled to note that The Complete Village Vanguard Recordings, 1961 is just one of several box sets hitting stores over the coming months, joining an array of vinyl titles currently available on the Original Jazz Classics imprint, including the magnificent Waltz for Debby, Explorations, New Jazz Conceptions and Interplay. A 12-disc reissue of The Complete Riverside Recordings, set for release in early 2015, presents all 20 recording sessions from the pivotal eight-year period (1956-63) that launched Evans’ career and defined his position as one of the most significant jazz pianists of all time. These 151 performances are presented in a sleek brick box, along with a 32-page illustrated booklet. Due in January, 2015 is four-LP set The Complete Tony Bennett/Bill Evans Recordings, which encompasses the sublime duets of top song stylist Tony Bennett with Evans, recorded in 1975 and 1976. New liner notes by acclaimed music critic and co-author of Bennett’s autobiography, Will Friedwald, complete the package.

Track Listing for The Complete Village Vanguard Recordings, 1961

Disc 1
Side A:
1. Spoken Introduction 00:43
2. Gloria's Step (Take 1, Interrupted) 5:41
3. Alice In Wonderland (Take 1) 6:57
Side B:
1. My Foolish Heart 4:55
2. All Of You (Take 1) 8:14
3. Announcement And Intermission 1:44
Disc 2
Side A:
1. My Romance (Take 1) 7:11
2. Some Other Time 5:02
3. Solar 8:57
Side B:
1. Gloria's Step (Take 2) 6:10
2. My Man's Gone Now 6:21
3. All Of You (Take 2) 8:29
Disc 3
Side A:
1. Detour Ahead (Take 1) 7:17
2. Discussing Repertoire 00:31
3. Waltz For Debby (Take 1) 6:46
4. Alice In Wonderland (Take 2) 8:31
Side B:
1. Porgy (I Loves You, Porgy) 6:09
2. My Romance (Take 2) 7:26
3. Milestones 6:31
Disc 4
Side A:
1. Detour Ahead (Take 2) 7:41 |
2. Gloria's Step (Take 3) 6:48
3. Waltz For Debby (Take 2) 7:00
Side B:
1 All Of You (Take 3) 8:18
2. Jade Visions (Take 1) 4:12
3. Jade Visions (Take 2) 3:57
4. ...A Few Final Bars 1:15

Jazz Night In America starts tonight, streaming live 9 EST, but other options exist; here's the deelio:

http://www.npr.org/blogs/ablogsupreme/2014/10/08/353041054/what-is-jazz-night-in-america

Would love to go see Kirk Lightsey at Mezzrow but not sure I can make it.

thousand + comment fb discussions re this:

http://online.wsj.com/articles/miles-daviss-jazz-masterpiece-kind-of-blue-is-redone-1412699010

This is great, and about all I need to read about it for now

After listening to a few songs from “Blue,” drummer Jimmy Cobb, the only surviving member of the “Kind of Blue” sextet, agreed. “These guys are proficient—I thought they were us at first—but I don’t hear the human part, the individual sound and feel I lived with on those sessions,” he said. “But, hey, classical has been doing this for centuries—playing the notes someone else wrote. If these guys took the time to do this, the music must mean something to them.”

Some of the things I've seen musicians post about that Blue album have been so staggeringly ignorant, it's actually made me never want to listen to their music again.

Yeah I have been in a few of those thousand comment facebook threads about that record. Kind of shocked at how much press/discussion it's generating actually. It's even sort of encouraging in a way.

Also it gave me a little pause to suddenly realize that there's only one living member of the original KOB sextet.

You didn't know that?

Also, Ted Dunbar did not play on Kind of Blue.

sorry

Texas Ted did however instruct the guitar play in Phish at one point, apparently.

https://soundcloud.com/bk-music-pr/all-blues-mostly-other-people-do-the-killing

It actually fools me at certain moments, less so at others. There's something too halting/not loose enough about the drumming, and it's pretty impossible to capture miles' sound, or cannonball's sound (though this one is probably the closest), or coltrane's sound, and there are moments that are exciting on the original that just aren't somehow here. Interesting exercise, and they apparently spent several years working up to it.

You didn't know that?

― Thus We Frustrate Kid Charlemagne (James Redd and the Blecchs), Sunday, October 19, 2014 10:58 PM Bookmark Flag Post Permalink

I knew all those guys were dead, individually, I had just never put it all together

I find all the people rushing to take this down a little tiresome -- maybe they should rush to take down the thousands of boring, retread, idea-less jazz albums that come out every year!

OK, listening to that soundcloud "All Blues" right now and it sounds pretty darn close so far. Guess it is kind of an interesting idea. What inspired it? Borges? Oldies rerecords on Spotify? Not exactly shocked or stunned that jazz guys don't like it as it goes against the grain of the basic jazz aesthetic.

Here is interview where Phish guy mentions Ted D: http://www.believermag.com/issues/201107/?read=interview_anastasio

Okay, I've traced the Borges and... it's coming from the liner notes!

As Richard Brody says, "I'd like to hear this set for what it is and what it purports to be"---amazing collection, amazing price, heralded by classic typo:http://www.amazon.com/Twelve-Classical-Bums-Eric-Dolphy/dp/B00NW6KONW/ref=sr_1_1?s=music&ie=UTF8&qid=1413776290&sr=1-1&keywords=eric+dolphy

lol

There's something too halting/not loose enough about the drumming

Apart from the general concept, the biggest criticism of the fb pals criticizing it was Kevin Shea's drumming

The rhythm section in general... during the solos the piano/drums/bass sound like they're reading off charts rather than the original where Evans especially is reacting to and carrying out a dialogue with the soloists. Maybe that's part of the point - by trying to do note for note they end up highlighting the hard stuff.

(Xpost) thought that was a Yoko Ono movie.

xp I have a feeling we were on the same facebook thread

Prepon
@prepxn
“@Carrie_Rachel:woke up 2 news my band #sleaterkinney back together and that we have a new record coming out in 2015.” No,sorry

oops wrong thread!

duh

huh the Kind of Blue reconstruction is pretty interesting, although i can't see listening to it more than once. this is a good interview about it: http://www.popmatters.com/feature/185662-kind-of-kind-of-blue-a-conversation-with-mostly-other-people-do-the-/

atlantic piece isn't bad either
http://www.theatlantic.com/entertainment/archive/2014/10/when-is-a-miles-davis-record-not-jazz/381983/2

this "spirit of malombo" compilation of south african jazz by the julian bahula / philip tabane brain trust is really killer

http://itunes.apple.com/us/album/id908767773

really love the stripped-down sounds of the first disc

Miles Davis Albums From Worst To Best. I wrote this for Stereogum. Studio albums only. Skip to the end if you want to get really mad really fast.

I randomly wound up on the facebook thread started by Russell Malone about "favorite jazz drumming moments" and contributors wound up including Jason Moran, Jason Marsalis, Ralph Peterson, George Coleman. Started putting together a Spotify playlist of all the selections I could find -- it's a little unwieldy and I may cull it a little but I'll post it when ready.

George Coleman Père ou Fils?

Hmm, I have to go back and look at the profile pic, didn't occur to me

Miles Davis Albums From Worst To Best. I wrote this for Stereogum. Studio albums only. Skip to the end if you want to get really mad really fast.

― Humorist (horse) (誤訳侮辱), Thursday, November 6, 2014 12:21 PM Bookmark Flag Post Permalink

#1 most baffling thing to me about your list is Get Up With It at #7. Neat record but so not a top 10 imo.

#2 is On The Corner at #1.

(xp)Sure it is must be GCJr, whom you and your wife met once, if you recall. Seemed to recall she dropped her phone in some water on that occasion, iirc. In any case, he is usually my entree to such FB threads.

Skip to the end if you want to get really mad really fast

Looking for records that featured the unsung drummer Arthur Edgehill has been reminding me how much I love those old organ group records where they would use an organ AND a bass -- I feel like that kind of died out some time in the 60s, probably partly for financial reasons and partly because of the technical prowess of guys like Jimmy Smith, but I love the sound of an old churchy jazz organ over a bouncy upright bass line -- Shirley Scott, Wild Bill Davis, etc. Feel like it's sort of a forgotten corner of jazz.

https://www.youtube.com/watch?v=McXLl0mtTao
https://www.youtube.com/watch?v=F7pLfOHzLM8

Spoke too soon. Can't find that drumming thread.

u mean this one
Drum geek sick chops youtube thread

No silly, on FB.

ohhhh, was confused, anyway it's on Russell Malone's page. He's a jazz guitarist I like btw, I was pretty into him in high school/college.

Are you an FB fan, friend or follower.
?

I think he's just friends with a couple musicians I am friends with so he came up in my feed when they commented on it.

The bassist I played with in high school tours the world with Roy Hargrove now and is becoming a bit of a heavy, so he's my fb connection to lots of big name dudes.

Okay, I found it. I see some familiar names,including Willard Dyson, who I just recently discovered. If I counted right,think the most posting on the thread is from you.

Have you ever met Russell IRL? He is really nice.

I haven't. Sometimes I think if I ever take lessons again (and am willing to drop $$$ on it) he's a guy I might holler at

Do you still have an electric guitar? Also I saw at least one other guitar player on that particular thread, Dan Adler. I believe he has a day job designing computer chips and/or algorithms. Israeli too, as far as I know. Maybe he will give you special rate.

I have a cheap electric guitar that I happen to like a lot (a Johnson). I don't have a hollow-body anymore.

I never liked my 90s Epiphone full-hollow anyway so I sold it a while back, figuring if I ever got back into jazz I'd just buy something nicer.

Does he even give lessons? I guess you could FB message him and find out. My understanding of the pricing is that generally guys who play lots of gigs usually charge $100 for an hour or so lesson- this is for any instrument- and they will schedule a lesson if and when they have time.

Of course at his level of fame,he may charge more, but maybe not

Yeah that's about the price I expected. Not in the market to spend that much right now, but maybe eventually.

You should try to go at least once when you are able.

Btw, I saw one of your old guitar teachers a few weeks ago at The Bar Next Door. He had a really good trio.

TD?

or VJ?

The former. Not sure I knew you studied with the latter.

TD was a temp sub while Ted was in and out of the hospital, VJ replaced Ted permanently, and it looks like he's the only remaining member of the jazz faculty from when I was there other than Ralph Bowen, who directs the program. VJ was a really nice dude btw, but I think I was just not in the emotional state to work with a different teacher after Ted passed.

Have you wished Russell a happy birthday yet?

Bottom five (#s 25-21) of the Burning Ambulance Best Jazz of 2014 list.

Burning Ambulance Best Jazz of 2014, Day 2.

thanks, as someone who hasn't been keeping up at all, this is great reading. it makes me happy that Criss Cross is still doing their same old thing.

(also, lol @ the dig on a certain jazz guitarist, i've never heard him play but have backed up his very talented wife on occasion).

backed up his wife you say

ON DRUMS, haha

i'll bet you did

*Ahem* I'll bet you guys would like this guy: http://www.willbernard.com/press/guitarplayer1007.htm

i do. i haven't heard those T.J. Kirk albums in forever but i have fond memories of them.

In other news, I heard a while back that the young jazz guitar phenomenon with the same last name as that guy's first name has pretty serious tendonitis.

But looks like he is out playing so either he has dealt with it or is dealing with it.

i don't know who that is, but that's rough. the best jazz guitarist i know had the same thing happen...he took a year off from playing guitar and started doing yoga and writing songs, now is a singer/songwriter.

still plays jazz, but uses more space, and does it on his high school Ibanez shredder guitar rather than the hollow-body.

fwiw I think I had Medicine Hat on CD. Don't love the guy though tbh, a little too cliche bluesy/funky for me.

The complete Burning Ambulance Best Jazz Albums Of 2014:

25. Vinnie Sperrazza, Apocryphal
24. Rodrigo Amado Motion Trio & Peter Evans, The Freedom Principle and Live In Lisbon
23. Orrin Evans, Liberation Blues
22. Eric Revis, In Memory Of Things Yet Seen
21. Matthew Shipp Trio, Root Of Things
20. Wadada Leo Smith, Red Hill and The Great Lakes Suites
19. The Cookers, Time And Time Again
18. Michael Blake, Tiddy Boom
17. Sonny Simmons & Moksha Samnyasin, Nomadic
16. Matt Brewer, Mythology
15. Rudy Royston, 303
14. Eric Hofbauer Quintet, Prehistoric Jazz Vol. 1 & 2
13. Paal Nilssen-Love Large Unit, Erta Ale
12. William Hooker & Liudas Mockunas, Live At The Vilnius Jazz Festival
11. Johnathan Blake, Gone But Not Forgotten
10. Donald Edwards, Evolution Of An Influenced Mind
9. Eric Wyatt, Borough Of Kings
8. Tom Tallitsch, Ride
7. Mark Lomax Trio, Isis & Osiris
6. Sarah Manning, Harmonious Creature
5. Mike DiRubbo, Threshold
4. Brian Charette, The Question That Drives Us
3. Steve Lehman Octet, Mise en Abîme
2. Jerome Sabbagh, The Turn
1. Jemeel Moondoc, The Zookeeper's House

Cool, thx

Yeah, I'm liking the Sperazza a lot so far. Didn't even know about the new Lehman.

Good work with that list. That Jerome Sabbagh album is stunning, need to listen to more of these.

I have now also listened to the no.1 - Jemeel Moondoc album, wow!

http://larryappelbaum.wordpress.com/2014/12/17/2014-favorites/

critic, radio dj, and Library of Congress employee

1. Billy Childs “Map To The Treasure” (Sony)

2. Keith Jarrett/Charlie Haden “Last Dance” (ECM)

3. Otis Brown III “The Thought of You” (Blue Note)

onward to 10 plus some reissues

I'm looking for jazz vocalists faves

curm, this has a jazz vocalists faves section:
Francis Davis presents his round-up of jazz crits. Intrigued by descriptions of ones I've missed, and his comments on others are mostly right-on (incl. his push-back against high ranking of Moran's half-good Waller project). But, despite Davis's opening caveats, Rollins' Road Shows Vol. 3 doesn't seem quite right for Top 10, much less No.4, considering that SR has set the bar very high---and the octogenarian diabetic doesn't spare himself on the longest tracks, or the 8-minute-plus "Solo Sonny"---but sounds like he should, just a bit (another kind of self-discipline). Still, "Patanjali" is so fucking tight, reminds me again that I need to check out yoga, and will make my P&J Singles (the album was on there for a while, and would make a Top 20)(History is a very well-chosen 2014 Rollins anth, on Spotify just below RS V3)

http://www.npr.org/blogs/ablogsupreme/2014/12/19/371282561/the-2014-npr-music-jazz-critics-poll?utm_source=twitter.com&utm_medium=social&utm_campaign=nprmusic&utm_term=music&utm_content=2045

thanks

Incredible story about the stolen Smalls Buddha.

New Year, New Thread. "Weird Means Something You Never Heard Before": Rolling Jazz D-bag Thread 2015

Your subtitle on the new thread suggests that once can't post there unless they go to Smalls...You New Yorkers

You need to post a photo of the Buddha

Take it to I Must Protest!