Henry Threadgill link-a-thon & box set

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

• Quartet Offensive: Carnivore

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

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

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

• J.D. Allen Trio: Shine

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

• Marcus Strickland Trio: Idiosyncracies

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