Rolling Jazz Thread 2020

I wrote about the Looking albums (there are three) in January of this year.

Solo bass album? How is Dave Holland's Emerald Tears?

it's unreal what a master Cecil was, can't imagine another musical artiste like him ever occurring before we are all die lol!

https://www.latimes.com/california/story/2020-07-18/central-avenue-los-angeles-jazz

Kareem Abdul-Jabbar on Central Avenue in Los Angeles jazz history

Great stuff, thanks. Among other things always interested to hear about Dolphin’s of Hollywood and “Huggy Boy.”

Maybe not for this thread but just read the bizarre fact that Bruce Johnston was at Dolphin’s of Hollywood when John Dolphin got shot and saw the whole thing. He was there to pitch a Kim Fowler demo. https://becomingthebeachboys.com/2015/07/21/bruce-johnston/

More on this from Rudy Ray Moore: https://rockinsteve.wordpress.com/2007/08/29/the-death-of-john-dolphin/

Is anyone familiar here with this Italian label? The last three Bandcamp releases include Anthony Braxton, Roscoe Mitchell, Hamid Drake and Peter Brotzmann.

Is anyone familiar here with this Italian label? The last three Bandcamp releases include Anthony Braxton, Roscoe Mitchell, Hamid Drake and Peter Brotzmann.

i'm not, but was coming here to post that this release looks interesting:

https://idischidiangelica.bandcamp.com/album/the-catch-of-a-ghost

Peter Brötzmann: tenor saxophone, tarogato
Maâlem Moukhtar Gania: guembri, voice
Hamid Drake: drums

guembri player Maalem Mokhtar Gania, last representative of a legendary line of Gnawa music masters, brother of Maalem Mahmoud Gania

!

I wrote about that album, along with three other recent Brötzmann releases, yesterday. It's pretty good.

i'll have to check out "the wels concert"

i like that full blast album art aesthetic is such a throwback to classic FMP

I think this was posted upthread, but here's a high quality version of the Redman/Mehldau/McBride/Blade reunion. Seeing this rhythm section play is a delight, and that they're having fun doing it:

https://www.youtube.com/watch?v=SVNKQtPvv00

I had been planning on including the Thelonious Monk live album Palo Alto in my latest Stereogum column, but then the first track, "Epistrophy," disappeared from streaming services. So I emailed the label to find out what was up, and just got this response:

"We are very sorry to tell you / let you know that the Thelonious Monk Palo Alto release is being postponed, due to circumstances beyond the label’s control. We will let you know if a new release date is scheduled. Please accept our apologies for this inconvenience." (emphasis mine)

Finally being reissued, after 54 years:

Milford Graves & Don Pullen: The Complete Yale Concert, 1966

I knew a collector who had a hand-painted copy of Volume 1. He paid $300 for it, which sounded INSANE at the time (1998), and he actually thought he might've overpaid for it. 20 years later, I saw a copy go on Ebay for $3000.

Just pre-ordered. Thanks for the tip!

Bone to pick with that descriptive copy though
His experience playing timbales in Latin bands had been formative, suggesting that the snare could be used as accent rather than beat-keeper,

Snare as beat keeper is more of an exception than a rule over the course of jazz history.

OTM.

awesome, thanks Tarfumes.

as another poster said on one of the rolling jazz threads of yesteryear: now do "alabama feeling" !!!

Snare as beat keeper is more of an exception than a rule over the course of jazz history

If you discount everything from the 1920s to the 1940s, sure. Snare-as-accent came in with Kenny Clarke and Max Roach, and it was 100% a break from tradition.

That's true, but there's also a period/tradition of swing drumming that was more cymbal-based, but the kick and snare were also playing consistent timekeeping patterns rather than only syncopated accents. I think keeping both hands on the snare was more of A New Orleans thing coming out of translating brass band drumming to the trap kit.

as another poster said on one of the rolling jazz threads of yesteryear: now do "alabama feeling" !!!

Never shoulda sold my copy.

yeah the rank and file RE cd / lp both are very $

Regardless of swing music, point is there was nothing remarkable about snare as accent-maker rather than timekeeper by the time Milford Graves came around

Really enjoying the studio Redman/Mehldau/McBride/Blade album, even though you don't get to see Brian Blade smiling

https://www.youtube.com/watch?v=kRr8Q43ejGk

^ also a great candidate for the "one band member refuses to play along" thread

Lol, both in terms of smiling and not wearing flannel.

Btw it was posted on the Roscoe Mitchell thread, but apparently he transcribed live improvisations, and then orchestrated them, love the concept:
https://idischidiangelica.bandcamp.com/album/splatter

Yeah, he's got a few albums like that. They can sound pretty amazing.

I'd like to hear that. The only other examples I can think of are more, um, commercial--chiefly Supersax--refresh my memory, wiki:
Supersax was a jazz group created in 1972 by saxophonist Med Flory and bassist Buddy Clark as a tribute to saxophonist Charlie Parker. The group's music consisted of harmonized arrangements of Parker's improvisations[1] played by a saxophone section (2 altos, 2 tenors, and a baritone), rhythm section (bass, piano, drums), and a brass instrument (trombone or trumpet), Notable brass soloists that recorded with the group included Conte Candoli (trumpet), Frank Rosolino (trombone) and Carl Fontana (trombone). On the group's recordings their music was tightly orchestrated, with arrangements by Flory that contained little or no calls for improvisation (although members of the band would often solo at live performances).[2]

Saxophonist Warne Marsh was a member in the first edition of the group, and although he was never given freedom to solo on any officially released materials, Lee Konitz has stated that there are bootleg tapes of the group where Warne played a solo.[3] Jeez, they even had Blue Mitchell in there for a while. What the hell, it was a living. Ironic that a jazz-based concept group had so little room for inprov (they played the jazz festivals, of course).

They won the Grammy Award for Best Jazz Performance by a Group in 1974. They were also part of the Grammy-nominated 1983 recording "Supersax & L.A. Voices, Volume 1", in which the L.A. Voices were nominated for Best Jazz Vocal Performance - Duo Or Group. Med Flory also wrote the vocal arrangements for this recording.[4]

Maybe the inspiration for Jazz At Lincoln Center concerts of yore, featuring the historically correct solos of even yore-er, recreated before your eyes (oh yeah, ears too).

One that still gets Sunday afternoon play on my local jazz etc. station: Quincy Jones cover of Herbie Hancock's "Tell Me A Bedtime Story," with strings sailing through arrangement based on transcription of Hancock's keyboard solos, worked up by violinist Harry Lookofsky, Dad of Left Banke's Michael Brown. Sweet! But would def like to hear such means taken further.

Oh god, Supersax sounds terrible.

Did JaLC really do that (play transcribed solos off the record)?

At least one concert on PBS, think it was a certain Ellington live album being re-created. This was early in Wynton's tenure, though; he got less-tight-assed later.

It was while he was under the evil influence of Albert Murray and Stanley Crouch, in the Giddens telling.

Supersax is pretty meh -- my hs jazz band teacher was a slightly cheesy alto player and made us listen to it

Meh Flory, should be. Club Meh. Gary *Giddins*, is. Sorry G.

title track of xpost Splatter: transcribed flight, sometimes breathtaking---strings-wings sensitive, formidable, could be movie dream theme from Hell, in a good way.

New Makaya today!

It's sounding sick so far

agreed; it's great top to bottom

budo jeru, The Wels Concert is among my favorite jazz records ever released— one of those records that absolutely stuns everyone who's actually listening. I agree with your assessment of The Catch of a Ghost, unperson— it's wonderful but just not as full as its predecessor.

new Makaya album is indeed the shit!

https://milesokazaki.bandcamp.com/album/tricksters-dream

new Miles Okazaki some conceptual Rona bollox, but sounds pretty good!

https://ohadtalmor.bandcamp.com/album/long-forms

this is a much more choice one featuring Okazaki imo. Also new Christian Sands album is ace and features the voice of Bruce Lee philosophising about water.

i dunno if the jazz thread is the right place for this, but i'm quite taken with Miyamoto is Black Enough's first LP Burn/Build (which, fair play, i am repping)

https://www.youtube.com/watch?v=utRms52fIis

https://www.youtube.com/watch?v=hef27h7jXYY

https://www.youtube.com/watch?v=oLAB6svMvvY

i like the ohad talmor record

My neighbor just hipped me to this which is on right now:
https://www.newportjazz.org/revival

And then tomorrow as well

very nice 1961 Coltrane set, ty