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Sunday, December 21, 2008
Carla Bley, Appearing Nightly On Your CD Player
"Appearing Nightly" is credited to Carla Bley and her Remarkable Big Band, and features such killer on-the-cusp-of-fame musicians as trumpeter Lew Soloff, tenor saxophonist Andy Sheppard, drummer Billy Drummond, trombonist Gary Valente, and bassist Steve Swallow, to name only five. The playing is stellar all around, and everybody in the long-standing band can (and do) play the hell out of Bley's arrangements, which, presumably, they have been playing nightly for years. The first two tracks, "Greasy Gravy" and "Awful Coffee," in particular feature some brilliant soloing from the aforementioned musicians. "Awful Coffee," an uptempo burner, features a mind-altering and quotation-filled solo from Sheppard, and "Greasy Gravy," a slower, medium swing number, showcases Valente's odd ideas on trombone.
An album like "Appearing Nightly" is not about the solos though, and Bley's tunes and arrangements are brilliant and idiosyncratic. Bley, like a master chef putting her stamp on a dish that's been cooked by many brilliant cooks before her, takes a format and tunes that sound like they could have been written in 1950, and then turns them inside out with odd voicings and backign-figures. Granted, Bley is more of a traditionalist than, say, Bill Holman, who can take a Monk tune and make it sound like an acid trip in a house of mirrors (just listen to his "Brilliant Corners: The Music of Thelonious Monk" for a taste), but her charts are too weird and creative to simply be labled a rehash. She throws dissonant minor ninthson top of the melody on "Awful Coffee," and randomly inserts a rhythm changes bridge out of nowhere in the middle of the tune just for the hell of it. Quotes abound, and my personal favorite is a random interjection of the melody of "You Stepped Out of a Dream" in the middle of "Appearing Nightly At the Black Orchid," the 25-minute suite that makes up the heart of the record.
A killin' big band record, there should be more like it. Recommended.
Monday, December 15, 2008
Jazz 08 Part Three: Top Ten Albums of the Year
Friday, December 12, 2008
Jazz 08 Part Two: Superlatives!
Wednesday, December 10, 2008
Jazz 08 Part One: This Year in Jazz!
Monday, December 8, 2008
Rudresh Mahanthappa Finds Kindred Spirits
I know what you're thinking. I know, I know. It's been a while. My dinner's been getting cold, and you were worried sick; I'm only hoping that you haven't remarried while I was lost at sea. Yes, I have been listening to tons and tons of jazz music while I was gone, and there are tons and tons of records I could have chosen to review for my first one back from hiatus ("Petit Oiseau" by William Parker, "Flood" by Avishai Cohen and too many others to mention are coming in the near future), but I picked my personal favorite of the past month: Rudresh Mahanthappa's "Kinsmen."
"Kinsmen," the new album from Rudresh Mahanthappa, fuses Indian Classical (Carnatic) music and jazz, and shows that Mahanthappa's idiosyncratic technique can translate to genres other than straight jazz. "Kinsmen" is Mahanthappa's first album since 2006's "Codebook," and marks a huge departure for his sound.
"Codebook" featured a number of fast, rhythmically and harmonically advanced jazz tunes as played by Mahanthappa's quartet. Kinsmen, on the other hand, features a jazz quartet made up of himself (alto sax), Rez Abassi (guitar), Carlo Derosa (bass) and Royal Hartigan (drums), augmented by a Carnatic music trio of Kadri Gopalnath (saxophone), A. Kanyakumari (violin), and Poovalur Sriji (mridangam).
The music sounds on record like it does on paper: a clean fusion of jazz and Indian classical music. Parts of "Kinsmen" feature only the quartet or trio, but for the most part the instrumentation is mixed; a section of "Ganesha" features Rudresh's saxophone along with Sriji's Mridangam and Hartigan's drums, and parts of the title track have Mahanthappa and Gopalnath trading licks across musical disciplines.
Mahanthappa's sidemen are stellar, and Abassi's odd background fits this date perfectly; in addition to playing straight ahead jazz, Abassi has been one of a small handful of young Indians to adapt the electric guitar for Carnatic music. On some tracks, such as "Snake!" and "Longing," Abassi's guitar sounds like an electrified sitar, while on others his tone is almost identical to the clean, modern sound of young jazzers like Lage Lund or Mike Moreno. Kudos also goes to Derosa and Hartigan for being able to keep up with Sriji's mridangam, which is no easy task.
While other projects in the past that have attempted to fuse Indian classical music with jazz, Kinsmen is probably the first that represents a total fusion as opposed to the many one-sided attempts. Highly recommended.
In the next few days I'll have the first of my three-part "2008 In Jazz" series, so check back!
Monday, November 3, 2008
Christian Scott Talks About Life, Berklee, and His New Album "Live At Newport"
Jazz Monster: You graduated very recently (2004). You're releasing your third album in three years now-
Christian Scott: Actually, it's my fourth album in four years. The first one I put out on my own label when I was still at Berklee.
JM: Four albums in four years. It seems like it's been so fast since you graduated.
CS: You know, it's funny. It feels like it's been a long time to me, but mainly because it feels like I've been working non-stop for four or five years. So it feels like a long period of time has elapsed even though it's been four years.
JM: How did that happen?
CS: You just keep working. What happens to a lot of musicians is they get out of school and they don't know what to do so they freeze and start doing other things instead of pressing on. All the guys who I know who kept on pressing on, they're still working. They never stopped working. You've just gotta work- you get calls from cats to play and then you start your own band. If that's not working, you have to do something else; write music and get a licensing deal and a publishing deal. Do something, just don't sit on your hands. Sitting on your hands is like death for a musician.
JM: What did you do after you graduated?
CS: Immediately after I graduated I signed my record deal with Concord. After I signed the record deal with Concord I started working on the music that [wound up being 2006's] Rewind That. Ever since the album came out I've been constantly touring or working as a sideman or a producer and doing some stuff for film. Once I finished with Berklee, I immediately started moving. I didn't want to stick around Boston, you know? I like Boston, but the scene in Boston is a lot of kids; either in school, or not in school but hanging around. It's hard to stand out in that situation just because everybody looks the same. Leaving Berklee is like leaving home, once you turn eighteen, you've gotta get out of the house.
JM: What was it like coming back last year [to film part of The Newport Experience for the DVD section of Live at Newport]?
CS: It's always cool coming back. All of my teachers there are good friends of mine, many of whom I've played professionally- in fact, in school I was playing with most of them professionally. I always love coming back. I especially love Rob Hayes in the office of Public Affairs, I always go up and mess with him when I'm at Berklee. He's been a great friend to me. And of course Roger [Brown], your president, he's a cool guy too. He'll come out and play drums with us. Everybody- the entire Berklee family is great. When I come up I feel like I never left.
JM: Shifting gears a bit, listening to [your 2007 album] The Anthem and the new record, it's clear that you've got a very characteristic compositional style. How do you compose? What do you think about when you're writing tunes?
CS: Nothing. I just write them. I learned when I was younger that you learn things so that you can forget them. You learn lessons about harmony so that you don't have to think about them. There are many techniques that I learned when I went to the New Orleans High School for the Creative Arts and when I went to Berklee, but I don't think about any of that stuff when I'm writing because if I do, the process stops being about what I'm trying to convey or get out and becomes about what I'm intellectualizing.
JM: Do you think that it winds up sounding contrived that way?
CS: Not really, because there are guys that write that way who write music that doesn't sound contrived. I think that has more to do with how the music is played. If you're playing music with a drummer whose comfortable with playing music in 4/4 time, and you write something in 5/4, it will probably end up sounding contrived because the guy isn't comfortable with playing in 5/4. I think more importantly, you want it to sound natural; you want it sound like what you're feeling. Sometimes you'll find out after you've written something that it goes through four different time signatures before it's over. That's just because you write it out, and you can edit it later so that it can effectively communicate what you want to play. At the time you're writing it, you don't want to think "that sounds like it's in 10, and I don't want to write something in 10."
JM: So you don't really think about what it's going to be like to improvise over your tunes when you write them?
CS: No, you don't- that's why you spend all of your time refining your efforts to become a great improviser. If you have to think about what it is that you need to improvise, then you still need to study. I started going on the road with Donald Harrison's band when I was thirteen years old, so that kind of training in the ability to play over anything happened at a very young age for me. Most of the guys who I play with are great improvisers; you can tell them five different ways to approach a chord and it isn't going to matter because they react to the sound. All the great improvisers react to the sound, because when you're playing a tune it's going to change anyway based on what your doing. Are you trying to create tension? Are you trying to resolve it? You never know what you're going to be hearing, so what you want to hone is your ability to decipher sound.
JM: So when you improvise you try to react more to sound than to what's going on in the composition?
CS: To be honest with you, I'm not thinking about anything anymore, but what I'm saying is that most great improvisers have a better time reacting to sound than to sitting down and shedding a tune to get the changes. For instance, if you're playing with a guy like Christian McBride and he's playing a bass solo, he isn't going to ask you to just put the changes in his face, he's going to ask you to play through it. He's going to play while you play, and work it out. In my music I don't really think about it at all, I think about what I'm doing as a part of the composition as a whole. So rather than thinking about building my solo in the most dynamic way or in terms of getting the coolest or the hippest thing happening, I think more about the arc of the song. "What does the song need right now," as opposed to "how can I fit in this flashy dope line."
JM: It's all about listening and trying to fit in.
CS: Yeah. For instance, if [guitarist] Matt [Stevens] just finished a long solo with lots of tension, then my solo isn't going to be like that. I'm gonna try and calm it down a bit. Music moves in waves, it should rise and fall. You want your music to have dynamics and arcs, because if there's no arc then you're not going to be able to hold anymore of the tension.
JM: Do you have any tips for any young jazz musicians at Berklee?
CS: Finish! First, finish Berklee. Stop leaving. Everybody acts like it's hard to stay at Berklee; it's not hard to stay at Berklee. The school has done everything in its power to make it the best facility for what it is in the world, so why would you want to leave it so quickly. I've met kids who are in they're first semester who tell me they're going to stick around another semester and then leave. Well then what was the point of coming? You may as well have just taken your chances of going on the road and playing with somebody. But if you're trying to educate yourself, and trying to be the musician that you can be, you should stick with something and finish it. That's my advice; I can't really offer any advice about the music business because that's a crapshoot. You have absolutely no control over that. The best you can do is control what you're doing artistically. So stay in school and stick by your convictions; that's my advice.
JM: What was the most important thing you learned while you were at Berklee?
CS: I think the most important thing that I took into Berklee and that was also reaffirmed for me while I was there was to have respect for all musicians and all people. You can learn something from anyone, and anyone who thinks that they can't learn something from anyone is missing something. I was into Berklee because I turning around and seeing a guy with a Mohawk. I like being around people; I like hearing their stories, their anxieties, I like hearing what makes them laugh, because all of that effects the way that you make music. The one thing I took out of Berklee was that respect for human beings, because there are so many different types of people there.
JM: Do you find that musically as well?
CS: Yeah, definitely. You can find someone from Israel, and they'll show you some of their work songs or some of their religious songs. You could meet someone from Japan who can show you that folk music. There are so many different things that you can take from your experience while you're there. If you're a guitarist from Cleveland who goes to Berklee and you play rock music- if you're just playing rock music and hanging out with rock musicians you're really missing out on everything [Berklee] has to offer. If you're a jazz trumpet player from New Orleans and you just play jazz all the time you're missing out. You should take that time to go out and meet people and get out of your dorm room and play as much as possible.
Saturday, November 1, 2008
Tearing the New Downbeat Apart Limb from Limb
"What jazz artist would make the best president?" Geri Allen's choice- Dr. Billy Taylor- actually made some sense due to his importance to and experience in administrating jazz education, but with her exception, it seems like everyone is on crack. Sonny Rollins got two votes (Benny Golson and Pee Wee Ellis both suggested him because, as far as I can tell, he loves music and he's a pretty chill dude), and Wynton Marsalis got a requisite vote (hell, Bush managed to win two elections in a row).
As for the actual issue, why Tony Williams? I mean, he's great, don't get me wrong, and easily one of the best jazz drummers of all time... but... why? He's dead, he hasn't had a record out in years, there's no archival series or major tribute going on... I suppose the Downbeat U Drum School tie-in almost makes sense... But why not Anat Cohen? Doesn't she deserve a cover? There's a pretty long article about her in this Downbeat, so why not?
Also, random sidenote, there are two Five Star albums in the reviews section of Downbeat. What? When was the last time Downbeat had two five star albums in one issue? Nevermind that, with John McLaughlin's new album, this makes three five star albums all year, and for some reason they never go to the albums I want them to. My picks for the best albums of the year have all received either 3 or 4 stars. But what do I know.
Next time I'll have a very long (last time I remember someone getting all snippy about how my Terri Lyne Carrington interview wasn't as long as advertised- well, you're in luck, for those of you with the interest there are a good 1700 words to sift through) interview with Christian Scott posted.
Tuesday, October 28, 2008
News Update: Irabagon Wins Monk Competition
Congrats Jon Irabagon!
For those of you who don't know his playing, here's an example.
Next time I'll tear the new Downbeat apart. The time after that I'll have a review of "Petit Oiseau," the gorgeous new record from the William Parker Quartet.
Wednesday, October 22, 2008
Passing It On To A New Band
The only real newcomers to Holland's band are pianist Mulgrew Miller and drummer Eric Harland, as all of the others have appeared with some version of Holland's group in the past; trumpeter Alex Sipiagin and alto saxophonist Antonio Hart were featured on Holland's two big band albums, and Robin Eubanks has been a collaborator with Holland for almost two decades. The tunes are great, and the band's interplay is tasteful if a bit safe. In fact, that's the only problem with this album; it seems a little bit too safe for Holland. There are none of the five minute rhythm section-less dual solos of his Quintet that made Chris Potter and Robin Eubanks household names in the jazz world ten or so years ago, and while Eric Harland is a brilliant drummer and has shown himself to be one of the great young musicians elsewhere, his playing here isn't as dynamic as Billy Kilson's or Marvin Smitty Smith's.
Of course, those gripes are almost meaningless when you take into consideration that this band has only been together for a short time and will hopefully grow into their sound as a unit in the future; it took years for Holland's classic quintet to come together in the form it was in for a decade, and years more to evolve into the jazz combo of the 00's. The sextet format gives Holland a chance to explore more colors in his noirish, rhythmically propulsive vein, even though this band lacks the chaotic feel of some of his earlier bands, and lacks the crispness of his big band. The soloists all sound great, and the highlight of the record is Sipiagin's blazing display of both technique and emotion on this groups version of "Processional." Definitely worth a listen for Holland fans, although his sextet's next album will probably showcase a quantum leap in terms of band interplay.
Next time I'll have my monthly edition of "Tearing the New Downbeat Apart Limb by Limb," and you can expect hours of entertainment judging by the fact that opening section features an inquiry about "which jazz musician would make the best president," (Donny McCaslin doesn't think it should be who you think he thinks it should be) and two (TWO! WTF) five star reviews, one of which was actually written by a teacher of mine. So check back in a couple days.
Monday, October 20, 2008
Bobo Stenson Sings
Of course it helps that Stenson's trio is as killin' as it's ever been, featuring long-time bassist Anders Jormin and young turk drummer Jon Falt. While Jormin plays in his usual post-LaFaro mode and throws roots and such to the wind for the most part, Falt serves as an anchor for the band even when his work is meant to add colour, as on "Chiquilin de Bachin." Falt plays time on his cymbals, combining an ability to serve as grounding for the band with his own personal flourishes. Jormin's arco work here, especially at the beginning of the album's closer, "Liebesode," is exceptional and melodic.
Stenson, however, is the star here, and the modern sound he manages to showcase on his piano belies the fact that he has been playing on records for forty years. He is easily recognizable as the pianist on both "Witchi-Tai-To" and on classic Lloyd records like "Notes From Big Sur." The opening track, Silvio Rodriguez' "Olivia," is a tour de force for Stenson, and his work here showcases the same jagged, economical, and still modern-sounding lyricism that has been his style ever since he came out of nowhere to be Sweden's premier pianist.
Next time I'll have a review of Dave Holland's new Sextet record, "Pass it On."
Thursday, October 16, 2008
Charlie Haden Rambles, In a Good Way
In a career full of random shifts and curveballs (Haden's first and most famous recording features a free jazz orchestra playing Spanish folk music), "Rambling Boy" may well be the single most out-of-left-field recording in Haden's entire discography. It is not, however, a departure- quite the opposite. As a child, Haden sang with his family on their syndicated radio show, "Korn's-a-Krackin," and on here he sings the final tune, "Shenandoah," in the poignant, gravelly voice you would expect from an 81-year-old bass player raised on this music. His bass is brilliant, as always, even though he sits in the rhythm section, untrumpeted, for most of the recording.
Oddly, for an album with a cast so huge, each member of Haden's large band gets ample time to show off. The Haden Triplets (Petra, Tanya and Rachel) are featured in a few tracks, and daughter Petra gets a sings beautifully on the slow-building ballad "The Fields of Athenry." Guitarists Pat Metheny and Russ Barenberg duel throughout the record, and Roseanne Cash even pops by for a number ("Wildwood Flower"). The most rousing performance on the album, however, is by Haden's son, Josh, who sings his own "Spiritual." Unlike versions sung by Johnny Cash or played by Charlie and Metheny, either world-weary or melodramatic, this version builds to a rousing climax, with Josh Haden's voice finding just the right spot between gruff seriousness and wide-eyed curiosity.
Is "Rambling Boy" Jazz? No, although Metheny, pianist Buck White and banjo player Bela Fleck all play their fair shair of harmonically complex lines. The real question is: does it matter? Music is music, and Haden's new album showcases an exciting, different direction for him.
Sunday, October 12, 2008
Complaining About the MacArthur Fellows Program
Occasionally their choice is simply perplexing. They could give it to anyone. Anyone. Possible (jazz) candidates for a MacArthur Fellowship include Vijay Iyer, Steve Lehman, Marc Ribot, Anat Cohen, Kurt Rosenwinkel, Brad Mehldau, Nels Cline, Rudresh Mahanthappa, Avishai Cohen (trumpet), Avishai Cohen (bass), Jason Lindner, Jason Moran, Greg Osby, Steve Coleman, DAVE DOUGLAS, Uri Caine, Chris Potter, Mathias Eick, Jenny Scheinman, Christian Howes, Esperanza Spalding, Tyshawn Sorey, Ron Miles, BILL FRISELL, Matana Roberts, Steven Bernstein, Larry Goldings, Matt Wilson, Aaron Parks, Walter Smith III, Lionel Loueke, Eric Harland, Ambrose Akinmusire, Jaleel Shaw, Eric Friedlander, Lage Lund, Mike Moreno... you get the point. And that's only musicians. When you add writers you wind up with everyone from me (I'm all about potential, baby) to Howard Mandel.
You can see for yourselves which contrived composition writing, look-at-what-I-can-do improvisation-creating jazz musician got $500,000 to keep on keeping on instead of Dave Douglas or Bill Frisell, or any of those other people. I know, I know, the MacArthur fellowship is all about potential, and I suppose the guy who won has the potential to, you know, write and play completely different music and find a way to incorporate his folk songs and polyrhythms into a jazz idiom in a way that grooves or makes a statement or both (Like, you know, Vijay, Rudresh, Steve, Lionel... okay okay enough).
Tuesday, October 7, 2008
Terri Lyne Carrington Interview
Jazz Monster: How do you think the show went on Friday?
Terri Lyne Carrington: It was good; it wasn't perfect. I didn't have a working a band and the band I was with couldn't rehearse until the day before, so we made our share of mistakes. People seemed to really enjoy it though.
JM: I know you teach at Berklee- do you think of playing in Boston as playing on home turf?
TLC: Well, I only play here a few times a year. Because of the fact that I teach here and the audience is made up of students for the most part [at the BPC], there's a little bit more pressure than in other places- but that can be exhilarating. Last night we started a bit late and the sound wasn't optimum, sometimes there are just some sound issues onstage.
JM: After your gig at the BPC, you flew out to Germany. Is there a difference between playing in Boston and playing in Luxembourg?
TLC: Yes, there is. We played in a town about a half hour out from Luxembourg, and so that alone made it very different from playing in Boston. It was a nice show; the only holdover from the gig we played in Boston was the horn player, Tineke Postma.
JM: How did your current group come together?
TLC: Generally it's not exactly the same group. There are some people I'll use for some things, but usually it just depends on who can make a show. I often use [pianist] Geri Allen, Arwan Akiv, [Bassist and Berklee graduate] John Lockwood, or [bassist and recent Berklee graduate] Hogyu Hwang. Sometimes I do projects with all women, and that line-up generally features myself, [bassist and Berklee faculty member] Esperanza Spalding, Tineke Postma and Geri Allen. When I want a guitar player I usually get a guy named Tim Miller, who is also on faculty here at Berklee. In Poland, where I'm playing in a week, I'll be playing with Tim Miller, Hogyu Hwang and [Berklee student] Alex Han. Overall, I guess it just depends on the gig.
JM: Do you write most of the material in for your band?
TLC: I write most of it, yes. Sometimes band members contribute songs; the other night at the BPC we played a song by Tim Miller even though he wasn't there, but I'd say that I write most of the songs we play.
JM: How do you go about writing tunes?
TLC: Generally I hear a melody in my head, and then I add harmony. Sometimes I write the harmony first, but not as often; whenever I finish with the melody and the harmony, I figure out the bass and drums.
JM: How did your album "Structure" come about?
TLC: That band [which featured saxophonist Greg Osby, guitarist Adam Rogers and bassist Jimmy Haslip] came about for a tour of Europe under a deal I had with my record company at the time. It was my deal, but it was a very cooperative group; after the tour we went and recorded the album.
JM: Any plans to reunite that group in the future?
TLC: Who knows? We've all got very different schedules; we all have our own careers. It would be nice though.
JM: Switching gears, how does your educational work affect your playing?
TLC: I think that teaching definitely makes me better as a player. There are certain things you have to explain; you have to come up with formulas and exercises. It's brought more clarity to my playing, and it keeps me fresh as a player.
JM: How do you approach your work as a side-person versus your work as a leader?
TLC: I think the two are totally different. As a side-person, I'm trying to accommodate the leader and be honest to the music. As a leader I have my own vision that I'm trying to work toward. I suppose it just comes down to different roles: you're either the vision-driver or the vision-supporter.
JM: What's the difference between working in a strictly jazz setting versus working on The Arsenio Hall Show or [Sinbad's show] Vibe?
TLC: It's a very different sound, especially in the drums. In a band like the Arsenio band, you just want to play really strong groove-oriented stuff, whereas in a jazz setting you want to be more creative. I suppose there are different freedoms in both.
JM: What are your plans for the near future?
TLC: I'm recording with Mike Stern in January, and then soon after that I'll be recording Tineke Postma's new album. My own new album, which is more of a groove-jazz oriented kind of thing, is just about done with mixing and post-production, so it should be out in February or March. Also, I'm excited to take my band with Esperanza Spalding, Gary Thomas and Arwan Akiv out to play at the Blue
Sunday, September 28, 2008
Not Exactly A Free Jazz Round-Up
Joel Harrison's "The Wheel" is a collaboration between Harrison's jazz quintet (Harrison on guitar, David Binney on alto, Ralph Alessi on trumpet, Lindsey Horner on bass and Dan Weiss on drums) and a string quartet (Todd Reynolds and Christian Howes on violin, Caleb Burns on viola and Wendy Sutter on cello). It is not, however, a series of songs written for jazz quintet with string arrangements; the quartet is fully integrated in the band. Like Jenny Scheinman's recent "Crossing the Field" and Bill Frisell's "History Mystery," the feel is more rural-jazz than third-stream, as the strings improvise along with the rest of the band and the proceedings are given over to music reminiscent of Copland and folk melodies. The final track, "In Memorium: Dana Breyton," features Harrison's guitar, and his solo is characterized by long-held tones and beautiful phrasing. Recommended.
It's almost hard to believe that Anthony Braxton, William Parker and Milford Graves have never played together in a trio before "Beyond Quantum." In addition to the fact of both Braxton and Parker's prolificness, the album simply sounds like it was made by people who have been playing together forever. Braxton's snaky, staccato attack creates a polar contrast to Parker's melodic approach to his bass playing, and Graves serves as the level headed one; a moderator for the arguments that the other two carry out. Braxton plays four separate saxophones (I know the four types that you're thinking of- you've probably only got one right), and his approach to each instrument is slightly different, but equally violent. His bass saxophone plods, crushing everything around it, while his sopranino attacks like one of the namesakes of Hitchcock's "The Birds." Recommended for those who like a little bit of psychotic energy with their free jazz.
Next time I will probably post a conversation with Terri Lyne Carrington, who I will be interviewing for the Berklee Groove tomorrow morning. You can expect a more sanitized version of that published in the next issue of The Groove. Also, tomorrow night I will be doing the first of what will be a bi-weekly segment for my friend James Krivchenia's show "Switch it Up" at 12 AM (as in, at night) on the Berklee Internet Radio Network
Saturday, September 27, 2008
In Defense of Criticism
Music, like film, is a commercial art. CD's are not generally given out for free. When you buy a CD, you're stuck with it whether you wind up enjoying the music or not due to copyright infringement fears on the part of record stores. So when you spend your 15 dollars (!) on an album, it had better be worth it. I try to tailor my reviews for the people I think will like an album; there's a reason I bring up the fact that a Marc Ribot-Anthony Coleman-Brad Jones concert isn't for everyone even though I would have sat through five sets and wanted more. The point isn't to get people to not buy music, but the opposite. I hope that this blog has inspired people to buy CDs that they wound up enjoying. I also hope that they realize that I am not the final (or really any sort of meaningful) authority on jazz, and that there are plenty of other people out there who write about music that have different opinions from me.
Which brings me to my next point: criticism creates a discourse. I like to read a number of reviews from various critics before I go out and see a movie, and I usually reread them after I've seen it to see if someone else's opinion on it can enlighten or clarify my own. I like it when I read something that I disagree with, because sometimes it makes me see the object of criticism in a different light.
The main point that I dislike in the comment is the idea that I don't "get" Mr. Akinmusire's album. I don't say that because I think I understand something profound about the album (or any album), but because I think there are as many ways to "get" a work of art as there are people who listen to that work of art, especially in an art form as esoteric as music. Akinmusire's point about differing experiences and beliefs is a good one; there's a reason that Roger Ebert's reviews often disagree (or disagreed) with those of A.O. Scott, or Manohla Dargis, or Pauline Kael, and why all four of them have occasionally gotten in trouble with the film-makers whose work they have reviewed. I would love to interview Mr. Akinmusire for this blog and have him talk about "Prelude," because it would be interesting to hear what he was thinking when he made his record in his own words.
Either way, those are all just some philosophical thoughts on the nature and point of criticism. Feel free to disagree with them and write about it in the comments section (beware though, in criticizing the very concept of criticism, you are yourself becoming a critic). And I'm serious about the interview. As for whoever reads this and sent Akinmusire the review: thank you! I love it when musicians read my reviews of their stuff and agree/disagree with what I say, and I'm always surprised to find out that anyone actually reads this to begin with. Next time I'll actually have a round-up of some recent free-jazz.
Saturday, September 20, 2008
Two Good Downbeats? In One Year? Naaahhh...
But, as always, the best section is the "Players" section (not to be confused with the "Playaz" section- originally created for Miles Davis); this time around it features my favorite young trumpet player at the moment, Mathias Eick. As much as I love Christian Scott and Ambrose Akinmusire, Eick is the only young musician (period.) who has anything approaching tact in his playing. And then, of course, there are the extremely interesting musicians that I'd never heard of that I am presently listening to (harpist Edmar Castaneda and Anne Mette Iversen in this issue). In all honesty, I occasionally wish that Downbeat were simply a 90 page "Players" section.
Granted, though, if it were I wouldn't be able to gripe about Downbeat's occasional faux pas. There was one I could find in this issue, and in all honesty it's pretty small and most people will not notice it. However, in spite of that, it is a huge faux pas. In a review of "In Sweden: November 22, 1950," critic John McDonough writes that "after a prolific 65-year recording career, [Arne Domnerus] remains active today at 83." Those of you who read this blog are aware of the fact that Domnerus is dead. Granted, he probably died after Downbeat went to press. But still.
Also, in a random sidenote: would I be correct in saying that the contrabass sarrusophone is making a come-back in jazz in a big way? I saw not just one, but two references to the absurdly obscure, gigantic behemoth of a double-reed instrument in this issue. I'm almost tempted to turn it into a Where's Waldo style contest for you readers out there, but I'll give them away: James Carter owns two (TWO!!!! WHERE DOES HE FIT THEM?) of them, and Scott Robinson apparently plays one on his new record, "Forever Lasting" (HOW DO YOU PLAY IT?!).
Next time I'll have a round-up of some recent free-jazz recordings, including the new CD from the Anthony Braxton-Milford Graves-William Parker axis.
Monday, September 15, 2008
Different Angles from Jacob Young
The real star of "Sideways" is not the leader, but the young Mathias Eick, who can be heard here- in all of his subtle glory- playing trumpet. While "Sideways" is neither as adventurous nor as beautiful as Eick's recent debut, "The Door," there are many similarities in the music; both albums feature a jarring amount of space, and both albums are interested in off-kilter melodies. The likenesses stop there, however, and the appearance of both a saxophone player and a guitar player differentiate the proceedings. There are more subtle differences however; whereas songs like "Williamsburg" and "December" on "The Door" merely hinted at melody, Young's approach on songs like "Slow Bo-Bo" is much more transparent. Eick plays beautifully on Young's songs, as does the saxophone player, Vidar Johansen.
The biggest problem with "Sideways" is that Young's own playing is not as memorable as that of his sidemen, or as memorable as his tunes. In addition to Eick and Johansen, the veteran drummer Jon Christensen- the player both in Keith Jarrett's famed European Quartet, and on Jan Garbarek's "Wichi-Tai-To," perhaps the greatest ECM recording ever- and the bassist Mats Eilertsen are here to liven up the proceedings. Add the brilliance of the other musicians to the aching beauty of songs like "Hanna's Lament," and Young simply gets lost in the mix. The only thing I have jotted down about Young's playing on this album (after having heard the album twice, mind you) is that it is "subtle." Go figure. In spite of this fact, however, I would unequivocally recommend this album, especially for fans of the brilliant Eick. If you are not aware of Eick's work, pick up "The Door" instead.
Friday, September 12, 2008
Joe Lovano With Strings
I suppose there is one easy answer to that question: string arrangements in jazz are bad. Even the greatest symphonic jazz album ever, "Charlie Parker With Strings," was filled with overwrought sentiment; the album probably would have been better if it had been simply called "Charlie Parker." Granted, there are exceptions, Jenny Scheinman's "Crossing the Field," which comes out on CD next month, utilizes a full orchestra in parts, and is without question one of the best albums of the year.
Lovano plays well through-out; granted, his playing here has nothing on last year's "Kids," with Hank Jones, but he manages to show his off-kilter harmonic vision through-out with his angular runs and odd note choice. The other soloists, who include Paul Shigihara on guitar and Karolina Strassmayer on alto sax, are also capable players, although they play it safer than Lovano. The tunes themselves are pretty great; a smattering of songs from Lovano's illustrious career, the best of which are "Eternal Joy," which features some knotty lines, and "Alexander the Great."
So then what is it, exactly, that makes "Symphonica" so terrible? The arrangements. Certain songs are arranged more than others- a harrowingly sappy "Duke Ellington's Sound of Love" comes to mind. Of course there are exceptions, and the closer, a take on the changes from "Body and Soul" called "I'm All For You" features some brilliant playing from Lovano and an arrangement that manages to dodge melodrama. For the most part, though, the feeling after hearing "Symphonica" is a lot like the feeling after eating too many mallowmars; a bloated, sugary mess of a feeling that almost certainly leads to a nap, possibly before you've even finished.
Thursday, September 11, 2008
News Round-Up: Lincoln Center Galore
And where better to gauge the death of jazz than at Lincoln Center, the evil, looming, midtown fortress of the 80s "young lions" movement? Jazz At Lincoln Center has given out a few major announcements recently, not least of which being that its Executive Director position is changing hands for the sixth time in six years to those of an accountant. Why? Because Lincoln Center is so huge that they don't even know what to do with all of their space and money. Tonic closed last year, and Lincoln Center only gets more powerful by the day... Who will be next to fall to die while Jazz At Lincoln Center gobbles up even more of the area around it? The Stone? The Jazz Gallery?
Granted, not everything they do there is bad, but it is all evil. They just announced their "Swing University" (If only they would suck it up and change their title from "Jazz At Lincoln Center" to "Swing Museum") line-up, and a few classes are being taught by ma boi, Phil Schaap. For those of you who do not know Phil Schaap, he's the man behind Birdflight on WKCR (8:20 AM on 89.9 in the NYC area), and is known through-out the land for his ability to spend an entire hour-long show switching off between self-aggrandizing lunacy ("But here, on Birdflight, it is my job to show, to teach, about the life of Charlie Parker") and stupid minutiae ("As you know, and as I said last week, this record date occurred in late March of '41- well, actually, that's debatable, some say early April, but I believe that that claim has been disproven on numerous occasions"). That said though, he is the man and you should listen to his show; I think I learned more about Charlie Parker the first hour I listened to his show than I ever believed I had wanted to, but somehow Schaap makes it all kind of captivating.
In (even) sadder news, the brilliant European clarinetist and saxophonist Arne Domnerus died recently. I don't know his work as well as I could, but having heard "Jazz at the Pawnshop" I can say that he was easily one of the greatest European jazz cats ever, and possibly the best before the rise of Jan Garbarek, the norse God of Norwegian jazz, and ECM in the seventies. Domnerus' style was informed by bop, and he shared a rhythm section with Charlie Parker during a Parker gig in 1950, which has recently been issued on a CD.
Next time I'll try and have a review of "Symphonica," the new Joe Lovano record. But if that doesn't work out, you can expect me to continue improvising (HAH!).
Monday, September 8, 2008
Albums I Wish Existed
"Jazz Moves On to the Year 3000: Robert Glasper Plays the Music of Kool Keith"
Robert Glasper plays all of The Automator's beats from "Dr. Octagonocologyst" in much the same way he plays a bunch of Dilla beats on "J-Dillalude" from "In My Element."
"Bronenosets Potyomkin" by Dave Douglas
Dave Douglas' new project, featuring some brilliant young musicians- including acclaimed young tenor saxophone player Walter Smith III- and a healthy dollop of electronics, is an attempt at making music for the early silent-era films of the Soviet auteur Sergei Eisenstein. Douglas' long and well-researched liner notes contain a 20 page essay on Eisenstein's life and career.
"Everything" by Gary Burton's late-60s Quartet
All of those impossible-to-find-yet-apparently-brilliant records, starting with 1967's "Duster," that I desperately need to hear, are now being reissued in one neat little 10-disc (it includes plenty of out-takes) package. The kicker, of course, is that it only costs $10. Apparently guitarist Larry Coryell's work on this stuff is brilliant and influential, but of course I haven't heard it yet.
"Experimental, Thought-Provoking Music" by Jan Garbarek
The long-coming follow-up to 1974's "Witchi-Tai-To" that has only been hinted at in his discography since.
"Donny McCaslin Plays the Music of Chris Potter"
I know I know, I didn't notice when Chris Potter was replaced by Donny McCaslin in Dave Douglas' quintet, and you won't notice that it is in fact Downbeat rising star of the year Donny McCaslin playing Potter's solos- note for note- on this brilliant new album.
"Black and Proud: The Malcolm X Suite" by Wynton Marsalis
Wynton Marsalis' brilliant new suite, written about the great African American leader Malcolm X, was inspired by sources as eclectic as Duke Ellington and Billy Strayhorn, and will be played at Lincoln Center for the predominantly white audience that can afford to go to view "America's Classical Music" before being released as a five-disc opus.
Yes, this whole entry was a stupid, nerdy joke. I promise I'll have a substantive review as soon as the comcast people come and give me a replacement modem. Until then, though, you can enjoy this interview with Donny McCaslin, whose new "Lift-" excuse me, "Recommended Tools-" is now out on Greenleaf.
Tuesday, September 2, 2008
The Altered State of Myriam
All in all, the playing is pretty good. The last few tracks are more interesting in that they have more room for some free improvisation from the group, which also includes clarinetist John Ruocco, cellist Jacque Morelenbaum and pyrotechnical soprano saxophonist Pierre Vaiana, whose playing here recalls that of Daniel Zamir. Vaiana has very few showcases on the album (with such a big cast of players, individual solos are relatively sparse), but when he does solo, as on "I'm Telling You," he commands attention like no one else playing on the album.
But, of course, that's not the point; it is Myriam Alter's album, and it feels that way. Alter's compositions, and not the player's solos, are the backbone of the record. Like Zamir and Zorn, Alter is influenced by traditional Jewish music, but the more fitting comparison- and the one I've heard most from other critics- is to young clarinetist Anat Cohen. Like Cohen, Alter is more interested in created complex colours with her band's oddly voiced instrumentation as opposed to writing heads for the various musicians to solo over. This doesn't always work, of course- "September 11th" (can you guess what that one's supposed to evoke?) is a somewhat sludge-y dirge, and "Come With Me" drags on a bit too long. For the most part though, the compositions are interesting, and even occasionally beautiful, as in the tango sounding "Still in Love." Recommended to those who are intrigued by the description; it isn't your average jazz record.
Sunday, August 31, 2008
ECM Madness, Part 1
As should be expected, some CDs considered "classics" by ECM are pretty terrible. I'm surprised that there hasn't been more of a critical reappraisal of John Abercrombie and Ralph Towner's "Sargasso Sea," which is probably the most typically "ECM" album I've ever heard, and the sort of album that critics point to when they talk about the "ECM Sound." Towner plays a bunch of sus chords, and Abercrombie plays some predictable guitar over it. It isn't very good. Of course, other albums that are also very typically ECM are great; "Dreams So Real," arguably Gary Burton's best album in print (I have yet to hear the out-of-print RCA stuff he did with Larry Coryell), is also full of sus chords and clean guitars, but happens to be brilliant. The tunes, written by Carla Bley, form a suite for Burton and some incredible sidemen (the record introduced the world to Pat Metheny) to improvise over. The best parts of the album are sublime, showing what made the "ECM Sound" popular to begin with.
Of course, as I said earlier, 'The ECM Sound" is a myth, as some of the best reissues show: Dave Holland's "Extensions" is extremely funky, and altoist Steve Coleman is so sharp and energetic on it that he sounds like he'd cut through "ECM Sound"ing wide open spaces like a knife. The tunes themselves are also too complex to fit with the aforementioned albums. Granted, "Extensions" came out more than a decade after the other two, but people still talk about "The ECM Sound" almost twenty years after "Extensions." Plus, "Gnu High," probably Kenny Wheeler's best record, is just as good and it came out before "Dreams So Real." Although there are only three tracks (the shortest clocks in at about 8 minutes), Wheeler packs a huge amount of punch into the album; his sidemen Keith Jarrett, Jack DeJohnette, and Holland (all ECM stalwarts and Miles Davis alums) each sound great, whether during individual solos or group improvisations.
Of course, there are other notable records being reissued; "American Garage," an absolutely awful Pat Metheny Group record (how many Pat Metheny Group records couldn't be described that way?) that happens to be popular and has received critical praise from everybody (it has 4 1/2 stars out of 5 on Allmusic.com; perhaps the allmusic system of scoring is like the golf system). I think "bad album from the Pat Metheny Group" is enough of a description, but unless you like that stuff, stay far away. I have a friend who heard "Bright Size Life," Metheny's brilliant debut, and bought "American Garage" afterwards, thinking, "Man, it can't be that bad." Let his tragic (but true) story be a cautionary tale for you. You don't want to be the guy who wasted his 11 dollars on an album of the Kenny-G-of-the-Guitar playing odd-meter Ray Charles rip-offs. And then there's Jack DeJohnette's "Special Edition," which some think of as having the best, err, edition, of that band. I don't think it holds a candle to later albums with Gary Thomas and Greg Osby, but with David Murray and Arthur Blythe you can't really go wrong.
So there you go, ECM's first series of reissues. There are more coming out on September 30th, so you can expect another lengthy appraisal then. For now, though, that's ECM Madness! Next time I'll review something or other, and it will probably even be new!
Friday, August 29, 2008
Return to the Jazz Concept Album
That, as far as I can discern, is the plot of Aaron Parks' "Invisible Cinema" (complete with song titles) and, yes, when you view the record in that light, it comes off as overwrought and more than a little corny. Parks has made a point out of not giving away the plot he came up with to the press (it would cease to be "Invisible"), but I think my overview was vague enough as to fit pretty much anything he could have come up with. Point is, the song-titles are really lame.
The music, however, is another story. Like Mathias Eick's "The Door-" a better album than "Invisible Cinema," but don't let that give you the wrong impression of Parks' record- Parks' work manages to imply the feeling of some rock music more in spirit than in sound. "Nemesis" features a 7/8 feel that reminds one more of Radiohead's odd-tempo work-outs than Brad Mehldau's. The compositions are, for the most part, great, although certain tracks drag on for a bit too long. "Peaceful Warrior," which features an interesting, catchy head, eventually is bogged down in lengthy solos from Parks and guitar player Mike Moreno. The same goes for "Harvesting Dance," which, in spite of an interesting chord progression and some interesting work from those two and the other sidemen Eric Harland (drums) and Matt Penman (bass) also goes on for too long.
With those exceptions, however, "Invisible Cinema" is a pretty tight record at about a 50 minute length; unlike some other records from young people recently, it doesn't wear out its welcome, and there's enough going on for multiple listens. Recommended.
Sunday, August 24, 2008
Hilariously Incongruous Statements From the New Downbeat
What does this have to do with Downbeat? The opening quote in their article about Courtney Pine:
"Courtney Pine might be dubbed the 'Wynton Marsalis of British jazz,' given his standing as spokesman and abettor of his home country's music"
I know what you're thinking: "It's not April fool's day, is it? Should I check my calendar? This isn't funny, jazz monster..." No, it isn't April Fool's day. This is an actual quote from the actual new issue of Downbeat. I'm assuming that in spite of the interview, the author (a certain unfortunately named Micheal Jackson, who has just made a faux pas the equivalent of hanging a baby out of a window) didn't bother to listen to Pine's music.
There isn't anything else quite that ridiculous in this issue, although there are a couple more random moments of hilarity, like, say, the incredibly ironic title of the cover article: "Ravi Coltrane: The Next Trane Finds His Voice." So, which is it? Is he the next Trane? Or did he find his voice? Plus, for an article about a young musician who apparently (according to the article, at least) sounds like no one else and doesn't stand in anybody's shadow, they sure do mention JC (No, I'm not talking about Jesus Christ, although this other cat also died a few years too young) a lot.
Also, there's another laugh-out-loud hilarious blind-fold test with Robert Glasper thinking that everyone and their mother is Gonzalo Rubacalba and admitting he hasn't really ever gotten into Vijay Iyer. And Gretchen Parlato signed to Obliqsound, but I knew that months ago. I can't remember if I mentioned it here or not; either way, she's a brilliant (and smokin') young singer and I'm excited to hear her next record.
Maybe next time I'll have a full-on lengthy review of Aaron Parks' "Invisible Cinema," or maybe I won't.
Thursday, August 21, 2008
Straight Ahead: New Ones from John McNeil and Bill McHenry, Scott Hamilton, The Harry Allen and Joe Cohn Quartet
Granted, tenor saxophonist Scott Hamilton has been on the scene for more than thirty years now, but he's never really reached recognition beyond that of a cult musician, and he hangs out with Cohn and Allen, so I guess he belongs here. Hamilton's newest offering, "Across the Tracks," is a lot like all of his other offerings, but a little bit bluesier; that is to say, he swings like it's a 1950 Jazz At the Plaza recording, but with a couple more blue notes than you're used to from him. You can probably blame this on Duke Robillard, who plays bluesy guitar here, but this preoccupation with the 12 bar form is hardly a problem. When the band does play standards, they tend to be ballads; Hamilton's reading of "Sweet Slumber" is lovely, but his version of "Memories of You," which closes the album, is a little too wooden to stand up next to other tenor players' classic takes on the song- just compare it to the Roland Kirk/Jaki Byard version from 1968's "The Jaki Byard Experience."
Hamilton is a guest of the Harry Allen-Joe Cohn Quartet on their recent release, "Stompin' the Blues," and is more fun to listen to in this context; Cohn is a far more subtle and wide-ranging guitarist than Robillard, and it shows in his comping when he interacts with Hamilton and the other tenor player, co-leader Harry Allen (no really). Allen himself is also in fine form here, tackling some lesser-known standards. All in all, the musicians party like it's 1948, and they're all playing at a Norman Grantz-lead Jazz-At-The-Plaza session. Granted, there's nothing at all innovative or challenging about this record, but I suppose there are times when that's just what the doctor's ordered. Did I mention that Joe Cohn kills it? Recommended.
For those who like a healthy dollop of Ornette Coleman with their obscure cool-jazz/mainstream jazz standards, John McNeil and Bill McHenry have created "Rediscovery," an odd little release of west-coast tunes on which co-leader McNeil plays his trumpet in a fashion that somehow finds touchstones in Chet Baker and Lester Bowie. The two lead a piano-less quartet, like those lead by both Coleman and Baker, but mostly give a sort of free-bop treatment to esoteric works by Gerry Mulligan and Russ Freeman. The best tune in this collection is also the most famous: Mulligan's "Godchild." Both McNeil and McHenry play coolly blistering solos (I'm aware that that is an oxymoron, but you'll have to hear them for yourself) before allowing their rhythm section to take the reins. Also recommended.
I think next time I'll post a lengthy series of gripes about the new Downbeat (the best part is the Blindfold Test, where Robert Glasper thinks that every piano player he hears is Gonzalo Rubacalba- including Ethan Iverson of The Bad Plus), but that won't be at least until Monday, as I'm going to be without an internet connection this weekend.
Tuesday, August 19, 2008
A Door Opens
In spite of all of the jazz, there is also a discernible pop influence in the young trumpet player's work, albeit a very subtle one. Unlike his other young counterparts here in the States, who wear their hip-hop and R&B influences like a glove, Eick is more interested in the feeling than the actual sound. "Williamsburg," the album's centerpiece, has a hook worthy of a pop song and contains a fair amount of improvisation, but builds like a classical work; it's impossible to pigeonhole the tune into any one genre, but the aesthetic is clear. "Williamsburg" isn't just meant to be heard, but to be felt. The band breaks down a few times, going into understatedly short, rehearsed free sections, before coming back with the song's insistent piano groove. Eick himself plays beautifully, imbuing the song with a quiet weight. For such a young player, Eick has already found an extremely individual voice; after having heard "The Door," I could never mix Eick's understated beauty up with the work of any of the plethora of other young trumpet players on the scene today.
His sidemen are not here to provide back-up, however; in spite of the fact that many tunes are developed in the traditional head-solos-head fashion, they are too textured to be mistaken for normal straight-ahead jazz. When Eick solos, the band solos with him: pianist John Balke, drummer Auden Klieve, and bassist Auden Erlien all double on various other instruments through-out the record to match Eick's various moods, and each member eggs the other on when the leader isn't soloing. Eick seems to be heralding something of a renaissance in Norwegian jazz, in spite of guest spots on all kinds of albums, his "The Door" is the first one to take the works of the older Europeans and add something substantial to them. "The Door" is possibly the most beautiful album I've heard all year, and it doesn't hurt that I've never heard anything quite like it. Highly recommended.
Sunday, August 17, 2008
Quite DAPPer
"Layers of Chance" is Dapp Theory's second record, and its first in five years. There are numerous personnel changes from 2003's "Y'all Just Don't Know," but the most notable is the contribution of young alto and soprano saxophonist Loren Stillman, who is new here. Stillman, once a child prodigy, is interesting for his biggest influences; in terms of his tone and ideas, his major idols seem to be Lee Konitz and Steve Coleman (with more Konitz than Coleman, oddly enough), not exactly an easy combination to reconcile. He sounds great here, and has chances to solo on almost every track; his work on "Three Duets" is particularly cool, in spite of the fact that there are apparently no actual duets. Stillman keeps the record unpredictable, playing licks that would sound out of place on a Steve Coleman or Greg Osby record, but that somehow seem to fit fine here.
The title track of "Layers of Chance" also adds some new voices (literally) with contributions from Latanya Hall and Becca Stevens. Stevens seems poised to be the new Cassandra Wilson, with an interesting and not particularly "JAZZ" album, "Tea Bye Sea," and a (the) starring role in Travis Sullivan's Bjorkestra project. Milne has never been averse to using singers in his work, and has collaborated with folk musician Bruce Cockburn before. The most interesting contribution from a voice, however, is not melodic; John Moone, credited with "percussive poetry," does just that. As his credit would suggest, Moone acts as a percussionist, creating an added layer of rhythm to the proceedings with his poems.
The album, like anything good influenced by Steve Coleman, is incredibly funky. Tracks like "Bodybag for Martin" and "Monk Walks" would be danceable if they weren't, you know, in odd times that make them impossible to dance to. Milne, like Coleman, isn't interested in soothing purists, and so "Layers of Chance" is all over the place, and isn't "straight ahead" in any sense of the term. That said, I would recommend it to adventurous listeners.
Tuesday, August 12, 2008
Good Vibes
Of course the fact that I'm awestruck by his technique would be totally meaningless if his record weren't any good, but luckily it is. On "Depth of Emotion," his recent collaboration with the much more high-profile Dave Liebman, who plays soprano here, Saindon's extremely complex compositions and reharmonizations shine; in spite of their complicated chord changes and rhythmic motion, they never manage to lose accessibility. Take the versions of "Moon River" and "On Green Dolphin Street," for example. Both are reharmonized with odd chord changes, but in neither is the melody of the tune not readily apparent. Liebman's work here is pretty great, although Saindon, who barely ever records, steals the show with his brilliant vibes playing and piano. Is "Depth of Emotion" going to change the jazz world? No. But that said, it is an interesting, modern, and entirely accessible record that I'd recommend to just about anybody.
Bill Ware, who has added his gymnastic (ha!) ability to Bobby Previte's most recent incarnation of Bump, is, I suppose, the downtown vibes player now that Bobby's settled to spend most of his time playing his drum kit. Having spent time in The Jazz Passengers, recorded for the Knitting Factory label and played on records for Previte and Marc Ribot, all that Ware needs to consolidate his rep is a guest spot in John Zorn's latest Jewish Jazz ensemble (Masada Marimba?) and a record deal with Pi. "Wonder Full: The Music of Stevie Wonder," corny name aside, is probably only going to help. Odd concept? Check. Japanese bassist? Check. Lounge-y vibe? Check. The only problem is, it isn't great. The sequenced keyboards are too corny for words, and his group would work fine as a quartet without them. Ware himself sounds great, but his band just sounds too much like elevator music, albeit self-aware, ironic elevator music. There simply isn't enough variation in the tunes from Wonder's originals- or from eachother, for that matter. Worth a listen if you can get ahold of it, but not worth the search it would probably take to find it anyway.
Next time I may have a smooth jazz round-up of some sort (there are tons of high-profile smoove-cats releasing records right now- Dave Sanborn, David Benoit, that ex-football player who had cancer... the list goes on and on), but then again I may decide to review something good. I suppose we'll see.
Saturday, August 9, 2008
JazzTimes has Some Weird Picks for it's Seven "New Jazz Visionaries;" First Half of Aaron Parks' "Invisible Cinema" really good
First off, it's worth picking up the new JazzTimes just for Taylor Eigsti's "Before and After," in which he apparently has never heard of Martial Solal ("What's the story with Martial Solal? I want to hear more of that"), kinda sorta trashes Ahmad Jamal ("It's in C, which to be honest I don't think is the best key for that tune"), and says that Brad Mehldau "is probably influenced by" Brad Mehldau. It's almost as good as Andy Bey's "Blindfold Test" from a few months ago, but not quite.
Second, Christian Scott is a major new jazz visionary but not Ambrose Akinmusire? I understand the lack of inclusion of Lionel Loueke, Jason Moran (too well-known by now) and Mike Moreno (he and Aaron Parks are like two sides of the same coin, but Moreno plays guitar), but why no Ambrose? I suppose the lukewarm reviews of "Prelude: To Cora" hurt him in this respect, but Scott's "Anthem" was given much harsher press. Plus it would have been nice to see Gretchen Parlato get some love, but oh well. Next time, I suppose. Other than that it was good, with worth-reading write-ups of Esperanza Spalding and Anat Cohen.
Finally, the first half of Aaron Parks' "Invisible Cinema" is online, and it's really good. Really good. Check out the way he reconciles obvious hip-hop and indie-rock influences on tracks like "Nemesis," which features a solo from Mike Moreno that I would call, for lack of a better phrase, "hella fine."
Friday, August 8, 2008
Two of the Greatest Jazz Albums of All Time (And Possibly My Two Personal Favorites) Have Recently Been Reissued on Concord. Buy Them.
I should be incredibly happy; this set of reissues gives me an excuse to write at length about these two albums. In all honesty, though, I barely have the motivation. What is there to say about "Waltz for Debbie" or "Sunday at the Village Vanguard?" I can't do them justice. I tried to describe "Sunday at the Village Vanguard" for my first column at the Scarsdale Inquirer; while I did manage to bang out a few words about how it manages to be accessible and avant-garde at the same time, and about the telepathy of the three musicians, I concluded at the end that the album was indescribable. That holds true here, so before my next paragraph I should add a disclaimer: everything I say from here on is bullshit. Just go out and listen to the music. You'll thank me.
Most of the people who read this will know the tragic story, but it's worth reprinting: shortly after this performance, bassist Scott LaFaro, arguably the most important bassist of his era, died in a car accident. Because of this fact, people have a tendency to add some sort of value to this album; after all, it is LaFaro's last performance. In all honesty though, it doesn't matter. LaFaro could have lived until now and he would never have played again like he does on these two albums. Unlike most other bass players, who anchor the controlled chaos going on around them, LaFaro floats above the fray, playing off of Evans' piano and Motian's haze-like cymbals, and often simply ignores the roots that any sane band-leader would expect him to play. In that sense, yes, this trio's work is "avant-garde." But that word has a certain gravity to it; "Sunday" and "Waltz" are not made up of abrasive or inaccessible music.
I understand that I often use hyperbole in this forum as a way of getting my point across. But there is no hyperbole in the statement I'm about to make: take 2 of "Alice in Wonderland," off of "Sunday at the Village Vanguard," is the single most beautiful recording I've ever heard. Evans' block chords, LaFaro's floating bass, and Motian's cymbal mist work together to create a waltz of such ethereal, aching beauty that it has to be heard to be believed. There's nothing else like it in jazz, at all, aside from perhaps its counterpart, the title track of "Waltz For Debbie," which is almost as good.
Highly highly highly highly recommended. Do yourself a favor, and listen to these albums. Even if you don't buy them, just find them somewhere and listen to them. Trick your friend into buying them and then listen to them. Do whatever you have to do, but these two are the ones to hear.


text:
Baba's War by Steffi Walker is an exploration of three generations of women in the same family, their progress from Poland to Scotland to England, and how war affects both those involved and their future descendants. It's about identity, family and traumatic experiences, with Walker playing her mother and grandmother as well as herself. She switches easily between personas and makes the whole thing memorable and thought-provoking.
Performed at the Streatham Hill Theatre as part of the 'Women and War' season, it's well worth seeing.

subset: commoncrawl


text: 16 mahajanpada Archive 24 Feb 2014 Later Vedic Period By Gaurav Kaushik Ancient History, HISTORY 1 Comment In our previous article we discussed about the era of Vedic culture, invasion of Aryans, social and political life in that era. Now in later vedic period we will be discussing the penetration of Aryans, Formation of 16 Mahajanapadas, religious life, social life etc. Later Vedic period is also referred as PGW phase (Painted Grey Read More


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(ahem) So I know that everyone has their own canons and such… We've been through all that.
But, what are some of the various branches or divisions in the SCP Foundation? (i.e. "Technical Division", "Engineering" "Medical Branch") Obviously based on what you have read, and your head canon.
And while we're at it, what are some possible committees that exist within the Foundation, such as the Ethics Committee?
Dr Roy ████, Junior Researcher


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With the arrival of summer season, the kids are out of college and the weather is finally getting hotter, which suggests you'll find yourself planning day trips with the family. The beginning of the new season also brings alongside health situations which have been saved away all winter, so here are a couple of health tips that will help you get pleasure from a fun and healthy summer! Be at liberty to depart your feedback and share this blog with your family, buddies and acquaintances. Better yet grow to be a subscriber! To diagnose gastritis, your specialist will survey your individual and family medicinal historical past, carry out an exhaustive physical evaluation, and will prescribe any of the accompanying exams. Feeling very tired, Mild fever, Headache, Not eager to eat, Feeling sick to your stomach or vomiting, Stomach pain, Tan-coloured Bowel actions (stools), Dark urine, Yellowish eyes and skin. Jaundice normally appears solely after different signs have began to go away. Most individuals with chronic hepatitis B don't have any symptoms.
Lastly, no one can adequately report simply how a lot authorities influence which is already knee deep into the health care trade, is the reason for the issues in health care right this moment. Medicare and Medicaid are on their approach to eating up upwards of forty five% of the national budget by 2050 (CBO). Government run health care in this nation will be a disaster.
Formal communication channel – This channel is systematic, is outlined and has a everlasting structure. It will depend on the organisational structure and follows solely that path of communication. Though the movement of information is restricted, it's secure, orderly and below control. It might probably lead and keep away from errors and miscommunications relying on circumstances and conditions.
The inhabitants of the public hospital is commonly the uninsured and underinsured from the decrease socioeconomic status. It has been found that this inhabitants isn't predisposed to observe up with regular medical care for chronic situations (Baker, 2006). In addition, those patients from a decrease socioeconomic standing have been found to have decrease health literacy (Kutner, et al, 2006). This mixture of a power sickness in addition to low health literacy make these shoppers from a public hospital outpatient clinic an appropriate choice for this lesson plan.
The solution is easy and efficient – when intruders trip the lights, they get spooked and take off. What's more, whoever is inside will see the lights activate and will know to be looking out. As a observe, simply be careful to ensure these out of doors lights to not disturb your neighbors. In addition to promoting reading comprehension, studying journals are a stepping stone to the literary analysis that is carried out in high school. So prepare your youngsters in the elementary years by utilizing a reader's response journal.


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The Hale Storm
Thursday, October 10, 2013
Autumn Moon Festival at Stanley
The Autumn Moon Festival fell on a Thursday night this year. So many preparations such as lanterns dragons, markets and Moon cake (not crazy about these). Moon cakes have lotus paste surrounding a salted egg yoke although they do have some ice-cream ones but they are not traditional. No one could tell me what the holiday was about so of course I had to resort to google. Apparently, the ancient Chinese celebrate by thanking the moon god for their harvests. Modern times have made it a huge party at the beach or wherever with lanterns and lights during the first full moon of Autumn. Emma went with a neighbor but Rubee took Jason. Alexis, Devon and I had to sit through an on-line Algebra class. Tim was not home from work. I really like the Potter School for Devon and Alexis but I hated for them to miss the festival. However, they could not miss class because in a couple of weeks we are heading to Thailand and going to miss school!
Emma and Avery our neighbor!
Sand angels
The moon and lanterns
The moon rising from my balcony.
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Lily Schnittblume Flowers Tulips Nature Tulip
Our photographer was made it by Canon EOS 50d camera with shooting mode 300.0mm · ƒ/8.0 · 1/180s · ISO 320. Our moderator was tagging for this picture: Tulip, Lily, Nature, Flowers, Tulips, Schnittblume. It is our selection and archived in the category "Nature/Landscapes". resolution of image 4752×3168 pixels, you can download it with JPEG format.
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You can shop with confidence at Bella Fashion Jewelry, safe in the assurance that you are purchasing a high quality product. We offer all our customers a 100% guarantee on products purchased directly from our company. If you are unhappy with your purchase, you may return it within 7 days from receipt of products for a full refund. If the reason for return is not product related, there may be a restocking charge. Please refer to our return policy.
Product 39/42
Headband with shimmering covering. Headband is in a rounded shape, beveled upward in an arc form. Width is 5/8". Comb teeth at the underside.


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For over a century, America's food experts have heralded milk as "nature's ideal food," as "indispensable" and "the so much entire food." those milk "boosters" have ranged from shopper activists, to govt nutritionists, to the yank Dairy Council and its ubiquitous milk moustache advertisements. identical to milk as healthy and body-building has a protracted heritage, yet is it accurate?
Recently, in the most recent social events round nutrition, milk has misplaced desire. Vegan anti-milk rhetoric portrays the dairy as merciless to animals and milk as undesirable for people. lately, books with titles like, "Milk: The lethal Poison," and "Don't Drink Your Milk" have portrayed milk as poisonous and bad. Controversies over genetically-engineered cows and questions on antibiotic residue have additionally triggered shoppers to query no matter if the milk they drink every day is actually stable for them.
Read or Download Nature's Perfect Food PDF
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Feed and Feeding Practices in Aquaculture (Woodhead Publishing Series in Food Science, Technology and Nutrition)
Feed and fertilizer are major expenditures in aquaculture operations and play an enormous function within the winning creation of fish and different seafood for human intake. This booklet stories the major houses of feeds, advances in feed formula and factor offerings and the practicalities of feeding platforms and techniques.
Fungal Diseases: An Emerging Threat to Human, Animal, and Plant Health: Workshop Summary
Fungal illnesses have contributed to loss of life and incapacity in people, caused worldwide flora and fauna extinctions and inhabitants declines, devastated agricultural plants, and changed woodland atmosphere dynamics. regardless of the wide effect of fungi on healthiness and financial overall healthiness, the threats posed via rising fungal pathogens to lifestyles in the world are frequently underappreciated and poorly understood.
Domestication (Greenwood Guides to the Animal World)
We proportion the earth with a wide selection of animal species, each one of which brings whatever distinctive to the variety of the planet. by means of understanding extra approximately how animals behave and reside, we achieve a better knowing of the way existence developed and the significance of biodiversity. Domestication investigates the animal behavioral trait with which we're such a lot normal ― how a number of species of animals have, during the last few millenia, develop into valuable contributors of human societies.
Extra info for Nature's Perfect Food


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at the beginning of this year i declared it as a year of Grace which is must admit was quite an ambitious declaration when i don't really know what grace is. it's not that i haven't experienced it from time to time. i think i just have lived in the law for so long that i sometimes find it hard to recognize, receive or practice grace from time to time.
this song touches my heart every time i hear it. it's the heartbeat of the Father. it is Grace himself. i listen to it whenever i forget what Grace feels like. it reminds me of the story of hosea & gomer in the bible. the relentless pursuer & the reluctant pursued. a gripping love story mirroring the Groom's pursuit of His wayward bride. His pursuit of me. the story so gripped me that i changed my camp name to gomer {or at least until my camp director suggested that naming myself after a prostitute might not be so appropriate which is how i got my name ozynol which is another story for another time}.
anyways, this is for any other prisoners of law that needed to hear the voice of Grace calling for you.
i knew what i was getting into {misty edwards}


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Daylight Saving TimePosted by pnoy
Every year, we experience a change in time. These impacts our daily transactions from the global perspective down to our household activities. In my country, the Philippines, we don't observe DST, however for the benefit of our friends around the world, they will start turning back the time for an hour, or add but it is different in some other parts of the world.
For most of the countries like some locations in the Russian Federation, Iran, Israel, Gaza and others; they will observe one-hour in advance. Of all countries, Israel got the most complex changes because of the many traditions that has to be observed. I found a certain website which posts some of interesting facts about the DST changes in other countries, please click here.
The current time is displayed here. To those in the US and UK, below is a chart showing the time difference.


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| Definition -
A symbol in a syllabary, which is a set of written symbols that represent (or approximate) syllables. Syllabograms usually represent a consonant sound followed by a vowel sound.
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Students celebrate Black History Month
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February is Black History Month, and Grayslake North students and staff are making sure that the student body is aware of the critical importance of recognizing black historical figures and what they have done for the country.
"When the Knights' Way student group formed, the group wanted to take a look at how we could work to continue to create an inclusive climate and culture for all students here at North. That's when the idea for celebrating Black History Month at North was proposed," said student assistance program coordinator Jenny Andersen, one of the organizers for Black History Month.
Events are not limited to North, as the College of Lake County is also involved in promoting Black History Month.
"The Historically Black College and University College Fair at CLC is a good way for students of color to learn about historically black colleges and know all of their options," said senior E'Sence Kenebrew.
Students and staff have also worked on creating activities outside of school for students to enjoy.
"The Knights' Way group is showing 'Hidden Figures' and '42' after school in the library on Thursdays at 3:30 for the next two weeks. There will be free pop and snacks, and we are raffling prizes. Some teachers are offering extra credit," Andersen said.
Grayslake North is taking Black History Month seriously and want to make sure it does not go unnoticed, according to senior Natalie Davila.
"Black History Month sometimes goes overlooked, and at North since there's mostly white students, black history is important to learn about," Davila said.


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The pioneers of WMMA are coming to UFC Fight Pass.
Hook'n'Shoot announced late Friday evening they have signed a deal with the UFC streaming and digital library service. The deal will include their 19 years of events and tape delayed upcoming events.
Hook'n'Shoot was the first US promotion to have a sanction women's MMA bout in 2001 and followed up with 2002's "Revolution", the first sanctioned all female MMA event in the country.
The promotion was the start of many of the first generation WMMA fighters, including Megumi Fujii, Tara LaRosa, Julie Kedzie, Miesha Tate and Roxanne Modafferi. The old school MMA matches will be able to be seen by a new generation of WMMA fans.
No word on when matches will be uploaded to the network.
Filed under: ammy wmma, female mma, MMA, wmma, womens mma


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Event Marketing Manager
- Recruiter
- Location
- South West London
- Salary
- £40000 - £45000 per annum + superb benefits
- Posted
- 19 Mar 2018
- Closing date
- 18 Apr 2018
- Ref
- M6830b
- Contact
- Regan & Dean Recruitment Ltd
- Industry
- Marketing & PR, B2B, Conferences & events, Digital marketing
- Job function
- Marketing & PR
- Job level
- Experienced (non manager)
- Hours
- Full time
- Contract
- Permanent
- Listing type
- Job vacancy
- Education level
- Undergraduate degree (or equivalent)
Award winning media company are looking for an experienced Event Marketing Manager to lead the marketing activities for their expanding events publishing portfolio, which includes 'must attend' b2b conferences, seminars and awards.
The Company
High profile, highly successful media company based in Chelsea (location can be accessed by tube (district/central) or main line train link). They are known for creating engaging and industry-leading content, print and digital B2B publishing - specifically within business and private equity. Friendly, collaborate environment. Superb benefits. Opportunity to be a part of growing company and their growing event portfolio.
The Role
As an ambitious and experienced B2B marketer you are looking to utilise your event marketing experience to take you to the next level. Ideally having previously worked within events, you will be able to demonstrate creativity along with planning, digital and communication skills through previous successful marketing campaigns.
Key Responsibilities:
- Work with brand editor and commercial manager to distil USP's and key messaging to inform event launches
- Create highly effective B2B marketing strategies
- Deliver a programme of high-impact end to end email and digital marketing campaigns.
- Optimise copy, layout and SEO on websites
- Write or coordinate effective content
- Managing specific marketing project budgets
About You
I'm looking for an experienced b2b event marketer who possesses fantastic digital skills, be highly driven with plenty of creative ideas and keen to contribute to the planning and development of successful campaigns.
You'll be a marketing all-rounder; someone who has at least three years' experience creating and implementing event marketing strategies designed to deliver high ticket-price delegates. You will be adept at optimising websites for event marketing and will use a variety of marketing channels, email, social, direct mail, content to deliver targets. You will also advice on data strategy alongside a data manager and be responsible for measuring and reporting on activity.
If this sounds like your ideal next step in your marketing career, please click the "Apply " button now, they're keen to start interviewing ASAP.
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