New year, new decade, new sounds!
― but also fuck you (unperson), Wednesday, 6 January 2021 15:46 (nine months ago) link
The latest volume in the Spiritual Jazz series is split across two volumes and is devoted to new(ish) releases.
Part 1:1. Benjamin Herman - Lizard Waltz2. Idris Ackamoor & The Pyramids - An Angel Fell3. Nat Birchall - The Black Ark4. Chip Wickham - Shamal Wind5. Jimi Tenor And Kabukabu - Suite Meets6. Black Flower - Winter7. Darryl Yokley - Echoes of Ancient Sahara8. Damon Locks Black Monument Ensemble - Sounds Like Now9. Oiro Pena - Nimeton10. Cat Toren - Soul11. Shabaka & the Ancestors - Nguni12. Makaya McCraven - Gnawa
Part 2:1. The Cosmic Range - Palms to Heaven2. Vibration Black Finger - Empty Streets3. Abeeku - Slow Sweet Burn4. Wildflower - Flute Song5. The Pyramids - Memory Ritual6. Steve Reid - For Coltrane7. Carla Marciano - Trane's Groove8. Angel Bat Dawid - What do I tell my children who are black (Dr. Margaret Burroughs)9. Menagerie - Nova10. Teemu Akerblom - Avo's Tune11. The Jamie Saft Quartet - Vessels12. Jonas Kullhammar - Paris
― but also fuck you (unperson), Wednesday, 6 January 2021 15:52 (nine months ago) link
This could be cross-posted to an electronic music thread, but it's fantastic:https://timdaisyrelayrecords.bandcamp.com/album/tim-daisy-ikue-mori-light-and-shade-relay-030
Duets with Tim Daisy on marimba and drums x Ikue Morie on electronics.
― change display name (Jordan), Wednesday, 6 January 2021 16:20 (nine months ago) link
Colour me intrigued:https://williamparker.bandcamp.com/album/migration-of-silence-into-and-out-of-the-tone-world-volumes-1-10
― pomenitul, Wednesday, 6 January 2021 16:24 (nine months ago) link
That Parker box is quite a thing. I'm going to be reviewing it in depth on Burning Ambulance at the end of the month (two discs per day for five days).
― but also fuck you (unperson), Wednesday, 6 January 2021 16:29 (nine months ago) link
The subscription to 2021 releases for Astral Spirits is $15/month, so I just said fuck it and went in, mostly because I listened to this: https://astralahmed.bandcamp.com/
― Pere Legume (the table is the table), Wednesday, 6 January 2021 17:57 (nine months ago) link
You also get a majority of the back catalogue as part of that deal, too.
― Pere Legume (the table is the table), Wednesday, 6 January 2021 17:58 (nine months ago) link
wow this is fucking good
― budo jeru, Thursday, 7 January 2021 07:07 (nine months ago) link
haha i just said fuck it on the astral spirits bandcamp too, let the amirtha kidambi/lea bertucci manipulated vocal sound record rearrange some brain cells last night
the big astral spirits hit for me last year was the luke stewart quintet album, some seriously heavy sounds there.
― adam, Wednesday, 13 January 2021 14:39 (nine months ago) link
Just got a promo of a piano trio album led by a dude named LUIGI SALAMI. (Okay, Pier Luigi Salami - the group is called the PLS Trio - but still.)
― but also fuck you (unperson), Wednesday, 13 January 2021 21:47 (nine months ago) link
seeing as calendar years are a made-up social construct I thought I'd mention this blistering album from 2020 that features the only good Kier, that is Irreversible Entanglements' Keir Neuringer.
― calzino, Thursday, 14 January 2021 10:40 (nine months ago) link
new Alexander Hawkins album is out today.
― calzino, Friday, 15 January 2021 11:40 (nine months ago) link
free on-demand livestream show with Brandee Younger and Dezron Douglashttps://www.millertheatre.com/events/brandee-younger-dezron-douglas-live-from-columbia
― the serious avant-garde universalist right now (forksclovetofu), Saturday, 16 January 2021 02:07 (nine months ago) link
RIP Gino Moratti of Kitano Jazz.
― Next Time Might Be Hammer Time (James Redd and the Blecchs), Wednesday, 20 January 2021 02:34 (eight months ago) link
Aka another NYC jazz institution seems to fall by the wayside.
― Next Time Might Be Hammer Time (James Redd and the Blecchs), Wednesday, 20 January 2021 02:51 (eight months ago) link
― the serious avant-garde universalist right now (forksclovetofu), Wednesday, 20 January 2021 03:06 (eight months ago) link
Iris Ornig wrote a nice thing about Gino M on FB which is publicly visible.
― Next Time Might Be Hammer Time (James Redd and the Blecchs), Wednesday, 20 January 2021 16:48 (eight months ago) link
My latest Stereogum column is up. Here's the first paragraph:
William Parker deserves a Pulitzer Prize, or at least a MacArthur Fellowship. His body of work is nearly 50 years deep at this point, and encompasses vocal and instrumental music (his own original compositions, and brilliant reinterpretations of others’ work), poetry, criticism, and journalism. His long-running bands the William Parker Quartet and its expanded incarnation Raining On The Moon; In Order To Survive; and the Little Huey Creative Music Orchestra are balanced by short-lived or one-off ensembles that may only appear for a single album or concert. In addition to work under his own name, he’s been a key member of groups led by Cecil Taylor, Peter Brötzmann, Bill Dixon, David S. Ware, Matthew Shipp, and others. Although his work hinges on a deeply individual voice, he is a community builder at heart. He and his wife, Patricia Nicholson, have run the annual Vision Festival in New York for over 20 years, and that single annual event has grown to encompass multiple performance series running all year long, many of them outdoors and free, an invitation to the public to experience high-level out jazz as just one more form of art, as physically as it is aesthetically accessible.
― but also fuck you (unperson), Wednesday, 20 January 2021 17:04 (eight months ago) link
Cool, will check it out.
I started reading that Monk biography by Robin Kelly (found a cheap ebook version), it's good so far.
― change display name (Jordan), Wednesday, 20 January 2021 17:26 (eight months ago) link
(after someone mentioned it on a thread, probably the cymbal-tapping one)
I had to read that Monk book twice; the first time, when it was new, it didn't click with me, but when I went back to it years later I loved it.
― but also fuck you (unperson), Wednesday, 20 January 2021 17:29 (eight months ago) link
Thanks for that, unperson. Aside from the Parker, I'm most intrigued by the Formanek and Perelman.
― pomenitul, Wednesday, 20 January 2021 21:10 (eight months ago) link
I've had a few opportunities to listen to the latest Alexander Hawkins project now and it is really really good. Just had a brief run through and I think that rushed out Jason Moran album had me intrigued the most, it makes a nice change to read about a pianist who acknowledges DJ Screw as an influence and I liked the sound of that sample.
― calzino, Wednesday, 20 January 2021 23:40 (eight months ago) link
New World Records is putting out an incredible looking 7CD box of previously unreleased material by Julius Hemphill next Friday. Most of it is from the '70s and '80s, but there's some later stuff as well. Info here. Includes several CDs' worth of small group performances with trios and quartets, plus a whole disc of duos with cellist Abdul Wadud...to me, this is a treasure trove the equivalent of the Albert Ayler Holy Ghost box. I've requested a review copy, but if they don't send me a download I'm just gonna have to buy it.
― but also fuck you (unperson), Friday, 22 January 2021 00:51 (eight months ago) link
kwhitehead covers Some Kind of Tomorrow, new Jane Ira Bloom x Mark Helias duo alb, recorded via Zoom, so had to find, set up camp in the right tempo zone to avoid lag, but they did---excerpts sounding goooood:https://www.npr.org/2021/01/21/959199306/with-some-kind-of-tomorrow-2-jazz-musicians-improvise-together-over-zoom
― dow, Friday, 22 January 2021 02:02 (eight months ago) link
xp hemphill box looks wonderful, thanks for the tip
― budo jeru, Friday, 22 January 2021 02:47 (eight months ago) link
Listening to replay of Fresh Air interview w Howard Johnson, recently RIP. Like it says in the transcript:In the 1960s and '70s, he played on jazz recordings by Charles Mingus, McCoy Tyner, Carla Bley and Charlie Haden. He was, for the most part, self-taught. And though tuba was his main instrument, Johnson also learned to play bass, clarinet, baritone sax, flugelhorn and electric bass. He led his own ensembles, most notably the band Gravity, which consisted of six tubas and a rhythm section and released several albums.
(SOUNDBITE OF HOWARD JOHNSON AND GRAVITY'S "BE NO EVIL")
BIANCULLI: Johnson wrote arrangements for and was featured on rock albums by The Band, John Lennon, Taj Mahal and Maria Muldaur. And he helped form and then played in the original "Saturday Night Live" house band and even appeared in some of the show's musical sketches.Stream/download: https://www.npr.org/2021/01/22/959579707/remembering-jazz-tuba-player-howard-johnson
― dow, Saturday, 23 January 2021 01:48 (eight months ago) link
...So when they ask me things like that, they really - what they really want is for me to take them and show them how, you know. And I really think - I mean, see there wasn't any jazz education when I came up, you know. If you lived in Ohio, you know, and were 14 or something like that, you weren't going to any Berklee. And I wasn't going to just do nothing until such time as I could get some instruction.
Well, what did the people before any of that was happening do? They listened to the music. They learned it. They found a way to learn it. I mean, you know, who gave Sonny Stitt lessons? When I was trying to understand intervals in music well enough to learn to improvise by ear, I mean, everything was an interval to me. You know, I'd hear the - a car horn or a doorbell. You know, I'd say bing-bong - ope (ph) - minor third. There we go.
― dow, Saturday, 23 January 2021 01:53 (eight months ago) link
Sorry, can't resist continuing that a little further (this is all right at the end, after adventures with Mingus etc. etc.)There was nothing on the radio, maybe two hours a week of jazz on the radio. I didn't have a record collection or a record player. I just kind of had to slide around to wherever the records were and listen to little stuff that I could take off the radio and try to learn. So I had to really absorb myself into it in a way that people don't tend to do if they have - you know, if they can just go to Berklee.
― dow, Saturday, 23 January 2021 01:55 (eight months ago) link
(Although of course you'd have to know some stuff, some way, to get into Berklee.)
― dow, Saturday, 23 January 2021 01:57 (eight months ago) link
I pretty much hang on that guy’s every word, so no problem.
― Next Time Might Be Hammer Time (James Redd and the Blecchs), Saturday, 23 January 2021 02:17 (eight months ago) link
damn i know howard johnson really well from the taj mahal stuff
― ILX’s bad boy (D-40), Saturday, 23 January 2021 04:43 (eight months ago) link
Howard Johnson plays on Gato Barbieri's Alive in New York, but it's got to be one of the worst-sounding records I've ever heard. Somehow every instrument except the sax is buried, the electric guitar is almost inaudible (except when he takes a barely-detectable solo), and there's some sort of phasing going on that makes it sound like they're playing on the beach.
I knew Johnson mostly for his contributions to some early Carla Bley records, where he even gets to sing a little.
― Halfway there but for you, Saturday, 23 January 2021 04:59 (eight months ago) link
Ok jazz sleuths, please help me with a quest -- I'm looking for a version of 'Epistrophy' that I downloaded off Audiogalaxy in the early '00s. It has a backbeat, and it's a banger. Very sparsely arranged groove, with the piano doubling the bass on very low notes, a bassline using mostly the root & minor 2nd while someone else (probably a sax) plays the melody.
It really seems like it would be a Leon Parker version, but his version of that is different (but awesome as, and I remember it well upon hearing it again). Or Matthew Shipp in the Thirsty Ear era, but I'm not seeing that he recorded it.
I used to listen to this mp3 all the time and it's driving me a little crazy.
― change display name (Jordan), Saturday, 23 January 2021 21:04 (eight months ago) link
How great is this (mostly) cymbal solo though:https://www.youtube.com/watch?v=ubQ8UOIeIPw
― change display name (Jordan), Saturday, 23 January 2021 21:10 (eight months ago) link
Nate Chinen on Twitter:A few weeks ago I bought Mose Allison’s ‘Wild Man on the Loose’ on LP. An album I’ve loved for ages — but when I put it on the turntable, I felt like I was hearing Motian more clearly in the mix than ever. Puzzle piece!
Then he quoted Evan Iverson:
Nobody in this Jarrett trio iscondescending to Dylan or the Byrds.Charlie Haden began as hillbillycountrY musician, he always likedsimple songs. Paul Motian had alreadyrecorded in this kind of genre withMose Allison,and a year after this datehe joined Arlo Guthrie at Woodstock.
Jarrett talks about hearing Motian withboth Lowell Davidson and MoseAllison. Of course, Motian played withBill Evans and Paul BleY as well. Thisbears restating: Jarrett heard Motianwith four pianists, Bill Evans, Paul Bley,Mose Allison and Lowell Davidson.That's a pretty big puzzle piece,for onecan hear all four of those pianists inJarrett's final conception.from https://ethaniverson.com/shades-of-jazz-keith-jarrett-charlie-haden-paul-motian-dewey-redman/
― dow, Sunday, 24 January 2021 21:54 (eight months ago) link
Thanks for that. I've got a couple Jarrett records and like him pretty well, but never listened to these specifically and I am loving Birth by that quartet from 1971.
― Smokahontas and John Spliff (PBKR), Monday, 25 January 2021 23:34 (eight months ago) link
I've only heard the Impulse! albums (and wrote about them myself a while ago); now I want to check them out. There's a trio disc on ECM, recorded live in 1972, that Iverson doesn't cover because it wasn't released until a couple of years ago. I've heard that; it's good.
― but also fuck you (unperson), Monday, 25 January 2021 23:45 (eight months ago) link
One approach was taken by Keith Jarrett in consort with Charlie Haden, Paul Motian, and Dewey Redman.
i don't mean to be a pedant, but doesn't iverson mean "concert" here? or have i been getting that wrong all this time
― budo jeru, Tuesday, 26 January 2021 00:01 (eight months ago) link
― Next Time Might Be Hammer Time (James Redd and the Blecchs), Tuesday, 26 January 2021 00:02 (eight months ago) link
That paste had some garble ("for a better transcription click here"--wish I had): I corrected most of it, but missed one capital Y ending, and may have missed "consort" when the original was "concert" dunno tweets can be hard to look up, but see the whole essay in the link sorry. Speaking of Twitter:
Franklin Bruno@humanfranklinSchoenberg's harmony textbook isn't quite what I was expecting: "Let the pupil know that every living thing has within it that which changes, develops, and destroys it. Life and death are both equally present in the embryo. In between is time."
― dow, Wednesday, 27 January 2021 03:37 (eight months ago) link
"Consort" is in the original, okay by me. (The Paul Winter Consort etc.)
― dow, Wednesday, 27 January 2021 03:39 (eight months ago) link
Duly noting Junior Mance's passing here, as well as that of two jazz vocalists, Janet Lawson and Carol Fredette, both of whom had been living at The Actor's Home in New Jersey.
― Next Time Might Be Hammer Time (James Redd and the Blecchs), Wednesday, 27 January 2021 13:45 (eight months ago) link
New Joshua Abrams album on Rogue Art, Cloud Script, sounding excellent this morning - and what a band! Gerald Cleaver, Ari Brown, and Jeff Parker. Decidedly more traditional approach than the recent Natural Information Society material (ie there are heads and solos, including a drum solo) but just as captivating as those great records. Parker in particular sounds fantastic - check out his gnarly solo on "Collapsing Novelty." Pity the LP appears to be sold out everywhere already.
― Paul Ponzi, Wednesday, 27 January 2021 14:07 (eight months ago) link
^ I wish Rogue Art had a digital download presence on Bandcamp and weren't CD only (as far as I recall).
This is my kind of actual modern fusion, in terms of where soul/funk and jazz and open-minded pop/rock meets--lots of great players on this in add'n to the co-billed, incl. Sam Gendel and Rob Moose; very excited to hear the whole thing in mid-March, and this lead single sounds awesome, with nice touches incl. electric sitar as featured on D'Angelo's Black Messiah:
― Co-pay Segundo (Craig D.), Wednesday, 27 January 2021 20:34 (eight months ago) link
Haven't even listened to this yet and I'm very excited based on the lineup, dang.
I've been having a good time today listening to Junior Mance records, and related ones from that Mickey Roker interview that James linked in the other thread (Shirley Scott, Walt Dickerson).
― change display name (Jordan), Wednesday, 27 January 2021 20:44 (eight months ago) link
Ok that's a little more, idk, tasteful and ECM-ish than I was expecting? It's nice though, still curious to hear the album. But there's only about 10 secs of Chris Dave sounding like Chris Dave. Although I guess that's why he's Chris Dave, because he's a tasteful musician and doesn't always have to sound like Chris Dave.
― change display name (Jordan), Wednesday, 27 January 2021 20:54 (eight months ago) link
Charles Lloyd, who mostly leaves me cold, has a new album coming out March 12. The first single is a version of Ornette Coleman's "Ramblin'," one of my favorite OC tunes because Change of the Century was the first album of his I heard and it cracked my head wide open. And this version, with Bill Frisell on guitar, is surprisingly hot. So now I think I might have to hear the whole record.
― but also fuck you (unperson), Friday, 29 January 2021 19:05 (eight months ago) link
Cool, I'll check out in due course. Last year's 8: Kindred Spirits was solid, albeit overlong.
― pomenitul, Friday, 29 January 2021 19:15 (eight months ago) link
As I say, I'm not a big fan, but his Blue Note albums have generally been better than his ECM albums were.
― but also fuck you (unperson), Friday, 29 January 2021 19:19 (eight months ago) link
A previously unknown live performance of Coltrane's A Love Supreme (with Pharoah Sanders and Donald Garrett added to the band; this comes from the same run of shows as 1971's Live in Seattle) will be released in October. Here's "Pt. IV - Psalm":
In one of the major John Coltrane discoveries of recent years a long lost second live performance of his masterwork, A Love Supreme, has surfaced and will be released by Impulse! on 8 October. A Love Supreme was originally recorded in December 1964 and released in January 1965. Until now the only full performance known to exist was from the Festival Mondial du Jazz Antibes, Juan-Les-Pains, France, July 1965, which was issued as part of A Love Supreme Deluxe Edition in 2002.This second full performance was recorded on 2 October 1965 and is from his week-long stay at The Penthouse, Seattle from 27 September – 2 October 1965. While Impulse! previously released a posthumous live recording in 1971 from this gig, John Coltrane featuring Pharoah Sanders Live In Seattle, it was taken from the 30 September show and did not feature any music from A Love Supreme. This performance was recorded independently by Coltrane's friend Joe Brazil using the Penthouse Club's in-house equipment but has remained a completely unknown quantity until now, with no mention in Ashley Khan's book A Love Supreme / The Creation Of John Coltrane's Classic Album or the exhaustive John Coltrane Reference Book.The original A Love Supreme album and Antibes performance were by Coltrane's Quartet of McCoy Tyner, Jimmy Garrison and Elvin Jones. By the time of the Penthouse date, Coltrane had expanded the quartet, bringing in Pharoah Sanders on tenor sax and Donald Garrett on second bass, and bass clarinet, plus shakers and other percussion items are played by one of the above or perhaps by Brazil and saxophonist Carlos Ward, who is said to have been at the performance. This performance runs considerably longer than the original A Love Supreme and captures a historic moment as the newly refigured sextet launch into the suite with power and spirit.
This second full performance was recorded on 2 October 1965 and is from his week-long stay at The Penthouse, Seattle from 27 September – 2 October 1965. While Impulse! previously released a posthumous live recording in 1971 from this gig, John Coltrane featuring Pharoah Sanders Live In Seattle, it was taken from the 30 September show and did not feature any music from A Love Supreme. This performance was recorded independently by Coltrane's friend Joe Brazil using the Penthouse Club's in-house equipment but has remained a completely unknown quantity until now, with no mention in Ashley Khan's book A Love Supreme / The Creation Of John Coltrane's Classic Album or the exhaustive John Coltrane Reference Book.
The original A Love Supreme album and Antibes performance were by Coltrane's Quartet of McCoy Tyner, Jimmy Garrison and Elvin Jones. By the time of the Penthouse date, Coltrane had expanded the quartet, bringing in Pharoah Sanders on tenor sax and Donald Garrett on second bass, and bass clarinet, plus shakers and other percussion items are played by one of the above or perhaps by Brazil and saxophonist Carlos Ward, who is said to have been at the performance. This performance runs considerably longer than the original A Love Supreme and captures a historic moment as the newly refigured sextet launch into the suite with power and spirit.
― but also fuck you (unperson), Thursday, 26 August 2021 14:20 (one month ago) link
Excited for that!
― a superficial sheeb of intelligence (jon /via/ chi 2.0), Thursday, 26 August 2021 14:21 (one month ago) link
― change display name (Jordan), Thursday, 26 August 2021 14:48 (one month ago) link
That's insane. I'd read that there were only two performances of A Love Supreme, one being Antibes, and the other happening in Philadelphia, I think. It's strange that, given the release history of the Seattle residency -- '90s CD reissue with a lot more material, a gray-markety The Unissued Seattle Broadcase -- that the ALS performance was unknown/unnoticed for all these years.
― Montgomery Burns' Jazz (Tarfumes The Escape Goat), Thursday, 26 August 2021 15:00 (one month ago) link
― Sequel to Sadness (Sund4r), Thursday, 26 August 2021 20:18 (one month ago) link
I wonder if the expanded lineup and length will make this sound more like the spiritual jazz that owed a lot to the original (albums like Karma). I guess Coltrane was flirting with that sound on Kulu Se Mama in this era.
― Halfway there but for you, Thursday, 26 August 2021 22:22 (one month ago) link
You know who loves keeping standards around? Record labels and music publishing companies. Fuck standards. Ban 'em all for 20 years, like a controlled burning of a forest, and see what sprouts in their place.
― but also fuck you (unperson), Tuesday, 24 August 2021 bookmarkflaglink
Really unfortunate metaphor.
― xyzzzz__, Sunday, 29 August 2021 14:16 (one month ago) link
Btw just personally I think that going to school for jazz in 2021 is a probably a poor life decision, unless 1) you want to be a professor, or 2) you're already good enough to be a professional musician and want to study with a master who teaches at one of these programs.
A little curious about this, btw, especially 1). The professorial job market is a bloodbath, as far as f/t positions are concerned, and has been for years. Moreover, it requires many years of additional training on top of a degree for the minimum entrance requirements. That almost seems like one of the least practical reasons to get a music degree. Otoh, opportunities for private and school-level teaching and gigs are expanded pretty significantly by the acquisition of a degree and, at least here, getting the additional certification to teach in the public school system just involves another year or two and is comparatively a much safer bet. I would just advise people not to do it in a way that involves going into significant debt. Or was it something specific to jazz education that was striking you?
― Sequel to Sadness (Sund4r), Monday, 30 August 2021 14:12 (one month ago) link
Yeah, 2) makes sense for me but not 1). I remember last time Sund4r and I had this discussion several years ago, and I asked around. Seems it used to be possible to acquire some kind of academic professorship based on performance and other achievements, with much less formal training, but much less so these days. To another point, another friend did exactly as described and just spent a year of so getting a teaching degree on top of his music masters so he could teach in a public school.
― Gwar ina Babyon (James Redd and the Blecchs), Monday, 30 August 2021 14:26 (one month ago) link
The studio version of Kamasi Washington's cover of Metallica's "My Friend of Misery" was the only thing I wanted to hear from their massive covers compilation The Metallica Blacklist, and here it is. I'm into it.
― but also fuck you (unperson), Tuesday, 31 August 2021 13:04 (one month ago) link
Oh, I would never encourage someone to pursue becoming a jazz professor. I was just trying to make the opposite point, that getting a degree in jazz isn't necessary if you want to become a working musician. Staying in academia was the only reason I could come up with to do so, not saying it's a good reason!
― change display name (Jordan), Wednesday, 1 September 2021 17:16 (one month ago) link
This guy was this epitome of a certain kind of beloved jazz professor, Howard "Dr. Bebop" Brofsky. I heard he was teaching his famous Jazz History class right up until very near the end.https://www.vpr.org/vpr-news/2013-10-26/howard-dr-bebop-brofsky-remembered-for-contribution-to-vt-and-national-jazz-scenehttps://www.reformer.com/local-news/family-friends-remember-dr-bebop/article_d403026f-8076-591c-bf89-ff9637291406.htmlhttps://digital.nepr.net/music/2013/10/22/howard-brofsky-rip-1927-2013/
― Gwar ina Babyon (James Redd and the Blecchs), Wednesday, 1 September 2021 17:27 (one month ago) link
Lots of great players teach or taught at William Paterson, such as Harold Mabern, but I believe most are adjuncts and don't have PhDs. Although at many schools even the adjuncts apparently have to have PhDs, those that don't are associates or something.
― Gwar ina Babyon (James Redd and the Blecchs), Wednesday, 1 September 2021 17:31 (one month ago) link
There does not appear to be a Steve Swallow thread on ILM, so I am going to post this interview link here. This is a really good interview and has a unique look into a few different jazz scenes and life of a musician of those eras. It also touches a bit on your education discussion too. Definitely worth checking out.
― earlnash, Monday, 6 September 2021 13:55 (one month ago) link
Rest well, Phil Schaap. Earlier this year, on the occasion of his @NEAarts award, @jazznight aired this profile, which Alex Ariff wrote and produced with a lot of feeling. ‘Bird Flights’ is just one part of what made Schaap such a legend. #RIP https://t.co/ngdqYNgdmc— Nate Chinen (@natechinen) September 8, 2021
― birdistheword, Wednesday, 8 September 2021 16:38 (one month ago) link
Also Pat Metheny is on the new ep of Questlove's podcast, it's good so far. I like that he describes himself as not a natural guitar player and requiring a ton of work, practice, and warming up to do his thing.
― change display name (Jordan), Wednesday, 8 September 2021 16:40 (one month ago) link
Jazz guitar…is kind of a crazy-making instrument.
― What Does Blecch Mean to Me? (James Redd and the Blecchs), Wednesday, 8 September 2021 20:58 (one month ago) link
RIP, Phil Schaap. It was always reassuring to see you at Dizzy’s, either inside the club or outside hawking your wares.
― What Does Blecch Mean to Me? (James Redd and the Blecchs), Wednesday, 8 September 2021 21:00 (one month ago) link
Haha, looking forward to hearing Pat Metheny explain how guitar is hard for him.
― Sequel to Sadness (Sund4r), Wednesday, 8 September 2021 21:06 (one month ago) link
Not enough hours in the day to practice iirc
― What Does Blecch Mean to Me? (James Redd and the Blecchs), Wednesday, 8 September 2021 23:33 (one month ago) link
― Sequel to Sadness (Sund4r), Monday, 13 September 2021 13:00 (one month ago) link
― What Does Blecch Mean to Me? (James Redd and the Blecchs), Monday, 13 September 2021 14:13 (one month ago) link
NY Time excited about grandson musician Adam O’Farrill
If you pay close enough attention to jazz, Adam O’Farrill might have landed on your radar about a decade ago, when he was still an adolescent. His last name is immediately recognizable — his father and grandfather are Latin jazz royalty — but he stood apart even then, mostly by hanging back and letting his trumpet speak for itself.
Since his teens, O’Farrill has prioritized restraint, so that his huge range of inspirations — Olivier Messiaen’s compositions, Miles Davis’s 1970s work, the films of Alfonso Cuarón, the novels of D.H. Lawrence, the contemporary American-Swedish composer Kali Malone — could emulsify into something personal, and devilishly tough to pin down.
― curmudgeon, Monday, 20 September 2021 15:07 (three weeks ago) link
― curmudgeon, Monday, 20 September 2021 15:11 (three weeks ago) link
Cool. Saw his brother Zach the other day.
― I, the Jukebox Jury (James Redd and the Blecchs), Monday, 20 September 2021 15:56 (three weeks ago) link
Zach is in his band I see.
a Jazz Times article headline from 2019 said:Adam O’Farrill Does Not Play Latin Jazz
― curmudgeon, Monday, 20 September 2021 17:41 (three weeks ago) link
Yeah they play together a lot. A friend of mine plays with them sometimes.
― I, the Jukebox Jury (James Redd and the Blecchs), Monday, 20 September 2021 18:11 (three weeks ago) link
Pianist Christopher Parker To Release Soul Food CD Oct 29 via Mahakala Music, Ft. William Parker, Daniel Carter, Jamie Branch, Kelley Hurt & Gerald Cleaver
ABOUT THE ALBUM This is the sound of an artist becoming what he is, manifesting what was inside him for a very long time. Of course, Christopher Parker is no newcomer to music. First mentored by pianist Charles Thomas (whose 1996 album The Finishing Touch! was recorded with Ron Carter and Billy Higgins), Parker has played piano and organ for over three decades in Little Rock, Memphis, New York, and now Little Rock again. But lately, all the musical choices he makes have been distilled down to what resonates on the most personal of levels. “The ideal is to mature and age in a way where you're ripening, rather than decaying,” he laughs, and that's at the heart of his debut album, Soul Food.
Parker has worked the genre known as free jazz for most of his musical life, or at least since the 1990's, when he bucked the conventions of music school at the University of Memphis (which features a long list of legendary jazz alums) by playing with the likes of Frank Lowe and George Cartwright. That was also when he met his wife-to-be, Kelley Hurt, a true artistic partner, whose voice, reminiscent of Jeanne Lee, graces this album with everything from whispers to wails.
In the years after, Parker kept playing, studying and teaching jazz, often with Hurt, and gained some local renown, but nearly five years ago a sea change came about: The couple was commissioned to write music celebrating the Little Rock Nine, heroic high school students who defied local segregationists in 1957, resulting in their No Tears Suite in 2017. That quickly led to the decidedly less-arranged free jazz outfit Dopolarians, where the couple joined Chad Fowler (Parker's old friend) and Kidd Jordan on saxophones, William Parker on bass, and the late, great Alvin Fielder on drums.
Suddenly, the floodgates of in-the-moment creativity within Parker opened like never before, as new projects for Fowler's Mahakala Music label followed in quick succession. In one lightning bolt of a week in New York, he and Hurt recorded both Nothing But Love, a tribute to Frank Lowe, and enough tracks for both Parker's debut, Soul Food, and its as-yet-unreleased follow up.
For Parker, a longtime gigging musician, something inside was stirred. “It was starting to happen when the Dopolarians recorded,” he says, “but I was still getting my mind together at that point. Then about a year later, the Dopolarians played in Memphis, and something clicked in my head, like I'd been waiting for years for it to happen. Soon after that, the world stopped because of a pandemic; I had time to think. And I said, 'Maybe your job on earth is not to play every week at local bars. Maybe that's not your ultimate purpose. You certainly did your time with it, but when are you gonna get down and make an artistic statement and just go there? Quit tiptoeing around it and BE IT.'”
For Parker, Soul Food is the most perfect statement of that impulse, precisely because it is the most personal. As Parker notes, “Kelley and I were friends with Art Jenkins, who sang with Sun Ra. And he used to tell us, 'When you make music, it comes from your inner spirit. People don't have any choice. They have an inner spirit too, and their inner spirit is going to recognize your inner spirit.' It's a moth to a flame kind of thing. It's gonna get a reaction, because your inner spirit is gonna speak to their inner spirit, and it's beyond the surface ego plane.” With those words to guide him, he pieced together the ensemble for Soul Food.
An ego-less approach brought spontaneity and flexibility to the sessions. “I picked the players I did on purpose. The first day was just me, Daniel Carter (winds), William Parker (bass, shakuhachi flute) and Gerald Cleaver (drums), and Kelley. It was a quartet with some vocals. We literally sat down and just started playing. No chord charts, nonothing. Daniel, for instance, only wants to improvise. When I realized that, I said, 'Okay, I 'm not going to be in charge of anything. I picked great musicians, so what do I look like telling them what to do, anyway?'
“Meanwhile, there was a Vision Festival going on in New York at the time, during which we ran into this woman, Jaimie Branch, and we just started hanging out together, not knowing who she was. Then it turns out she's this trumpet player who's on the gig we're going to see! So we asked her to play on the record and she came the second day. And those tracks make up Soul Food.”
The absolute freedom with which they play, accentuated by Hurt's intimate vocals, redefines freedom itself. This is not the freedom of chaos, but a freedom from within.Summing up, Parker reflects, “In the last three or four years, my music has been transforming into something more personal and meaningful. 'I'm gonna make this music with purpose.' Or, as Alvin Fielder used to say 'Buck naked.' We're going out buck naked. I'm not putting up a front. It's just me. And that's really hard to do. You have to avoid narcissism. And if you really tap into that inner spirit, you will affect people when they hear you play.”
― dow, Monday, 4 October 2021 21:18 (one week ago) link
Did yall catch Fresh Air's coverage of the Lee Morgan box? Oh shit, may have to give it up for this---ace comments & choice of excerpts by Kevin Whitehead---stream/download:https://www.npr.org/2021/10/04/1043051663/trumpeter-lee-morgan-channels-coltranes-splashy-style-in-live-at-the-lighthouse
― dow, Wednesday, 6 October 2021 01:48 (one week ago) link
The two sample tracks from the Christopher Parker are cool - "Morning Ritual" more spacious and conversational, rich in timbral range; "Guardian Angel" more intense and frenetic.
― Sequel to Sadness (Sund4r), Wednesday, 6 October 2021 02:49 (one week ago) link
I don't know how I heard about this record, but has anyone heard it? Sounds lovely to me.
― I'm a sovereign jazz citizen (the table is the table), Wednesday, 6 October 2021 17:45 (one week ago) link
That's great, the acoustic guitar/horn duet combo is really nice
― change display name (Jordan), Wednesday, 6 October 2021 18:12 (one week ago) link
Yeah, I bought it and am listening now, and some other pieces with flute are also really lovely. Feels very intimate and warm, great record imho!
― I'm a sovereign jazz citizen (the table is the table), Wednesday, 6 October 2021 20:36 (one week ago) link
Oh yeah, that's nice.
― Sequel to Sadness (Sund4r), Thursday, 7 October 2021 02:39 (one week ago) link
Nice loose sense of dialogue and play; pleasing timbres
― Sequel to Sadness (Sund4r), Thursday, 7 October 2021 02:41 (one week ago) link
I also was rather pleasantly surprised by this record, a recent one from Astral Spirits— Shocron's piano playing is particularly multi-faceted and wonderful. https://astraleltemplo.bandcamp.com/album/el-templo
― I'm a sovereign jazz citizen (the table is the table), Thursday, 7 October 2021 17:32 (one week ago) link
Stay tuned... pic.twitter.com/yIf8wjQt6s— Blue Note Records (@bluenoterecords) October 6, 2021
This looks promising, anyone know more about what this will be?
― a superficial sheeb of intelligence (jon /via/ chi 2.0), Thursday, 7 October 2021 17:35 (one week ago) link
I've emailed the label publicist. I hope it's a box of all 5 of his albums for the label (The Empty Foxhole, Love Call, New York Is Now, and the two Golden Circle live albums), with all the bonus tracks. That would be great - The Empty Foxhole has been out of print forever.
― but also fuck you (unperson), Thursday, 7 October 2021 17:57 (one week ago) link
Yeah, that would be fantastic.
― a superficial sheeb of intelligence (jon /via/ chi 2.0), Thursday, 7 October 2021 17:58 (one week ago) link
They're not announcing it until the release date is confirmed, but apparently it's a box set in their Tone Poet vinyl reissue series - it'll be all of the aforementioned albums in their vinyl configurations (so, no bonus tracks), plus Jackie McLean's Old & New Gospel (with Ornette as sideman).
― but also fuck you (unperson), Thursday, 7 October 2021 18:45 (one week ago) link
Oh, excitement sufficiently dimmed, but thanks for finding out. Be nice if it was a CD box as well.
― a superficial sheeb of intelligence (jon /via/ chi 2.0), Thursday, 7 October 2021 19:17 (one week ago) link
It is going to cost an arm-and-leg too, based on their "Tone Poet" pricing
― chr1sb3singer, Thursday, 7 October 2021 19:22 (one week ago) link
Exactly why I'd like a CD box. Nothing against vinyl and it's cool they are getting it out there, but I just don't have time of money for these prohibitively expensive vinyl reissues.
― a superficial sheeb of intelligence (jon /via/ chi 2.0), Thursday, 7 October 2021 19:24 (one week ago) link
― Sequel to Sadness (Sund4r), Friday, 8 October 2021 04:19 (one week ago) link
Haven’t even clicked yet, but love that picture of Jorge.
― He POLLS So Much About These Zings (James Redd and the Blecchs), Friday, 8 October 2021 09:58 (one week ago) link
I'm halfway through that Monk bio, and investigating Guy Warren (drummer from Ghana who made crossover jazz records in the U.S.) and Ahmed Abdul-Malik (bassist/oudist who experiment a lot with middle eastern/north African influences) from their mentions.
― change display name (Jordan), Monday, 11 October 2021 15:51 (five days ago) link
Those Ahmed Abdul-Malik albums are pretty interesting. There's a British out-jazz group named [Ahmed] in tribute to him that have done some cool shit in recent years.
― but also fuck you (unperson), Monday, 11 October 2021 17:29 (five days ago) link
the [ Ahmed ] record from earlier this year is in my top 5 of the year for sure, it's a wild record.
― I'm a sovereign jazz citizen (the table is the table), Monday, 11 October 2021 20:10 (five days ago) link
Bought the Ackerley/Carter.
― Sequel to Sadness (Sund4r), Saturday, 16 October 2021 02:09 (six hours ago) link
The Other Minds festival (With Tyshawn Sorey, Roscoe Mitchell, Anthony Braxton, and William Parker in SF is streaming: https://www.otherminds.org/festivals/
― And of course the worms! (Boring, Maryland), Saturday, 16 October 2021 03:23 (four hours ago) link