I realize that my previous post might have seemed like a defense of Pitchforkmedia's indieism (did I just coin that). If you read the Zelious piece, what I intended was to oppose Sanneh's views in his NY Times article, much the same as Carl Z did. Since we agree, I couldn't be bothered to write a long piece myself, especially since Carl did it so well himself.
In other news, Rhino's 90's box arrived this week. It's a confusing mess, collecting hits that charted on Billboard plus tracks I guess the guys at Rhino considered important. It leans heavily on alternative artists, which is fine by me, but since such nineties phenomena as dance and electronic music are barely represented, the box is not what it says on the cover. They've done a terrible job of representing rap music too. MC Hammer, Wrex-n-Effect and House of Pain may fit the bill as hits, but are they hardly good representatives of this prolific time for rap music. De La Soul is, but what about Public Enemy. Ok, they were at their peak in the late eighties, but did good music well into the nineties. Pharcyde, Outkast, Dr. Dre and the whole g-funk era? Nowhere to be seen. If Rhino had trimmed the box down to a couple of CD's, they could have had an excellent overview of alternative and indie music from the era when Nirvana and alternative entered the charts. As a guide to nineties pop culture, though, they are way off the mark.
Sunday, July 31, 2005
Wednesday, July 27, 2005
Intonation
Friday, July 22, 2005
"Jazz" in Molde, 2005
Reporting from the back of a boat at the harbor of Molde, a city which its inhabitants a more proud of than they have any reason to be.
I came down to see Anthony Braxton, one of few truly interesting jazz names in this years program. Braxton played on the 20th of July. He fronted a sextet I daresay comprised of his students, they were at least 20-30 years his juniors. Braxton on saxes: piccolo, soprano and alto. Bass, violin, percussion, trumpet and tube completes the sextet. They played one piece on the night, entirely composed, but they seemed to play around with the sections as though the piece had not been composed from A to Z. I found it very engaging and was particularly impressed with the bass player as well as Braxton himself. Many of the audience didn't know what they had gotten into, one heckler declaring "FUCK YOU" as he stumbled out. Braxton seemed unfazed.
Thursday and the main attraction of this "jazz" festival, Lauryn Hill, enters the stage. I had initially decided not to go, but persuaded myself that it was in my general interest to do so. Her band was actually surprisingly funky, and Ms. Hill herself was not as introvert as papers in Sweden had told me she would be. But she does not boast a body of song intriguing enough to sustain my interest for an hour and a half, which also confirms my belief that her Miseducation album sounds more like a classic than it actually IS, because the songs are simply not strong enough.
I have a bone to pick. The festival in Molde depends too much on non-jazz artist, mostly blues and related, to complete their program. No harm in that, but Kongsberg continues to break old and new ground with an almost entirely jazz profile, confirming my belief that Kongsberg has surpassed Molde as Norway's premier jazz festival.
Pondering whether to see Jamie Lidell tonight. Later
I came down to see Anthony Braxton, one of few truly interesting jazz names in this years program. Braxton played on the 20th of July. He fronted a sextet I daresay comprised of his students, they were at least 20-30 years his juniors. Braxton on saxes: piccolo, soprano and alto. Bass, violin, percussion, trumpet and tube completes the sextet. They played one piece on the night, entirely composed, but they seemed to play around with the sections as though the piece had not been composed from A to Z. I found it very engaging and was particularly impressed with the bass player as well as Braxton himself. Many of the audience didn't know what they had gotten into, one heckler declaring "FUCK YOU" as he stumbled out. Braxton seemed unfazed.
Thursday and the main attraction of this "jazz" festival, Lauryn Hill, enters the stage. I had initially decided not to go, but persuaded myself that it was in my general interest to do so. Her band was actually surprisingly funky, and Ms. Hill herself was not as introvert as papers in Sweden had told me she would be. But she does not boast a body of song intriguing enough to sustain my interest for an hour and a half, which also confirms my belief that her Miseducation album sounds more like a classic than it actually IS, because the songs are simply not strong enough.
I have a bone to pick. The festival in Molde depends too much on non-jazz artist, mostly blues and related, to complete their program. No harm in that, but Kongsberg continues to break old and new ground with an almost entirely jazz profile, confirming my belief that Kongsberg has surpassed Molde as Norway's premier jazz festival.
Pondering whether to see Jamie Lidell tonight. Later
Sunday, July 10, 2005
Henry Grimes Trio, Kongsberg July 8., 2005
So, how does one cope with the terrible events in London on Thursday? I suppose some would not have scrapped plans for a concert the day after, understandably, but I didn't.
On one of the hottest days so far this summer, I went to witness The Henry Grimes Trio play at Kongsberg's annual Jazz festival in a shack-like venue. I was sweatin', and could not figure out where to buy refreshments, so I just sat there waiting for about an hour amid an audience of mostly 50 + year-olds and a some of my own age. Just past 11pm, an announcer calls Henry Grimes, Hamid Drake and David Murray on stage.
Mr. Grimes' story doesn't need repetition. He looks a grandpa-like figure as he steps up to his (borrowed for the occasion) bass, wearing a green sweat band on his head and two large buttons on his t-shirt depicting his two compatriots, Darke and Murray.
Immediately, they break into the first of four songs. The sounds bounce between the close walls, and I'm pretty sure some of my fellow listeners got a bit of a shock. I'm amazed by the velocity of the piece. Murray blows his horn like only he can, shifting between melodic parts and bops'n'pops. He twists and turns on stage, and on one occasion, stands with his legs spread with his horn straight in front of him as if preparing to fire a gun into the audience. Drake floats all over his drum set without being excessive, providing a funky beat. He is terrific to watch as well as listen to, and he is probably one of the best drummers in the game. Mr. Grimes is at first the least impressive of the three, but gradually, as his left hand decides to keep up with his right, he starts to find his feet. After a ferocious starts they slow down a bit, and Murray takes out his bass clarinet. He lays down a deep melodic line, and eventually starts to play long notes backing Grimes up for a solo which he plays interchangeably with a bow and finger picking. The song ends.
The next tune starts with Murray, playing a simple melodic blues on his tenor. The piece is more traditional than the first, but they still toss in elements of "free" and improvised structures. Drake continues to bang and stroke. Fantastic. Grimes takes a walk on his bass. They seem equally comfortable with the two slower pieces that close the nearly 100 minute long set.
Although I looked forward to the gig, and especially witnessing David Murray for the first time, I was a bit skeptical of how the main attraction, Henry Grimes, would hold up. Given the time he has been away from jazz, coupled with his age, his playing was more than apt to keep up with Drake and Murray, two of the best jazz musicians in recent years. There was no weak link between them, and I will try to pick up their release on Ayler Records from last year.
At the start of the gig, I noticed Ken Vandermark and several of Norway's finest (Nielsen-Love, Haaker Flaaten) in the audience. A bit later, I turned around again, and they all had grins on their faces. Just like myself. Very enjoyable.
On one of the hottest days so far this summer, I went to witness The Henry Grimes Trio play at Kongsberg's annual Jazz festival in a shack-like venue. I was sweatin', and could not figure out where to buy refreshments, so I just sat there waiting for about an hour amid an audience of mostly 50 + year-olds and a some of my own age. Just past 11pm, an announcer calls Henry Grimes, Hamid Drake and David Murray on stage.
Mr. Grimes' story doesn't need repetition. He looks a grandpa-like figure as he steps up to his (borrowed for the occasion) bass, wearing a green sweat band on his head and two large buttons on his t-shirt depicting his two compatriots, Darke and Murray.
Immediately, they break into the first of four songs. The sounds bounce between the close walls, and I'm pretty sure some of my fellow listeners got a bit of a shock. I'm amazed by the velocity of the piece. Murray blows his horn like only he can, shifting between melodic parts and bops'n'pops. He twists and turns on stage, and on one occasion, stands with his legs spread with his horn straight in front of him as if preparing to fire a gun into the audience. Drake floats all over his drum set without being excessive, providing a funky beat. He is terrific to watch as well as listen to, and he is probably one of the best drummers in the game. Mr. Grimes is at first the least impressive of the three, but gradually, as his left hand decides to keep up with his right, he starts to find his feet. After a ferocious starts they slow down a bit, and Murray takes out his bass clarinet. He lays down a deep melodic line, and eventually starts to play long notes backing Grimes up for a solo which he plays interchangeably with a bow and finger picking. The song ends.
The next tune starts with Murray, playing a simple melodic blues on his tenor. The piece is more traditional than the first, but they still toss in elements of "free" and improvised structures. Drake continues to bang and stroke. Fantastic. Grimes takes a walk on his bass. They seem equally comfortable with the two slower pieces that close the nearly 100 minute long set.
Although I looked forward to the gig, and especially witnessing David Murray for the first time, I was a bit skeptical of how the main attraction, Henry Grimes, would hold up. Given the time he has been away from jazz, coupled with his age, his playing was more than apt to keep up with Drake and Murray, two of the best jazz musicians in recent years. There was no weak link between them, and I will try to pick up their release on Ayler Records from last year.
At the start of the gig, I noticed Ken Vandermark and several of Norway's finest (Nielsen-Love, Haaker Flaaten) in the audience. A bit later, I turned around again, and they all had grins on their faces. Just like myself. Very enjoyable.
Thursday, July 07, 2005
I'm so movin' on!
I can't get miss Clarkson's "Since U Been Gone" out of my head! Damn. I've added it to my beloved 'pod, and it'll play on repeat untill i get sick of it. Hope it's not too soon.
Monday, July 04, 2005
Never too much...
So, the Live 8 hoolabaloo went well, according to sources. My friend at http://eirikblegeberg.blogspot.com/ did a piece on it before the weekend, and I have little to add to this. For non-norwegian users, I refer you to his links in the piece for other essays on the subject.
One big news item this weekend was the passing away of the great Luther Vandross. In the early eighties he was one of the best voices in contemporary soul, and his first albums are pretty good. Although his career went downhill from there as far as I'm concerned, he retained a strong fanbase and will be remebered as a big soul star. Nelson George has written a few lines on his website http://www.nelsongeorge.com/blog/.
On another subject: since I started my Jazz section (see sidebar) a while ago, I've been trying to listen to as many of my jazz albums as possible in order to reasses how I would rate them. I'll post more records and grades during the next few weeks.
Later
One big news item this weekend was the passing away of the great Luther Vandross. In the early eighties he was one of the best voices in contemporary soul, and his first albums are pretty good. Although his career went downhill from there as far as I'm concerned, he retained a strong fanbase and will be remebered as a big soul star. Nelson George has written a few lines on his website http://www.nelsongeorge.com/blog/.
On another subject: since I started my Jazz section (see sidebar) a while ago, I've been trying to listen to as many of my jazz albums as possible in order to reasses how I would rate them. I'll post more records and grades during the next few weeks.
Later
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