MoldeJazz '09, pt.3

Heard Leonard Cohen played 3 hours yesterday, meaning I'll miss Mario Pavone at 20.30 unless Leo cuts it short or I leave early, the latter more likely to happen.

Saw Fanfare Ciocarlia last night. Magnifique!

MoldeJazz '09 - Cecil Taylor, Frode Gjerstad & Han Bennik

Cecil Taylor played a solo gig on Wednesday evening. He was in good form, playing with great dynamism and verve, mostly concentrating on his percussive and rhtyhmically complex music, intercut by sudden quietude and pianissimo. I've heard it said that Taylor's so original that his style has yet to be picked up by younger musicians, but I dare say I hear some of his touch in the work of Vijay Iyer with Fieldwork, especially when it comes to the percussive elements, 'though the playing of Tyshawn Sorey in that same group may have influenced me in making that statement.



Multi reed player (he played clarinet, bass clarinet and alto today) Frode Gjerstad and Dutch drummer, comedian and contorionist (well, not really) Han Bennikk played a fun gig earlier today. Gjerstad is one of the country's best improvisational sax players (I'm quite fond of his work with William Parker and Hamid Drake). Han Bennik is nothing if not inventive - one of his more "normal" techniques involves using his foot to "mute" the drum skin - but that wouldn't matter unless he also had chops, which he does. His ability to go from all over the place to find forceful grooves is very enjoyable. He also is notorious for his antics, using found objects as percussion, which makes a musical experience with him humorous as well. But the antics sometimes distract from the music itself as the audience chuckle, and occasionaly today Gjerstad appeared to be overshadowed by Bennik. Most of the time, though, they played very well and make highly interesting music together. Oh, and Bennik dropped a cymbal on Gjerstad's foot. Ouch!

Molde Jazz '09

Apologies for the lack of updates. Been on the road for a while with only occasional internet access.

Missed the first two days of this years' Molde Jazz, 'though the only two gigs I may have attended are Atomic (seen them many times, so no big miss) and Thomasz Stanko. Will go and watch Frode Gjerstad and Han Bennik, plus possibly Supersilent and Fanfare Ciocarlia tomorrow. Got tickets for Leonard Cohen and Mario Pavone Double Tenor Quintet on Friday.

Just returned from a Cecil Taylor solo gig. Very enjoyable, probably better than the previous time I saw him. May write a few more words on that tomorrow. Plus, I need to step up the "music of the week" thingy.

'09, the first six months: an album round-up

Normally, I wouldn't do this, but since I haven't posted any "Music of the Week" for a while, and my 2009-list updates have been sloppy at best, I thought I'd post a top 20 records Jan. to June 2009 now.

1. Abdullah Ibrahim: Senzo (Sunnyside)
2. UGK: UGK4Life (Jive)
3. The Fully Celebrated: Drunk on the Blood of the Holy Ones (AUM Fidelity)
   
4. Matthew Shipp: Harmonic Disorder (AUM Fidelity)
5. Wussy: Wussy (Shake It)
6. David S. Ware: Shakti (AUM Fidelity)
7. Art Brut: Art Brut vs. Satan (Cooking Vinyl)
8. Sonic Youth: The Eternal (Matador)
9. Steve Lehman Octet: Travail, Transformation, and Flow (Pi Recordings)
   
10. Dinosaur Jr.: Farm (JagJaguwar)
    
11. Darren Johnston: The Edge of the Forrest (Clean Feed)
12. The-Dream: Love vs. Money (Def Jam)
13. Yeah Yeah Yeahs: It's Blitz (Interscope)
14. White Denim: Exposion (EM/Tunecore)
15. Lily Allen: It's Not Me, It's You (Regal/EMI)
16. Conor Oberst and the Mystic Valley Band: Outer South (Merge)
17. Gerald Cleaver, William Parker, Craig Taborn: Farmers by Nature (AUM Fidelity)
18. Japandroids: Post-Nothing (Unfamiliar/Tunecore)
    
19. K'Naan: Troubadour (EMI/Virgin)
20. Staff Benda Bilili: Tres Tres Fort (Crammed)
    

Last goodbyes to MJ from the blogosphere

Darcy James Argue, Visionsong, Do the Math, Frank Kogan, Simon Raynolds, Le Matos (who's right on the money, just consider those R.I.P.s.) And I'm sure those are just the tip of the ice berg.

A side note:

Minutemen's "Political Song for Michael Jackson to Sing" is one of my favorite songs of theirs. Although the stories vary as to the intent behind it, the main story goes that Mike Watt wrote MJ a letter with the lyrics hoping he'd use them in a song thinking he should use his immense popularity to speak about more, eh, important issues. I'm not sure Watt actually thought it would happen (though I disagree with those who claim the Minutemen were poking fun at him), but somewhere in my mind I can hear an aggressive synth bass and hectic drumming with MJ spitting the lyrics "organizing-the-boy-scouts for murder is wrong" - see e.g. "They Don't Care About Us".

In my opinion, tho', MJ was at his least intriguing when he tried to address social or political issues in his music - "Earth Song" and "Heal the World" never did it for me, and "They Don't..." is more interesting for it's rhythmic complexity and MJ's delivery of the lyrics rather than the actual lyrics themselves - tho' admittedly the repeated chores fits like a charm.

None of those songs reach the heights of "Ben", "Don't Stop Til You Get Enough", "Off the Wall", "Wanna Be Starting Something", "Beat It", "Thriller", "The Girl Is Mine", "Smooth Criminal", "In the Closet"...

MJ & Sky Saxon, R.I.P.

Speechless.

Meltdown 2009 reports + Vision 2009

I've been asleep at my post regarding the Ornette Coleman curated (and sadly not attended by yours truly) Meltdown festival. There's a review of the Roots with mr. Coleman-gig in today's Guardian, and few more bits here. Yet to read any reviews of gigs by David Murray and the Roots, or his gig with the Gwo-Ka Masters. Add to those gigs by James Blood Ulmer, Yo La Tengo and Marc Ribot plus guests, but they've probably been covered by someone, somewhere.

Meltdown isn't the only ace festival that has been going on these past few weeks; this year's Vision Festival finished on Monday 15th. I'm searching for reviews as I type...

FAN no. 2

Crouch, Coleman & tradition

Excellent post on the Pi Recordings blog by one Rafiq on the problems and limitations of the teachings of Stanley Crouch and his followers, especially as it regards the problem of the "jazz tradition", as Crouch would have it, using Coleman as an example.

Music of the Week 23/09

• The Fully Celebrated: Drunk on the Blod of the Holy Ones (AUM Fidelity)
• Steve Lehman Octet: "Echoes" (Travail, Transformation, and Flow, Pi Recordings)
• Dinosaur Jr.: "Over It" (Farm, JagJaguwar)
• Pixie Lott: "Boys & Girls"
• Dolly Rockers: "Gold Digger"
  

Koko Taylor, R.I.P.

More @ Idolator.

Steve Lehman Octet - Threadgillian stuff

In what looks to be a decent year for large ensemble jazz records - Darcy James Argue's Secret Society and Hypnotic Jazz Ensemble, to name but two - the preview from Steve Lehman Octet's new record posted by Destinatio: Out! the other day sounds especially promising. The track, "Echoes", does the trick of sounding at once very contemporary and modern, especially in the way the horns and bass riff and in Tyshawn Sorey's hip-hop influenced drumming, while at the same time echoing (right!) the works of past masters. I have to agree with Ben Ratlif in hearing a similarity with Henry Threadgill's music in the ways the riffs and beats are orchestrated. Steve Lehman himself has a wail that is reminiscent of the great Eric Dolphy both because of his gruff tone and in how his solo leaps out and swirl around the rest of the music. I'm very much looking forward to hearing more of this record.

Travail, Transformation and Flow is released by Pi Recordings and is available from, among others, Jazz Loft and amazon.com (see below).

I mentioned that the talented Tyshawn Sorey plays on the record. In this Q&A he reveals himself as a man with diverse (and almost impeccable) tastes. Beefheart, Nirvana, Braxton and Prince. Gotta love it.

eMusic is growing

As reported in the NY Times yesterday, eMusic have struck a deal with Sony Music and will soon be able to offer (older) Sony records and songs as a part of the download site's ever growing catalogue. Very good news indeed, what with eMusic being my preferred place for legal downloads (I still prefer physical records, but eMusic's cheap enough to both download an mp3-version and buy the CD/LP if I feel it's good enough). They have good writers working for them too.

Now, if they only could do something about their frustrating search engine: a search for, say, William Parker gives you a dozen or so hits, including separate entries for William Parker Quartet and Trio, instead of one main entry with sub-entries. Maybe I should offer my services...

Music of the Week 22/09

A retro-filled Music of the Week this time:

• Maxwell: "Pretty Wings" (Columbia)
• Allen Toussaint: "Singing the Blues" (Bright Mississippi, Nonesuch)
  
• Archie Shepp: Kwnaza (Impulse, 1974)
• Cecil Payne: Zodiac (Strata East, 1973)
• Various - The Complete '1981' Box Set mp3s from Musicophilia
  

Music of the Weeks 20+21/09

• Pixie Lott: "Mama Do" (Mercury)
• New Boyz: "You're a Jerk"
• Lily Allen: "Not Fair" (Capitol)
• Staff Benda Bilili: Tres Tres Fort (Crammed Disc)
• Darcy James Argue's Secret Society: Infernal Machines (New Amsterdam)

Colson Whitehead, Sag Harbor, and background

Forgot to mention an interesting interview with the author Colson Whitehead in a New York Times Book Review podcast (podcast link here) from a few weeks back. Whitehead, whose new book Sag Harbor is out now, talks with Sam Tanenhaus about background ("black boys with beach houses") which links to my arguments on afro punk and "indie" in the sense that personal backgoround is more complex than black and white (note his comment on "authentic black experience"). A quite obvious point, really, but nonetheless one which seems to escape some critics of "indie".

Sonic debacle

K-punk has a go at Sonic Youth and their followers, but misses the point the way I see it.

The prime argument seems to be that SY are faux alternatives to the (a) mainstream, when in reality they are squarly within the mainstream albeit another part of it. K-punk's claim is that the thought that SY represent an alternative is the "fundamentl (rockist) fantasy". Now, while I'm sure some kids (yes, kids) harbor the idea (illusion) that SY are an alternative to a mainstream they feel left out of or don't want to be apart of, K-punk's assertion is in and of itself rockist (post-Adorno) in that he claims to know why people like SY.

Whether or not SY are an alternative to the mainstream or operate within the mainstream is beside the point. I'd argue that noone really sounds quite like SY, and at the same time that SY don't really sound like anybody else. So, yes, they are an alterative. Whether within or outside the mainstream doesn't really matter.

Claiming that SY have been "making the same record for over twenty years" kind of proves that point; the records sound like SY records, nothing else. As a great band once sang: "Mr. narrator/this is Bob Dylan to me". His Bob-ness was himself part of the mainstream while at the same time nobody really sounded like him.

Still, what should be discussed is the music, and this is where I feel K-punk's biggest mistake lies. He doesn't mention it at all, apart from staking the claim that SY have made the same record over and over. That's a populist claim, a claim that doesn't say why this is so, but one that will resonate in the ears of the naysayers and irritate those who disagree.

I find it quite easy to hear a difference between Sister and Rather Ripped. The first is more abrasive, the second smoother. But what it boils down to the songs, the tunes. Both records have good tunes in buckets, and while they sound somewhat different, the classic SY elements are there; Moore's chiming guitar sound, Shelley's pounding and staccato-like drumming, Ranaldo's longer tones, and Gordon's growl, wheter voice or bass. That K-punk can't tell the difference I suspect is down to his hang-up on the mainstream/not mainstream divide. That he doesn't like them I won't hold against him, I'd just wish he'd argument on the basis of the music instead.

Good post by Matt Ingram (welcome back!) on the same issue.

The printed word

In a move to counter the decline of printed music writing *, tomorrow will see the release of a fanzine-inspired magazine simply named FAN (wordplay, indeed), to which I'm a contributing writer. My first conrtribution concerns Arfican-American punk and "indie" rock, in some ways a commentary to the argument that modern rock has become the domain of white middle class boys/men. It's true, admittedly, but then again most areas in culture, popular and not, are dominated by white middle class boys/men. I attempt to argue that that's no reason to forget the contributions to punk rock from people with different backgrounds, and that using background as a sort of meassure of quality is problematic, to put it mildly. Anyway, here's the cover of the above-mentioned magazine.



* Since the question's been put to me; yes of course that line was intended to be a bit tounge in cheek.

Miranda Lambert's "Dead Flowers"

The new Miranda Lambert single was released last week (and today world wide), at least digitally (iTunes link). Not sure what to make of this yet. It's certainly no "Famous In a Small Town" or "Guilty In Here". The consensus, though, seems to be that using "dead flowers" as a metaphor for a relationship passed it's prime is beneath a songwriter of Lambert's talent. Agreed.

Music of the Weeks 18+19/09

• Sonic Youth: The Eternal (Matador)
• Wussy: Wussy (Shake It)
• DJ Paul: Scale-A-Ton (Scale-A-Ton/Hypnotize Minds)
  
• Pretty Reckless: "I Really Fucking Love You" (single, unsigned/Uniersal?)
• Gallows: "Black Eyes" (Grey Britain, Warner Bros.)