Rolling Jazz Thread 2022

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"When I was growing up, what I was doing was making everything abstract. I'd go to a party and they'd be playing all this Bullmoose Jackson stuff. All these fine ladies around and I'd be saying, 'Hey, don't y'all know Billy Eckstine?' I'd go to the record bin while they were slow dragging and throw on some Bird, and they'd say, 'Get him out of here, he's crazy. Don't invite his ass to no more parties.' Me and my brother Alan, they tagged us. 'Don't invite them two to no more parties. They too weird. Abstract and all that.'" — Wayne Shorter, interviewed by Greg Tate, 1985

but also fuck you (unperson), Sunday, 2 January 2022 21:05 (seven months ago) link

This afternoon I listened to California Concert by the CTI All-Stars, a one-off (I think) band put together in 1971. Freddie Hubbard on trumpet, Hank Crawford on alto sax, Stanley Turrentine on tenor sax, Hubert Laws on flute, Johnny Hammond on keyboards, Ron Carter on bass, Billy Cobham on drums, and Airto Moreira on percussion. It's a 2CD set full of long jams on "Red Clay," "So What," James Taylor's "Fire and Rain" (Hubert Laws recorded that), etc., etc. Great stuff. I bought it on Discogs a while ago and it seems like it was a print-on-demand thing because the discs are CD-Rs.

but also fuck you (unperson), Sunday, 2 January 2022 21:08 (seven months ago) link

Really enjoying the variety in the Burning Ambulance festival!

A Pile of Ants (Boring, Maryland), Monday, 3 January 2022 18:27 (seven months ago) link

Nice to find that California Concert on Spotify!

... (Eazy), Monday, 3 January 2022 19:20 (seven months ago) link

Never thought I'd hear an In A Silent Way-esque treatment of "Fire and Rain":

... (Eazy), Monday, 3 January 2022 19:26 (seven months ago) link

Anything w Hubbard on it is gonna have the showmanship! I even liked his cover of frickin' "Birdland."
xxpost the quote from the Tate interview totally confirms the way Leroi Jones started his 60s piece about the Shorter brothers: that when he and they were coming up in Newark, he started hearing this expression "as weird as Wayne," way before he knew who Wayne was. (Postcript added in Black Music collection indicates that he felt Alan never did realize potential like Wayne did, but I thought Alan's "Orgasm" was great opener to Chicago Underground Quartet's Good Days, one of my faves of 2020.)

dow, Monday, 3 January 2022 19:33 (seven months ago) link

Bill Crow still going strong:

(I'm Not Your) Steppin' Razor (James Redd and the Blecchs), Tuesday, 4 January 2022 15:09 (seven months ago) link

This came out on 12/31. I've developed a real fondness for Scofield so it's right up my alley

J Edgar Noothgrush (Joan Crawford Loves Chachi), Tuesday, 4 January 2022 19:28 (seven months ago) link


(I love Scofield but resist Scary Pockets)

change display name (Jordan), Tuesday, 4 January 2022 19:36 (seven months ago) link

yeah they're not great but fuck every time he starts to play, I care very little about what else is going on. he is so good!

J Edgar Noothgrush (Joan Crawford Loves Chachi), Tuesday, 4 January 2022 19:40 (seven months ago) link

OTOH they have a tune called "Tacobell's Canon," seriously fuck you for that Scary Pockets

J Edgar Noothgrush (Joan Crawford Loves Chachi), Tuesday, 4 January 2022 19:40 (seven months ago) link

He's so prolific I have to remember to check in every so often. Have you heard Piety Street, his New Orleans album from (checks watch) 12 years ago? I have a soft spot for that one. The Hudson group with Jack deJohnette/Medeski/Grenadier was really nice.

Just threw on Past Present, the one with Joe Lovano/Bill Stewart/Grenadier and it's sounding great.

change display name (Jordan), Tuesday, 4 January 2022 19:53 (seven months ago) link

No I gotta check that one out! he's just a dude whose style is so distinctive, listening to him is like hearing an old friend's voice.

J Edgar Noothgrush (Joan Crawford Loves Chachi), Tuesday, 4 January 2022 20:40 (seven months ago) link

Totally. And I really appreciate how he always has a specific concept for each album, and regular groups that he keeps returning to.

change display name (Jordan), Tuesday, 4 January 2022 21:05 (seven months ago) link

Shannon Powell is a national treasure

change display name (Jordan), Wednesday, 5 January 2022 21:45 (seven months ago) link

(so is David Torkanowsky)

change display name (Jordan), Wednesday, 5 January 2022 22:13 (seven months ago) link

Been watching some great videos on this channel, Chris' Jazz Cafe in Philly:

The sound is really great compared to pretty much every other jazz livestream, great performances from Jeff 'Tain' Watts, Ari Hoenig, etc.

change display name (Jordan), Thursday, 6 January 2022 17:28 (seven months ago) link

Trying again, just go to this channel:

change display name (Jordan), Thursday, 6 January 2022 17:28 (seven months ago) link

Keystone Korner in Baltimore does good paid streams.

A Pile of Ants (Boring, Maryland), Thursday, 6 January 2022 18:11 (seven months ago) link

Keystone Korner in Baltimore does good paid streams.
u h

A Pile of Ants (Boring, Maryland), Thursday, 6 January 2022 18:12 (seven months ago) link

Oops 😬

A Pile of Ants (Boring, Maryland), Thursday, 6 January 2022 18:12 (seven months ago) link

Ari Hoenig is a madman:

change display name (Jordan), Thursday, 6 January 2022 23:36 (seven months ago) link

I can't even.

The Door into Summerisle (James Redd and the Blecchs), Friday, 7 January 2022 00:09 (seven months ago) link

He is so intense. I remember one time listening to him before a gig talking on the phone to the insurance company after he had recently hit a deer and had to total his car. All that same energy.

The Door into Summerisle (James Redd and the Blecchs), Friday, 7 January 2022 00:10 (seven months ago) link

Haha, love that image

change display name (Jordan), Friday, 7 January 2022 15:20 (seven months ago) link

Late to the Brandee Younger album from last year, but I'm really enjoying it today.

jaymc, Friday, 7 January 2022 22:12 (seven months ago) link

Some of the people who took part in the streaming festival I put on on New Year's Day have been posting their videos on their own YouTube channel. Here's one by Muriel Grossmann:

but also fuck you (unperson), Friday, 7 January 2022 22:45 (seven months ago) link

Sorry; didn't know the embed wouldn't work.

but also fuck you (unperson), Friday, 7 January 2022 22:45 (seven months ago) link

Released today! Winifred Atwell Revisited - @AdamFairhall & Johnny Hunter

Celebration of the repertoire and idiom of groundbreaking Trinidadian pianist Winifred Atwell, examined through Adam & Johnny's contemporary, avant-garde lens. CD/DL out now!

— Efpi Records (@efpirecords) January 7, 2022

she was the first black recording artist to have no 1 hit single in the UK and something of a star in the 50's. Nice little album this.

calzino, Saturday, 8 January 2022 13:45 (seven months ago) link

Joe Farnsworth's tribute videos are true gems:

change display name (Jordan), Tuesday, 11 January 2022 18:39 (six months ago) link

change display name (Jordan), Tuesday, 11 January 2022 18:39 (six months ago) link

Didn't know Kenny Garrett released a new album in the fall, it's extremely enjoyable. Ronald Bruner Jr (Thundercat's brother) on drums is a big presence.

change display name (Jordan), Wednesday, 12 January 2022 20:07 (six months ago) link

Gave an interview to DownBeat today about my book (out January 28! Buy it!). I have so much more sympathy for artists after having to give an interview myself. There's no better way to convince yourself you're the world's dumbest asshole than to talk about yourself and your work for an hour straight.

but also fuck you (unperson), Wednesday, 12 January 2022 21:20 (six months ago) link

So Ted Gioia wrote a long-ass essay in his weekly Substack newsletter about Michael Brecker, and since I thought it was one of the dumbest things I'd ever read, I decided to respond in my own newsletter:


Ted Gioia calls his Substack newsletter The Honest Broker. This is hilarious, because Ted Gioia is one of the most agenda-driven music writers this music has ever known. He's also one of the most frequently and bafflingly wrongheaded critics in jazz. If jazz has an Armond White, it might be Ted Gioia.

This week, Gioia took it upon himself to defend saxophonist Michael Brecker from a critical mafia that has snubbed his work, and kept him toiling in undeserved obscurity. No, that can't be right, because as he says early in his piece, "almost every saxophonist I met in the closing decades of the 20th century treated Brecker as a superstar at the pinnacle of the jazz craft. This was especially true of students at college jazz programs, where Brecker was a revered name, not far below John Coltrane in the hierarchy of jazz saxophony." He continues, more in sorrow than in anger, "How can Michael Brecker be the jazz sax hero among other hornplayers, but get so little respect from the critical establishment?"

In the next paragraph, he explains that one of the things that sparked this investigation into the mysterious lack of Michael Brecker love among jazz critics was the 15th anniversary of the saxophonist's death, from leukemia, on January 13, 2007. The other is the publication of an entire goddamn book on the guy, Ode to a Tenor Titan: The Life and Times and Music of Michael Brecker, by Bill Milkowski, who is — would ya look at that! — a jazz critic who writes regularly for DownBeat, Jazziz, Guitar Player and other outlets. Gioia talks a little bit about the book, noting that Milkowski stuffs it full of quotes from dozens of jazz musicians who absolutely adored Brecker and thought he was a brilliant player.

So we've established that Brecker, when he was alive, enjoyed a great deal of respect and admiration from his fellow musicians, and was a role model to young jazz students and players. He lists two dozen recording sessions Brecker participated in between January and September 1977, which ran the gamut from Hank Crawford and Chet Baker dates to a Noxzema commercial. But as gratifying as that amount of peer affirmation and steady work would be to any professional musician, it doesn't matter as much to Gioia as the fact that "critics never thought Michael Brecker was cool enough for that full-scale profile in The New Yorker." He lists what he calls "the embarrassing facts that (1) Brecker sold lots of records, (2) he enthusiastically embraced commercial and crossover styles, and (3) he played on a bunch of records with famous pop musicians," and adds, "I hate to have to remind you of this, but each of those are problematic achievements among jazz insiders."

Gioia devotes a significant portion of his piece to a detailed rundown of the albums Brecker made under his own name (as opposed to with the Brecker Brothers) in the late '80s, the '90s and the early 2000s, all of which is interesting if you're a jazz fan. Based on the personnel, I'd like to hear those albums, and they're all on streaming services, because — and this may shock you — Michael Brecker's music was quite popular during his lifetime, and he retains a posthumous audience in the jazz world. But Gioia concludes with this:

"Michael Brecker left the scene as a legend, but somehow never seemed cool enough or sufficiently transgressive to get respect from the mainstream media. His most significant coverage in Time magazine came with one paragraph devoted to his obituary. He was never mentioned in Newsweek during his entire lifetime. My search of The New Yorker archive comes up empty-handed. If there was a full-scale profile in Rolling Stone or The Village Voice, I must have missed it. Online searches indicate that Brecker’s death got more coverage than any of his albums or tours."

Even though I know he's not reading this, I feel I need to address Gioia directly at this point:

Who gives a flying fuck?

First of all, if you're going to Time or Newsweek for jazz coverage, I have to wonder if you were recently struck by falling masonry. And while they come up with a good piece now and then (shout out to Hank Shteamer), generally speaking, the same goes for Rolling Stone. You might as well gripe that Sports Illustrated never put him on the cover. And how about Car & Driver? Where do they stand on the art of Michael Brecker? This is the kind of tendentious BS you pull when you're so in thrall to your narrative that no stretch is too far.

Here's the thing about Brecker's best-known music: it is screamingly of its time and place. There's a story (I'm paraphrasing) that one of Miles Davis's 1970s saxophonists asked the trumpeter why he kept him in the band, and Davis told him that the audience liked to watch his fingers move while he played. Whenever I listen to the Brecker Brothers, I think about that story.

I listened to one of their albums this morning, in fact — 1981's Straphangin' — while doing laundry (and thinking about writing this). And later, I listened to his debut as a leader, a self-titled album from 1987 that Gioia discusses in detail in his piece; it features keyboardist Kenny Kirkland, guitarist Pat Metheny, bassist Charlie Haden, and drummer Jack DeJohnette. Between those two albums, and several others I've heard, as well as Brecker's performances on other people's records, I have a pretty good idea of his style, and can venture a guess as to why he's not as beloved by critics as he is among saxophone students and other jazz musicians. (I don't know if that's even accurate, by the way — I haven't done my own research, and Gioia doesn't quote any negative reviews, he just declares that there hasn't been enough praise for his liking, and walks right up to the edge of calling it a conspiracy of effete snobs.)

Michael Brecker played a lot. You know that joke that goes, "I thought the Oscar was for the best acting, not the most acting?" To this guy, "best" and "most" were equivalent. Once he gets a solo going, he never seems to pause for breath. He rips off long, complicated lines, fingers flying, and he's got a big, showbizzy tone. When I was listening to one of the slower tracks on Straphangin', I thought, This sounds like the kind of sax you hear over the end credits on Saturday Night Live, and later on, I checked Wikipedia, and sure enough, Michael Brecker was part of the Saturday Night Live band from 1980-85. It's a shiny, post-Sonny Rollins kind of saxophone sound, pushed through some very late '70s/early '80s reverb, so yeah, it's no surprise that he did a lot of rock and R&B session work, and played for TV commercials and whatnot. That's exactly where his tone and approach fit best.

Which is not a bad thing. His music was appealing! And perfectly suited to the late '70s and 1980s. It had a big, garish brashness; the Brecker Brothers were a solid funk-fusion band, but no matter the context, he played what Ethan Iverson refers to as "stadium jazz." It's not intimate music. It's blow-the-walls-down music, rooted in a very particular kind of extreme technical skill. Michael Brecker was a shredder. If he was a guitarist, he wouldn't be Jim Hall; he'd be Joe Bonamassa. In a way it's not fair to compare him (as Gioia does) to John Coltrane, because Coltrane evolved. Can you imagine what A Love Supreme would sound like if Coltrane had still been playing, in 1964, the way he played in 1959? You can draw a straight line from the first Brecker Brothers album in 1975 to the first Michael Brecker album in 1987, because he's doing the same thing, just in a different context.

And that's fine. It's called having a style. But it may have something to do with why Michael Brecker is not as critically beloved (and again, I'm taking Gioia's word for it here) as Ted Gioia would like. But again, I return to the question that this piece leaves me with:

Who gives a flying fuck?

There are very few jazz critics left in the world. There are also very few people who read jazz criticism. I am both. I have never read a piece shitting on Michael Brecker (and I hope nobody thinks I've written one here). I have, however, read a lot of writers talking about musicians whose work they admire. And it's not a zero-sum game. A positive review of some other saxophonist who is not Michael Brecker does not equate to a negative review of Michael Brecker. They're two separate things, and nobody is required to listen to, or write about, everything. (Hell, in the introduction to his piece, Gioia admits that he never wrote about Brecker before!) Critics should write — thoughtfully, insightfully — about music they like, and want more people to hear. That's what I try to do, anyway.

I don't have a conclusion. Gioia's piece was dumb, and I feel dumber for having devoted this much time to thinking and writing about it. Listen to whatever makes you happy. Having listened to a bunch of Michael Brecker's music, I understand why saxophone students would worship the guy. You could hear every hour of practice in every note he played; he was a slick, talented professional. But I'll end with this, because there's one thing I know, as a writer and an editor: when it comes time to write a story, there's got to be more to a person than "they play their instrument really well" if you want anyone other than fellow instrumentalists to care.

but also fuck you (unperson), Friday, 14 January 2022 15:46 (six months ago) link

Good points throughout, thanks. I probably like Ted Gioia more than some but his gatekeeper function can be irritating.

Yeah I pretty much agree with that.

Also I shamefully admit to hearing Joe Lovano on a recent record and thinking "didn't he pass away? Oops, that was Michael Brecker."

change display name (Jordan), Friday, 14 January 2022 17:14 (six months ago) link

Ha, was wondering when Joe would get mentioned.

There are basically only a very small bunch of people writing about jazz at all, let alone in "mainstream" outlets, whatever that is these "days," so only a tiny number of artists will be mentioned at all in this latter, and every once in a blue moon a few new ones get added to the rotation. Similar to the reason Charley Pride could have a career in Country Music but not Swamp Dogg/Jerry Williams Jr.

I mean the people who book or have booked some the of the venues like Smalls or the late lamented Jazz Standard etc seem to know something but that doesn't translate into press. Maybe a listings recommendation now and then.

(a lot of people do write about country music, but Swamp Dogg only occasionally puts out albums of country music of which 2020's Sorry You Couldn't Make it is a very satisfying example---on bandcamp with Total Destruction To Your Mind and many others.)
I've never cared that much about Michael Brecker outside the xpost garish attractions of Brecker Brother Band and BS&T's kitsch classic Child Is Father To The Man, but will always love Randy's solo on Springsteen's "Meeting Across The River"---like I said:
Bruce Springsteen labored for years on Born To Run, as the title became ironic, but a lot of it worked, to varying degrees–-most of all, for me, in “Meeting Across The River,” which still sounds like a magical one-off: a seemingly basic scenario, with no purple passages, as written, sung, and played. Roy Bittan’s keys get room to breathe, Richard Davis’s bass slips through shadows, as it did on Astral Weeks, and Randy Brecker, having left his own purple passages far behind in Blood Sweat & Tears and The Brecker Brothers Band, leans his trumpet waaay out of
Cherry’s nightside window and fire escape (I don’t think she’s home).

dow, Friday, 14 January 2022 18:37 (six months ago) link

The Swamp Dogg analogy was imperfect, I admit. More about the limited opportunities to record or be played in the past.

Just ordered some late '60s/early '70s out-jazz titles in fancy mini-LP sleeves from Japan:

Stanley Cowell, Brilliant Circles
Andrew Hill, Spiral
Oliver Lake, NTU: The Point From Which Creation Begins
Charles Tolliver, The Ringer

but also fuck you (unperson), Saturday, 15 January 2022 16:31 (six months ago) link

Ok Ted Gioia linked to this article but he didn't write it-- about Ghanaian jazz and Louis Armstrong's 1956 visit there, and jazz there today

curmudgeon, Sunday, 16 January 2022 21:54 (six months ago) link

Ghana jazz article is from December 2021, apologies if it was mentioned last year. I am just seeing it

curmudgeon, Sunday, 16 January 2022 21:55 (six months ago) link

looks like Ted Gioia made his top 100 albums of 2021 list available only to paid subscribers of his substack (but his honorable mention list free)

curmudgeon, Monday, 17 January 2022 00:04 (six months ago) link

new Alexander Hawkins album out on friday with his usual band from the previous sextet albums including guitarist Otto Fischer and Shabaka Hutchings.


lol I can think of few places where Ted Gioia can stick his paywalled list

calzino, Monday, 17 January 2022 10:38 (six months ago) link

I keep going back to the Kenny Garrett album, it rules. Wish I would have come across it in time for the ILM poll.

change display name (Jordan), Monday, 17 January 2022 21:37 (six months ago) link

Been listening to Charles Brackeen's Silkheart albums from the late '80s; they're great. Half Ornette, half Ayler, and the bands are killer. Brackeen, Dennis Gonzalez, Malachi Favors and Alvin Fielder on Bannar, and Brackeen, Olu Dara, Fred Hopkins and Andrew Cyrille on Attainment and Worshippers Come Nigh. Also been listening to the two ECM albums he made with Paul Motian (and David Izenzon), Dance and Le Voyage. I'm not the world's biggest Motian fan, but those albums are really good.

but also fuck you (unperson), Monday, 17 January 2022 22:36 (six months ago) link

Angel bat Dawid 2022 Winter Jazz fest live

curmudgeon, Tuesday, 18 January 2022 03:01 (six months ago) link

I interviewed South African jazz drummer Ayanda Sikade for Bandcamp Daily, with additional quotes from pianist Nduduzo Makhathini and saxophonist Linda Sikhakhane:

but also fuck you (unperson), Tuesday, 18 January 2022 16:11 (six months ago) link

Don't get me wrong, some amazing music on ECM, but when it's bad...

Composition 40b (Stew), Friday, 15 July 2022 09:26 (three weeks ago) link

My fave ECM is Conference of the Birds, also dig some by DeJohnette, among others.

Speak of the xpost devils:

Doom & Gloom guest post! @AtBestIsKorny takes a deep dive into the Hermeto Pascoal / Airto Moreira / Flora Purim universe via a bunch of great live rarities.

— Tyler Wilcox (@tywilc) July 12, 2022

dow, Saturday, 16 July 2022 01:25 (three weeks ago) link

My interest level is increased by degrees of Hermeto.

dow, Saturday, 16 July 2022 01:26 (three weeks ago) link

The new Anna Butterss album is excellent:

― rob, Sunday, 10 July 2022 14:00 (one week ago)

Seconded! Has that chunky technicolour mid-90s-Money-Mark vibe that's so pleasurable - similar to last year's Ben LaMar Gay album.

technopolis, Monday, 18 July 2022 06:52 (three weeks ago) link

Sounding great this morning. This is the kind of thing I read ILM for.

No purposes. Sounds. (Sund4r), Monday, 18 July 2022 10:41 (three weeks ago) link

My first thought on hearing Jeff Parker's The New Breed was "Money Mark!", and yes, this has a similar feel.

fetter, Monday, 18 July 2022 11:15 (three weeks ago) link

Ha that's interesting, I only vaguely recall what Money Mark sounds like, but Activities definitely wouldn't sound out of place on Intl Anthem (while being v distinct in its own right imo—I need to relisten to it, but iirc it's more notably more spare than LaMar Gay's & Parker's albums). I was impressed by how much of it is entirely solo.

rob, Monday, 18 July 2022 14:48 (three weeks ago) link

New Chloe Jackson-Reynolds coming out this week.

― And liberty she pirouette (Sund4r), Tuesday, April 26, 2022 8:42 AM (two months ago) bookmarkflaglink

just getting to this. awesome. i love her work.

budo jeru, Monday, 18 July 2022 22:54 (three weeks ago) link

budo jeru, Monday, 18 July 2022 22:54 (three weeks ago) link

Yeah, it's really good!

No purposes. Sounds. (Sund4r), Monday, 18 July 2022 23:14 (three weeks ago) link

I woke up Saturday thinking of Money Mark's Keyboard Repair, will have to check this out, thanks!

dow, Monday, 18 July 2022 23:27 (three weeks ago) link

"waves crash" sounds like ... terry riley. except instead of a reed organ it's somebody actually overdubbing herself with various recorders, flutes, and saxophones. very awesome.

budo jeru, Monday, 18 July 2022 23:36 (three weeks ago) link

Good comparison!

No purposes. Sounds. (Sund4r), Tuesday, 19 July 2022 01:49 (three weeks ago) link

Late last night Archie Shepp was talking about how he and Herbie Nichols used to play sessions together in the downtown loft that Shepp and Baraka shared. Shepp begged Nichols to start a group, didn’t happen. Now I am sharing the Nichols intv with Shepp.

— Jason Moran (@morethan88) July 15, 2022

dow, Tuesday, 19 July 2022 04:05 (three weeks ago) link

My latest Stereogum column is out. I interviewed Moor Mother about her new album, Woody Shaw, Amina Claudine Myers, and much more, and reviewed new records by Tyshawn Sorey, Tarbaby, Tumi Mogorosi, Gard Nilssen's Acoustic Unity, Thandi Ntuli, Theo Croker and more.

but also fuck you (unperson), Tuesday, 19 July 2022 18:29 (three weeks ago) link

Thought for a second that said you interviewed Woody Shaw and did a double take.

L.H.O.O.Q. Jones (James Redd and the Blecchs), Tuesday, 19 July 2022 18:40 (three weeks ago) link

New Bennie Maupin/Adam Rudolph thing on Strut is killer:

Shard-borne Beatles with their drowsy hums (Chinaski), Wednesday, 20 July 2022 14:49 (two weeks ago) link

(where killer = meditative, spacious, full of weird clatter)

Shard-borne Beatles with their drowsy hums (Chinaski), Wednesday, 20 July 2022 14:53 (two weeks ago) link

two thumbs up

calzino, Wednesday, 20 July 2022 15:03 (two weeks ago) link

I just did a long interview with Rudolph for my podcast; link is here. We talked about that album, the concept of "world music," and a whole lot more.

but also fuck you (unperson), Wednesday, 20 July 2022 15:23 (two weeks ago) link

That is great, many thanks.

I also want to thank you, unperson, for turning me onto Binker Golding's new record. It reminds me sometimes of Jarrett's 'Expectations,' which is my favorite of his from that period.

broccoli rabe thomas (the table is the table), Thursday, 21 July 2022 19:24 (two weeks ago) link

Just read a positive review of your new book the other day, unperson. Kudos!

Meme for an Imaginary Western (James Redd and the Blecchs), Thursday, 21 July 2022 20:04 (two weeks ago) link

Thanks! Where was it published? I think I've seen them all, but just in case...

but also fuck you (unperson), Thursday, 21 July 2022 20:07 (two weeks ago) link

Anna Butterss record is really dope, catching up with the thread and having a great time.

broccoli rabe thomas (the table is the table), Friday, 22 July 2022 00:39 (two weeks ago) link


Meme for an Imaginary Western (James Redd and the Blecchs), Friday, 22 July 2022 01:00 (two weeks ago) link

New Life Trio's Visions of the Third Eye reviewed at @SpectrumCulture

As contemporary jazz albums go, it’s excellent. But as a historical artifact, it’s downright fascinating.


— Forced Exposure (@FORCEDEXPOSURE) July 11, 2022

dow, Saturday, 23 July 2022 16:51 (two weeks ago) link

I was interviewed for All About Jazz. It's pegged to my book, of course, but there's a lot of talk about The State Of Jazz, so, you know, check it out if you want.

but also fuck you (unperson), Tuesday, 26 July 2022 14:13 (two weeks ago) link

How do you feel about being compared to Bernard Pivot and James Lipton?

My Little Red Buchla (James Redd and the Blecchs), Tuesday, 26 July 2022 14:32 (two weeks ago) link

OK, I guess. My wife met Lipton once and was surprised by how short he was. (Various sources have him between 5'6" and 5'9".)

but also fuck you (unperson), Tuesday, 26 July 2022 14:40 (two weeks ago) link

Very cool interview- interesting thoughts.

No purposes. Sounds. (Sund4r), Tuesday, 26 July 2022 14:48 (two weeks ago) link

a friend told me a funny story about being invited to witness a Lipton taping.

My Little Red Buchla (James Redd and the Blecchs), Tuesday, 26 July 2022 15:00 (two weeks ago) link

new Arkestra preview track sounds GREAT. album coming in oct.

budo jeru, Tuesday, 26 July 2022 17:57 (two weeks ago) link

James Brandon Lewis has signed to Anti- and released a new track featuring the Messthetics (guitarist Anthony Pirog, already a longtime JBL collaborator, and bassist Joe Lally and drummer Brendan Canty, formerly of Fugazi).

but also fuck you (unperson), Tuesday, 26 July 2022 21:33 (two weeks ago) link

Oh man, I used to watch this series on the original/embryonic A&E, but missed this episode (mainly remember the science fiction one, w Gene Wolfe, Frederick Pohl, Harlan Ellison, more)

Ian Harrison, MOJO News Editor, just sent me this. #BringBackNightcap

— Andrew Male (@Andr6wMale) July 27, 2022

dow, Thursday, 28 July 2022 00:49 (one week ago) link


Antifa Sandwich Artist (Boring, Maryland), Thursday, 28 July 2022 01:59 (one week ago) link

OK! Awake Nu and boil the Brown Rice!
The next @MOJOmagazine How To Buy will be on...
Don Cherry! Solo, Old And New Dreams, Organic Music Society, Codona, NYC5, Summer House Sessions, the lot. Where to start, where to go next? You help is needed! RT's welcome.

— Andrew Male (@Andr6wMale) July 28, 2022

dow, Thursday, 28 July 2022 22:42 (one week ago) link

Comments and especially excerpts in Kevin Whitehead's Fresh Air coverage of Sorey's Mesmerism indicate more variety and shades of interest than I expected: an "Autumn Leaves" I didn't recognize even when he gave the title after playing it, and a couple I didn't know at all: Horace Silver's "Enchantment," where

they leave open space, but every part fits together drum choir-style. Bass becomes a percussion instrument like piano, drums and cymbals.
Even more intriguing is Muhal Richard Abrams' "Two Over One," and KW mentions, without naming or playing, something by Paul Motian. Indicates that there are some more trad numbers as well, and indicates they're not always more than "polite" or "breezy"---a v. laid back "REM Blues," by Ellington, is one I could do without, judging by the wisp of it here---but will prob stream the whole thing somewhere at some point:

dow, Friday, 29 July 2022 02:18 (one week ago) link

i was just coming hear to say the same thing, or nearly the same thing, which is that i like how it sounded much more than i was expecting to, and that the MR abrams-penned track piqued my interest

budo jeru, Friday, 29 July 2022 13:41 (one week ago) link

dow, Friday, 29 July 2022 23:03 (one week ago) link

Yes--- original line-up of thee string band Henri's Notions, some ov whom were my sometyme housemates, did a great version of title track. Otherwise, Braxton x Rivers blew my mynd, had to put it away for a while---listened again: yadda yadda my fave rave ECM evah

— Don Allred (@0wlred) July 29, 2022

dow, Friday, 29 July 2022 23:04 (one week ago) link

dow, are you 0wlred?

budo jeru, Sunday, 31 July 2022 03:22 (one week ago) link


dow, Sunday, 31 July 2022 03:54 (one week ago) link

New place called Hermana NYC has some serious acts booked.

My Little Red Buchla (James Redd and the Blecchs), Wednesday, 3 August 2022 21:34 (six days ago) link

They spelled Tomoki Sanders' name wrong on their calendar, though...

(Yes, Pharoah's son. He's pretty good in a semi-ambient, post-Kamasi sort of way.)

but also fuck you (unperson), Wednesday, 3 August 2022 21:59 (six days ago) link

TITAN TO TACHYONS: NYC Jazz/Metal Quartet With Current/Ex Members Of Mr. Bungle, Orbweaver, Cleric, John Zorn, Imperial Triumphant Presents Vonals Album Via Tzadik Records; Tour Dates And Live Video Posted

New York City-based TITAN TO TACHYONS presents their second album, Vonals, now confirmed to see release through John Zorn’s Tzadik Records in September, today issuing the record’s cover art, track listing, a live video of the track “Wax Hypnotic,” and more.

TITAN TO TACHYONS is an instrumental experimental jazz-metal group led by New Zealand/New York composer and guitarist Sally Gates (ex-Orbweaver), which features Kenny Grohowski (Secret Chiefs 3, Imperial Triumphant, John Zorn), on the drums, and two bassists: Trevor Dunn (Mr. Bungle, Fantômas, Tomahawk) and Matt Hollenberg (Cleric, John Zorn). The quartet instrumentally depict the realms of surrealism and science-fiction through eclectic and improvisational passages, juxtaposed by fluid grooves and metallic flurries. Their debut LP, Cactides, was released through Nefarious Industries mid-2020 to critical acclaim, and now the band returns with its follow-up, Vonals.

With six new tracks encompassing more than forty-five minutes, TITAN TO TACHYONS’ Vonals is a mesmerizing and entrancing album, as alluring as it is unpredictable. Spaced-out free-flowing jams merge with explosive metallic outbursts as if the listener was watching a time-lapse video of the cosmos forming from an ominous jazz lounge in a David Lynch film. The dueling bass of Dunn and bass VI of Hollenberg create a web of intricately developed low-end flow over Grohowski’s hammering buildups and fills, while Gates’ instantly recognizable technical axemanship blooms with both finesse and volatility.

Vonals was recorded and mixed by Colin Marston at Menegroth, the Thousand Caves (Dysrhythmia, Krallice, Imperial Triumphant), mastered by Scott Hull at Masterdisk (Miles Davis, Steely Dan, Herbie Hancock), and completed with band photography by Naeemah Z. Maddox and cover paintings by Sally Gates.

Watch TITAN TO TACHYONS’ live performance of the album track “Wax Hypnotic,” filmed at NuBlu in New York City in April, at THIS LOCATION.

Tzadik Records will release the album on CD only, no digital release, on September 16th. Watch for additional updates to post over the weeks ahead.

Vonals Track Listing:
1. Neutron Wrangler
2. Vacuum Symmetry
3. Critical Paranoia
4. Wax Hypnotic
5. Close the Valve & Wait
6. Blue Thought Particles

TITAN TO TACHYONS has been performing throughout New York City over recent months and will support the release of Vonals with an East Coast tour running from September 28th through October 2nd. See the confirmed shows below and watch for the remaining venues to be confirmed and announced alongside details for a New York City release show for the album in the days ahead.

9/29/2022 etc. – Greensboro, NC w/ Cloutchaser
9/30/2022 Sabbath Brewing – Atlanta, GA w/ Dead Register, Shane Parish
10/01/2022 Jam Room Music Fest – Columbia, SC w/ Clap Your Hands Say Yeah, Titus Andronicus, Shiner, more
10/02/2022 Gallery5 – Richmond, VA w/ Dumb Waiter, Bermuda Triangles

Sally Gates – guitar
Matt Hollenberg – bass VI
Trevor Dunn – bass
Kenny Grohowski – drums, percussion

dow, Wednesday, 3 August 2022 23:51 (six days ago) link

They're definitely not jazz, but the first album was good; I published (did not write) a review of it.

but also fuck you (unperson), Wednesday, 3 August 2022 23:59 (six days ago) link

Kenny is a great drummer, nice guy and seems to play with everyone.

My Little Red Buchla (James Redd and the Blecchs), Thursday, 4 August 2022 00:29 (five days ago) link

Stomu Takeishi is playing in my neighborhood tonight but I don’t know whether I will get over there.

My Little Red Buchla (James Redd and the Blecchs), Thursday, 4 August 2022 00:31 (five days ago) link

You had me at Brandon Ross and Charlie Burnham and Warren Benbow.

TODAY'S THE DAY! The debut album by Breath Of Air (Brandon Ross on guitar, Charlie Burnham on violin, Warren Benbow on drums) is available everywhere! Get your copy straight from us on @Bandcamp:

— burning ambulance (NOW A RECORD LABEL!) (@burn_amb) August 5, 2022

dow, Sunday, 7 August 2022 18:00 (two days ago) link

class album is this and it's a very thoroughly researched review with a lot of interesting stuff about the short lived Booker Little and his associations with other musicians, although it's always disappointing to find out someone you like was a bit of a melt! (joking of course)

calzino, Sunday, 7 August 2022 19:04 (two days ago) link

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