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

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

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

Phil, do you subscribe to the Smalls newsletter?

long passages of squawking, clattering and clanging

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

I do!

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

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

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

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

nah.

he's right a whole lot of the time.

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

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

And
2) It was actually funny.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Ugh.

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

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

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

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

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

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

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

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

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

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

Steve Coleman got a Macarthur Genius award grant

yep

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

And at the Stone in NY for 2 weeks of gigs

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

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

from MVD Entertainment Group:

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

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

List Price: $24.99
Your Price: $18.74
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Miles Davis' tour of continental Europe during the spring of 1960 marked the close of his five year association with John Coltrane. Although the controversial saxophonist had already embarked on his own bandleading career and had been lured back to Davis' group only reluctantly, creative sparks flew the instant the band took to the stage. Night after night stunned audiences witnessed the trumpeter and his star sidemen reinventing their regular repertoire like never before. As the tour progressed through Sweden, Germany, Switzerland and Holland, several of the bands appearances were broadcast or privately recorded, with the resulting tapes soon becoming sought after collector's items. This new Acrobat release compiles various recordings made during the trip, documenting the extraordinary creative alchemy of a legendary partnership about to disintegrate. In addition, the collection features a revealing backstage interview with John Coltrane, recorded in Sweden. The release also includes an in-depth essay by saxophonist and writer Simon Spillett.
Track Listing
Disc 1:

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

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

huh, she just keeps making records

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Track Listing for The Complete Village Vanguard Recordings, 1961

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

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

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

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

thousand + comment fb discussions re this:

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

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

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

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

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

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

You didn't know that?

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

sorry

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

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

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