Listening Booth, week 47: Greg Ward's Phonic Juggernaut

• Greg Ward: Greg Ward's Phonic Juggernaut (Thirsty Ear) - Chicago born, now New York residing saxophonist and composer Greg Ward's credentials indicate that he's a man of varied tastes and that he's a musician willing and capable of handling several genres, from various strains of jazz, to Klezmer and classical music. I know him best from his collaborations with drummer Mike Reed. This is Ward's second album as a leader after 2010's Fitted Shards: South Side Story -- which I missed -- on 19-8 Records. Phonic Juggernaut is a sax-bass-drums trio record, and an enthralling one at that. The impressive opener "Above Ground" moves through several stages, starting off with Ward's blocks of intervals over the hectic yet forceful polyrhythms of drummer Damion Reid, into pockets of near calmness, and then back again. Much like the album as a whole. Reid's drumming, which reminds me a little bit of Ronald Shannon Jackson, provides much of the sonic freshness of this record. The drums are very much front and center, almost relentless, throughout, and especially so on the more heady pieces. And Phonic Juggernaut is fast paced at times, as the name would suggest, but combines that with the spacious and lyrical, such as on the lovely "Velvet Lounge Shut-In". Bassist Joe Sanders is the minimalist in the trio, relatively speaking, working off and in between Reid's busy rhythms and Ward's sharp and clear alto leaps with a mixture of insistent vamps and lyrical playing -- check his melodic interplay with Ward on the closing "Sectionate City". The bass is mixed unusually low and given little bottom, and although I miss its fullness and punch at times, the result works remarkably well within the sonic whole of the record. I'm hoping there's more to come from this trio, because there's clearly a unique musical chemistry between the three. 7*


Bonus: Listen to the title track, "Phonic Juggernaut", courtesy of Thirsty Ear Recordings on Soundcloud.



* 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 rather than final reviews.

Listening Booth, week 46, 2012: ASAP Rocky

• ASAP Rocky: LiveLoveA$AP (mixtape/selfreleased/liveloveasap.com) - This Harlem, New York native declares an affinity for Houston and doesn't want to be likened to a certain New Orleans rapper. Still, his slightly-behind-the-beat flow as well as the nasal timbre of his voice certainly has similarities with the Carter. The lyrical universe of LiveLoveA$ASP is filled with references to recreational drugs, reveling in it's effects. But it's the sonics of the record that really impresses. Delightfully produced, especially the tracks by Clams Casino and Beautiful Lou, it conjures up the sort of trippy soundscapes that Tricky once mastered so well - note in particular the laid-back groove and the sampled guitar lick of "Trilla", produced by Beautiful Lou. Additional color is provided by syrupy beats and rumbling bass (and hence the Houston love, I guess), Clams Casino's "Bass" a case in point. When the moods do get darker, they do so without succumbing to the techniques of horror core schlock, neither sonically or lyrically. No stoopid shock effects here. ASAP doesn't need such cheap tricks to be interesting. 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 rather than final reviews.

Listening Booth, week 46, 2012: Taylor Ho Bynum Sextet

• Taylor Ho Bynum Sextet: Apparent Distance (Firehouse 12) - A four piece suite, originally commissioned through a New Jazz Works grant. The sextet consists of Ho Bynum on trumpet, Jim Hobbs (of Fully Celebrated "fame") on alto sax, Bill Lowe on bass trombone and tuba, Mary Halvorson on guitar, Ken Filiano on bass and Tomas Fujiwara on drums. Ho Bynum and Halvorson has played under the tutelage of Anthony Braxton, but there's not a whole lot of traces of him here, barring the odd twirling theme here and there. The obvious center piece of the album is the 20 minute long "Source", where Ho Bynum and Halvorson play interweaving melodic lines that Hobbs and Lowe eventually join in on and create their own paths out of, over Filiano and Fujiwara's funky and propulsive rhythms. The piece builds to a cacophonous crescendo during Hobbs' solo, and slides back into grove. There are a lot of interseting things going on here, with Hobbs in particular shining alongside Ho Bynum, while Halvorson often stays in the background for long sections, riffing with Filiano to help create dense grooves. 7*

* 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 rather than final reviews.

Listening Booth, week 41, 2011: Darius Jones Trio

There haven't been much activity here, and there won't be until after the 15th of Nov. at the earliest. Below are a few notes on Darius Jones latest plus some grades for a couple of other records I've listened to lately, but do not have any notes to speak of.

• Darius Jones Trio: Big Gurl (Smell My Dreams) (AUM Fidelity) - Darius Jones debut, Man'ish Boy (a Raw and Beautiful Thing), was stunning. A riveting and deeply moving album by a saxophonist with a distinct voice, both in terms of his playing and his compositions. His new record, Big Gurl (Smell My Dreams), may lack some of raw emotion of his debut, but it makes up for it in power and groove. Replacing multi-instrumentalist Cooper-Moore and drummer Rasid Bakr in the trio is Adam Lane on bass, an original musician and composer in his own right, and Jason Nazary on drums, who both played on the debut's "hidden track". Big Gurl is full of hard hitting, groovy free-bop sprinkled with more contemplative pieces, such as the haunting "I Wish I Had a Choice". Jones alto sound is stirring, sometimes piercing, and he is wont to leaps and shrieks, but always maintains a strong sense of melody and theme. Adam Lane plays thick, powerful, syrupy yet somehow nimble lines and riffs as only he can, while Nazary glides in and out of the beat. The opener "E-Gaz" and the menacing closer "Ol' Metal-Faced Bastard", with it's rhythmically stumbling sections, come charging at you with swagger and purpose, while the above-mentioned "I Wish I had a Choice" and "My Special 'D'" are quieter, more reflective pieces. There's also a reworking of "Chasing the Ghost", one of the center pieces of Man'ish Boy. While much of the allure of he original version was how Jones sounded like he was losing his way on this headlong chase, here, augmented by Lane's stubborn bass lines, it sounds galvanized, more confident, as if with a renewed sense of mission. Somehow very fitting, I think. 9*

• Dave Alvin: Eleven Eleven (Yep Roc) - 7*
• Girls: Father: Son, Holy Ghost (True Panther) - 8*
• Jens Lekman: An Argument With Myself (Secretly Canadian) - 8*
• Mekons: Ancient and Modern: 1911-2011 (Bloodshot Records) - 8*
• Kanye West & Jay-Z: Watch the Throne (Def Jam) - 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 rather than final reviews.

R.E.M. - a few quick words

R.E.M. called it quits this week. The web is flooded with eulogies by now, but even though we've grown apart, so to speak, in recent years, I thought I'd write a few words as a way of saying my final goodbye.

R.E.M. grew out of the prolific (and under-appreciated) so-called Amer-Indie scene of the 1980's into one of the biggest rock'n'roll bands on the planet (read more about that in the Slate piece I've linked to above). They worked together for over 30 years, and over that time they honed their original voices as songwriters and created a thoroughly distinctive sound, which has resulted in an extremely consistent oeuvre; even if I haven't cared much for their records since New Adventures in Hi-Fi, the worst I can say about their most recent albums is that they've sounded uninspired (Ok, some songs are downright boring, but still).

R.E.M. was also rare in that they are one of the few bands since, well, the 70's where the record buying masses and critical approval went hand in hand, especially in the early 90's. Granted, that rise to mass fame coincided with the alternative rock/grunge explosion, but their's felt separate somehow, and the groundwork for their popularity arguably was laid with the late 80's records Document (peaked at no. 10, 33 weeks on the chart, certified platinum) and Green (peaked at 12, certified double platinum).

Their popularity is just a side note, though. It means they'll probably stay in the public consciousness as one of the "great bands", but it's not their popularity that has made them that. It is, quelle surpirse, the quality of their music (than you, Mr. Obvious).

On a personal note, I discovered Green via the striking video for "Orange Crush" some time in 1989, and it became one of the first records that got me seriously interested in music as something more than, eh, "entertainment", though I might not have been able to articulate that at the time. So in a way, R.E.M. was integral to my coming of age as a consumer, in every possible sense of the word, of music. Thank you for that, as well as for the great songs.

To end this short note, my thoroughly off-the-cuff ratings of R.E.M. records up to and counting Hi-Fi:

• Chronic Town EP (1982, I.R.S.) 7
• Murmur (1983, I.R.S.) 8
• Reckoning (1984, I.R.S.) 7
• Fables of the Reconstruction (1985, I.R.S.) 6
• Life's Rich Pageant (1986, I.R.S) 7
• Document (1987, I.R.S) 9
• Green (1988, Warner Bros.) 8
• Out of Time (1991, Warner Bros) 9
• Automatic for the People (1992, Warner Bros.) 8
• Monster (1994, Warner Bros.) 7
• New Adventures in Hi-Fi (1996, Warner Bros.) 7

R.I.P Graham Collier

Sad to hear that English bassist, bandleader and composer Graham Collier passed away recently. More here.

Listening Booth, week 35, pt. 2: F*cked Up

• Fucked Up: David Comes to Life (Matador, 2011) - The basics of this record, the whirlwind guitars, the propulsive rhythm section and Pink Eyes' growling vocal, have been there for a while. It seems that their decision to write an opera of sorts -- which story you'll need a lyric sheet to follow -- has helped them to focus those elements into catchier, more purposeful tunes while at the same time expanding their palette sonically. As a lyrics person, vocals such as Pink Eyes' could be a barrier, as one may only catch the odd phrase here and there. Sometimes that's enough, of course, but one may tire over several songs. Here, the music kept dragging me back and demanded my attention for sustained listening. I'm glad it did, and I'm glad I have the lyrics too. Hardcore doesn't come much more ambitious than this without losing its intended punch. Some have compared the music on David... to Hüsker Dü, and although only "A Slanted Tone" sounds like it could be a Hüskers song, in terms of sweeping, big, emotionally engaging punk rock, the analogy is appropriate. 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 rather than final reviews.

Listening Booth, week 35: Avram Fefer Trio

• Avram Fefer / Eriv Revis / Chad Taylor: Eliyahu (Not Two, 2011) - Even though I've known of these guys for a while, I somehow missed their previous album Ritual on Clean Feed (2009), and so I came almost unprepared for this gem of a record. Well, not entirely. Saxophonist Avram Fefer has played with several heavy hitters over the years, but I became especially curious after his work on Adam Lane's fantastic Ashcan Rantings (also Clean Feed) from last year. Eric Revis has played bass with the likes of Branford Marsalis and J.D. Allen, but has lately popped up in ensembles that lean even more towards the rampant sides of jazz, having played a central role in Tarbaby as well as backing up Peter Brötzmann during this year's Vision Fest. Drummer Chad Taylor is perhaps the one I know best of these three, as he has worked with several Chicago musicians of note, and particularly the ever interesting trio Digital Primitves, with Cooper-Moore and Assif Tsahar. The music Fefer, Revis and Taylor has created together on Eliyahu is enthralling, lithe yet groovy, bouncy and emotionally rich. Much of the material here is based around seemingly simple melodic lines, themes or rhythmic patterns that they expand upon, usually while at least one of the trio keeps the originally stated theme going, with the others joining in again later on. The opening, Taylor penned "Song For Dyani", for example, centers around Revis' repeated, fleet-footed melodic bass pattern, a pattern he sustains throughout the tune, and plays with such effortlessness that you cannot but admire his stamina, technique and wonderful sense of rhythm. Taylor's drumming supports the groove, but also adds a bit of punch. Fefer starts the tune with a different melodic line on top of Revis', occasionally dropping in on a note or two, but generally staking out his own course, until towards the end, when Taylor starts to accentuate Revis' bass line, and Fefer joins in. "Song For Dyani" is among the fastest pieces on the album, only the rough 'n' tumble of "City Life" is more energetic. The rest of the material flows at significantly slower tempo, but remains true to it's emotional scope. There is a quality to this music -- the combination of flexibility, groove, keen sense of melody and musical interaction -- that reminds a bit of Air. That's high praise coming from me. When you add that they have some lovely melodic material at the center of things, this has the makings of becoming one of the highlights of the year. 9*

* 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 rather than final reviews.

Eliyahu is available at SquidCo (link) and other well stock jazz merchants.

Writing about jazz (I'm a dying breed, not likely to be missed, it seems)

There was a panel discussion during the recent Oslo Jazzfestival concerning the stat of jazz journalism, in Norway in particular ('though, there were representatives from abroad on the panel too). I was prevented from participating, but from what I've heard, most, if not all, were seemingly of the view that jazz journalism was in dire straits, some even going as far as saying it was redundant.

The latter view seems to stem from a misconception of what writing about music entails. So I stumbled accross this tidbit from Patrick Jarenwattananon on NPR's A Blog Supreme in a piece concerning the question of whether jazz scribes need to know how to play too, but it which fits perfectly into this discussion as well:

‎"[I]t seems as if what is most needed from jazz journalism today is not strictly criticism of sounds themselves, but also explication: gathering context, making connections, lending new perspectives or otherwise giving a "way into" this stuff for the common non-musician. We need to remove the intimidation factor. We need to redefine jazz's connections to the world around it. And we need to render all this artfully."

R.I.P. Jerry Leiber & Nick Ashford

(50 Coastin' Classics, Rhino 71090)

Jerry Leiber, one half of songwriting duo Leiber & Stoller, passed away yesterday. Probably most famous for hits like "Hound Dog", "Jailhouse Rock" and "Stand By Me", I loved him most for his work with The Coasters, for whom Leiber & Stoller wrote clever, playful and often funny tunes with theatric elements, some of which mocked elements of mainstream America's popular culture -- see "Along Came Jones" -- and some that had underlying serious themes; for every "Yakety-Yak" there was a "Shopping For Clothes."

On the same day, Nick Ashford passed away. Ashford, along with partner Valerie Simpson, wrote huge hits for others, such as "Ain't No Mountain High Enough", "You're All I Need To Get By" and "Ain't Nothing Like the Real Thing". But they also performed as a popular R&B duo, and had hits with such great songs as "Is It Still Good To Ya" and 1984's "Solid".

Listening Booth, week 33, 2011: Planetary Unknown

First installment this fall. Taking things step by step, but I am hoping to step it up a bit from now on.

• David S. Ware, Cooper-Moore, William Parker & Muhammad Ali: Planetary Unknown (AUM Fidelity, 2011) - I initially struggled to write about this. While I found it intriguing from first listen, I had some trouble finding something to hook on to. Even the most raucous of Ware's music tends to build from themes or melodic launch pads, but this sounded tentative at first. Until I realized, that is part of the point. This is exploratory music, and suddenly you notice small patterns emerging within each composition, and the conversation that develops from there: from the hushed to the rowdy, and the sections in between, never staying in the same place for too long. These four wonderful musicians - by now all legends in their own right - have played with each other in various constellations before, but never together as a quartet, to my knowledge. Their understanding of each other's musical language, how they react to what is being "said" by the others and the ideas they develop from there, is part of what makes this a wonderful and very interesting 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 rather than final reviews.

PS: Check out the recent Jazz Session interview with the guys in Planetary Unknown.

Please support The Jazz Session

Friends and colleagues. Please give me a moment of your time.

The Jazz Session is a member-supported online interview show focusing on in-depth conversations with jazz musicians, and it is run solely by Jason Crane, jazz aficionado, poet and an all-round terrific guy. Since he started the project in 2007, Jason has interviewed a host of famous and up-and-coming jazz musicians such as Don Byron, Vijay Iyer, Mary Halvorson, Steve Lehman, Cecil McBee, Myra Melford, Jason Moran, William Parker, Matana Roberts, Matthew Shipp, Henry Threadgill, David S. Ware and, most recently, saxophonist Ingid Laubrock and drummer/composer Tyshawn Sorey. And those are only a select few of the many interviews available. My claim is that Jason Crane is doing some of the best work in the field of jazz journalism these days.

However, such work takes time and costs money, and so Jason has set up a membership program in order to keep it going. The goal has been to reach 100 members by the 300th show. The Sorey interview is the 299th, and he needs 20 more members by Thursday, when episode 300 becomes available. I urge you to head over to the Jazz Session site, have a listen or two (or more), and if it's to your taste and interest, become a member. The cheapest option is a mere 10$, which if you live in Norway, is about what two cups of coffee would cost you at a coffee shop. Make your coffee at home instead, donate the money you'd save to The Jazz Session, and we could be lucky and get even more great interviews with some of the best jazz musicians around today.

http://thejazzsession.com

Thanks for your time.

Chris M

NB: A Listening Booth/summer jazz round-up will be posted here in the coming days, and hopefully more regular updates will appear from then on. There seems to be some light at the end of this tunnel, too.

July 22, 2011

Posting will resume at a later date. Now's not the time. Rather, it's a time for reflection and compassion, and my thoughts are with the families and friends of the victims of these horrible and senseless acts. Peace!

Billy Bang - "Prayer for Peace"

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