Mostly Other People Do the Killing live videos and new album

University work and end of the aughties writing have kept me away from blogging, but there are projects in the pipeline. In the meantime, let me point you to the fine chaps in Mostly Other People Do the Killing, who a week or so ago posted their entire concert at Moers Jazz Festival on You Tube. I take the liberty to embed the videos below here. Note the Ornette Coleman-"quote" in video nr. 6.

MOPDtK also have a new album, Forty Fort, coming out soon. Enjoy!

Henry Threadgill link-a-thon & box set

Henry Threadgill's return to recorded music, with the excellent This Brings Us To, Vol. 1 (Pi Recordings), has gladly lead to a renewed interest in the great man and his music. Not only is there a long piece and interview in the latest issue of The Wire, Nate Chinen has written a profile for the New York Times (pub. Nov. 6th, 2009) (and add to those, my piece in the previous issue of the quality fanzine FAN).

The increasing interest in Threadgill and his music is of course welcome and long overdue. The really good news, though, is that Mosaic Records have announced that they have a Threadgill box-set scheduled for release in early 2010. I'm sure they'll allow me to copy/paste from their site:

"Henry Threadgill: The Complete Novus & Columbia Recordings of Henry Threadgill & Air
(Release Date: Early 2010)

Henry Threadgill was among the first wave of distinctive and utterly original artists to emerge from Chicago’s Association for The Advancement of Creative Music along with Muhal Richard Abrams, Anthony Braxton and the member of the Art Ensemble Of Chicago.

As a saxophonist, he delivers his unique style with a big, dry sound and precise articulation. As a composer, he was an American original, influenced by the entire spectrum of music. He creates distinctive sonic canvasses for a variety of ensemble. And his work is infused with a wonderfully dry, almost absurdist sense of humor.

This set covers three important eras in Threadgill’s career, beginning with the three albums that Air made in 1978-79 for Arista Novus including the celebrated “Air Lore” with unique reinterpretations of the music of Scott Joplin and Jelly Roll Morton. Air was a remarkable co-operative trio formed by Threadgill, bassist Fred Hopkins and drummer Steve McCall in 1975.

In 1979, Threadgill made his first album as a leader for Arista Novus. “X-75. Volume 1” featured the unique ensemble of four reeds, four basses and the voice of Amina Claudine Myers. A volume 2 was made and never issued. It is released for the first time in this set.

In 1981, Henry formed his Sextett, which consisted of seven musicians! This unique ensemble consisted of trumpet, trombone, cello, bass and two sets of drums as well as Threadgill. Beggining in 1986, the group recorded three albums for RCA Novus all of which are included here.

Threadgill closed out the century with three albums on Columbia (“Carry The Day,” “Makin’ A Move” and “Where’s Your Cup”) recorded between 1994 and ’96 with varying ensembles of unusual instrumentation.

This set cover three distinct and fertile peak periods in Threadgill’s long and ever creative career."

The albums included in the set should thus be Open Air Suite; Air Live at Montreux Suisse; Air Lore; X-75 Vol. 1 (all prev. on Arista Novus); X-75 Vol. 2 (prev. unreleased), You Know the Number; Easily Slip into Another World; Rag, Bush and All (all prev. on Novus); Carry The Day; Makin’ A Move and Where’s Your Cup (all three prev. on Columbia).

Most of these have been out of print for a while, although I've come across second hand copies on various occasions and web sites. Allthough all are great records, the availability of classics Air record Air Lore as well as the Sextett releases Rag... and Easily... are especially welcome.

Side note: my jazz list/grades has not been updated for ages, but both Air Lore and Rag, Bush and All receive top grades (10/10). I may have underestimated Easily..., I think it's better than the 8/10 I gave it a few years back, but I will wait until I have time to update the whole list with new records and grades before I decide whether to change it.

Catching up... Darius Jones & post-summer jazz records

I really should set, and stick to, a goal of writing at least one post a week, preferably on a specific day. Lately, other projects have prevented me from wiritng much here, and it's not been for lack of want or lack of music or topics to write about. A more structured time table should allow me to juggle various tasks more easily, and give me time to write more regularly here. There's been no "Music of the Week" for a while, and my much touted update of the 2009-list has not come to fruition.

So, I'd thought I'd use some space to do some catching up with a couple of the best jazz records I've come accross since sometime this summer (a few of them have been included on previous MotW posts). I'll only write a few lines about most of them, but the first certainly deserves extra space.

• Darius Jones Trio: Man'ish Boy (A Raw & Beautiful Thing)

Darius Jones is an up-and-coming saxophonist living in Brooklyn in New York having arrived form Richmond, Virginia in 2005. The Southern heritage is apparent in much of the music on this stunning debut. The record is bluesy, and (like the title says) both raw and beautiful, with Mr. Jones often using simple melodic lines as the basis of the music, much like Albert Ayler used to. There's a similarity between Jones and Ayler in the physicality of their playing and the wailing tones as well, 'though Jones can certainly hold his own and more often switches to softer themes than similar players tend to do. The band - with elder statesmen Cooper-Moore on the bass-like (and ancient) diddley-bo(w) as well as piano, and Rakalm Bob Moses on drums completing the trio - swithch between fairly loose structures and stricter blues based rhythms. Cooper-Moore has a knack for blending the seemingly simplistic and potent, as he does with his own band Digital Primitives.

On "Cry Out", for example, Cooper-Moore plays a rough blues walk on the piano, Bob Moses shuffles and Jones plays a slightly plaintive melodies on top. The tune has a certain noir quality to it. "Chasing the Ghost" is another highlight, with Cooper-Moore playing vibrating low bass notes on the diddley-bo(w), Bob Moses skitting over and under, while Jones plays variations and improvised lines over a strong melodic theme. The "chasing" of the title sends ones thoghts to one of Coltrane's classic work-outs, while the "ghost" part, well, it certainly opens up to other interpretations of what the piece is about. The result is nonetheless both beautifully disturbing and powerful. Having been roughed up by much of the music on the album, the simplistic loveliness of the closing "Forgive Me" becomes extra heartwrenching by the juxtaposition alone. Cooper-Moore plays a Satie-like chordal theme, with Jones seemingly exorcising his demons with a softer, almost weeping tone. It is simply one of the most beautiful pieces of music I've heard all year. A bonus track with Adam Lane on bass Jason Nazary on drums is more in line with a rougher blues-bop tradition, but it's still a collaboration I'd like to hear more from, Lane himself having a similar knack for roughing things up.

• Digital Primitives (Cooper-Moore, Assif Tsahar, Chad Taylor): Hum Crackle & Pop

Bluesy, slightly funky, free and with a hint of eastern and African melodic sensibility. Much like their previous record, but equally good.

• Quartet Offensive: Carnivore

Baltimore band, improvising over rock riffs and beats, made more apparent by the inclusion of a fuzz driven guitar. "Rock" means both Led Zeppelin and Fugazi here, and the result is often quite rivetng.

• Henry Threadgill Zooid: This BringsUs To, Vol. 1

The great man in a playful mood (when has he not been?) with what is probably his most interesting and flexible group since the amazing Sextet(t) of the 80s.

• J.D. Allen Trio: Shine

Tenor saxophonist J.D. Allens best record yet, a slightly more traditional post-bop sax, bass & drums trio, but one that has not gone untouched by later musical strains. The rhtyhm section blends simplistic power with great mobility, and Allan plays strong melodic themes as well as flying improvised solos. The track "Sonhouse" in particular is a favorite.

• Marcus Strickland Trio: Idiosyncracies

Another sax, bass, drums trio. Strickland plays tenor and soprano. The music is slightly soulful jazz, and rhythmically the music has tinges of modern R&B and hip-hop. The album includes reworkings of music by Björk, OutKast and Oumo Sangare, to name a few interesting choices. "Set Free", though, has a Coltrane-like quality.

Mike Reed's People, Places & Things - About Us

While we're waiting for the official release of exciting young drummer/composer Mike Reed's new offering, About Us, this post is to let you know that the entire album can be streamed from his homepage here (or click the image above).

First impressions: bloody good, as the English might put it. Mostly a bit slower tempo wise than the more ferocious Proliferation, a record I liked a lot, so I'm thinking while the previous record was inspired by Chicago's hard boppers such as Wilbur Ware and Johnny Griffin, perhaps this is a nod to more orchestrated Chicagoans such as Sun Ra and Muhal Richard Abrams. I'm just guessing. That said, there are enough uptempo tracks on About Us to convince me that Reed's inspirations are split pretty evenly between the two PP&T records.

Music of the Weeks 40 + 41

• Girls: Album (True Panther Sounds)
• Freddie Gibbs: MIDWESTGANGSTABOXFRAMECADILLACMUZIK (Mixtape/self released)
• David Murray & the Gwo Ka Masters: "The Devil Tried to Kill Me" from the upcoming album The Devil Tried to Kill Me (Justin Time Records)
• Mission of Burma: The Sound The Speed The Light (Matador)
• Miranda Lambert: "Only Prettier" from Revolution (Sony)
• Mountain Goats: "Psalms 40:2" from The Life Of The World To Come (4AD)
• Lulu: "Love Loves to Love" (Legacy)
  

Music of the Weeks 38 + 39

Skipped last week, 'though that was not due to a shortage of songs or albums as I've been listenng to plenty of good music lately. I'm late to the Jonatha Brooke record, which is both beautifully crafted and executed. The Henry Threadgill tracks that was posted on Destination-Out sound terrific and bode well for the album, and on the upcoming Lightning Bolt record, the wonderfully titled Earthly Delights, the duo occasionally slow things down, which may dissappoint those who enjoy them purely as an impact band. But fret not, their gung-ho instrumental post-hard core/thrash/punk/impro seems more purposeful as a result.

My "best of 2009-lists" needs to be updated. They've has barely been tweaked since mid-summer, and tens of records need to be added.

• Jonatha Brooke: The Works (Bad Dog Records)
• Henry Threadgill: "To Undertake My Concerns Open" and "After Some Time", This Brings Us To, Vol. 1 (Pi Recordings)
• Vijay Iyer Trio: Historicity (ACT)
• Lightning Bolt: Earthly Delights (Load Records)
• Digital Primitives: Hum Craclke & Pop (Hopscotch)
• Deer Tick: Born on Flag Day (Partisan)
  
• Pill: "Glass" (4180: The Prescription (mixtape))
  
• Pixie Lott: "Here We Go Again" (Mercury)
  

Threadgill previewed * Destination: Out!

Head on over to Destination: Out! now for a preview of Henry Threadgill's upcoming album This Brings Us To, vol.1. Some thoughts by the man himself in that very same post.

Closing with a qoute from Studs Terkel:

“It would be difficult to overestimate Henry Threagill’s role in perpetually altering the meaning of jazz..…He has changed our underlying assumptions of what jazz can and should be.”

Quick round-up: new Henry Threadgill, the Feelies and Horace Tapscott re-issues

As mentioned in the recent Destination-Out post, the great Henry Threadgill will release a new album, called This Brings Us To, with his group Zooid on 27th of October (US date?). While I love his work with Air and his 80's Sextet and Sextett records, I've not been quite as taken with his later work. But the man is a favorite nonetheless and I am very much looking forward to this one. Destination-Out will preview the record next monday. There's a review of the record at Music & More (I've yet to read the whole thing myself, though).




The re-issue of the Feelies classic Crazy Rhythms is finally out on Bar/None after some trouble with the previous attempt by Water. Sasha Frere-Jones has some thoughts and valuable info on the Feelies and that record on his New Yorker blog.



Also re-issued is the great 1989 record The Dark Tree by pianist Horace Tapscott. Stef at Free Jazz has revied it here.

Music of the Week 37/09

• Luis Lopes, Adam Lane & Igal Foni: What Is When (Clean Feed)
  
• Raekwon: Only Built For Cuban Linx II (EMI)
• Q-Tip: Kamaal the Abstract (Arista/BMG Records)
• M.O.T.O.: "Crystalize My Penis", Single File (Criminal IQ)
  
• Natalie Imbruglia: "Want" (alright, so I'm slightly smitten. Who cares?)

Beatlemania...again.

It's to be expected, of course, with the arrival of a remastered back catalogue where the sound is x-times better than the 1987 versions + elaborate box sets.

Pitchfork reviews the albums, all of 'em, as I'm sure many others will do too. Still, one could hope these reissues would allow for at least some degree of revision of the Beatles and their music. Not so, according to Pitchfork at least. Rubber Soul (their best by far), Revolver (quelle surprise), Sgt. Pepper's... (great dream pop avant-fun), and Magical Mystery Tour (good songs, but very uneven) all getting perfect scores.

I'm still baffled by those who pick Revolver as the foursome's best (not to mention "best ever"). Plenty of great songs, sure, but the gaping void of stupidity that is "Yellow Submarine" ruins the listening experience for me. No matter how I look at the album (either counting songs or listening to it as a whole - e.g. how one song relates to the others etc.), "YS" simply does not work. It's silly, dumb, the singing is flat, nor does it work as an experimental break. Yet Plagenhoef has the gall to call it "an inventive and charming track too often derided as camp". Too often? Too rarely is more like it.

Well, that's my two cents, anyway. Rant over.

Fairytale...

...in the Supermarket. The Raincoats style. Their classic self-titled LP will be re-released (for the second time, but it's been a while since the previous) on Oct. 13th, but the LP can be pre-ordered directly from Kill Rock Stars here.

The Raincoats: "Fairytale in the Supermarket"

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...

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.)

Singles Jukebox

One of my favorite features of Stylus Magazine, an online music and pop culture zine that closed down just over two years ago, was the Stylus Singles Jukebox. I discovered last week that the feature has been relaunched as a separate website/blog, which you can find here (or by clicking the pic). Many of the "old" contributers are frequently in the panel, including Matos and Frank Kogan.

EMP wrap-ups

More thoughts on the EMP Pop Conf '09 from the interweb.

• Robert Christgau
• Oliver Wang
• Carl Wilson part 1 + part 2
  

Plus, Matos has posted his paper here.

Music of April/09

I keep effing up the weekly updates, so I'm starting a-fresh as of now. Probably won't help, but here we go:

• So So Glos: Tourism/Terrorism (Green Owl) (Yeah, still digging this)
• UGK: UGK 4 Life (Jive)
  
• Conor Oberst and The Mystic Valley Band: Outer South (Merge)
• Grizzly Bear: Veckatimest (Warp)
• Revolutionary Ensemble: Beyond the Boundry of Time (Muteable Music)
• The Baseball Project: Volume 1: Frozen Ropes and Dying Quails (Yep Roc)
• Japandroids: "Young Hearts Spark Fire" (Unfamiliar Records)
• Peaches: "Talk to Me" (Beggars)
• Sonic Youth: "Sacred Trixter" (Matador)
• Girls Can't Catch: "Keep Your Head Up" (?)
  

Charles Mingus birthday broadcast

All day today at WKCR. Highly recommended.

Shiver me timbers, or piracy and record sales

The validity of the recent BI study that claimed pirates buy more music is being questioned by Maura @ Idolator and cohort Eric Harvey, and rightly so. The soon to close Dotshop, a connoisseur's internet shop of sorts, may well be in the right when they claim that they are victims of illegal filesharing.

Thing is, though, I have in fact bought more music because of the availability of free music on the internet, from the simple cause and effect that more music has been more easily available for me to hear before I buy the damn thing. Now while I do not claim to be a typical consumer, whose to say I'm only one in a million? Furthermore, most music fans I know prefer the physical LP or CD to mp3/FLAC/what have you, but this is a banana skin on par with the Nixon "qoute"; I don't know many people and other people may not give a toss or two about what format they listen to, much less how they obtain it. Those people do in fact hurt sales.

Thankfully, the likes of Spotify and their increasing libraries of music may make illegal filesharing for the sake of "getting a taste" increasingly redundant. They are the listening posts of the future, me thinks.

First reports from EMP Pop '09

Ned Raggett steps up to the plate (1+2+3+4). Haven't read anything myself yet, but thought I'd post a link here anyway.

EMP Pop '09 - who's blogging?

The EMP Pop Conference kicks off this Thursday, and I know KEXP 90.3 will blog about the goings-on, but if anyone else are doing any form of writing or updates on the thing, I'd appreciate it if you let me know. Btw, Twitter won't cut it, but if there's nothing else...

Coleman to curate Meltdown '09

Got an e-mail from a friend that alerted me to this. Hmmm, London in June. Why not?
More from FACT magazine.

Music of the Week 13/09

• Abdullah Ibrahim: Senzo (Sunnyside)
  
• The-Dream: "Rockin' That Shit/Thang" (Universal)
  
• The Thermals: "When I Died" (Kill Rock Stars)
  
• The Brakes (aka. brakesbrakesbrakes): "Ancient Mysteries" (Fat Cat)
• Bat For Lashes: Two Suns (Parlophone)
  

Blender no more

X-gau's thoughts on the fall of Blender.

RAPHAEL SAADIQ @ LA BELLEVILLOISE, PARIS (30/01/09)

Received this video from Saadiq's show in Paairs in the mail box the other day. Thought I'd post it here.

Edit: Video removed as it messed up the lay out. You can watch it and a few others here.

Music of the Week 12/09

Slight change of format in the hope I can get things rolling on a regular basis. The basics are the same: music I've enjoyed during the past week, sans write-up, just putting it out there.

• Bat for Lashes: "Daniel" (Parlophone)
  
• Death: "Politicians In My Eyes" (Drag City)
• Henry Threadgill (Sextet): Just the Facts and Pass the Bucket (1983, About Time) & Subject to Change (1985, About Time)
  
• Yeah Yeah Yeahs: "Heads Will Roll" (Polydor)
• David Byrne: live in Oslo, 19.03.2009
  

Death - "Politicians In My Eyes"

I wrote a piece on a closed forum yesterday about the incredible proto punk-band Death (no relation to the metal band), and this morning there's an article on Popmatters using almost the exact "headline" as I did. Oh, well. I'm not accusing anyone. The forum is "invite only", so it may be a case of "brilliant minds think alike." Articles about the band have been written a few times already these last few weeks, in the NY Times, the Guardian, and Stereogum to name a few.
Now, Death. A mid-seventies three piece from Detroit who played an energetic blend of P-funk and Stooges-type rock. The meme that has been going around is that they are precursors to the Bad Brains. In some ways that may be true, especially considering the wailing voice of the singer. But the frenetic bassline, skittering drumming, and accentuated guitars in the verse part of "Politicians In My Eyes" (from 1975) sounds more like something the Minutemen would play a few years later, though the refrain and coda is more in line with the "rock-ier" sides of Funkadelic (I've been told that they shared a studio with the Detorit branch of Funkadelic, which may explain some of the influence) and proto-punk bands like Rocket From the Tombs. Hear for yourselves below.



The compltete recorded output of Death, a mere seven songs, was released by Drag City earlier this year as ...For the World to See.

Wilson, Colbert, taste & Dion

In case you missed Carl "Zoilus" Wilson's appearance on the Colbert Report last week the whole episode can be seen here (the interview with Wilson is in the final part of the show).

by:Larm Friday 20th - short version

Three fairly good gigs yesterday, all of them small in scale but not in ambition. Percussionist Thomas Strønen under the name Pohlitz and saxophonist Håkon Kornstad played solo augmented by samples of their own playing, while the minimalist jazz duo Ballrogg balanced between simple chord structures and melodies and the atonal.

That's it.

by:Larm Thursday 19th - uncut version

It seems by:Larm news' proof reader didn't see eye to eye with me, and cut pieces from some of my reviews that he may have regarded redundant, but that I consider important in getting my view of the music across. Since the paper was printet last night, I see little problem in me posting the original (more or less, I had to rewrite parts of one from memory) reviews on this blog in order to save some face.

REVOLVER! - Mono, Thursday Feb. 19. 18:00

Since much noise and improvisation is based on the physical aspects of sounds rather than musical patterns that more easily appeal to the mind, the music often works better in live settings, where the physicality of the sounds comes more to the fore, than on record. That being said the duo REVOLVER! reveal themselves as no ordinary noise makers. Sure, guitarist Kim Johanessen scratches and pulls the guitar strings in ways that create a wide variety of sounds and noises, though at times it seemed a bit forced. Maybe that is a bit unfair because often enough the sounds he did get out of his instrument were quite riveting. Drummer Fredrik Kirkevold has great chops, variation and drive, not unlike renowned Norwegian jazz and impro drummer Paal Nilssen-Love, and may be a star in the making. When the duo lock together, they create purposeful grooves, at times both jazzy and heavy, and seeing as they are not afraid to slow things down, their music has great range and possibilities.

Bellman - Christianiasalen, Thursday Feb. 19. 20:30

Bellman played a packed Christianiasalen on Friday, which suggests that quite a few had been eager to hear his slightly orchestrated pop with a leaning towards sad beauty, elements that tend to go down well among many Norwegian music fans. Bellman's distinctive voice, high pitched and more than a little androgynous, coupled with the ambient feel of the music could easily be likened to Iceland's Sigur Rós. Bellman's music is more rooted in melodic pop, however, but it follows a similar pattern: slow to mid-tempo songs, where instruments are added as the songs progress and build up to crescendoes often exemplified by ringing guitar tones. The sadness of the songs are underscored by Bellman's singing, along with lyrics like «baby, I'm losing my way» and the telling title of his final song, «Requiem». Still this focus on sadness makes the music seem emotionally one dimensional, but to those more inclined towards the melancholy Bellman may be one of this year's stars of by:Larm

Zanussi 5 - Christianiasalen, Thursday Feb. 19. 22:30

Calling Zanussi 5's music «free jazz» is not entirely wrong, since they play free of the harmonic structures of traditional jazz. In terms of sound and attitude, though, their music has more in common with New York's Down Town music scene of the late 70s and early 80s that mirrored the varied culture of the area with a mix of jazz, funk, folk music, and punk's attitude and energy. Think Lounge Lizards, Last Exit or even James Chance and you are on to something. Zanussi 5 are no traditionalists, however, a point made clear with their closing number, a punkish and playful Balkan-inspired piece. Main man Per Zanussi played an electric bass instead of his acoustic on Friday (he didn't see that, should've been Thursday) , and the addition of Stian Westerhus on electric guitar has added power to their sound, while the interplay between the guitarists, the two sax players and the drummer was frenetically groovy. Zanussi 5 are normally one of Norway's best live bands. Last night, they played like the greatest working band in the world.

Carl Wilson on speech & music, plus rare Air recordings.

Fantastic post by Carl Wilson (Zoilus) where he goes through some of the most notable efforts made by musicians to transform the human speech into music (or connect human speech and music). He has also posted some videoes and sound bites for further insight. It's like the blogging of old, when we had had the time and took the effort to write longer posts on interesting themes.

Not completely unrelated, the other week I came across some rare rocordings of Air with the poet Amiri Baraka (thanks to the Rare Music Curator) made by German radio. I've been able to separate those recordings from the podcast and have uploaded them for your listening pleasure. In my opinion, they represent a fairly successful marriage of poetry and jazz, much due to Baraka's reading, since he seems to be in tune with th music, raisng his voice and tempo according to the music as well as the words (much like a singer would, mind you, althoug Baraka does not sing).

Air (Fred Hopkins, Steve McCall, Henry Threadgill) feat. Amiri Baraka, 20. March, 1982 Koln, Germany, WDR radio broadacast:

"I Love Music"



"Against Bourgeois Art"



"Class Struggle In Music"

by:Larm and Pop Conference '09

A busy week ahead, with by:Larm 2009 kicking off tonight. I hope to catch Ballrogg and Zanussi 5, but will most likely be reviewing gigs by virtually unknowns as well, which is what by:Larm really is for. There will also be a couple of conferences worth checking out.

Speaking of which, the schedule, panels, and abstracts for this year's Pop Conference are up on EMP's website. Haven't had any time to look through any of the abstracts yet, but will soon.

Air Song reissue

Good news. The label Why Not is about to re-issue Air's first album, Air Song, (from 1975, originally on India Navigation) on February 17. Hopefully, this will mean that Air Raid, my favorite of the two India Navigation-records, is on the way too. Let this be the year when Air finally get's the recognition they deserve.

Songs of the Week 01-05/09 (well, album, really).

Been catching up on some lost records of 2008 (tracking Pazz and Jop and what not) recently, but the best new record I've heard so far this year, by a mile, is David S. Ware's Shakti. New quartet, only William Parker remains, but man, there is some lovely playing on there. Here's hoping he has found a donor.

Raphael Saadiq, Cosmopolite, Oslo (no.) 28.01.09

The very enjoyable, close to two hour long gig, recorded by radio and on film, started off like this.




More clips will most likely become available in the following days,

Benjamin Gump?

I rarely comment on movies on this blog, but the video below made me laugh. Considering how The Curios Case of Benjamin Button recieved umpteen nominations for this year's Oscars, the "Academy" really should be sent a copy of this. Who do they think they are fooling?

The Curious Case of Forrest Gump - watch more funny videos

Pazz & Jop '08: where's the pazz?

Pazz & Jop '08 results are up. Quick thoughts: agree with the winner, 'though I'm dissapointed with the lack of jazz (pazz) on the list. Glad to see MOPDtK and Vijay Iyer get a couple of votes, as well as Sonny Rollins (highest placed jazz record, as far as I can tell, on no. 215). William Parker too, but not the album I preferred. It may have to do with the (sad) fact that jazz criticism has increasingly become a field of specialists, and it does highten the importance of the VV jazz poll. Maybe they weren't asked or maybe they didn't bother. It is a bit sad, really, that the fields have to be separated, but that's how it has come to be (and has been for a while, admittedly). A qiuck browse reveal that at least Tom Hull carries a torch for both (new) jazz and rock/pop (but we knew that), and one Martin johnson, plus a few others, seem to be of similar interest. But are we a dying breed?

Generic

Flipper's classic Generic Flipper has just been reissued by Water, the same record company that was scheduled to reissue the Feelies' Crazy Rhythms last year. This time I know for a fact the record has made it to the stores, I've seen the physical copies myself.

Two apologies: one for the abundance of the word "excellent" in my previous post - repetition of the same descriptive word takes away the salience from the it every time it is used, not to mention that "excellent" barely says much at all. That doesn't hide the fact that I intended to be positive about the music I used it for. A second one for no Songs of the Week or any other updates. I'll get it together soon.