Rolling Jazz Thread 2022

Yeah, and he was on Parker's International Anthem album The New Breed in 2016, also Allen Toussaint's remarkable jazz venture The Bright Mississippi in 2009---but hadn't taken in that he's also worked with allll these singers---what a discography:https://en.wikipedia.org/wiki/Jay_Bellerose

Also Anna Butterss on bass on that new Parker record, which is cool

For this week's BA email, I wrote about the V.S.O.P. quintet (Freddie Hubbard, Wayne Shorter, Herbie Hancock, Ron Carter, Tony Williams) and the late 70s phenomenon of "stadium jazz":

The group was seemingly determined to prove that they were not there to rehash their achievements as the Miles Davis Quintet. The album contains only one relatively less-well-known piece from the Davis repertoire, “Dolores” from Miles Smiles. The rest of the set consisted of two pieces from Third Plane, the title track and the Williams composition “Lawra”; “Jessica,” from Hancock’s Fat Albert Rotunda; Hubbard’s “Byrdlike” (from 1962’s Ready For Freddie) and a new piece, “One of a Kind”; and another Carter composition, “Little Waltz,” from his Piccolo album, also released in 1977. The performances are explosive, a million miles from the abstract free bop they had been delivering a decade earlier. It’s not just their style of playing, either; it’s the sound. Carter’s bass has that gross ’70s rubber-band boing, and Williams sounds like he’s playing on Billy Cobham’s kit, just demolishing the audience with thunderous cannonades. Hancock is sweeping across the keys at breakneck speed, and the horns are going off like Roman candles, one squealing, screaming climax after another. I first encountered the term “stadium jazz” on Ethan Iverson’s site; on Twitter, he said he heard it from bassist Larry Grenadier. I can’t think of a better description of V.S.O.P.’s music than that. This is music meant to be heard in a crowd of thousands, preferably outdoors on a summer night. Within the intimate confines of a jazz club, it would be somewhere between simply overpowering and terrifying.

That’s not to suggest that it’s bad music; it’s just big, garish music. V.S.O.P. made two more live albums, Tempest In The Colosseum (recorded just a week after the California concerts, on July 23, 1977 in Tokyo) and Live Under The Sky, from the Japanese festival of the same name in July 1979. The group played on two consecutive days that year, July 26 and 27, and only the first night’s performances were released at first; the second set was appended to a CD reissue in 2004. All of it is well worth your time, as long as you’re in the mood to get blown back in your chair like that old Maxell advertisement.

Fabulous description, thanks! Will check.

Fowler/Perelman/Shipp/Amba/Parker/Hirsh Sextet To Release new CD Alien Skin November 11 Via Mahakala Music

ABOUT THE ALBUM

On the last afternoon of Arts for Arts’ iconic Vision Festival in 2021, I found myself standing next to pianist Matthew Shipp and drummer Andrew Cyrille as William Parker’s closing group took the stage. Matthew and I were casually chatting as the stage filled with what would ultimately be the largest group of the festival that year. The music started and the bandstand spouted fire from beneath as it lifted off toward the stars. Every person in the venue floated in space together through almost an hour of spiritual, emotional, cathartic joy. It was music so raw and frenetic that, had I had a horn with me, It would have been difficult to fight the urge to join them uninvited.

Steve and I had already been planning a couple of studio dates later that year in Brooklyn at Jim Clouse’s Park West Studios. After hearing this music, I wanted to recreate the feeling I got from listening to it. The visceral experience. Not the sound. I can’t remember what it sounded like. That wasn’t the point. So as Steve and I started planning for our upcoming session, we set out to put together a group to generate that same kind of energy: The group: Zoh Amba (who had played on William’s Vision set), Ivo Perelman (who we asked at the last minute to come by for a day and he ended up on both days of the recording), Matthew Shipp, William, Steve, and me.

This was the first and probably last time this group of musicians will have ever come together in this configuration. As is our custom, we didn’t discuss much about what the music would be before Jim Clouse started recording. This record documents our second full day together, presented in order. From soulful balladry to demented rock music to an otherworldly march, the musical tension is palpable throughout. As is, I think, the pure joy of creation that animated our time together.

-Chad Fowler
SINGLES & RELEASE CALENDAR

October 12 - "Sentient Settlement" Video + Album Announcement

It's rock and roll. It's rhythm and blues. It's a march to the ends of the stratosphere. It starts chaotic and falls apart from there. And it will make you smile and dance and be glad you woke up that morning.

November 11 - Full Album

LINKS
Chad Fowler: Website || Instagram
Steve Hirsh: Website || Instagram
William Parker: Website || Instagram
Matthew Shipp: Website
Zoh Amba: Instagram
Mahakala Records: Website || Twitter || Facebook || Instagram || Bandcamp

ALBUM CREDITS

Chad Fowler - stritch, saxello
Zoh Amba - tenor saxophone, flute
Ivo Perelman - tenor saxophone
Matthew Shipp - piano
William Parker - bass
Steve Hirsh - drums
Press: Gabriel Birnbaum, Gabe at clandestinepr.com

Cosey interview is really interesting. It sounds like there was more music happening sometimes in Miles 'retirement' than usually known.

Speaking of Jeff Parker and RogueArt, I'm digging his new one for them, Eastside Romp, with Eric Revis and Nasheet Waits. Has that Chicago-earthy, psych-tinged, excursionary tautness I look for from Parker projects, the title track and others not taking themselves too seriously, but seriously enough, even a bit mysterioso when it's time for some Spanish-associated harmonics x slight distortion-distention in some passing guitar comments, with appropriately harsh fluidity on "Drunkard's Lullaby," which does not match its Tom Waits-y title, or not like Tom would. I pick "Wait"(written by Parker, not drummer Waits alas) as the first single, despite its being longer than several others: strong theme, they're on it, vice-versa: https://rogueart1.bandcamp.com/track/wait

Also, good room ambience: smokey, midrange-to-bass-inclined, though treble comes through clearly and vividly.

Yeah, that's a good one; I just reviewed it for the NYC Jazz Record. And I might write it up for Stereogum next month alongside the Enfield Tennis Academy album, now that RogueArt is putting their releases on Bandcamp.

They are? Finally

Yeah, that one, and I'm just now finishing first listen to the aforementioned Myra Melford Fire and Water Quintet's For The Love of Fire and Music, also on Bandcamp. Given name and title, was expecting something more upfront elemental---and it did seem more emphatic when I finally turned the volume up way past Jeff Parker level, will have to try that for whole thing when I have more time. But even before that, was especially smitten with Tomeka Reid's cello (Melford's left hand and Ibarra's kick drum filling my per se bass needs), and most of all, while still at lower volume, with track 4, "IV," where Halvorson's v. selective guitar notes fit into Ibarra's percussion and Reid's bow like so, but not cut-and-dry---also: drums & cello (new subgenre, check it out) on "VIII," full-band intensity of "IX," equally intense, subtle, piano-led ballad statement of "X"---Melford is not one of your more imposing, track-defining-to dominating Jazz Piano Stylists, which is fine with me: https://rogueart1.bandcamp.com/album/for-the-love-of-fire-and-music

Parker's also on a lot of drummer-DJ Daniel Villareal's Panama 77, which is like it says here:

a vibrant and verdant suite of multi-textural, jazz-laced psychedelic instrumental folk-funk –

as in Chicago, with the most per se "folk"-taggable being "Patria," in which a benevolent or benign trad tune of ghostly charm bobbles over a couple of turns on the floating dance floor, dissolved into the most obviously "urban," dedicated to DV's favored turf:

The decadent track “18th & Morgan” is an homage to that strip, with its lowrider meets Roy Ayers vibe, vividly depicting Villarreal’s daily life driving to a gig in his classic baby-blue Mercedes sedan, wearing a beaver-skin Stetson and tinted aviators.)

"Cali Colors" is the epic, at just over five minutes: the double bass of first-listed co-composer Ann Butterss leads DV, Parker, and omg Marta Sofia Honer (violin and viola) through dark musty curtains, where the instruments mesh (she does that on a couple of faster ones later).
12 tracks total, about the same number of players, but never more than three or four on any track, each of which I can tell apart right away (not to be taken for granted!), while overall v. cohesive.
https://intlanthem.bandcamp.com/album/panam-77

Checking out In Search Of Our Father's Gardens, by RA Washington & Jah Nada leading a 14-member ensemble. It's kinda spiritual jazz meets avant-drone, so as indebted to Sunn O)))'s "Alice" as to Coltrane's "Ascension" if that makes sense. One really cool thing about it is it's a double LP where you can play each side separately, but if you have two turntables you can play sides B & C simultaneously, and if you have the digital edition as I do there's a bonus track called "Side E" that mixes them.

http://astralrajah.bandcamp.com/album/in-search-of-our-fathers-gardens

The Villareal album is a vibe (also with Butterss on bass, she gets around a lot!) but I feel a little uneven as a record— sags in the middle and picks up, for me at least.

I need to download the record you just mentioned, unperson— i saw that it was released and subscribe to Astral Spirits, but haven’t spent time on bandcamp in fear of spending more money i don’t have at the moment.

Gonna have to come back to "SIDE E - aka SIDE B & C played together": so far, hearing those tracks together more than sequentially seems relatively anti-climatic, esp. w female lead vocals now in background. But! As a listener more material than spiritual (while getting that materials can have different properties), I nevertheless was immediately drawn to the bluesy (in the sense that even or especially some of Sun Ra's more idealistic ventures can also be bluesy) intensity x humility of vocals w bass earth in opening tracks, along with spare notes from other sources--which then introduce a gamelan effect, heard along the way through much of the rest---startling words, narrative of "Keter"--then drumkit & drum machines (sic) on "Planting Seeds," the aforementioned lead vocals on "Planting Seeds," and I *think* "Where The Angels Sing" is where horns start alternating (and then singing) with the human vox--- so far, it's a little hard to keep up with all the changes, however steady and measured---appropriately ominous drone introduced on "My Father The Butcher," maybe going on a little too long, but I tend to think that of dominant drones---in any case, it becomes a sinister team player on "Wrath of Dawn," as voices slowly go over a cliff while singing "While the angels sing"---"Bobby Lynn" finds its way into a clearing of extended soloing x call-and-response, close listening---and we can at least take "SIDE E" as a bonus track---omg what an album (if this looks like too many spoilers, be assured it's all about the actual hearing, w many more details moment to moment tick-tick-tick-tick)

One thing I will say is that back in 2017, Mourning (A) Blakstar came to Philly— my friend in Cleveland had set up the show for them and I was supposed to meet them at the venue, show them some love, etc. Well, the venue didn't have a PA, and then unbeknownst to the band or the friend who set up the show, demanded that the band PAY to play there— even tho there was no PA, no nothing. There wasn't hype around them yet, and so what ended up happening was that I overdrafted my bank account so that the band could get paid, argued with the venue owner (the disgusting G4be T1ber1no), and then watched the band perform a quiet, nearly acoustic set that was *absolutely mindblowing.* It was a nightmare that was worth it in the end. RA is a good guy.

What an album, and what a story, and thank you for saving the night. What the hell, venue dudes? Maybe he was used to shaking down musos, pay-for-play-wise, but at the last minute? Sure, why not. Reminding me of Jones-era Baraka's mention of a venuer who wouldn't hire Cecil, and was pissed that others would.

special radio broadcast this sunday from blank forms, related to the (baraka/spellman-fronted) CRICKET anthology they've just released (and which i just received in the mail):

https://www.blankforms.org/events/the-publics-not-ready-for-you-yet-a-cricket-radio-show

The debut album by The Bad Plus Version III (the pianoless Chris Speed/Ben Monder version) comes out today. I'm listening now and, yeah, I don't hate this at all. Still think they should have changed the name though.

Sounds fantastic, everything an album from this band should be (ie based on seeing them live).

It's so great to hear Chris Speed play so much melody and long tones, it's a beautiful sound.

The RA Washington/Jah Nada record is indeed like a strange admixture of spiritual jazz and metallic drone. Really into it, perfect vibes for this endless rain we’re having here in Philly.

Yeah Bad Plus album sounding beautiful. The sample tracks from the new Thumbscrew on Bandcamp sound brain-smearingly fantastic, even better than the last album.

Speaking of Thumbscrew, really liking the new Nate Wooley, which also features Halvorson, among others.

The new John Coltrane mural in his hometown Hamlet, NC. pic.twitter.com/NS9GWgBtUR

— Ted Gioia (@tedgioia) October 3, 2022

How did they do that?? Best mural ever, and not only because Trane.

And that's not even the whole thing.

Had a chance to visit in person, this past July. It it absolutely magnificent. pic.twitter.com/eDbtjlfyZ3

— Curt Davenport (@curtjazz) October 4, 2022

Another shot of the whole thing, straight up:

Spectacular mural in Hamlet, NC. If you’re ever passing through check it out! pic.twitter.com/sGbAxLlgxm

— Sheet Music Library (PDF) (@LibrarySheet) October 3, 2022

Well, close enough--formidable!

This should do it, for all of that full-length last shot:

https://pbs.twimg.com/media/FeLS43LXEAAVXQy?format=jpg&name=small

They are planning on doing one near the house in Philly where he lived from 1962-1966, too.

That's fantastic.

I got into most of The Bad Plus instantly, but liked it a little less each time since. Still enjoy all of "The Dandy" and "Sick Fire," and really most of the rest in part, but Chris Speed's xp long tones weigh it down, like a speech---can be a poignant, even noble speech---"Fore score and seven years ago..."whereas Tony Malably's sax is speech, and not like Honest Abe giving you a folksy pitch: it can be lyrical, or skronky, or just pitting phrases with breath and punctuation and irregular line-lengths, more of the moment than Speed ever sounds---and he stimulates Monder much more as well, or maybe Monder thinks it just wouldn't be fittin' to play on TBP the way he does on much of Monder/Malaby/Rainey's https://benmonder.bandcamp.com/album/live-at-55-bar I get that it's "So-and-So plays guitar, Monder plays music," and I appreciate his playing on the former album, but enjoy it more on this one. (On both, he makes me think of young McLaughlin in space, between Miles and Mahavishnu.)
Nevertheless, so far. 55 Bar's three-part suite is three long treks, and sometimes seems a little too repetitive---would like to have Malaby sit in for Speed, playing Bad Plus compositions, and see how that goes (guys?)
More than either of those, I'm totally into Breath of Air's s/t, with Brandon Ross, guitarist of my fave jazz etc. power trio, Harriet Tubman, times violinist Charles Burnham and drummer Warren Benbow, both of Ulmer's Odyssey The Band: all bold, self-reliant, interdependent, promptly responsive while focused in what seems totally impromptu---times electricity and a live audiencehttps://breathofair.bandcamp.com/

Currently listening to Titan To Tachyons' Vonals: agree w unperson's upthread comment that its excellence is not jazz per se, but obviously there are some jazz-related devices, like chord voicings in an intro here, certain tempo changes and translucent tonalities there---but these are set-ups for the sucker punch, the grabber squeezed into bursts ov noize: set the charge. light the fuse, can't tell just what might happen---I mean you can know if you've listened enough, but not really how it's going to feel this time, the way your nerves will be splattered with impressions in the headphones, guitar strings, talons, dragging a little ways after.
Only reservation (if that's what it is) far: sometimes the sequence of sections seems arbitrary, although there's not much time to notice and don't yet know if it matters that much. having accepted the sense of ritual on the way to a master take (Gates says one of these was completely improvised in the studio, others built up at least in part via improv.)
(Nothing free on Banccamp; I'm listening to the promo, but CD's on BC and, along with digital, on Amazon yeah dirty word but that's at least one where they put it.)

Thanks for listening to the Breath Of Air album. (It’s on my label.)

may have more to say about it later, but anyway strongly suspect it'll be in my Top Ten, Twelve, somewhere in there.

(Also Titans)

Thurston Moore shared a clip of this on Twitter. It's really good.
https://www.youtube.com/watch?v=QU6RVY-vxfQ

niiice, gotta check out some more Art Farmin', thanks.

meanwhile,

For your autumn headspace, I've compiled *five hours* of the densest, dankest post-Bitches Brew fusion grooves the planet has to offer. @aquadrunkardhttps://t.co/htQKo3ijqm

— Brent S. Sirota (@BrentSirota) October 10, 2022

The Sonny Rollins bio coming out in December is a fucking doorstop. I now know what he did pretty much every day of his life from the late 1940s to the early 1980s. After that, the author starts fast-forwarding some, but honestly someone should have sat him down and explained the difference between “exhaustive” and “exhausting”.

enjoying “at scaramouche”

Wayne Shorter & Milton Nascimento, October 2022

📸 Augusto Kesrouani Nascimento
h/t Milton Nascimento’s IG pic.twitter.com/o6Ge6opImz

— jeff (@jazyjef) October 14, 2022

“Two Centuries” is the first recorded collaboration between jazz legends Wadada Leo Smith and Andrew Cyrille, with rising electronic experimentalist, composer, and drummer, Qasim Naqvi.

Qasim Naqvi is the former drummer for Dawn Of Midi, a really good minimalist piano trio. Check out their album Dysnomia from a few years ago. It rules.

Cosign the Dysnomia recommendation. Brilliant record.

My latest Stereogum column is out, featuring an extended interview with bassist Eric Revis and reviews of some new albums (I came around on the quartet version of the Bad Plus big time).

Wow, there’s even a mention of Doug Wamble in there, a rarity in these parts.

Oooh this Dysnomia record is very good indeed! Thanks for the tip.

Unperson I just asked my local library to buy your book. Hopefully they don't decide it's too 'niche'. I want to read it!

they'll probably say, "why would we order that when we already have all these great books by ted gioia?"

night 1 of the BRIC jazzfest was a good time.

Kalia Vandever (who regularly plays out with Emmanuel Wilkens and Joel Ross) is a pretty great composer and bandleader. Her music is as inconsolably melancholic as dischordant trombone can be with a fascinatingly meandering POV. Her guitarist, Lee Meadvin, evokes Frisell methinks.
https://www.youtube.com/watch?v=G32tejPN5_o

Freelance are an eight-piece soul jazz crossover combo that was having a good enough time that it was easy to play along. They closed with this extremely fun cover of BBD's "Poison"
https://www.youtube.com/watch?v=SFNmvQBIP5s

K3yanna was the real find of the night for me, a virtuosically mannered guitarist whose playing was intricate and punk with a fully-developed and still surprisingly abstract style. She said that the new direction she's going in is inspired by the last two months of COVID and I dunno, this shit slaps and I want to hear more of it but there's nothing available yet! Anyways, she's a badass and I think she's gonna be a name soon.
https://www.youtube.com/watch?v=XKMPw4vnGuo
https://www.instagram.com/p/Cikgrd-uS8H/

Joel Ross had a ridiculously good combo. Lizz Wright's voice is a dense, sweet, gracious and capacious as the whole of a maple tree.

Going again tomorrow.

Very jealous you got to see Kalia Vandever. Her new album Regrowth came out in May but has been pretty overlooked. She has great restraint and tone. Agree she can lean melancholic but there are moments of joy throughout her music, in a late night speakeasy kind of way.