"Music doesn't go seasonable to me." Rolling Jazz Dm7♭5 Thread 2017

Based on a quick search those guys playing with Ari H seem to keep pretty good company. Please go and report back.

I just got a new album from Or Bareket in the mail; it's pretty nice - sort of world-jazz rhythm-driven stuff. I'll be writing it up for Stereogum.

Wondering about this---anybody heard it?!

WILLIAMS LIFETIME FEATURING JOHN MCLAUGHLIN, TONY
TITLE
Live In New York 1969
FORMAT
CD

LABEL
HI HAT
CATALOG #
HH 3084CD
GENRE
JAZZ
RELEASE DATE
8/11/2017

Tony Williams Lifetime, featuring John McLaughlin, live from New York, November 1969. Having fearlessly merged rock rhythms with jazz during a close association with Miles Davis, in 1969 the great Tony Williams founded Lifetime, featuring John McLaughlin at his innovative best, and the mighty organist Larry Young. The trio instantly won acclaim for their fiery, uncompromising improvisations, which are typified on this amazing performance. Recorded for radio broadcast in New York at the close of the year, the FM entire broadcast is presented here, digitally remastered, with background notes and images.
---from http://www.forcedexposure.com/Catalog/williams-lifetime-featuring-john-mclaughlin-tony-live-in-new-york-196-cd/HH.3084CD.html Has track list too.

WILLIAMS LIFETIME FEATURING JOHN MCLAUGHLIN, TONY

This formatting hurt my head a little. That said, wow!

lifetime is a flat circle apparently

hey jazz bags, my brother released an album of original jazz composistions:

https://open.spotify.com/album/5DvnFSK9BBQJkmoyhMb8JF

My latest Stereogum column is live. I talk about the new Kamasi Washington EP, the Ornette Coleman Ornette At 12/Crisis reissue, and a bunch of other stuff, including a jazz vocal album I didn't hate(!).

Thank you for another great column, Phil--that Sam Bardfeld trio is esp grabbing my ear:
https://sambardfeld.bandcamp.com/album/the-great-enthusiasms

I've been digging into Ben Monder's work a little. The album he did with Sunny Kim last year sounds really nice on Spotify, with a lot of ambient guitar. Previous album with Theo Bleckmann unsurprisingly good.

Reminds me of this recent listing in The New Yorker:

NIGHT LIFE JAZZ AND STANDARDS
Ben Monder Trio
Monder may be decades younger than the visionary drummer Andrew Cyrille, but the venturesome guitarist found common ground with the older legend on the 2015 release “Amorphae.” Joining them is the saxophonist Tony Malaby, a tough-minded improviser who will add poetic grit to the mix.

(Cornelia Street Café, 29 Cornelia St. 212-989-9319. Sept. 9.)

Now in the home stretch of David Murray and Aki Takase's 2017 Cherry Sakura, getting into it more than expected, given the absence of any other players, but good range of moods and material---also, Murray applies his bass clarinet to the exuberant suavity of "Let's Cool One", back to tenor for the elegant elegy "Nobuko", some out incidents too.

Incisive homage in part to Rollins, Coltrane, Tyner, Ibrahim on Long March To Freedom, the finale---and now Spotify is hustling me right into "Goldfisch" by Tama (Jan Roder / Oliver Steidle / Aki Takase): excellent fun.

Another 2017 release: ERR Guitar, by Elliott Sharp with Mary Halvorson and Marc Ribot. No other instruments, and none missed, for a while longer than expected, because these three are compatible, establishing an extended sonic vocabulary, incl. occasional Spanish chords, zig-zag repartee, pedals I think, Sharrockian slide, modulation in mid-run or as run (no electronic thingies of course, just peg-twisting), a whole lotta pluckin/, pickin', chirpin goin' on (coulda used more chords, Spanish or whatever), kinda thin but not too, unlike ny attention level at times, but they kept bringing me back, though I couldn't say where, since these 12 might as well have been one track---almost, but extended finale "Kernel Panic" does finally bring some (some) distortion and heat
Given the limits of first listens, this 65-minute set is pretty agreeable, on the whole---and immediately upstaged by Nels Cline's "So Hard It Hurts/Touching", conceptually and expressively. Oh, Spotify!

I really like (wildly eclectic + brilliant) guitarist Vítor Rua and The Metaphysical Angels' Do Androids Dream Of Electric Guitars double album. Specifically the CD1 solo album, rather than the quartet version. But it is all very good really.

Will check those out, dow!

i dig that vitor rua album!

whoa def need to hear that Cline and that Ribot/Halvorson/Sharp thing

hi jazz thread ... jazz dummy in a mostly jazz-less town here. but the Ari Hoenig Trio is coming to play a show this fall.

should i be excited?

― alpine static, Thursday, September 7, 2017 10:32 PM (two weeks ago) Bookmark Flag Post Permalink

yes, hoenig live is a great experience, lots of fun

Totally smitten by Jane Ira Bloom's Wild Lines: Improvising Emily Dickinson, thanks to the description in Phil's column---and as he indicates, if he likes a soprano sax-led album, you better know it's something special. The whole combo is strong, but I hear Bobby Previte as co-leader here, and he's not even loud, just part of the life-force pulsing through the tireless play of Dickinson's mind on and in the world (though if there were no Dickinson connection spelled out or interpolated--- the latter via Deborah Rush's piquant, overheard [tho' could be mixed a little louder w no harm] intro lines on Disc 2----would still be shades of autumn sunshine indoors and out.
Gotta catch up on her catalog. Was already thinking that before I knew about this, when Night Lights recently re-ran their "Jazz Women Artists of the 80s", incl. a track from JIA'sMighty Lights, with Haden, Blackwell and Hersch.

https://dennisgonzalez.bandcamp.com/album/tsiibil-chaaltun

Some absolutely chill, eastern influenced fusion here, which is stunningly beautiful imo

Bought that after a listen or two and played it a lot today. Very enjoyable. The bassist is the secret star. Are some of the rhythms looped?

I'm usually not that interested in Lenny White, Stanley Clarke, Chick Corea, or Joe Henderson, but earlier tonight, I was dithering around as usual, when this caught and held my attention (something about the timing, letting notes settle in, no overselling, or complacency either)> Griffith Park's "Guernica" live (I may have heard the studio version)
https://www.youtube.com/watch?v=PCx61tPhsT0

And with some of the same vibe, though maybe funkier in a tensile way, Our Point Of View's 2015 show on Jazz Night In America, now in progress once more: Together, Robert Glasper, Ambrose Akinmusire, Marcus Strickland, Lionel Loueke, Derrick Hodge and Kendrick Scott are known as Our Point of View. WBGO and Jazz Night In America presented the only East Coast appearance of the band in late 2014, at Le Poisson Rouge in New York City

Oh, one person in Griffith Park I do usually like is Freddie Hubbard---even his version of "Birdland", for chrissake.

Forgot the main point of my xpost, which was the Our Point link, sorry!
http://www.npr.org/event/music/382286193/our-point-of-view-a-blue-note-supergroup

(That more recent supergroup also incl. some I don't usually go for, namely Glasper and Loueke.)

Our Point of View is now called the Blue Note All-Stars (taking over the name from a mid 90s group that had Tim Hagans, Greg Osby, Javon Jackson, Kevin Hays, Essiet Essiet and Bill Stewart). They just put out their album; it's pretty decent.

love loueke and glasper, was unfamiliar with that band tho!

In case people haven't seen it, Herbie Hancock sitting in with Chris Dave/Glasper/Kamasi/etc
https://www.youtube.com/watch?v=4AQOnYrjIYM

on first listen, new Kamasi very nice: an EP to follow The Epic is confident contrast, kind of evening breezy but no slacking, and a touch of the epic on extended finale-- and once again, the set is more about overall effect than providing backdrops for heroic solos.

Though the solos are not shy.

Got Ivo Perelman's six new albums in today's mail. Some of them seem interesting on the surface: there's a trio with Matt Shipp and Nate Wooley, a quartet with Shipp, William Parker and Bobby Kapp; and a double disc of duos with Shipp.

But all weekend, you got the sense that the good stuff was happening onstage — not much of the music’s live-wire energy was penetrating the audience or getting passed around. In a way, this festival was running in a different, almost opposing, direction from its inspiration.
https://www.nytimes.com/2017/10/09/arts/music/october-revolution-jazz-contemporary-music.html?rref=collection%2Fsectioncollection%2Fmusic&action=click&contentCollection=music®ion=rank&module=package&version=highlights&contentPla
Hope some copious recordings show up.

Calling this "The October Revolution" (the name of the 1964 event came from the co-producer Peter Sabino, not from Bill Dixon) seems more about branding than anything else, particularly (as the review points out) given the fact that this festival did not seem to be about building any sort of community, nor exposing little-known (relatively speaking) artists.

I read that article twice and still don't understand what the criticism was. it sounds like it was a great festival with amazing performers that I would (and have already) pay dearly to see.

I think the criticism centers around using the name of a festival (1964) whose aim (among others) was to begin to organize musicians to fight for better working conditions, and a situation that would benefit them all, for a festival (2017) that threw some prominent, long-established names on a bill and charged $95 admission.

I have no doubt that some of the performances were wonderful, and a different name/association might have been appropriate. This gives the appearance of piggybacking off a previous festival's influence and notoriety while ignoring what made that festival influential.

makes sense put that way. I can't imagine that pulling a festival off successfully is easy in any way. Maybe there will be something to build off of for the future.

eastern influenced fusion

On this tip, you might like this. My second cousin is the bandleader but I think I would consider it very good regardless. The guitarist, Occhipinti, really rips.

Because I would rather edit an audio file than transcribe an interview, I have launched a Burning Ambulance podcast. The first episode (runs ~45 minutes) features an interview with Roscoe Mitchell. The next one will feature Matthew Shipp, and will be up in two weeks.

Great! I've been looking for more good musician interview podcasts.

I stumbled across a few from this clarinet player who put out a few Tzadik records back in the day, looks like he talks to lots of younger (in jazz years) musicians like Tyshawn, Tyondai Braxton, Greg Fox, etc: http://www.5049records.com/podcast/

Yeah, I mentioned him in the intro to my last Stereogum column; the Tyshawn and Iverson interviews he did were really good.

Oh yeah, that's probably how I found it. :)

Now available on iTunes, too.

New Ricardo Gallo solo piano album from last year, sounding good so far. (2016, but since I'm the only one who ever mentions him. . .)

https://www.youtube.com/watch?v=Si6bq083Kjg

been enjoying the guitar work of matthew stevens lately, both on his own preverbal and on chet doxas's rich in symbols. oh, and he played on the last esperanza spalding album? and in the NEXT collective? well, i'll be.

He was also on every Christian Scott album through Stretch Music.

http://www.boweryboogie.com/2017/10/councilman-introduces-bill-rename-williamsburg-bridge-sonny-rollins/

I never found a jazz outlet that suited me, so my contemporary jazz listening is quite random. Anyhow, here are some 2017 albums I like:

Enji - Mongolian Song
https://open.spotify.com/album/30DpqD3Rk0hNwt6uxL5FKV
Apparently she's a Mongolian singer who can do throat singing. I couldn't find any reviews when I stumbled upon it, but I like the sound of her voice, which has a hint of amateurishness to my ears and keeps this from being a nostalgic exercise in vocal jazz. Billy Hart plays the drums, that's how I found it.

Julian Erdem - Little Flower
https://open.spotify.com/album/2Txu2HWIOEND2h4pS6YTdi
This is my kind of jazz, pensive and understated for the most part. I don't know who Erdem is, but Thomas Morgan plays the bass and I like his style.

Yazz Ahmed - La Saboteuse
https://open.spotify.com/album/0JdGIi4Bds7fIM8ROdnjS2
Was this mentioned upthread? Sounds pretty much like what you'd imagine from the title, so it's kind of orientalist jazz - but very well played and with a great live feeling. Again I've no idea what it is, but it sounds like a bunch of Americans playing Ethiopian music to me. I might be completely off the mark, but I enjoy the songs.

Fabiano do Nascimento - Tempo Dos Mestes
https://open.spotify.com/album/1CyZGaZV6S6dp2dKRUPdqi
Not-real-jazz-alert. This was mentioned on a brazilian music thread, it's guitar based but not as traditional as I initially thought it would be. For me, it goes to some psychedelic and emotional places. I like it a lot.

loved Nascimento's 2015 album Dança do Tempo, will be checking that out for sure.

Vijay now the director of Ojai Festival, commentary and links to performances here http://wbgo.org/post/jazz-night-america-ojai-music-festival-vijay-iyer-showcases-improvisation#stream/0
For instance, His festival program felt righteous, boundless, often supercharged. Repertoire by Bach and Stravinsky shared airspace with new chamber works by flutist Nicole Mitchell. Iyer performed a riveting duo set with one of his mentors, trumpeter Wadada Leo Smith. The trio, comprising three additional mentors — pianist Muhal Richard Abrams, saxophonist Roscoe Mitchell and trombonist/electronic artist George Lewis, all elder statesmen in the Association for the Advancement of Creative Musicians — performed an hourlong concert free of any premeditated impulse, let alone a written score. https://www.youtube.com/watch?v=Bp9MoWVWkjo&list=PLLfIG4c7wGmh6St3W4_h_NeP5aSM2eMPl