Molde Jazz 2011, Tuesday 19th

Went to see double bassist Michael Duch and saxophonist Kjetil Møster at Molde Jazz's smallest venue, Reknes, yesterday (Tuesday). Both played a solo set each, while joining forces for a closing number.

Duch played one longish (didn't take the time) entirely improvised piece, as well as Howard Skempton's composition For Strings (waves, shingles and seagulls). As you may gather from that, he works as much, if not more, within improvised new music slash contemporary music as he does jazz, though by now these musics can hopefully be seen as extending into each others idioms. Duch uses pretty much every part of his instrument to create sounds; largely playing arco with his right hand, he plucks, slaps and scratches with his left, while occasionally also hitting the body of the instrument. Much of his arco work happens near the bridge, which creates sharp and shrill sound, but he shifts effortlessly into "cleaner" territory. Inventive music, nevertheless.

Møster started his session just breathing through his tenor sax, which built into a hushed, gospel like passage, eventually raising in intensity into a shout of sorts. From there, the piece gathered pace into something reminiscent balkan folk music, and ending in punk-like rapid screams and honks, Møster working the flaps for percussive effect. The result wouldn't have sounded out of place with duo Lightning Bolt.

Duch and Møster joined up for an encore, the bassist now mostly playing pizzicato, creating rumbling, free rolling sounds and patterns. I kept paying so much attention to him that Møster, now having switched to baritone sax, dropped into the background except from when they hooked up down in the lower registers.

Molde Jazz 2011

I leave for Molde and the 2011 Molde Jazz Festival in a few hours time. I may post daily updates, depending on what gigs I'll be attending, but I'll definately be catching up with Misha Mengelberg with Tyshawn Sorey and Mostly Other People Do the Killing, to name but two.

Lost Eric Dolphy Session, via Phil Schaap

Phil Schaap just wrote some info on Facebook on a lost 1963 session with Eric Dolphy, likely a private demo recording. Perhaps not the most likely of collaborators -- Seldon Powell played mostly swing and R&B, and while Major Holley did play with Charlie Parker and later Rashaan Roland Kirk, he's perhaps better know for his work with Coleman Hawkins & Oscar Peterson -- but I really would've liked to hear some of this:

I can confirm the personnel - Eric Dolphy (as); Seldon Powell (bars); Joe Newman (tpt); Melba Liston (tbn); Major Holley (bass); Earl Williams (dr); & Hale Smith (pno/leader) - for a lost session that the recently deceased Hale Smith was the contractor for. It was a private date or demo session for a neighbor of Smith’s who had written at least two tunes that Hale arranged. The session is definitely not from 1964 and most likely occurred in 1963. A photograph – that may still exist – showed the musicians. Earl Williams, either going to another gig or coming from one, is in a tuxedo and the others are far more casually dressed. The material still exists and is presumably with Hale Smith’s widow or, perhaps, his son Marcel.

Finally, this item is distinct from those on tape that Eric Dolphy had deposited with Hale Smith shortly before Dolphy left for Europe.

Duke Ellington Orchestra live in Holland, 1958

A big "thank you" to Kalamu ya Salaam for posting this fabulous 81 minute concert of the Duke Ellington Orchestra live in 1958, apparently the earliest know full-length Ellington gig caught on tape. Mr. ya Salaam writes in the accompanying blog post:

"Filmed at Amsterdam’s famed Concertgebouw (The Netherlands), this 80-minute concert features the 16-piece Duke Ellington Orchestra two years after their stunning performance at the 1956 Newport Jazz Festival, which Duke considered his second birth. This epic performance includes legendary players Clark Terry, Johnny Hodges, Harry Carney, Paul Gonsalves, Quentin Jackson and Ray Nance performing some of the most beloved American music ever written."

The sound quality here is very good, too.

Since there seems to be no restriction on embedding, I'm posting the 'tube video here, but all credit must go to Kalumu ya Salaam.

Listening Booth: grade round-up.

Really poor week, writing wise. In particular, I've been stuck on an article that should've been a piece of cake, but is now overdue and needs finishing. Posted another mix tape on the 1984 page (see the sidebar), and did get through a good few records, but somehow never wrote any notes worth posting here. I figure it's best to just throw them out there and move on. Note that more than the regular Listening Booth, which normally include notes, these grades are particularly tentative, and are probably only useful to me as, say, a means to "cross out" records on my "new(-ish) records" shelf. Nevertheless ...

• JD Allen Trio: Victory! (Sunnyside) - They've become a tight group, focusing on short, rough and bluesy tunes. There are shades of post-Coltrane in Allen's music and saxophone playing, always has been, but I like how they hold back length wise, and instead focus on blowing full steam for the ca. 3 minute they allow themselves. As if say "I've said my piece on the matter, now let's move on." 7
• Art Brut: Brilliant! Tragic! (Cooking Vinyl) - Not as sharp as they used to be. Not as funny, either, and Eddie Argos is a better reader/shouter than he is a singer. 6
• Hayes Carll: KMAG YOYO (And Other American Stories) (Lost Highway) 7
• Ernest Dawkins' New Horizons Ensemble: The Prairie Prophet (Delmark) 8
• Let's Wrestle: Nursing Home (Merge) 7
• Wadada Leo Smith's Organic: Heart's Reflections (Cuneiform, 2CD) - Pheeroan akLaff is as much the star of this as Wadada Leo Smith, who provides his customary trumpet stabs and echoes, or any of the other "Organics" for that matter. akLaff pushes the record along with a most solid, funky back-beat. Powerful and groovy stuff. 8
• TV on the Radio: Nine Types of Light (Interscope) - Dear Science was snarly and punchy, this one's trudges along by comparison, though the musical scenery is nice enough. Prefer TVOTR snarling and punching, though. 7
• The Weeknd: House of Balloons (mixtape/self released download) 8
• Yuck: Yuck (Fat Possum) 7

I am holding back a few records, and may revisit a couple of the above if things improve in the coming week.

A quick post to point out that the blog is not dead, with some notes and a preliminary grade for Brad Paisley. The 1984 project is still going strong, and I'm also busy doing some work for [secret]. I will have a proper Listening Booth up in a couple of days, or Monday next week at least, with notes and grades for the latest Ernest Dawkins' New Horizons Ensemble, Wadada Leo Smith's Organic, Matana Roberts, Frank Ocean (has crept up to the top of my 2011 list), TV on the Radio and a few others.

Quick Listening Booth: "I'm not dead yet", says blog.

A quick post to point out that the blog is not dead, with some notes and a preliminary grade for Brad Paisley. The 1984 project is still going strong, and I'm also busy doing some work for [secret]. I will have a proper Listening Booth up in a couple of days, or Monday next week at least, with notes and grades for the latest Ernest Dawkins' New Horizons Ensemble, Wadada Leo Smith's Organic, Matana Roberts, Frank Ocean (has crept up to the top of my 2011 list), TV on the Radio and a few others.

• Brad Paisley: This Is Country Music (Sony Music Entertainment) - Disappointed that he feels the need to take the "we may not be hip, but we sing about real life" defense in the title track - country music ain't got the sole rights to "real life" subjects, and you're smart enough to know that, Brad. Also, I can't imagine he ever got much stick from "hipsters" (whoever they are), as the liberal minded country fans' (myself included) great hope. Wish he held back a bit with his virtuosic guitar picking too, but aside from this this is vintage Paisley, smart a** fun songs ("Working on a Tan") and bitter sweet luv (sic.) songs ("Remind Me") included. 7 *

Update log:

Nothing too important, but I've started using blogger's "pages" options for my lists (the "Jazz Archive"-section apart) instead of starting new blogs to publish them. Gives the site a more cohesive lay out, too. You'll find the links on the side-bar, just above where they used to be.

The 1984 Box Set

Just wanted to note that the Perfect Sounds 1984 Box Set project is now up and running. Five "discs" have already been posted -- Soapbox, Honk vol. 1, Rattle vol. 1, Street and Fringe -- and the plan is to post one or two discs a week, depending on my schedule, until I've exhausted my library. I think I may have enough tracks for at least ten more discs. You'll find the info you need over at the box set site.

Listening Booth, week 19, 2011, pt. 2: a couple of quickies

• Gang of Four: Content (Yep Roc) - The songs feel purposeful and full of conviction, the lyrics too, and the band seem wholly engaged in delivering them with sincirety. Jon King's singing is better than it's been in years, and Andy Gill augments his famous guitar jabs'n'stabs with some atmosphere. This is their best since bassist Dave Allen last left the band ca. 1981/'82, after two excellent albums and two equally good EPs. Without Allen, Gof4's bass -- such an integral part of their sound -- didn't have the same the flow, groove and propulsive qualities, but new boy Thomas McNeise makes up for that with plenty of punch, and drummer Mark Heaney does a good Hugo Burnham. 7/10*

• Raphael Saadiq: Stone Rollin' (Columbia) - Heavier, rockier and more funk oriented than The Way I see It, but at times that seems to have happened at the expense of great songs. This is one for the booty more than for the mind and soul. And there's nothing wrong with that, really. 7/10*

* Grades are tentative, based on three or four listens, though quite often a few more. Much of the writing is done during listens, and should be considered notes more than final reviews.

Listening Booth, week 19, 2011

Four jazz record with more than a touch of rock, with the bass pretty much at the center of the action, and two much-hyped recent "indie" records, one I like plenty, the other one is trash.

• Ben Allison: Action-Refraction (Palmetto) - Ben Allison is a refreshing character in jazz in many ways -- just listen to his recent interview on The Jazz Session with Jason Crane and you'll hear a modest, intelligent and thoughtful man with many interests and passions outside of the jazz norm. Musically, he has increasingly been incorporating elements of rock into his writing and playing, emphasizing on group interplay with subtle grooves, steady beats, and expanding upon simple melodic lines over flash and complex solos. So it makes sense that he would eventually take it upon himself to record an album with rock and r&b covers, which four out of the seven tunes here are, the other three Monk'a "Jacky-ing", a Samuel Barber song, and an Allison original. Action-Refraction reunites Allison guitaris Steve Cardenas, who has played with Allison since 2006' Cowboy Justice, and with the frim backbeat of Rudy Royston, JD Allen's drummer who also played on Allison's previous record, Think Free. Additional musicians are Brandon Seabrook on guitar, Michael Blake on tenor sax and bass clarinet, and Jason Lindner on keyboards. The Carpenter's tune "We've Only Just Begun" is given an interesting and successful arrangement, starting with Allison's jogging bass line circling the careful steps of the band, and then joining in at the bridge, lifting the song to a new level. Neil Young's "Philadelphia" and Donny Hathaway's "Some Day We'll All Be Free" are both beautiful, while PJ Harvey's "Missed", albeit played with a firmer groove, is played pretty much straight. Allison's sense of space and rhythm makes his Monk cover a success, too. 7/10*

• Jim Black, Trevor Dunn, Oscar Noriega & Chris Speed: Endagnered Blood (Skirl) - Speaking of rock informed jazz, Trevor Dunn's solid bass lines here boom and rumble like few others', and pushes the double saxophone attack of Oscar Noriega and Chris Speed forward. Jim Black drumming floats over and under, as well as providing propulsion in conjunction with Dunn. Ben Ratliff of NYTimes recently wrote with Dunn in particular in mind "You were wondering where a rock aesthetic has improved jazz rather than compromising it? Here." Although I can certainly think of a few other jazzmen deserving of similar praise, particularly Adam Lane, it certainly fits Endangered Blood too. They also do one of the best Monk re-workings I've heard in quite a while. Powerful and exciting stuff. 8/10*

• Honey Ear Trio: Steampunk Serenade (Foxhaven Records) - Several of my favorite jazz records of recent years have been sax, bass & drum trios. HET follow a similar path to one of those, The Fully Celebrated Orchestra, in taking a fairly minimalist approach, with saxophonist Eric Lawrence the most expressive, his full and rough sound at the front of most things HET do. That said, both drummer Allison Miller and bassist Rene Hart bring a lot to the table, informed by varied musical backgrounds -- Miller, for example, have played with people like Ani DiFranco and Marty Ehrlich. Hart focuses on the low end, at one point filtering his bass through a fuzz box. Miller's playing is flexible in terms of time, but can suddenly locks into grooves for propulsion, sometimes with the aid of electronics. But this isn't all heavy duty: the soft ebb and flow of the opener "Matter of Time" as well as a lovely cover of "Over the Rainbow" show they have a softer side to them. 8/10*

• Jim Lundbom & Big Five Chord (Hot Cup) - Appropriately named, this band plays a lot of big chords. Produced by Mostly Other People Do the Killing master mind MAtthew "Moppa" Elliott, this is Lundbom's fourth record as a leader, as far as I kow, and only the second I've heard. Groovy, heavy swinging, rock infused jazz is the order of the day, the starting point is riffs from which altoist Jon Irabagon (also of MOPDtK fame) and tenor player Bryan Murray play swirling and skronking melodies. Mr. Elliott's relative restraint exemplifies BFC's approach, where in MOPDtK he alternatively plucks, slaps, walks and grooves, here he mostly sticks to the latter, laying down deep and heavy notes that underscore Lundbom's riffs. This is tough and headlong stuff, albeit perhaps at times a bit too chunky for it's own good.

• Tune-Yards: W H O K I L L (4AD) - I won't bother with the typography of the band name, even if it in some way exemplifies Merrill Gerbus and her cohorts' music: sort of cut and paste. This is augmented by some guitar plucking here, sampled beats there, and the addition of new band member Nate Brenner's funky bass lines gives this record a fuller sound than the previous record, Bird Brains. Gerbus also has an impressive voice, but her vocal gymnastics and shrieks at times distract me from the lyrics, which is a shame. Still, there is a lot of playfulness resulting in some original and arresting music here. 7/10*

• Fleet Foxes: Helplessness Blues (Sub Pop) - There's a lot of talk about how this is an ambitious record by main fox Robin Pecknold & co, but don't be fooled: this is basically made with the same template as their first: simple strum-strum folk tunes and harmonic vocals -- albeit cold rather than warm harmonies -- just with the added saxophone here and some strings there. It is style over substance, but a style which symbolizes "back to basics" or "back to nature", not to be confused with profound. Pecknold's dismissal in the title track of the uniqueness of the individual in place of being part of some big superstructure has been interpreted as both a fascist statement as well as a Christian one, but above all else it is just bad writing. As one who is not big on self-pity in art or life in general, I dreaded what the refrain would be. I was somewhat appeased when he had the sense to ask "what good is it to sing "Helplessness Blues?"" Sadly, he fails to convince me he has an answer, at lest on worth listening to. 4/10*

* Grades are tentative, based on three or four listens, though quite often a few more. Much of the writing is done during listens, and should be considered notes more than final reviews.

Listening Booth, week 18: Other Dimensions in Music feat. Fay Victor

I've been slow getting these latest notes out, but I have at least jotted down a few and hope to post them during the week. First one out, Other Dimensions in Music.

• Other Dimensions in Music feat. Fay Victor: Kaiso Stories (Silkheart) - Other Dimensions in Music first recorded in 1990. The core of the group have been Daniel Carter on alto and tenor saxes, flute and trumpet, Roy Campbell on trumpet, pocket trumpet, flügelhorn, and William Parker on bass plus various instruments, as well as Rashid Bakr on drums with, Hamid Drake taking over drum duties on a couple of tours. Matthew Shipp joined them on the live Times Is of the Essence Is Beyond Time (AUM Fidelity, 2000). Their music is apparently fully improvised, 'though you perhaps wouldn't realize that upon listening. And listening is the key to their interplay as well: the four men seem so attuned and attentive to what the others are doing, that even at its most ferocious moments, their music never breaks into sheer cacophony except for dramatic effect. They bring melodic lines out of each other, rather than contest for supremacy. William Parker knows his role in this setting, and sticks to it, concentrating on playing two, three or four note riffs or vamps with only the occasional shift in direction, providing both bottom and stability. Bakr's drumming is loose, and mirrors rhythmically what Carter and Campbell does melodically. At their best, when their imaginations and interplay really click -- as on 1998's Now (AUM Fidelity), a record I admittedly once may have underestimated -- ODiM create very enthralling music. On their new record, Kaiso Stories, they return to Silkheart, the Swedish label where they recorded their first record. The project is a collaboration with jazz vocalist Fay Victor, where they put music to various old kaiso -- a pre-calypso style -- lyrics. Victor's singing here is heavily accented, as one would expect in Caribbean music, and her voice is both powerful and slightly raspy. Her voice as well as her song melodies work very well with Carter and Campbell, who swirl around her lines without getting in her way. Parker provides a groovy bottom as well some push. Songs like "De Night A De Wake" snarls, while "Saltfish Refried" is much looser and lighter in tone. The lyrics are at times both angry and humorous, and political on a very human level. ODiM have conjured up some imaginative music to accompany these stories. Never stooping to jazz pastiches of calypso music, the album is instead free in spirit and purposeful in its execution, with hints of Western African and Caribbean rhythms and tones. A highly enjoyable record. 8*

* Grades are tentative, based on three or four listens, though quite often a few more. Much of the writing is done during listens, and should be considered notes more than final reviews.

The JJA Jazz Awards 2011 Nominees - Some quick thoughts

The 2011 JJA Jazz Awards nominees were announced earlier today. Not surprisingly, I have issues. The glaring omission of Adam Lane, who for my money should have at least been nominated in the "Recording of the Year", "Large Ensemble of the Year", and "Bassist of the Year", and possibly the composer and arranger categories as well. Below, the music categories, my picks in are in bold, some with added comments:

LIFETIME ACHIEVEMENT IN JAZZ

Jimmy Heath
Muhal Richard Abrams - Prime mover behind the formation of AACM, and has released a heap of great music for many years.
Paul Motian
Phil Woods
Wayne Shorter

MUSICIAN OF THE YEAR

Esperanza Spalding
Jason Moran
Joe Lovano
Sonny Rollins
Vijay Iyer - Iyer's been around for a while, operating in several formats (the group Fieldwork is my favorite), and although I don't think his last record is anything near his best, I'd pick him over the rest of these, 'though my love for Sonny Rollins knows no bounds Moran will probably win it, 'though.

COMPOSER OF THE YEAR

Henry Threadgill - About time he gets his due. Overlooked great of modern jazz (I'll admit, I'm biased, seeing as I'm a huge Threadgill fan). Again, I'm guessing Moran will win this.
Jason Moran
John Hollenbeck
Maria Schneider

UP AND COMING ARTIST OF THE YEAR

Ambrose Akinmusire
Darius Jones - One of the most exciting new musical acquaintances I've made in the last two years or so. Great solo debut from 2009, and his new duet album with Matthew Shipp is beautiful.
Gerald Clayton
Jon Irabagon

RECORDING OF THE YEAR

Apex - Rudresh Mahanthappa and Bunky Green (Pi Recordings)

The Art of the Improviser - Matthew Shipp (Thirsty Ear)

Bird Songs - Joe Lovano Us Five (Blue Note)

Mirror - Charles Lloyd Quartet (ECM)

Ten - Jason Moran (Blue Note)

Comment: Hard to pick one. Adam Lane's Full Throttle Orchestra's Ashcan Rantings was my top record in 2010, by some distance, and none of my other top 10 jazz records of 2010 are in with a shout here. If I had to pick one, I guess I would go for Apex. I'm guessing Moran will win this, based on the consensus from 2010 polls.

HISTORICAL RECORDING, BOXED SET OR SINGLE CD REISSUE OF THE YEAR

Bitches Brew: 40th Anniversary Collector’s Edition - Miles Davis (Columbia Legacy)

The Complete Ahmad Jamal Trio Argo Sessions 1952 - 62 - Ahmad Jamal Trio (Mosaic)

The Complete 1932-1940 Brunswick, Columbia, and Master Recordings of Duke Ellington and His Famous Orchestra - Duke Ellington (Mosaic)

The Complete Novus & Columbia Recordings of Henry Threadgill & Air – Henry Threadgill & Air - Mosaic - No contest. The box set is chuck full of excellent jazz by one of its forgotten geniuses, as well as by one of the best jazz trios of all time. It contains two records I have rated as 10s -- Air's Air Lore and Threadgill Sextett's Rag Bush & All -- one 9, two 8s and none I rate below 7. Will Miles win this, 'though? I mean, just because it's Miles? (Cheap shot, I know.)

The Complete Revelation Sessions - John Carter and Bobby Bradford (Mosaic)

RECORD LABEL OF THE YEAR

Blue Note
Clean Feed - They continue to release exciting and challenging jazz records by artists from both sides of the Atlantic. Sadly, their best release from 2010, Adam Lane's Ashcan Rantings, is not represented anywhere else here.
ECM
Pi
Sunnyside

FEMALE SINGER OF THE YEAR

Cassandra Wilson
Dee Dee Bridgewater
Gretchen Parlato
Rebecca Martin
Roberta Gambarini

Comment: No picks here. Haven't heard a new record by any of these.

MALE SINGER OF THE YEAR

Bobby McFerrin
Freddy Cole
Giacomo Gates
Gregory Porter
Kurt Elling

LARGE ENSEMBLE OF THE YEAR

Darcy James Argue's Secret Society
Jazz at Lincoln Center Orchestra with Wynton Marsalis
John Hollenbeck Large Ensemble
Maria Schneider Orchestra
Mingus Big Band
Vanguard Jazz Orchestra

Comment: Again, it's a shame the have omitted Adam Lane's Full Throttle Orchestra. Is it because they are only a recording band, and not a touring one? Darcy James Argue's Secret Society and John Hollenbeck Large Ensemble would both be decent picks, 'though.

SMALL ENSEMBLE OF THE YEAR

Charles Lloyd Quartet
Henry Threadgill Zooid - Mostly Other People Do the Killing should have been nominated, in my opinion, but they have time on their side. Zooid is a good pick.
Jason Moran and The Bandwagon
Joe Lovano Us Five
Wayne Shorter Quartet

ARRANGER OF THE YEAR

Bill Holman
Carla Bley
Darcy James Argue
David Weiss
Maria Schneider
Vince Mendoza

TRUMPETER OF THE YEAR

Ambrose Akinmusire
Dave Douglas
Jeremy Pelt
Nicholas Payton
Tom Harrell
Wynton Marsalis

Comment: Peter Evans for me, but he's not here. Nor is Taylor Ho Bynum. Dave Douglas it is, then.

TROMBONIST OF THE YEAR

Conrad Herwig
Roswell Rudd
Steve Davis
Steve Swell - Released the very good 5000 Poems with his group Slammin' the Infinate last year. On that basis alone, he's my pick.
Steve Turre
Wycliffe Gordon

TENOR SAXOPHONIST OF THE YEAR

Chris Potter
Joe Lovano
Jon Irabagon - What? No Ken Vandermark? Irabagon is great, 'though, and gets my pick. I like Malaby a lot too, and Sonny, of course.
Sonny Rollins
Tony Malaby
Wayne Shorter

ALTO SAXOPHONIST OF THE YEAR

Lee Konitz
Miguel Zenon
Ornette Coleman
Phil Woods
Rudresh Mahanthappa - Could've gone for Ornette, obviously, but even though he toured last year, I'll go for Mahanthappa, who played on two good albums released in 2010.
Steve Coleman

BARITONE SAXOPHONIST

Claire Daly
Gary Smulyan
James Carter
Joe Temperley
Scott Robinson

SOPRANO SAXOPHONIST OF THE YEAR

Dave Liebman
Evan Parker
Jane Bunnett
Jane Ira Bloom
Sam Newsome
Wayne Shorter

CLARINETIST OF THE YEAR

Anat Cohen
Ben Goldberg
Don Byron
Evan Christopher
James Falzone
Ken Peplowski

FLUTIST OF THE YEAR

Charles Lloyd
Henry Threadgill
Lew Tabackin
Mark Weinstein
Nicole Mitchell

GUITARIST OF THE YEAR

Bill Frisell
Jim Hall
Marc Ribot
Mary Halvorson - Would've nominated Nels Cline, too, but Mary Halvorson is an exciting musician and composer.
Russell Malone

PIANIST OF THE YEAR

Fred Hersch
Geri Allen
Jason Moran
Kenny Barron
Matthew Shipp - Tough choice. Could go for Iyer, but I liked Shipp's last record a bit better than Iyer's.
Vijay Iyer

BASSIST OF THE YEAR

Charlie Haden
Christian McBride
Dave Holland
Ron Carter
William Parker - Parker is a giant of modern jazz, and an original bassist and composer, but sadly not very well known. I blame a by-and-large conservative jazz press, obsessed with heroes past and once great jazz labels like Blue Note. Haden, Holland and Carter have had their time. Would've nominated Adam Lane, myeslf. But you're probably sick of hearing this by now. "Moppa" Elliott of MOPDtK is another guy they could've looked to, as is Lisa Mezzacappa.

DRUMMER OF THE YEAR

Eric Harland
Lewis Nash
Matt Wilson
Nasheet Waits - Would have nominated Mark Lomax and Mike Reed myself. Possibly MOPDtK's Kevin Shea, too, but his style is maybe too "out" for this poll.
Paul Motian
Roy Haynes

PERCUSSIONIST OF THE YEAR

Adam Rudolph
Bobby Sanabria
Cyro Baptista
Hamid Drake
Kahil El'Zabar

ORGANIST/KEYBOARDIST OF THE YEAR

Craig Taborn
Dr. Lonnie Smith
Gary Versace
Joey DeFrancesco
Larry Goldings

MALLET INSTRUMENTALIST OF THE YEAR

Gary Burton
Jason Adasiewicz
Joe Locke
Stefon Harris
Steve Nelson

Comment: I have no pick here.

VIOLINIST OF THE YEAR

Billy Bang - Sadly passed away recently, but mangaed to release the glorious Prayer for Peace last year.
Christian Howes
Jenny Scheinman
Mark Feldman
Regina Carter

PLAYER OF THE YEAR INSTRUMENTS RARE IN JAZZ

Bela Fleck, banjo
Fred Lonberg-Holm, cello - has been doing great work in several of Ken Vandermark's ensembles recently.
Howard Johnson, tuba
Rudi Mahall, bass clarinet
Scott Robinson, specialty brass and reeds
Toots Thielemans, harmonica

A special mention to Hank Shteamer for his nomination in the best Liner Notes category (for the Henry Threadgill box set).

R.I.P. Poly Styrene, Hazel Dickens & Phoebe Snow

I haven't got much to say. Incredibly sad. Tom Hull has a good post up on his webpage, and also some nice words for Hazel Dickens and Phoebe Snow, who both recently passed away too.

Coming up!

This place isn't dead, but I've been unlucky with my internet connection lately, only having a cell phone running on android to get by. I have Listening Booth notes on the new Ben Allison, Honey Ear Trio, Other Dimensions in Music & Fay Victor, Jon Lundbom & Big Five Chord and a few others that I hope to post sometime early next week.

Until then, have a good Easter period and/or Passover.

R.I.P. Billy Bang

I was truly saddened to learn that Billy Bang passed away yesterday, April 11th, 2011. Free jazz violinists don't grow on trees, but between him and Leroy Jenkins, some truly amazing music has been created. Ottowa Citizen has more. EDIT: Tom Hull has a mini CG and more links here. Post on npr's A Blog Supreme.

Billy Bang played on many great records, both as leader and with people like Sun Ra, William Parker, Kahil El'Zabar, Marilyn Crispel, William Hooker and Bootsy Collins to name a only a few. Below, some picks of my favorite Billy Bang recordings, off the top of my head and probably missing a few gems:

• Billy Bang Quintet: Rainbow Gladiator (Soul Note, 1981)
• Billy Bang Sextet: The Fire From Within (Soul Note, 1985)
• Billy Bang: Bang On! (Justin Time, 1997)
• Billy Bang: Vietnam: The Aftermath (Justin Time, 2001)
• William Parker Violin Trio: Scrapbook (Thirsty Ear, 2003)
• Sirone-Bang Ensemble: Configuration (Silkheart, 2005)
• Billy Bang: Vietnam: Reflections (Justin Time, 2005)
• Billy Bang Quintet feat. Frank Lowe: Above and Beyond: An Evening in Grand Rapids (Justin Time)

Never got a copy of Prayer for Peace, Bang's last record and one much praised by Tom Hull.

EDIT: Finally got a digital copy of Prayer... yesterday. Also, if this happens to be your first visit (thanks to Hull for the link), please note that my jazz library/list/grades haven't been properly updated in ages. Hoping to sort this out sooner rather than later.

EDIT 2: Thanks to Destination: Out!'s lovely Billy Bang farewell post, I came across the rare album Intensive Care, released under the group name Jazz Doctors in 1984, a one off project with Bang, Frank Lowe, drummer Dennis Charles and bassist Rafael Garrett. It's a highly well-played and enjoyable record that deserves a mention among those above (see my Jazz pages for grades).

Listening Booth, week 13: MOPDtK

• Mostly Other People Do the Killing: The Coimbra Concert (Clean Feed) - What MOPDtK do is not really deconsrtuc jazz history, but rather weave elements from across the board into a mesh that make them sound truly unique. Ragged rhythms and brassy timbres from New Orleans jazz, speedy bebop and post bop, skronky outbursts and sudden stops 'n' starts that point to both Monk and free jazz are melded together in a way that suggest both love for and defiance of conventions and traditions, and in turn proves great knowledge and grasp of jazz history. Live, though, deconstruction does happen. But not really of the jazz traditions as much as their own compositions. One tune will suddenly take a different turn not only by way of "regular" jazz improvisation as one would expect, but at any time any one of the group may take the opportunity to start quoting a different composition from their own repertoire, just as Sonny Rollins might have quoted a standard or a pop tune during one of his solos back in the day ('though MOPDtK do that kind of referencing here too). The opening track here is a case in point: at trumpeter Peter Evans' cue, the groovy "Drainlick" (from This Is Our Moosic) speeds up and turns into the splendidly heady "Shamokin!!!" (off the album of the same name) as he starts playing the lead melody from that tune. This certainly keeps their music fresh, and will surprise even those who know their compositions well. Maybe not as solid and concise as their studio recordings, but that is probably not the point. The Coimbra Concert is a highly entertaining, exciting and engaging nearly two hour long document of überjass from one of the best jazz groups today. Oh, and the cover photo is fantastic (nudge nidge)! (8/10)*

* Grades are tentative, based on three or four listens, though quite often a few more. Much of the writing is done during listens, and should be considered notes more than final reviews.

Listening Booth, week 12, 2011

Freelance writing doesn't make for a good living these days, as you may know, especially when your main focus is jazz. My only real outlet on jazz have been non-profit magazines. And so, the economic situation isn't good. Add to that, I got some news yesterday regarding my academic prospects that left me totally deflated.

Now, this is not a personal blog, but I'm saying this because for the time being I'm not sure I'm in the mood to write much on these pages, even though I have things to say about Bob Geldof's rant at SXSW (the monoculture's been dead for decades, Bob) and the Smithsonian's new jazz anthology (have a listen to last week's NY Times popcast. EDIT: or read Ben Ratliff's excellent piece here, which draws in the Martin William's "curated" Smithsonian Collection of Classic Jazz (which I have, btw.)). Hopefully, things will sort themselves out, one way or the other, but until then expect no frequent updates (may add to the 2011-list, though). No words here, just grades.

• The Baseball Project: Volume 2: High & Inside (Yep Rock) (7/10)*
• Hayes Carll: KMAG YOYO (& Other American Stories) (Lost Highway) (7/10)*
• Honey Ear Trio: Steampunk Serenade (Foxhaven Records) - Sax, bass, drums trio. Got this just recently. Sounds great, juxtaposes calmness and skronk, and it may benefit from more plays. (7/10)*
• The Pains of Being Pure at Heart: Belong (Slumberland) (7/10) *
• Lucinda Williams: Blessed (Lost Highways) - Picks: "Seing Black", "Convince Me" (6/10)*

* Grades are tentative, based on three or four listens, though quite often a few more. Much of the writing is done during listens, and should be considered notes more than final reviews.

Listening Booth, week 10, 2011

Not a lot of words here, or records for that matter, but I wanted things to get going, so I'm posting this anyway.

• Mike Watt & the Missingmen: Hyphenated-Man (Clenched Wrench/Original Recordings Group) - Mr. Watt apparently got the idea for this 30 song album (opera) from Hieronymus Bosch's famous painting/triptych The Garden of Earthly Delights. The songtitles refer to several of the strange figures in that work, who Watt takes to represent different aspects in his own life. These are short, snappy songs, linking the styles of Minutemen and Firehose -- the Missingmen is also a bass, guitar & drums trio. The bass is very much the primary driving force, and Watt delivers his associative words in his distinctive, rough voiced, sea-chanty style. As you'd expect, it's dynamic and jumpy, even if the barrage does make seem a bit samey towards the end. Picks of the bunch: the spikey "Belly-Stabbed-Man" and the mellow guitar-driven "Hollowed-Out-Man". (7/10)*

• PJ Harvey: Let England Shake (Island) - Collaborating with both John Parish and Mick Harvey, this music is sparse in terms of instrumentation yet powerful in terms of impact. The autoharp is prominent throughout, which lends the music and eerie feel, and critique of war mongering politics is the overriding theme. Picks of the bunch: "The Words that Maketh Murder" & "The Colour of the Earth" (7/10) *

• Drive-By Truckers: Go-Go Boots (ATO) - Murder ballads, DBT style. Pick: "Used to Be a Cop" (7/10)*
• Jamaladeen Tacuma: For the Love of Ornette (Jam All Productions) - The most interesting electric bass player (and one of the best dressed gentlemen) in jazz since the mid 70s, Tacuma makes a convincing harmolodics inspired tribute to Ornette Coleman. Pick: "Tacuma Song" (6/10)*
• Bright Eyes: The People's Key (Saddle Creek) - (6/10)*

* Grades are tentative, based on three or four listens, though quite often a few more. Much of the writing is done during listens, and should be considered notes more than final reviews.

EMP Pop Conf. 2011 Links + bits

The annual EMP Pop Conference took place this past weekend, much earlier in the year than it has done previously. I understand that Twitter has been the chosen arena for quick peaks into the goings on of the conference, but I try to stay far far from that place. Fortunately, Ned Raggett has posted longer notes from the weekend here, here and here.

Edit: Christgau has posted a report here.

A lot of thing has happened since I went vacationing a few weeks back, and generally spent as much time as possible offline. The Grammys, for example, but I'm not in the mood to write too much about that. I admire Spalding's talent, and I'm happy she won, but her music interests me very little - to me it's all chops, no substance. As for Arcade Fire, well theirs was easily my favorite album of the ones that were nominated.

Hoping to have a fresh Listening Booth up by early next week. Other than that, check out the recent links from the web, "Subject to Change", on the right hand column.

Listening Booth: Mario Pavone, Rodrigo Amado & more

Started writing these a few weeks ago, but held the post back until I got to at least five write-ups. Sadly, things have prevented me from writing more here, and as I had hoped to put 2010 on the shelf come the end of January, I'll just post the ones I managed to write now, with a few more records below with only the (tentative) grades added. My apologies to both the artists and potential readers.

• Mario Pavone Orange Double Tenor: Arc Suite t/pi t/po (Playscape Rec.) - Veteran bassist and composer Mario Pavone has a knack for writing twisting and twirling themes, but always with a solid sense of propulsion, most often provided by his own bass work. This time around he gets a lot of assistance from pianist Peter Madsen in that department. Long time associate Tony Malaby plays tenor and soprano, Jimmy Greene also plays tenor, and together with trumpet player Dave Ballou they explore the interwoven melodies. The always reliable Gerard Cleaver plays drums, while Steven Bernsein assists with slide trumpet on one track. The music is slightly jagged but equally sure footed and rhythmically engaging, 'though at times perhaps a bit too restrained. I was actually at more than one time reminded of some of the early George Russell compositions, perhaps because of some of the shared duties by the bass and the piano. Not quite as good as Deez To Blues or Ancestors (both on Playscape), but still enjoyable (6/10) *

• Rodrigo Amado, Kent Kessler & Paal Nilsen-Love: The Abstract Truth (European Echoes, 2008) - A trio date with Kent Kessler on bass and Paal Nilsen-Love on drums, Amado playing tenor and baritone saxophone. With Kessler (Vandermark 5 and others) and Nilssen-Love you'll get both hard swing and some solid punch, which is exactly what they provide here, complementing Amado's deep sound, who swivels around the rough'n'tumble rhythms with gruffs, riffs or spurts of melodic ideas, every now and then slowing things down, which leaves us with some welcome breathers. The album is not very heavy on melodic themes, though, so some of the numbers seem to glide into the next, separated more by changes in tempo or mood than anything else. That said, the tough "Universe Unmasked" is a highlight, with deep, rumbeling bass vamps that release more driving sections, Amado huffing and puffing on baritone. (7/10)*

• Rodrigo Amado, Taylor Ho Bynum, John Hébert & Gerald Cleaver: Searching For Adam (Not Two, 2010) - This quartet recording was apparently at least partly inspired New York and the traffic of cities. There is a lot of ebb and flow -- quiet and loud, organized and free -- in the music here, so that makes sense to me. Amado plays more melodically here, while Ho Bynum (trumpet) brings in the more abstract elements, as Hébert (bass) and Cleaver (drums) keeps things moving along nicely. (7/10)*

Note: Rodrigo Amado was recently a guest on Jason Crane's The Jazz Sessions. Go listen!

I also received a third release by Amado, Motion Trio (European Echoes, 2009), with Miguel Mira on cello and Gabriel Ferrandini on drums, but I have not gotten around to play it more than once yet, so I'll refrain from writing anything on it here.

• Jason Adasiewicz with Mike Reed and Nate McBride: Sun Rooms (Delmark) 7 *

• Chris Lightcap's Bigmouth: Deluxe (Clean Feed, 2010) 7

• Lisa Mezzacappa Bait & Switch: What Is Known (Clean Feed, 2010) 7*

• Mike Pride's From Bacteria to Boys: Betweenwhile (AUM Fidelity) 7 *

• Jason Moran: Ten (Blue Note, 2010) 6*

Addendum: I've written a lot about the Moran record in various posts on the blog previously, and there's no point in repeating all of it. There is no doubting Moran's talent, I just happen to find his musical ideas and themes fairly uninteresting, especially here (I like Black Stars quite a lot, though). Also, though I don't hold the following against Moran, it deserves a mention: The fact that Tom Hull apparently got stick for not appreciating the record enough after the Village Voice Jazz Critics Poll was announced, which Ten won in a landslide, says a lot about the state of a section of the modern jazz audience as well. To them, Moran is the new leading star; the John Coltrane or Miles Davis of his generation. Fact is, though, jazz was never just about Coltrane or Davis. It was and will always be much, much more than those two, just as the jazz of 2010 was much more than Moran.

* Grades are tentative, based on three or four listens, though quite often a few more. Much of the writing is done during listens, and should be considered notes more than final reviews.

Pazz & Jop 2010

The results for The Village Voice's annual Pazz & Jop critics poll have just been posted. This year, not very surprsingly won, in a landslide victory, by Kanye West's My Beautiful Dark Twisted Fantasy. A quick count reveals that eight of the top 10 are on my own year-end list, even if not all of them are very high on said list, which has to be a record of some sorts. The highest placed jazz record is Mary Halvorson's Saturn Signs at 135.

Catching up with last year's records: William Hooker's Earth's Orbit

Inspired by various year end lists ,as well as some late purchases/arrivals, I've be assessing and/or reassessing some records from last year. More will be posted in the coming days.

• William Hooker: Earth's Orbit (NoBusiness) - A limited edition double LP, the first of which, "Bliss (East)", is a live recording with Adam Lane on bass and Darius Jones on alto from The Stone in New York. "Bliss (East)" is groovy, freewheeling jazz, where Hooker's wonderfully skitting drums is pushed along by Lane's deep and rumbeling bass, while Jones honks and screams on top. They mix the heady with mellower parrts, which adds dynamics, and Lane's knack for a groove plus Jones bluesy tone give the music some focus between and during the more rip-roaring parts. Highly exciting set, slightly reminicent of Charles Gayle's great Touchin' On Trane. The secod part, "Bliss (West)", is a live quartet set recorded in San Fransisco with Aaron Bennett on tenor, Weasel Walter on guitar, and Damon Smith on bass. It leans more towards free improvisation, with plenty of skronk provided by both the sax player, the guitarist as well as some bowed bass. In between, they slip into some sludgy noir-like bluesy parts, and with Hooker shouting from behind his kit. "Bliss (West)" is the less engaging of the two sets (I'd say "Bliss (East)" is even close to an 8) but not without it's charms and exciting parts. As a whole, though, Earth's Orbit showcases Hooker as an inventive and lively drummer, playing in two different set-ups with slightly different outcomes, but still keeping an artistic unity which works very well over the space of two vinyl LPs. (7/10)*

* Grades are tentative, based on three or four listens, sometimes a few more. Much of the writing is done during listens, and should be considered notes more than final reviews.

Tom Moon and Don Was on Liner Notes

"When somebody downloads an album from most places on the Internet, what they get is a file containing fairly decent digital representation of the music and a tiny image of the front cover. For those who come to music to expand their horitons, it’s essentially a dead-end. More than that, the absence of information sends a signal: The folks who were involved in the creation of this work are relatively meaningless, just a shade more important to the end-user than the factory worker who bolted the player together. "

Go read the thing! Liner notes provide more than fodder for fact geeks. More importantly, they provide info on who made/provided what on a given record, and can point those interested in the direction of these other musicians' work, should they be so inclined. Which we often are. Of course, a lot of information on recordings is available online nowadays, on Wikipedia, discography pages and so on, but when you buy a physical record, most of this info comes with the package. Downloading files, in order to get this information, you'll have to do exstra work.

2010 Voice Jazz Poll - Moran the same

The 2010 Voice Jazz Poll just went online, not surprisingly won by Jason Moran's well made, but not terribly exciting Ten (and I stand by my claim that the Monk cover is not very good at all). I find the choice a bit uninspired, but there you go. Nice to see Mary Halvorson, Henry Threadgill, Nels Cline and Mostly Other People do the Killing among the top 50, and Threadgill deservedly won best reissue.

Very disappointed, 'though, that Adam Lane's wonderful Ashcan Rantings nor Mark Lomax Trio's bluesy-and-kicking The State of Black America are not on the list at all. Was Tom Hull the only one voting for them? Lane's record was released late in the year (in November, if I remember correctly), so that may have played a part, and both his and Lomax's are on failry small labels and may have limited review copies available, but surely records as good as these must have been picked up by a few others ("go buy a copy, you tight ass") and my disapointment stands nevertheless (naturally, differences in taste come into play as well. I'm just being a bit of an ass here to get my feelings accross). I guess it is up to mr. Hull and myself to continue to spread the word about these two very good records.

EDIT: just got around to the individual ballots, and both Troy Collins and Jeff Stockton have Ashcan... in their top 10s, Ludwig van Trikt have Lomax' as his third favorite of 2010.

Comments on the year in jazz by Tom Hull can be accessed here, and his thoughts on the poll itself here. Good comments regarding review copies, or "who gets what", and we seem to be on the same page re: Moran. Some of his older records are very good indeed.

Everybody else is doing it... Jazz faves of 2010

I've been reluctant to post this now, as I often am, since I still feel there are a few more records to cover. This year, more than the previous five or so years, I've also not been able to hear a handful of well received albums that I suspect might have had an impact on the list.

In a few cases, such as William Hooker's Earth's Orbit (NoBussiness) - which also has contributions from Adam Lane and Darius Jones, who ended up topping this year's and last year's lists respectively - the albums have been exclusively available as vinyl only imports. The same goes for Jason Ajemian's Protest Heaven (482 Music), much praised by Stef Gijssels. I'm very much pro-vinyl, but it makes it difficult for jazz writers like me to get a listen (copies have been ordered, but will probably not arrive until well into the new year). Another one I am yet to hear is Billy Bang's Prayer For Peace, which Tom Hull has as his number one pick. I've not been able to find it on eMusic, which I rely on for a good percentage of new jazz, nor on iTunes or any of the streaming sites available to me. I am currently not on TUM's mailing list, either, so ... (EDIT April, 2011: Got the Bang record just after his passing. It would certainly make a push for a top 5 spot. Still, I'll let the list below stand as published).

I have, 'though, been spinning a few of records that have popped up on various year-end lists here and there, such as Jason Moran's Ten (Blue Note), but none of them have impressed me in any particular way. The Moran record seems to be a hot tip for consensus jazz album of the year, but apart from a promising first few tracks, to me the bop-derived albeit modern sounding music on the album seems too safe, and Moran over plays at times, especially on the (failed, in my ears) Monk cover "Crepuscule With Nelly". For Monk interpretations, I have more faith in the more humor friendly and angular approach of The Microscopis Septet, whose new record of Monk tunes, Friday the 13th (Cuniform), is another one I'm yet to hear.

Anyway, complaining about the records I haven't gotten around to is useless, so here is a list of the jazz records I have been able to hear, "won", as it were, by a record of vibrant post-Mingus jazz (even Ellingtonian at times) filtered through Loft Jazz and informed by avant-rock, full of both powerful and beautiful music: Adam Lane's Full Throttle Orchestra's Ashcan Rantings.

1. Adam Lane: Ashcan Rantings (Clean Feed)
2. The Mark Lomax Trio: The State of Black America (Inarhyme Records)
3. Mostly Other People Do the Killing: Forty Fort (Hot Cup)
4. Dual Identity (Rudresh Mahanthappa & Steve Lehman): Dual Identity (Clean Feed)
5. Angles: Epileptical West - Live in Coimbra (Clean Feed)
6. Wadada Leo Smith & Ed Blackwell: The Blue Mountain (Kabell, rec. 1986)
   
7. David S. Ware: Onecept (Aum Fidelity)
8. Mike Reed's Loose Assembly: Empathetic Parts (482)
9. The Nels Cline Singers: Initiate (Cryptogramophone)
10. Henry Threadgill's Zooid: This Brings Us To, vol. 2 (Pi Recordings)

Ten more:

• Mary Halvorson Trio & Quintet: Saturn Sings (Firehouse 12)
• Mike Reed's People, Places & Things: Stories and Negotiations (482)
• Vandermark 5 Special Edition: The Horse Jumps & The Ship Is Gone (Not Two)
• Jon Irabagon: Foxy (Hot Cup!)
• Steve Swell Slammin' the Infinite: 5000 Poems (Not Two)
• Henry Grimes & Rashied Ali: Spirits Aloft (Porter)
• Zanussi Five: Ghost Dance (Moseróbie)
• Rudresh Mahanthappa & Bunky Green: Apex (Pi Recordings)
• Juxtaposed: Tsar Bomba (Bolage)
• Tarbaby: The End Of Fear (Posi-Tone Records)
  

Edit (Dec. 29th, 20109:

I did not add a list of reissues when I wrote this, and as I don't have a reasonably good overview in front of me as I write this addition, I won' t attempt to make one ('though, I know Air's Air Raid and Marion Brown's Why Not? is on the list on the 2010 section of the blog). Still, I'd be surprised if any reissue could topple the Complete Novus & Columbia Recordings of Henry Threadgill & Air box set released by Mosaic. Threadgill was, and still is, one of the most exciting and original jazz composers of the past 35 or so years -- not to mention a terrific sax player -- and both his Sextet(t) and not least Air with Fred Hopkins and Steve McCall were among the best and most exciting groups during that same time frame. Add to that statement the fact that I regard both Air's Air Lore and the Sextet recording Rag, Bush and All, both included in the set, as solid 10s (or A+, if you are so inclined), and that all of the other albums on here are interesting and exciting, and most of them highly engaging and original to boot, both in terms of composition and execution, my reasons for naming it my fave reissue of 2010 should be clear. If there is one draw back to the set, it would be the the orignal albums are spilt between discs, meaning one half of a record may appear on one disc, the other half on another, with the first few tracks of a second album following. Since I own the ones I truly treassure on original vinyls and/or CDs, this is not a big issue with me. But other listeners may want to program their CD players (or import the discs to iTunes or similar and spilt them into their respective albums there) to get the record by record listening experience.

My smile is stuck, I cannot go back to your frownland.

R.I.P. Don Van Vliet aka Captain Beefheart

A quick glance at JJA's year-end bonanza

The Jazz Journalists Association webpage have invited their members to post year-end lists in their blog section (late November, early December is always too early for me to finalize a list, for various reasons, but mostly because I use the first weeks of December to catch up.)

The lists point in all different directions, which makes consensus less of a given, but on the plus side it suggests that writers out there are able to spread the word about most every strain of what we know as jazz (whether they are any good at backing up their "likes" in writing, I can't say. I've only read a few, from what I can recall.) Still, only a few of the lists have piqued my interest beynd glancing through, mostly because they contain a few or more touch-stone releases (e.g. MOPDtK, Mary Halvorson, David S. Ware or others), which suggests that our tastes may be similar enough for me to happily check out or reassess whatever else is on their respective lists (most interesting so far: Geoffrey Himes, Laurence Donohue-Greene, Gordon Marshall (still aching to hear that William Hooker record. Wish they would make some mp3s available, as the price is too steep for me to import it myself, at the time of writing), and Tim Duroche.

That said, I usually take time to listen to as many of the albums as possible, especially if they recieve multiple mentions, even if some of the choices initially may seem uninspired to me (based on my biases, that is.) Jason Moran's new record is listed plenty of times, and I've given it a quick spin (first impression: OK, nothing more. Messes up a Monk tune big time.) Another record that pops up more than a couple of times is the Ruresh Muhanthappa & Bunky Green album, which I've written about already. Fine record though it is, the "up-and-coming youngster teaming up with rediscovered forgotten older statesman" formula certainly seems like it could win you extra votes, no matter how the record actually sounds (again, based on my biases.)

Anyway, I hope to have a Listening Booth ready in a couple of weeks, containing some of the records I've been able to pick up from these lists (mostly, by using Spotify, WiMP or other streaming sources) as well as other things (for example, I came to Mike Reed's Loose Assembly's Empathetic Parts a bit late, but it does sound very good indeed.)

Kanye receives plaudits

Full score for Kanye's latest opus at Pop Matters, P'fork and Rolling Stone. The P'fork write-up spends too much space delving into the backstories that may or may not have had an impact on the creative process, and way too little on the album itself. The other two work better: the PopMatters review, among other things, discusses the filmatic aspect of the record, while Rob Sheffield in Rolling Stone inevitably -- but perhaps fittingly -- calls it a "rock-star manifesto". But I take issue with this excerpt:

"Nobody else is making music this daring and weird"

If I were nice, I'd call it hyperbole. In reality, though, it's just plain wrong, and doesn't serve the review well. A truer statement, if one really needs to include it, would be "Nobody this popular is making popular sounding music this daring and weird."

Sometimes, no matter how excited you may be, holding back a bit just makes more sense.

Recents updates

I've just added the five most recent articles that I've contributed to FAN Fanzine on the Norwegian section of the blog. These are fairly short pieces on Mike Reed, Nels Cline, Bill Dixon, Mike Watt and Minutemen, and David S. Ware. No versions in English, I'm afraid.

Quick Notes

Updated the "best of" 2010 list this weekend. Nothing much, but some tweaks and a couple of new records added. Here are the (tentative) grades of the new additions (no write-ups this time around. I'm sorry):

• No Age: Everything In Between (Sub Pop) 8
  
• Eskmo: Eskmo (Ninja Tune) 7
  
• Steve Reich: Double Sextet/2x5 (Nonesuch) 7
  
• Of Montreal: False Priest (Polyvinyl) 7
  
• Taylor Swift: Speak Now (Big Machine) 7

Also, I want to remind any visitor to have a look on the "Subject to Change" links section on the sidebar, which I update regularly even if there may not be any new posts on the blog. Most recently, William Parker guests Jason Crane's The Jazz Session. And an interview with David S. Ware to come on Thursday. Looking like a very good week, Mr. Crane.

Quickfire Perfect Sounds Listening Booth: Fall 2010, vol. 3

Rock/pop/other:

• Superchunk: Majesty Shredding (Merge) & The Thermals: Personal Life (Kill Rock Stars) - Superchunk and the Thermals seem like kindred spirits to me. Both play energetic heart-on-sleeve and punky music when the "indie" landscape otherwise have seemed to prefer a slightly slower pace and emotional disengagement ('though you'll be able to find other artists with similar knacks in both cases -- Sebadoh in the 90s and Titus Andronicus spring to mind). The Thermals made a very good album with 2006 The Body, the Blood, the Machine, while in Superchunk's case the pick hit is their early comp Tossing Seeds, which contains the brilliant "Slack Motherfucker". Both of their respective new albums are stocked with fuzzy power-popish tunes: Superchunk's is buzzing and sprightly, while The Thermals have eased up their politics (which were more eloquently put than most others) as well as slowing down the pace somewhat. Both records also have one killer tune each, Superchunk's "Digging for Something", and The Thermals' "I Don't Believe You" (7/10 & 6/10)*

• The So So Glos: Low Back Chain Shift EP (Green Owl) - Tourism/Terrorism was a spunky, loose-knit garage punk record that mixed tales of affections for ones neighborhood with disbeleif in political descisions to great effect. On this EP, they're less overtly political, and their sound is cleaner and fuller -- e.g. the addition saxophone and piano on the jumpy "Lindy Hop" (7/10)*

• The Books: The Way Out (Temporary Residence) - (7/10)
  
• Bottomless Pit: Blood Under the Bridge (Comedy Minus One) (7/10)
  
• El Guincho: Pop Negro (Young Turks) (7/10)
  
• Johnny & Jenny: I'm Having Fun Now (Warner Bros.) (7/10)
  
• The Corin Tucker Band: 1,000 Years (Kill Rock Stars) (6/10)
  
• Neil Young: Les Noise (Warner Bros.) (6/10)
  

* Grades are tentative, based on three or four listens, sometimes a few more. Much of the writing is done during listens, and should be considered notes more than final reviews.

Work in Progress

I have been doing some tinkering with the layout of Prefect Sounds, as you may have noticed, trying to optimize readability (the previous layout, which you can still find on the other PS pages, was a bit too white and I felt it put too much strain on the eyes to look at for more than a few minutes at a time) as well as giving some prominence to the links in the sidebar. I'm still not fully satisfied -- the header is still not right -- so there may be a few hick-ups in the upcoming week or so. Any comments are welcome.

Marion Brown, R.I.P.

Just learned that altoist Marion Brown passed away on Oct. 10th last week. One of the (many, admittedly) forgotten men of the 60s avant garde/New Thing movement, he is perhaps best know for having played on Archie Shepp's Fire Music (1965) and Attica Blues (1972), as well as John Coltrane's Ascension (1965. All on Impulse!), but he had a substantial career as a leader, too. Though as with so much important avant garde jazz from the late 60s, 70s and onwards, the recordings are hard to come by. His very fine album Why Not?, recorded for ESP in 1966 with such notables as Rashied Ali on drums, Sirone on bass, and Stanley Cowell on piano, has just recently been re-released on CD, and is well worth checking out. The only other records that seem to be in print is his debut, Three For Shepp (Impulse!), an ECM release with Anthony Braxton, among others, and Offering from 1993.

Clifford Allen has posted an interview with Marion Brown on his blog, and there is also an interview form 2003 on All About Jazz.

Edit: WKCR are currently having a 24 hour memorial broadcast in Marion's honor.

Perfect Sounds Listening Booth: Fall 2010 vol. 2

A few more records, this time jazz and hip hop. More rock and related later in the week.

Jazz & related:

• Jon Irabagon: Foxy (Hot Cup) - Sure, the cover is a tacky if slightly funny take on Sonny Rollins' Way Out West, and the fact that most of the song titles have variations of -xy endings makes this seem a bit gimmicky, particularly when you consider that instead of the 12 tracks named, the album is in fact one long and quite hectic improvisation, only separated by slight changes in themes or temper, and often quite subtle changes at that. But it's the music that counts, and this is a loud, rumbling set of free rolling post bop. Irabagon blows all the way through the set, moving between short melodic bursts and cry outs. Given his free spirited wailings, it is perhaps no surprise that bassist Peter Brendler plays more conservatively than Moppa Elliott from Mostly Other People Do the Killing, the group Irabagon is perhaps best known from, though Brendler's bass booms with the best of them now and then. 67 year old semi-legendary drummer Barry Altschul provides skitting rhythms and keeps the trio moving. The music here is very impressive at times, but themes tend to be lost ones they are stated, replaced by non-linear blow outs rather than varitions of the themes. It is a trick I can appreciate greatly - note e.g. Charles Gayle & cos terrific Touchin' On Trane - but at a single piece at album length, the music gets a bit one paced and can lose a bit of dynamism that way. (7/10)*

• Rudesh Mahanthappa & Bunky Green: Apex (Pi Recordings) - Altoist Bunky Green had a short stint with Charles Mingus' live band ca. 1960 (can't find a credit on any Mingus record that I recall), brought in to replace Jackie McClean. Left shortly after and moved from NY to Chicago, but had only passing contact with the city's AACM movement. Recorded a few records as a leader in the 60s, a couple in the late 70s, and a few more in the 80s, before moving to Florida on to teach music, only resurfacing on record around 2006. His 60s records were fairly straight ahead post bop, not too gruff and informed by a pop sensibility, marked by Green's clean alto sound and only occasionally hinting at more avant garde territories, while his later efforts have been credited as foreshadowing the M-base sounds of Steve Coleman et al. Green's new record Apex, a collaboration with fellow altoist Rudesh Mahanthappa, takes more risks than I think his previous output have done. Sprightly, mostly very fast and inspired hard bop, with great interplay between the two altoists, taking turns at leaping solos as well as tricky, interwoven melodic themes. Only having access to a digital copy of the album at the moment, I have no idea who the composers of the respective tunes are, though having heard some of Green's past material and knowing Mahanthappa's records fairly well, I'd bet Green has discovered a newfound fondness for experimentation from his younger acolyte. The hard driving band has such mainstream stars as pianist Jason Moran and Jack DeJonette, who takes turns with Damion Reid on the drums (again, not been able to tell on which tracks), with long time Mahanthappa collaborator Francois Moutin on bass. This may have potential beyond this initaial grade. (7/10)*

• Henry Grimes & Rashied Ali: Spirits Aloft (Porter Records) - A live duo recording by two elder statesmen of the avant garde. The often primitive sounding Grimes switches between violin and the upright bass he is known for, plucking and bowing. Ali's skitting and occasionally funky drumming moves purposefully over and under Grimes' almost tentative but increasingly assertive bass lines, and the interplay between the two is enjoyable. This is sparse free jazz, but quite enganging at that. (7/10)*
  

• Mary Halvorson Trio & Quintet: Saturn Sings (Firehouse 12) - Tricky, subtle, noodeling guitar lines, offset by the occasional fuzzy riff, and nicely balanced by a nimble but laid back rhtyhm section. This time, Halvorson moves from a trio to a quintet format on about half of the album's ten tracks, without losing her knack for weaving and intricate melodies. (7/10)*
  

Mixtapes: So much good hip hop today is released as downloadable mixtapes only. This is not an easy landscape to find your way in, so I tend to consult Southern Hospitality and Jaywalkers, among others, for guidance. These are three of the most interesting I've been able to hear.

• OFWGKTA: Radical (Odd Future) - Bratty young'uns with a wicked sense of humor and a penchant for odd sounds. Sure, the subject matters, where they are decipherable, seem dumb at times, but so did the Angry Samoans'. Like them, they seem fully aware of their childish hang-ups, and exploit them for effect. Tyler the Creator's deep voice over off-kilter soundscapes conjure up some of the best weirdo hip hop this side of Old Dirty, Kool Keith and MF Doom. (7/10)*
  
• Young Gully: The Graant Station Project - GSP recalls jazz tinged 90s hip hop in the best possible sense. Steady flow over mostly laid back beats, barring the "Revolution Will Not Be Televised"-sampled fight song named "Peace", oddly enough. (7/10)*
  
• Wacka Flocka Flame: Flockaveli - The most gangsta, and probably convetional, sounding of these three. Synth heavy, booming hip hop. Wacka a hang-up with guns and money, but he sounds convincing in his role, and his husky rapping and the threatening soundscape makes it a worthwhile listen. (7/10)*

* Grades are tentative, based on three or four listens, sometimes a few more. Much of the writing is done during listens, and should be considered notes more than final reviews.

Perfect Sounds Listening Booth, Fall 2010: Adam Lane

• Adam Lane's Full Throttle Orchestra: Ascan Rantings (Clean Feed, 2010) - Adam Lane's talents as a distinctive bassplayer, composer and bandlander continue to shine on Ashcan Rantings. While the speed and agility of the music Lane has played in nimbler, smaller ensembles has always been full of excitement, the full punch and power of his compositions came into fruition on his previous record with the Full Throttle Orchestra, New Magical Kingdom, a brash and joyfull record by a "little big band" that seemingly took its cues from Charles Mingus and David Murray's Octet while simultaneously being spurred on by an affinity for the noisier realms of rock. At least half of the ten compostitions on Ashcan Rantings have appeared on previous Adam Lane related albums. The ominous title track, for example, was a highlight on the 4 Corners album from 2007 that Lane recorded with Ken Vandermark, Paal Nilsen Love and Magnus Broo, but appears here in a more fully formed version. The band on Ashcan ..., an octet consisting of several up-and-coming players -- such as trumpet player Tylor Ho Bynum -- sounds great; full bodied yet loose, with the man himself leading from the center with assertive basslines. While the music here shares the boisterous energy and brash confidence as well as the occasional excursions into skronkier territories that was typical of much of New Magical Kingdom -- as for example in "Nine Man Morris" and the playful "House of Elegant" -- the compositions and arrangements are now more lush and expansive. Ashcan Rantings is just as fierce and lively as it's predecessor, but it is also much more than that. Listening to songs such as the closing "Bright Star Calypso", you realize that it is also at times very, very beautiful. (Reassessed grade as of Dec. 1st, 2010 10/10). *

* Grades are tentative, based on three or four listens, sometimes a few more. Much of the writing is done during listens, and should be considered notes more than final reviews.

Note: the write-up has been slightly corrected and edited for clarity since it was first posted.

Involuntary hiatus

Being on the road plus a spell of illness have meant little to zero updates here. Things will pick up. In the meantime, I have updated the "recent links" with things around the net I deem worth a read under the Subject to Change column to your right.

Back soon.

SR & OC

Sonny Rollins created a piano-less trio, and freed his soloing. Ornette Coleman created a piano-less quartet, and freed up not justhimself, but the rest of the band too. Seems appropriate that they should team up for Rollins' 80th birthday concert. The recording isn't the greatest, but it's a whole lot better than nothing at all.

Henry Threadgill Mosaic Box Set update

Image from Mosaicrecords.com

Just received notification from Mosaic that the Henry Threadgill box set Complete Nvus/Columbia Recordings is now available for pre order, though its official release is at the end of September.