Music of the Week 36/09

• JD Allen: Shine! (Sunny Side Records)
• Polvo: In Prism (Merge)
• Marcus Strickland: Idiosyncrasies (Strick Muzic)
• White Denim: Live @ Garage, Oslo 03.09.09
• Brad Paisley: "Welcome to the Future", American Saturday Night (Arista)

Honorable mention: Units: History of the Units, The Early Years: 1977-83

When?

I'm working on something semi-big, but fun, that'll be posted on this blog sometime during next week. I won't say exactly what, but I can reveal this much: deciding whether to use recording dates or year of release to decide which year to file jazz records in is a bit of a bitch. Some writers go purely by recording date, which most jazz albums lists on the boklet or cover or dust jacket. Others use year of issue/release, but not all albums have that printed on the cover, especially if we're dealing with reissues. Allmusic often have both dates, but not always. A bit of searching around and you can find out, of course, but it's a bit of a pain and takes time.

One such problem cropped up with Dave Holland Quintet's Jumpin' In, which was recorded in '83 but released in '84. Now, since I go by year of release for pop/rock albums (as do most others) I'd prefer to do that for jazz too, but here the routines differ. Scaruffi has Jumpin' In on his '83 list, I'd have put it on my '84 list (few, if any bar the musicians and studio crew, heard the record in '83 I presume). One other such "problem" record is Henry Threadgill's Subject to Change (rec. '84, cover says released in '85).

Anywho, I'll deal with it somehow and add explanations when I post the thing. Watch this space.

Decades

A few days ago, I finished a quick piece for the fanzine I write for (FAN) about music from 1984, 'though in part it was also about how I feel 1980s popular culture have been misrepresented and treated with unfair disdain. I think, possibly, this was in part because many of the critics of 80s culture grew up in the 60s and 70s, a time where rock (and related) music was a shared thing - almost what you could call a monoculture - between most young people everywhere. Of course, there may have been Stones vs. Beatles feuds, but everybody knew who they were. (Now, I'm not saying there werent obscure and/or underground artists. Just wanted to set the record straight).

But by the 80s (or even late 70s), the shear amount of music - in part because of the spread of DIY on the one side and easier, cheaper, and faster ways to mass produce music (e.g. Stock Aitken Waterman) on the other - may have lead to the situation where the older critics just couldn't keep up. What had previously been a shared youth culture was by the 80s many separate youth cultures. Add to this, the birth of MTV lead to increased focus on image, something critics of rockist leanings would dislike, and images tend to stay in the consciousness for a while. So, since many popstars of that time wore bright colors and puffy clothes (to get noticed, you know), that's what they remember, and not the kids who wore jeans and Chuck Taylors at the R.E.M. gig, just what some might wear today.

Mostly, though, my gripe has been with Norwegian critics. I feel it's been different in other countries. The Brits have been proud of how the Smiths and the Housmartins were parts of their popular culture, while Americans have understood more than most others that there were several plains in popular culture in the eighties, e.g. the birth of AmerIndie, the birth of hip-hop, as well as mainstream giants like Springsteen and Prince (who at the same time, may have shared many values with the underground cultures at the time). Few critics have been better at writing about the music of the 80s than Robert Cristagau. He found, and still does find, values and sounds to be treasured or loathed all across the board. My kind of listener.

But I waffle. I just thought it a funny coincidence that I had just recently been writing about how a decade has been (mis-?)perceived, and that this week Pitchfork have started a 2000s countdown, with lists, essays and what not. Now, I like history and a can enjoy a good list like any other jerk, and I may have a "Best Jazz of 2000-09" or something to that effect by the end of the year myself, but I thought this was a bit too early. I had almost forgotten we'd come to the end of a deade.

Anyway. Decades, huh? Strange, isn't it.

Rashied Ali, R.I.P.

Dang! Only got the news today - attending Øya usually means I have very little time reading news online, and I've yet to read a word about Ali in a Norwegian paper. Rashied Ali is probably best known as the drummer for John Coltrane in the '60s, but he played on plenty of other great records as well, with Touchin' On Trane with William Parker and Charles Gayle a personal favorite.

Some nice words for Ali over at Do the Math.

The Summer of Oh Nine

Now that the annual Øya hoolabaloo is upon us, and since I've written very litle since Molde Jazz, I thought a quick Music of the Weeks (yes, plural), or rather summer, would be apropriate. A separate Øya review may or may not appear later.

• Cecil Taylor - solo piano live @ Molde Jazz, 15/07/09
• Frode Gjerstad (saxophone) & Han Bennik (drums) - live @ Molde Jazz, 16/07/09
• Leonard Cohen - live @ Molde Jazz, 17/07/09 + Live In London (Sony)
• Mario Pavone Double Tenor Quintet - live @ molde Jazz, 17/07/09
• New York Dolls - live @ Rockefeler Music Hall, Oslo

• Dj Quik & Kurupt: Blaqkout (Mad Science)
• Quartet Offensive: Carnivore (self released)
• Pissed Jeans: King of Jeans (Sub Pop)
• White Denim: "I Start to Run" (Fits, Full Time Hobby)
• An Horse: "Postcards" (Rearrange Beds, Mom & Pop Music)

Molly on John

"John saw something in me that I didn’t even see in myself. He had complete confidence in me as an actor, which was an extraordinary and heady sensation for anyone, let alone a 16-year-old girl. I did some of my best work with him. How could I not? He continually told me that I was the best, and because of my undying respect for him and his judgment, how could I have not believed him?"

From the New york Times.

Summertime Blues

Well, not exactly, but it works as a title to this post, which I write solely to let you know that Destinaton-Out! have re-posted their Air Lore-piece with two tracks, three if you count the Jelly Roll Morton one. Head on over, read, download, listen and enjoy.

George Russell R.I.P.

Goerge Russell, the influential and very innovative jazz composer and theoretician behind such album classics as Ezz-Thetic, passed away earlier this week. More from jazz.com here, and Ben Ratliff of the New York Times here.

Edit: More thoughts from Darcy James Argue and Frank Kaplan.

Double Nickels 25th anniversary

Celebrating the 25th anniversary of one of my favorite albums of all time together with Mike Watt, Richard Hell, and Michael T. Fournier seems like a decent way to spend the evening to me. Too bad I'm on the wrong side of the Atlantic to have any chance of joining in on the fun.

George Orwell got the year wrong, pt.1

Seems like me and Matos are on the same page.

Oh, yes!

Walter Cronkite, R.I.P

From the New York Times

It may seem strange to you that someone growing up in Norway would care a great deal about this, since his heyday was way before we had access to American TV, but even long before I started my North American studies Cronkite's voice and image was linked to several of the most notable events in US history (no doubt through documentaries aired over here) - I rarely think or read about the assasination of JFK, say, without picturung Cronkite announcing it on TV.

MoldeJazz '09, final pt.

Managed to see both Leonard Cohen and Mario Pavone Double Tenor Quintet yestereday, though as expected, I had to leave the Canadian early.

What to say about Cohen? Sound impeccable, very solid band (especially his Catalan classical guitar player and his bassist, their names escape me), most of his good songs done exquicitely, my favorites yesterday being "The Future" and "Democracy", perhaps because they have more groove the most of his other material and work a bit better in such a stadium context where the quieter moments can fizz out. "Dance Me to the End Of Love", "Ain't No Cure for Love" and "Tower of Song" were good too. Left just after the second set started.

Mario Pavone's men had played for almost half an hour when I arrived. Have to say I'm begining to like Pavone's music a lot. Although he has a foot in the loft swing/free bop tradition, his albums can vary a great deal in terms of attitude, tempo, sound and tone (Deez to Blues, for example, due to the addition of tuba and violin). He is also a solid, original but unflashy (and I mean that in a positive sense) bassist. His Double Tenor Ensemble reminds a bit of Reggie Workman's albums from the mid '90s, though this band adds a piano player in the mix, Peter Madsen. The rest of the group is Tony Malaby and Jimmy Greene on tenor and soprano saxophones (both) and Gerald Cleaver on drums. I like Green's playing in this band, he adds a certain funkiness to the rest of the bands more '60s post-coltrane vibe. Great gig to end my stay at this years MoldeJazz.

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...