Air Song reissue

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

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

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

Raphael Saadiq, Cosmopolite, Oslo (no.) 28.01.09

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




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

Benjamin Gump?

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

The Curious Case of Forrest Gump - watch more funny videos

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

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

Generic

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

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

Favorite Jazz of 2008

May as well get it over with, especially since the Village Voice Poll was posted last week.

1. Mostly Other People Do the Killing: This Is Our Moosic (Hot Cup)
2. Fieldwork: Door (Pi Recordings)
3. Ben Allison & Man Size Safe: Little Things Run the World (Palmetto Records)
4. Anthony Braxton, Milfor Graves, William Parker: Beyond Quantum (Tzadik)
5. Rob Brown Ensemble: Crown Trunk Root Funk (AUM Fidelity)
6. Vijay Iyer: Tragicomic (Sunny Side Records)
   
7. Roy Campbell: Akhenaten Suite (AUM Fidelity)
8. William Parker: Petit Oiseau (Aum Fidelity)
9. Vandermark 5: Beat Reader (Atavistic)
10. Mike Reed People, Places & Things: Proliferation (482 Music)

The rest, in no particular order but all graded 7 or better (i.e. recommended):

• By Any Means (Rashied Ali/Charles Gayle/William Parker): Live at Crescendo (Ayler Records)
• Hamid Drake/Anders Gahnold/William Parker: Last Dances (Ayler Records)
• Adam Lane, Lou Grassi, Mark Whitecage: Drunk Butterfly (Clean Feed)
• Bill Dixon: 17 Musicians in Search of a Sound: Darfur (Aum Fidelity)
• William Parker: Double Sunrise Over Neptune (Art for Arts/AUM Fidelity)
• Fight the Big Bull: Dying Will Be Easy (Clean Feed)
• Wadada Leo Smith's Golden Quartet: Tabligh (Cuniform)
• Atomic: Retrograde (Jazzland Rec.)
• Mattew Shipp Quartet: Cosmic Suite (Not Two Records)
• Empty Cage Quartet: Stratostrophic (Clean Feed)

(the links go mostly to CD Baby and Jazz Loft, but the records may also be available from other retailers).

I'm tempted to borrow Christgau's phrase from his review of Air's Air Lore in order to describe Mostly Other People Do the Killing: "Demonstrating not only that ragtime (...) and New Orleans (...) are Great Art consonant with Contemporary Jazz, but also that they're Corny. And that both Great Art and Corn can be fun."

MOPDtK rip out the intervoven molodies and the joie de vivre of vintage Dixieland and fuse that with the power and speed of post bop and hard bop, verging on the avant garde, at least in terms of their fondness for the odd skronk. There is also a post modern wit to their music, which makes me want to pit them with Pavement, of all bands, also due to their loose approach. This Is... may on occasion feel darker (e.g. "East Orwell") than their previos record, but then again think of the duality of their excellent moniker: the serious accusation that we're not as evil as the others sounds quite funny at the same time. I liked This Is... so much that I picked up and played 2007's Shamokin!!! again, and it is just as good.

The other "winner" this year may be Vijay Iyer, who has two entries on my list: the powerful and percussive Door by his trio Fieldwork (with last years newcomer of the year Tyshawn Sorey and Steve Lehman), and the straighter quartet session Tragicomic.

Ben Allison demonstrated the simplicity can be more, musically, on Little Things...

2008 was in some regards Anthony Braxton's year, not only because of great records like Beyond Quantum (with William Parker and Milford Graves), but also due to the Mosaic box set that re-issues his Arista records. Finally the excllent Creative Orchestra Music 1976 is available again.

William Parker was all over 2008, a testament to how highly I and others hold him in the world of contemporary jazz. He played bass on Beyond Quantum and Rob Brown's excellent free bop quartet session Crown Trunk..., among others. As for his records as a leader, I preferred the groovy quratet album Petit Oiseau to the large ensemble Double Sunrise... (I'm still not 100% comfortable with the vocals of Sangeeta Bandyopadhyay).

There are still some records I am sifting through, Matana Roberts The Chicago Project among others, but the top 10 should remain unchanged.

Best jazz record originally released in 2007 that I discovered in 2008: Sonic Openings Under Pressure: Muhheankuntuk (Clean Feed)

Happy New Ears

I've been on the road for much of the festive period, hence the lack of updates and Songs of the Week. Regular posting should resume by the end of the week, including my annual year in jazz thing-a-ma-jig. In the meantime, you can have a look at this year's Village Voice's jazz poll, won by none other than Sonny Rollins.

Happy New Year to all.

Knee jerk

"I would say that the desire to tell people about good music they're unaware of is one important reason to do the work. But so is elucidating the known. Kneejerk vanguardism is an important reason so much online record reviewing sucks." - R. Christgau.

Little time to elaborate on that one, but I see his point and wholly agree.

Out of Step...

...with the (Northern) European mentality that favors celebration of tragedy (fetal position) as more "artful" than the defiance of a tragic state or life. This mentality has put Glasvegas' debut on top of most year-end lists in Norway. To me it sounds like a perpetual whine. Cue lyrics from "It's My Own Cheating Heart That Makes Me Cry":

so this is the grand finale
the crescendo of demise
this is the happy ending
where the bad guy goes down and dies
this is the end
with me on my knees and wondering why?
cross my heart, hope to die
its my own cheating heart that makes me cry

There's nothing quite like feeling sorry for yourself. No, to hell with that. It's a town full of losers, I'm pulling out of here to win!

Listmania

A few weeks ago, I was asked by PlanB to submit a list of my favorite records of 2008. The list was published online earlier today. You can find it here. It's pretty much a carbon copy of the list I keep at this blog, bar a few things. For one, I didn't include Girl Talk's tons-of-fun Feed the Animals, though I have no idea why. I also slipped in Bottomless Pit (which is also on the blog list, though it probably will miss out on a top 15 spot upon next review) although it was sticktly released in 2007. When I have more time, I'll make a comment on a few more of the records. Among other things, I have a text on the new MOPDtK in the pipeline.

If you can read Norwegian, I've also written a few words on Randy Newman and Harps and Angels.

Songs of the Week 49/08

Skipped weeks 46, 47 & 48. Had too much else goig on. Here are some old and some new faves.

• White Denim - "Shake Shake Shake" (Self released)
• Gang of Four - "What We Want" (EMI/Warne bros.)
• Q-Tip - "Manwomanboogie" (Motown)
  
• The Blacksheeps - "Gold Lion" (Yeah Yeah Yeahs-cover)
• Loui$ - "Pink Footpath"
  

It's a love story baby just say yes

"The thing is: there's an angsty teenager inside all of us, a grumbling undercurrent insisting that the world is shitty and we are all diseased and there's no one you can trust. To that inner goth, pop screeches and wails with dissonance. But it doesn't have to. Cultural critics worry that things distract us from reality, help us avoid reality, obscure reality. But sometimes reality, as they say, bites, and to take that tragedy and turn it into a comedy would not be the worst thing. Pop's power is, in no small part, its ability to imagine a world much like this one, but shinier--and to make it, whether you submit to its charms or not, believable."

Mike Barthel on Taylor Swift's "Love Story".

Black Saint & Soul Note on eMusic.

Stef at Free Jazz blog, brought the news recently that eMusic now have ECM titles available for download, which reminded me that I've forgotten to write that they (i.e. eMusic) have also acquired a large amount of the back catalogues for the Italian labels Black Saint and Soul Note.

I have an ambiguous relationship with ECM, but I love a lot of Black Saint and Soul Note records. A quick history: Black Saint and Soul Note became refuges for some (though not all) of the most adventurous American jazz musicians in the late 70s and throughout the 80s. Most of David Murray's best work (e.g. Ming, Murray's Steps, Home, The Hill, Sweet Lovely) were recorded for Black Saint, though these have been available on eMusic for a while. The new batch includes records by Air, Anthony Braxton, George Lewis, John Carter, Julius Hemphill, Muhal Richard Abrams, Lester Bowie, Don Pullen, Cecil Taylor to name only a few.

Unlike ECM, Black Saint and Soul Note records can be hard to come by in some corners of the world. The fact that eMusic now have them for download is nothing short of fantastic. What's more, eMusic's prices are so good that you can easily afford to by a physical copy of a record you may come to love, that is if you can find it.

I should add that the Jazz Loft carry many titles by Black Saint and Soul Note at reasonable prices (SquidCo also have a few titles). You could also try Black Saint's homepage.

Wildflowers on CD

Wildflowers, the intriguing snap shot of the 1970s New York Loft Jazz scene, looks to be available on CD again ('though, it's been available as a download through eMusic for a while). This seminal compilation gives a look into one of the most interesting scenes in recent jazz history, and features tracks from Air, Anthony Braxton, David Murray, Sunny Murray, and Sam Rivers among others. Neither JazzLoft nor SquidCo look like they have it in stock, but I have seen it in stores. Try Douglas Records' homepage for info.

To whet your appetite, have a listen to the opening track, "Jays", by Kalaparusha (Maurice McIntyre) on tenor sax, feat. Chris White on bass and Jumma Santos on drums.

Music Crits too tolerant? What's Indie? Informed opinions? Target audiences?

A post by Mike Barthel on Idolator yesterday, which starts off asking why it is Metacritic's average scores for records is higher than they are for movies, then proceeds to guess it has something to do with a indie mentality: "The indie audience and the critics that spring from it have become so catholic in their tastes that they can see the good in almost anything that's not bad on a very basic technical level." (My highlights).

And the piece kind of sprawls from there, taking in questions of how one can write about music without knowing enough "to have an informed opinion" with an "audience for my review" that "would be people that are highly informed".

The comments are all over the place too, but I liked Matos' point: I'd rather read a critic who's actually made an effort to understand something and then dismissed it gleefully and with malice aforethought (...) than "are you kidding?" disdain for something the writer plainly isn't getting."

If I had more time, I'd join in on the debate, and there may be some points, either made by Mike or in the comments, that I'm missing here.

But if there was one thing I'd hope would come out of the poptimist/rockist debate, whichever side you were on, it was that people would stop having such hangups with genres. And they're back at it here. Broad taste is defined purely by genre, as one commenter says " But I see kids with everything from Modest Mouse to Jack Johnson to Ciara to Trace Adkins to Mastodon. There's a healthy mix (...)".

One who calls himself RaptorAvatar is on to something: "Even if you're like me and know that you're partial to a certain set of values that often crystallize most readily in indie rock, chances are that you have at least an ethos-level sense that you should maybe listen to "Year of The Gentleman (...)" (=Ne-Yo's latest, my comment).

Only I'd add to his "indie rock", jazz, rap, pop, r&b... See, what I've found over the years is that the values and expressions I seek and like - not only in music but in literature and films as well - are not confined to one genre specifically (though I may concur that some values, which RA touches on, are probably more likely to be found in one genre over another). Similarly, what I don't like in music can be found in alomost every genre as well. E.g. indie as a genre does not in and of itself express one coherent set of values, nor do indie bands and musicians express them equally well. The same goes for any other genre.

Before I'm labeled as a relativist here, let me just say in one respect, one can claim that my taste is actually very narrow in that I know exactly which kinds of values, expressions etc. I like and dislike - though music has a way of surprising you sometimes.

This, I maintain, is what gives me the right to have an opinion on almost anything I want to write about. What I take the time, and money, to write about is another matter all together.

(A belated and retro-influenced Songs of the Week will appear shortly).

Songs of the Week 45/08

• Mostly Other People Do the Killing: "Allentown" (Billy Joel-cover)(Hot Cup/CD Baby)
• Billy Joel: "Allentown" (Sony)
• Taylor Swift: "Fearless" (Big Machine)
• Britney Spears: "If You Seek Amy" (Jive Records)
• The Widow Babies: "Mike Watt Created the Universe With a Bass Solo" (Sounds Are Active)
  

Reagan, PATCO, and the Minutemen

A few weeks ago, I did a talk at my University about Ronald Reagan's handling of the Air Traffic Controllers' Strike in 1981. Talking about the aftermath and legacy of Reagan's firing of the strikers, I was able to weave in some music, more precisely the Minutemen. The following is an excerpt of that section.

The notion that Reagan's strict line towards the PATCO strikers weakened labor unions and made it easier for employers to fire dissenting employees in the ensuing years was reflected in other aspects of American culture as well. In 1984, the politically aware punk and folk inspired rock band Minutemen released a video for their song "This Ain't No Picnic", taken off the album Double Nickels On the Dime, which was released that same year. The song is one of the groups most striaght forward: it has what I would describe as a rampant or charging beat, and the chorus is shouted more than sung in a style that can be likened to protest calls at a rally. The lyrics describe the tension between a working man, his work and his employer. Below is the second verse of the song.

"Hey mister, don't look down on me
for what I believe
I got my bills and the rent
I should pitch a tent
but a man isn't free
for what he believes
so I'll work my life away
in place of a machine"

The video for "This Ain't No Picnic" takes into use black and white footage of a young Ronald Reagan in a World War II fighter plane, intercut with old footage of factory workers and footage of Minutemen outside of what appears to be a factory. The band lipsync the words of the song, shaking their fists in the air while singing the chorus, "This Ain't No Picnic", as if they were having a protest rally. As the video progresses, the fighter pilot in the guise of Ronald Reagan starts to fire the plane's guns. The footage shifts back to the band on the ground being fired at. There is an explosion, and we finally see the band, or the protesters, laying in the rubble. The image is quite striking: the protesters have effectively if violently been defeated at the hands of Ronald Reagan.

(Video for "This Ain't No Picninc" (SST Records, 1984))

Songs of the Week 44/08

• The Bronx: "Young Bloods" (Witchita)
• William Parker: "Freddie's Dead" (RAI Trade)
• The Muslims: "Parasites" (1928 Recordings)
• Los Campesinos! "We Are Beautiful, We Are Doomed" (Witchita)
• Black Milk: "Bounce" (Fat Beats)

Fingers crossed

(Via Destination Out!)