The glorious Kamasi Washington with 14 minutes of heaven!
Has anyone come across a label called Compulsion / Believe – they pop up on both emusic and amazon digital with albums like Eric Dolphy Out to Lunch and Wayne Shorter Speak No Evil. They have generic cover art – always a bad sign – but the albums appear to be identical in terms of tracks, timings and running orders to the . Are these the original albums or some strange re-recording? A quick google reveals Believe may be a French digital music distribution platform but that’s all.
Yes, well…they’re the words of Robert Glasper, in an interview with the generally erudite and brilliant pianist from The Bad Plus Ethan Iverson. This interview has kind of set the jazz internet alight this last week, with most comments I have read expressing near-universal disdain, not to mention disgust, at Glasper’s remarks. Iverson comes in for a bit of a beating for 1) reporting them verbatim, 2) not choosing to NOT report them, and then 3) making rather lame excuses about how much he respects women, usually the resort of someone who feels the opposite,
And all this came in the week of International Women’s Day.
As with a lot of things I seem to have posted lately, this piece is a bit of a long read. But it’s a necessary discussion. Jazz musicians, most of whom are male, are pretty sexist beasts.
This is a well written well considered piece IMHO.
However the guy completely blows it in the last para where he says “let’s play shorter solos, and let’s play the right notes”. Gawd, no, wrong! It’s entirely possible to engage with the audience without placing those kinds of limitations on what you play. However what you play must first of all have meaning for you, and you need to want to communicate with the listener.
Presumably our Scandy chums know all about her, but I’ve just stumbled across Ms Eriksen, and I have to say I’m pretty smitten. She’s officially a jazz singer, but she strays into Joni Mitchell territory from time to time, and she does a nifty Wish You Were Here too.
Here’s a track from her new album. Anybody else a fan?
178 7th Avenue South, Greenwich Village, New York is a place of magic. In a tiny basement, where you could cram no more than two hundred people if everyone breathes in, is a speakeasy, The Village Vanguard. It started hosting folk concerts from 1937. By the forties, jazz featured more often and from the 1950s onwards, The Village became the premier jazz venue. All the greats played there. Thelonius Monk’s week long residency helped break him to a wider audience. Bill Evans was a regular. Thad Jones-Mel Lewis Orchestra performed so often on Mondays from 1966 to 1990, it morphed into the Vanguard Jazz Orchestra.
The venue is in the shape of an isosceles triangle with a small angle between the two equal sides. The stage is situated at that point in the triangle. As a consequence, the acoustics are special, the source of the magic. The musicians are touching distance from the audience, even spilling into the front tables if the band has more than a few members. The official capacity is 123. The combination of perfect acoustics and intimacy with audience is inspirational to a jazz musician who thrives on improvisation.
Sonny Rollins was among the first » Continue Reading.
“Jazzing the classics” is a phrase from my childhood. Then (I’m talking the dreaded 1960s folks), it referred to the “dreadful” practice of “popular” musicians denigrating the Great European Tradition of Classical Music – Liberace playing Mozart for example, Dave Brubeck playing Mozart etc.
However there was also The NIce doing Brandenburger, and ELP doing Pictures, etc etc
Now the word “classic” akshully means yer classic pop song, and in the wonderful age of YouTube it takes on a new meaning.
This clip is clever, although after about 30 seconds you really don’t want to watch any more.
Any more for any more?
Another sad day for the music community, and the Bowie universe in particular. A great talent.
So says Birdland’s owner.
New club starting up in Melbourne this week featuring Ravi Coltrane all week
Anyone seen this? Is it worth it? First issue £4.99, second £9.99, then £14.99 thereafter, 180g vinyl record with magazine. It’s tempting.
Jazz isn’t discussed enough on The Afterword. I doubt much of it will appear in the end of year list when it is put together. However, as a genre, it is flourishing. There are oodles of great practitioners and fabulous bands making music that is as lively, inventive, challenging and current as jazz has ever been.
Here’s my top ten of 2015:
1. The Bad Plus Joseph Redman
The Bad Plus are a trio from Minnesota, Reid Anderson bass, Ethan Iverson piano and David King on drums. They are willing to try anything. Last year, they recorded a jazz version of The Rite Of Spring. In 2007, they released an album called Prog. They ought to be The Afterword’s house band. On this album, the trio are so empathetic, they sound like a single unit topped by Redman’s expressive, yet gentle, improvisations. It is a beautifully paced and balanced set of original compositions.
2. José James – Yesterday I Had The Blues – The Music Of Billie Holiday
Jazz is a tricky business. Creative challenge doesn’t sell much. When a record label wants to make money from a jazz artist they ask them to record a tribute album. What could » Continue Reading.
Amazing jazz record collection up for auction in Paris in a couple of weeks. Lot 1 alone consists of 99 discs, and there are 522 lots, around 10,000 albums in total. It’s the collection of Pierre Mondy, a French actor. He had a huge collection of CDs and DVDs as well apparently. Clearly one of us.
That will be Australian eastern standard time. Hopefully cached for subsequent listening to.
Here is the blurb from the website.Catch Tord Gustavsen’s set from the 2015 Melbourne International Jazz Festival, where he performed with his quartet at the Malthouse Theatre
Norwegian pianist Tord Gustavsen was recently on tour in Australia, and performed at the 2015 Melbourne International Jazz Festival. ABC Jazz was on hand to capture his set at the Malthouse, which we’ll hear on this episode.
Joining Gustavsen on stage was Tore Brunborg on tenor sax, Sigurd Hole on bass and his long-time drummer Jarle Vespestad. We also caught up with Tord for an episode of Talking Jazz, which will also be broadcast on August 7, 2015. See ABC jazz website for details.
Tracks in this feature 1. ‘Token of Tango/Suite’ 2. ‘Right There’ 3. ‘Playing’ 4. ‘Bodensee’ 5. ‘Vicker Street’ 6. ‘The Mission’
All compositions by Tord Gustavsen In the band Tord Gustavsen; piano Tore Brunborg; tenor sax Sigurd Hole; bass Jarle Vespestad; drums
Recorded at The Malthouse Theatre, Melbourne, on June 4 2015.
Got to be some love out there for the great man. His grunting, humming, moaning accompaniment to his long improvisations on piano are reasonably well-known, less so his additions to the classical canon and his talent on soprano sax. Saw him live back in the 70s in a smoky little jazz club in Boston, sitting exactly one metre behind his elbow. Completely hooked me. My favourite work of his is this, the Survivors’ Suite (of which only the start is available)
And here’s a fitting article on him
Miles Davis – his entire discography visualised. http://www.openculture.com/2015/03/browse-miles-davis-entire-discography-in-a-stylish-interactive-visualization.html
The Doo Bop Song by Miles featuring Easy Moe Bee. I bought this on import in 1992 from Soul Source in Luton, it was released just after Miles death the previous year.
Not rated among jazz cognoscenti, for me it indicates a desire to keep moving forward and explore new styles and sounds.
Mostly though it was just a great tune and in line with a lot of the other lazy, loping, jazzy hip hop I was listening to at the time such as Guru and Kool Chip.
If you are visiting Blackpool over the next couple of weekends this looks like an interesting event to attend
Hoping to attend myself.
Cheers – Joe