Mark's Music Loft

MoonJune Records: A Decade of Progressive Rock Documentation

2011-10-30T17:31:00.001-07:00

www.allaboutjazz.com/php/article.php?id=40136

Steve Coleman and Five Elements - Live at the Jazz Gallery - 7/21/2011: Review

2011-07-24T18:59:00.000-07:00

On this past sweltering Wednesday night, I saw alto sax master Steve Coleman and Five Elements at their 9:00PM performance at the Jazz Gallery in NYC. Although Coleman regularly conducts his workshops at the Jazz Gallery during the week, the four performances this week were tight group focused performances that celebrate the release of the new CD "The Mancy of Sound" on Pi Recordings. Playing with Coleman that night were Jonathan Finlayson on trumpet, Jen Shyu on vocals, Marcus Gilmore on drums, Miles Okazaki on guitar and David Virelles on piano. The live lineup slightly differs from the recent CD with Virelles picking up the bass lines with one hand on his keyboard and Okazaki plugging in clever lines where a trombone would be and putting his own twist into the Five Elements sound. The music of this set sounded more settled in than the music on last years "Harvesting Semblances and Affinities" also on Pi Recordings. Shyu's voice is heavily woven into the fabric of this complex music. Beyond being a perfect foil for Coleman, she provides a type of ambient atmospheric instrumental quality to the more subtle passages. The music kicked back up when the band was provided an additional ten minutes to play the lead song off of the last CD, "Attila 02 (Dawning Ritual)." An amazing performance considering the noisy air conditioning was suspended while the band played on one of the hottest nights in New York this summer. Great show. - Mark - http://www.marksmusicloft.com/

http://www.pirecordings.com/album/pi38
http://www.pirecordings.com/artist/Steve_Coleman
http://www.m-base.com/

Christian McBride's Inside Straight / Patti Smith / VISION FESTIVAL 16 - Recap by Bruce Lee Gallanter

2011-07-17T09:30:00.000-07:00

This article is kind of a red herring in that in seeing Christian McBride's Inside Straight this past Wednesday at Madison Square Park, in NYC played all of one and a half songs before an unexpected torrential rain storm came and vanquiashed the night. The songs from his quintet's 2008 release "Kind of Brown" sounded vibrant and full of tasteful soloing. Too bad it was a short night. Patti Smith that played at Castle Clinton in Battery Park, NYC drew a big demand for tickets. I was shut out on that on that one, but strolled by later to hear her perform an amazing version of Neil Young's "Helpless"..from the outside listening in. Although I reviewed the one night that I went to the Vision Festival in the Lower East Side in NYC last month when I saw Peter Brotzmann's night, I wanted to provide a better account below of the festival from Downtown Music Gallery Owner and friend Bruce Lee Gallanter. Bruce is longtime Jedi of improvised music and has attended many a festival over the years and is a great supporter of the artists and people involved in the this particular festival. - Mark, www.marksmusicloft.com

VISION FESTIVAL 16 - June 5th - June 11th, 2011

After a particularly bad year for in-store & mail-order sales, as well as dwindling attendance at gigs, I had high hopes for the annual Vision Festival to provide some much needed spirit, creativity and community consciousness-raising. I was not let down. Festival organizer, Patricia Parker has a way of bringing together an international community of serious listeners and engaging them with a variety of festivities. Besides a wealth of challenging music, there was also dance, painting, films, commerce (the sales of CD's, t-shirts, books & food) and discussions. A few of my friends complain that too many of the same musicians headline every year, but this was not the case this year. The line-up had a number of important surprises like a few of our favorite European musicians: Peter Brotzmann, Evan Parker, Paal Nilsson-Love and Tomasz Stanko.

Sunday, June 5th - Night One - Since the original dates of the fest had been changed from June 6th to June 5th, I missed the beginning of the first night due to having an in-store set at DMG. Since we advertised in the program and worked out a deal with Patricia, we did have two tables in the merchandise room and actually made a little bread by selling our wares. Even moreso, it was great to meet and speak with a number of free/jazz fanatics and assorted musicians. We found out about and purchased CD's directly from the musicians and various attending labels, helping to bring us all closer together as an international store. Manny/Lunch mostly ran our booth and we made some new friends.

I came in during a tribute to the late Marion Brown which featured Ahmed Abdullah on trumpet, Hamiet Bluiett on bari sax, Charles Burham on violin, Bob Stewart on tuba, DD Jackson on piano, and Andrew Cyrille on drums. This was an all-star crew which did cover some of Marion Brown's distinctive songs. Since there was no bassist, Bob Stewart often played the bass parts on his tuba. The music had a strong and uplifting spirit with great solos from the trumpet, violin and tuba. Too bad I didn't catch the whole set.

The next set was downstairs and it featured Stephen Haynes & Parrhesia, a fine trio with a disc out on the Engine label from last year. Parrhesia featured Stephen Haynes on assorted trumpets, Joe Morris on acoustic & electric guitars and Warren Smith on drums, vibes & percussion. I recalled reviewing the disc by this band thinking how good it was but it was even better in person watching their set unfold. The set started out quietly and evolved organically adding layers, parts and connections. The calm and spacious center helped to put me in a good mood after a stressful day at the store preparing for the festival and merch table. Mr. Haynes used different mutes to coax a variety of sounds and textures from his trumpets & flugelhorn, often utilizing suspense the way Miles Davis did. Joe Morris has a unique way of rubbing the strings of his guitar and coming up with fresh sounds you don't hear very often. Warren Smith is a master drummer & percussionist and consistently kept the rhythm, pulse and textures flowing superbly. Joe started one piece by banging on his guitar with two pencils and strips of metal woven through his strings. It created a strange yet hypnotic effect while Warren played eerie marimba and Stephen sailed on top, at times sounding like a herd of elephants. The entire set had a most ritualistic vibe and took us on an trance-like journey.

John Tchicai's Ascension Unending, a Tribute to John Coltrane was next and it was one of my favorite sets this year. It dealt with the spiritual side of jazz rather than the long-winded free blowing which often takes place. The well-selected band featured John Tchicai & Alex Weiss on saxes, Rosie Hertlein on violin & voice, Garrison Fewell on guitar, Dmitry Ishanko on bass and Ches Smith on drums. There is something special about 60's free/jazz legend John Tchicai that radiates from the man whenever I meet him or whenever he is on the stage. They performed some written music and John, Alex and Rosie all contributed songs, as well as one cover by Marion Brown. The Marion Brown piece featured enchanting three part vocal harmonies from John, Alex & Rosie singing their words in a very Sun Ra-like way. Boston-based guitarist Garrison Fewell is an unsung hero of mine and played some incredible (Bern Nix-like) counterpoint and haunting harmonies with the rest of the sextet. There were different combinations of players in which different nuances were explored. I particularly dug a trio of bowed guitar, ghost-like drifting violin and rubbed cymbals. Mr. Tchicai's charming, deep voice was at the center of a few of these songs even singing some swell bebop nonsense words on one piece. Every piece was well worked out and well-chosen, fitting with the spiritual vibe of the entire set. On a later piece, Garrison Fewell sounded like Joe Morris at the beginning of his solo and like John McLaughlin circa 'Extrapolation' by the end of his solo. No small feat from one of those under-recognized guitar greats.

The final set that night was by Tony Malaby's Tamarindo Trio, although the personnel was slightly altered from their CD's with Tom Rainey on drums (instead on Nasheet Waits) and William Parker on acoustic bass. It was the first time that William Parker and Tom Rainey had played together so it was a momentous occasion for us & them. What was interesting was how well they played together, both adding their own sense of internal rhythm and combining forces magically. William often sounded like the leader of the trio since his bass was pumping, probing and pushing the energy from the center on upwards. This was obviously a thoroughly improvised set and the trio took their time to blend their ideas and escalate together. Tony started out on tenor sax, cutting loose spiraling lines that got more intense as the set evolves. He later switched to soprano sax when the vibe came back down to the planet earth. There were a couple of sections of this set that were amazing including a cosmic bowed bass solo from William and an incredible hands-on-drums solo from Tom. The only problem with the set is that it went on a bit too long and by midnight I was completely burnt out and ready to call it quits.

Monday, June 6th - Day Two - The second night started with an ensemble called Vocal Flight which included three singers - Fay Victor, Kyoko Kitamura & Jean Carla Rodea plus Ken Filiano on bass and Tyshawn Sorey on drums. I wasn't so sure on what to expect, but I was much impressed nonetheless. Starting with all three vocalists swirling around one another, each with a distinctive voice - the combination was most enchanting. When the bass and drums came in, the inner vibration rose higher. Each of the three singers got a chance to solo and perform one of their own pieces and each one was memorable in its own way. Sometimes the other two vocalists would add charming harmonies to the lead voice, sometimes they would switch parts. The ever-supportive Ken Filiano contributed a wonderful bass solo and there was an amazing duo with Kyoko and Tyshawn. There was also a section where two of the three singers scatted together, swirling word/sounds in delightful cascades. The overall effect of the entire set was most magical. I hope Vocal Flight get a chance to record.

I missed a trio from San Diego called Dawn of Midi at the downstairs theatre but word is that their set was pretty great. Oh well, you can't see everything when certain sets run simultaneously. I did get to hear a great set from the Michael Attias Group. Michael Attias is the secret weapon of the Downtown scene. He is involved with more than a half dozen different projects and each one is worthy of consideration. Check out any of his four discs as a leader on Clean Feed or Playscape, as each one is great. For this set, Michael utilized the talents of ace trumpeter Ralph Alessi, plus his usual cohorts of Sean Conly on bass and the irrepressible Tom Rainey on drums. Starting with a great, explosive, utterly unique solo from Tom Rainey, the quartet kept shifting between sections. This is the first time I've heard Attias & Alessi play together and their interplay was extraordinary. The music often reminded of early Braxton music from the mid-seventies with a series of related sections that would follow one another in a most logical way. Both Attias and Alessi got a chance to take a number of inspired solos plus the complex composing was consistently engaging. Michael's playing and writing seem to draw from a variety of sources. On one of the more restrained songs, Attias' tone reminded me of Paul Desmond with Alessi playing in a smoking Dave Douglas-like way. Everyone in the quartet fit perfectly within the framework of each piece. I hope this group also records because the results should be wonderful.

Tomas Fujiwara & the Hook Up played downstairs next. The personnel featured Brian Settles on tenor sax, Jonathan Finlayson on trumpet, Matt Moran on vibes, Trevor Dunn on bass and Tomas on drums & compositions. The Hook Up released their first disc earlier this year and it is an impressive debut. You should recognize Mr. Fujiwara's name from his work in various projects with Taylor Ho Bynum, Ideal Bread & Nate Wooley. Both horn players have also been getting around with Finlayson working with Steve Coleman & Mary Halvorson and Mr. Settles' first disc as a leader was just released (June of 2011). This set started out slow and dreamy with enchanting harmonies for the sax & trumpet and a strong cushion of support from Moran's simmering vibes. This piece ended with an intense tenor and drums duet which had a powerful conclusion. "Postcards" was a thoughtfully composed work which went through a series of sections or cycles. While the vibes/bass/drums rhythm team played a tight repeating figure, the horns floated on top and played majestic harmonies together. It sounded to me like the influence of Steve Coleman and Anthony Braxton was apparent in the composing and playing of this superb quintet, drawing the best from both worlds.

The final set that night was the most unusual and difficult to figure out of the entire fest. It was Josh Roseman's Water Surgeons and it featured Josh on trombone & bass, Jacob Garchik on trombone & accordion, Curtis Hasselbring on trombone & guitar and Barney McAll on piano, samples & toys. You would think that a quartet with three trombones and a pianist would be somewhat straight-forward, but this was not the case. There were some nice moments of lovely triple trombone and piano harmonies but nothing lasted very long. The feeling that you had little clue how the music was designed or developed pervaded throughout the set. I dug that Mr. Garchik (accordion) and Mr. Hasselbring (guitar) got a chance to play something other than their main instruments but I couldn't tell how some of the pieces worked or fit together. There were definitely some charming moments which reminded me of the Young Marble Giants meets the Penguin Cafe Orchestra but it felt as if a joke were being played on the audience. Mr. Roseman's stage announcements often didn't make sense but perhaps that was his point. Who knows? It seemed like an odd way to end the night.

The third day of the Vision Fest began on a more serious side with the music of Amir El-Saffar's With/Between. This night was also sponsored by the Festival of New Trumpets (FONT), so each group featured a different trumpeter. The band consisted of Jen Shyu on vocals, Amir ElSaffar on trumpet & maqam (a hammered dulcimer), Liberty Ellman on guitar, Francois Moutin on bass and Tomas Fujiwara on drums. Mr. ElSaffar is an Iraqi/American composer and player whose music explores both his Middle-Eastern and modern jazz roots. He presented a suite which consisted of a series connected pieces, all of which fit together seamlessly. Much of the music did have that simmering, Middle-Eastern vibe with sections of prayer-like ruminations. Moments reminded me of slowly moving through the desert with the sun sizzling above. Three main players stood out: Jen Shyu's haunting voice, Amir ElSaffar's low-key yet pungent trumpet and Liberty Ellman's understated yet quietly crafty semi-acoustic guitar. Amir played the hammered dulcimer at certain points adding a sort-of ancient sound, reaching back to older times.

Ted Daniel's International Brass Membrane Society did a tribute to King Oliver, one of the earliest of jazz legends whose group from the early 1920's included Louie Armstrong. Ted's ensemble featured an eclectic cast with Charles Burham on violin, Howard Johnson on tuba, Ted on cornet, a drummer whose name I didn't catch and Orlando Rodriguez on percussion. What is interesting is that although Mr. Daniels was a prominent member of the late seventies Loft Jazz Scene which often dealt with free or avant/jazz, he decided to turn back the hands of time and present music from 1923, nearly 80 years ago. I recently listened to a King Oliver CD from this same era which featured some joyous spirit and crafty playing. This band also captured that vibrant, uplifting spirt perfectly. Both Charles Burham (who should take the MVP award for playing strongly in more Vision sets this year than anyone else) and Ted Daniels took a series of great, inspired solos. Mr. Daniels claimed that he never uses mutes for his trumpet, did utilize a mute on a few of these songs and did a splendid job. Since there was no bassist, the great Howard Johnson did play many of the bass-lines on his tuba, as well as soloing nicely on a couple of pieces. The more I listen to early jazz (especially Duke Ellington) from the twenties and thirties, the more I can hear where progressive ideas started out. This set had a most enchanting quality and made me smile and happy to be alive.

The next set was again downstairs and it featured Stephanie Richards' Watercolor from San Diego (?). Considering that I didn't know any of the musicians previously, I was amazed at how creative this quintet was. It featured two trumpeters, Ms. Richards & Kelly Rosum, Sam Minaie on bass and two drummers - Qasim Naqvi & Andrew Munsey. Even the way the group set up was unique. Both trumpeters were on either end of the stage and both drummers faced each other sharing the same drum-set. Sometimes the trumpeters traded licks, sometimes they played tight written parts together and sometimes Mr. Rosum just laid out while Ms. Richards soloed. Stephanie had an odd set-up with two fish tanks near by, both filled with water and with thin metal plates on top. During one solo she played into the fish tank, vibrating the metal rectangle by blowing into the water. The drummers worked well together by sharing rhythmic ideas. One piece started with one drummer sawing a piece of wood and the other quietly banging nails into the another piece of wood. Both visually and rhythmically, it worked. Each piece dealt with different textures or approaches to composing methods. Moments were somber or mesmerizing but everything worked just right. I felt rejuvenated at seeing and hearing some younger musicians take chances and succeed at various levels.

The final set of Day 3 concluded with one of the true highlights of the this year's fest, the Tomas Stanko Quartet. The group was originally scheduled to feature the legendary ECM trumpeter Tomas Stanko with Craig Taborn, Thomas Morgan & Jim Black, who have played & recorded with Tomas more recently. Instead we got a completely different quartet with Sylvie Courvoisier on piano, Mark Feldman on violin and Mark Helias on contrabass. This quartet had just one short rehearsal earlier that day but you wouldn't have known that from the way they played together. Basically Mr. Stanko would state the theme up front while Mr. Helias strummed, plucked and bowed, becoming the entire rhythm section since there was no drummer to lean on or keep strict time. Tomas Stanko, whose ECM career started in the seventies, has written many fine songs, selected a series of superb themes to play, each one more enchanting then the last one. Mark Helias has remained one of the most reliable and creative bassists in New York for just as long as Mr. Stanko has recorded for ECM. I have never heard Mr. Helias play any better than this night - he was often at the center of each piece providing a cosmic bass line or strumming and bowing melodic fragments which enhanced each melody or solo. Ms. Courvoisier and Mr. Feldman are a most formidable duo as well as being married to each other and both are astonishing soloists. Sylvie has a unique approach to playing inside the piano which she did here minimally but at just the right chosen moments. Although Sylvie played classical piano when she was younger and doesn't consider herself a "jazz musician", her playing was consistently breathtaking here. She got a chance to play Stanko's enchanting melodies, stretch them out and take a number of incredible solos. Mark Feldman is also a most gifted and distinguished violinist and played a number of mind-blowing solos that seemed effortless for him. The entire set had that enchanting ECM-like vibe, occasionally majestic and often spacious. I would hope that this quartet gets a chance to record since it doesn't get any better than this.

Wednesday, June 8th was the one day of the festival when many of my friends decided to attend since it was Peter Brotzmann's big night with three different sets featuring this legendary saxist. Patricia Parker presented Mr. Brotzmann with a lifetime achievement award, something that is incredibly rare in our often short-sighted country - giving a European musician the recognition he has long deserved. Mr. Brotzmann entered the stage to the entire audience, standing on their feet and applauding his longtime commitment to adventurous music-making and collaborating with other like-minded spirits for more than four decades. Brotzmann seemed genuinely touched by the standing ovation and Patricia's righteous words. As a number of longtime Brotzmann fans can attest to, it was a special moment for many of us in attendance.

The first set that night featured Mr. Brotzmann on tenor & alto saxes, clarinet and tarogato, Joe McPhee on tenor sax and pocket trumpet and William Parker & Eric Reevis on basses. Right from the opening salvo, Brotzmann's distinctive roar was up front and blasting while Mr. McPhee slowly added occasional pocket-trumpet spice. Both Brotzmann & McPhee have played together in the Chicago Tentet as well as a few smaller projects and sound just right often hitting the same notes together. At first both bassists were pumping together at the same time, playing a dizzying array of notes and pushing each other higher and higher. Eventually William took out his bow and started sawing away, with both bassists spinning notes around one another in connected orbits. When Mr. McPhee switched to tenor sax, both he & Brotzmann screamed and wailed together similar to the way Trane and Pharoah used do this so many years ago. By the time they begin the second piece, things slowed down to soft, slow-burning blur of activity. What I noticed is that Joe McPhee also used a most distinctive tone on his tenor, he stood out within the storm swirling around both saxists. When both bassists began to calm down, Joe switched back to pocket trumpet and Peter to clarinet. The entire vibe slowly we all sailed back down to Mother Earth with some calm at the center of the hurricane. The set felt completely organic, triumphant and wound down to a righteous and cosmic conclusion.

The second set that night was the duo of Peter Brotzmann and vibesman Jason Adasiewicz. Over the past few years Chicago has become a second home for Mr. Brotzmann thanks to fellow musicians like Ken Vandermark who tours with Brotzmann (in Chicago Tentet & Sonore). Chicago vibes-man, Jason Adasiewicz, has become more visible over the past few years with discs on Cuneiform & 482Music, as well as working with James Falzone, Josh Abrams, Mike Reed & Aram Shelton. I think this was the first time that this particular duo had played together and it was a most memorable set. It began intensely with Mr. Adasiewicz wacking the top of his vibes repeatedly with a wooden bow while Brotzmann screamed along side. Over & over & over... until finally Jason began creating a more calming sustain with layers of notes while Peter switched to the more restrained alto sax. Peter and Jason did a fine job of following each other as each wave crashed upon another one. Certain notes repeated and other notes fractured. For the third piece, Peter switched to his trusty tarogato and the duo moved into a slow motion dreamworld with long tones washing over one another. The piece ended on a quieter side, just the opposite of how it began but the conclusion felt just right.

The next set was a trio called Pulverize the Sounds with Peter Evans on trumpet, Tim Dahl on electric bass and Mike Pride on drums. Over the past few years, young trumpet wiz, Peter Evans, has been garnering accolades of recognition for playing devastatingly intense trumpet in bands like Mostly Other People Do the Killing, as well as his own solo & group projects. Mr. Evans has worked with Evan Parker, Peter Brotzmann & Nate Wooley and never ceases to amaze just about every one who hears him. This trio was completely different. I know drummer Mike Pride from dozens of different projects and I know he is a fine, diverse and powerful drummer. I didn't know their electric bassist before this set. Although the Vision Fest is not really a "jazz festival", it does specialize in avant or free/jazz, so folks do have their own expectations to deal with, myself included. Hence, no doubt this trio was meant to and did ruffle some feathers. Although the music was often tight and well-written, the loud distorted, fuzztone bass was a bit too much at times, the tone too brittle and disturbing. A problem for me was sitting up front so that the loud sound was in my face and impossible to ignore. Further back probably would've been a better place for me to hear the balance more clearly. Peter Evans pulled off a number of impressive tricks with that Miles-like electric echo and one song where he circular breathed for some ten minutes (no small feat) while the rhythm team played tight parts underneath. No doubt that Mike Pride's newly shaved head and punk-like scowl also irritated some (jazz-snob) listeners. I myself had mixed feelings about the set but I was glad to see these young whippersnappers still stirring the cauldron on controversy and expectation.

The final set of the evening was outstanding and perhaps the one set most will remember from this year's fest. It featured a Peter Brotzmann All-Star Quintet with Brotzmann & Ken Vandermark on tenor sax & clarinets, Mars Williams on alto & soprano saxes, Kent Kessler on bass and Paal Nilsson-Love on drums. One of Brotzmann's most famous and influential recordings is called 'Machine Gun' from 1968 and it is considered to be beginning of Europe's own version of free/jazz. Brotzmann's tone on the at record is brutal and scary and the first few notes he played this night had that same power and sound, more than forty years later. The quintet took off quickly for the stratosphere and beyond, wailing together tightly. The first solo was by Mars Williams on alto and he went for it, soaring like a man possessed by spirits (or ghosts of legends past). Mars used to be a downtowner before moving to Woodstock and then to Chicago. He was a member of the Hal Russell's NRG Ensemble and was a part of Brotzmann's Chicago Tentet. He has also been in funk bands and can play with that constant fury when need be. Whether playing clarinet or tenor, Mr. Vandermark also was in great form, taking his time and making each solo count. What made this set so great was the way it evolved from section to section. There were duo and trio sections, each of which were amazing, especially the duos of Kessler on bass & Vandermark on tenor and Brotz on tenor & Nilsson-Love on drums. My favorite moment was an amazing unaccompanied soprano solo from Mars which changed the direction of what came before and what came after. Everything calmed down and slowly built back up to more frenzied insanity. The entire set reminded me of the way the Art Ensemble of Chicago built their sets into a unified whole. It was perfect set of free/jazz at its finest. It ended abruptly and appropriately with Mr. Brotzmann giving a little jump and coming down to bring the triumphant set to a righteous close.

The fifth day of the 2011 Vision Fest started with the Dick Griffin String Quartet performing "Moving Out" which was commissioned by Max Roach. The string quartet featured Charles Burnham, Mazz Swift, Judith Insell & Akua Dixon plus Warren Smith on percussion and Mr. Griffin on trombone & piano. The suite started off slow, somber and mysteriously. The blend of trombone, percussion and strings was dark, eerie and thoughtfully conceived. I liked that each string player got a chance to stretch out and solo unaccompanied and that each player was very different in their approach. I find string quartet music often hard to describe but I knew that something unique was taking place. The group also did a fine gospel-influenced work called "My Fantasy" as well as "Suite for Professor Davis" which seemed like early twentieth century string music, a bit sentimental yet still stirring in its own way.

One of the stranger sets downstairs was the duo of Ute Voelker on accordion and Jorgo Schaefer on large drawings. While Ms. Voelker walked around the stage and sat down at certain points playing crafty accordion, Mr. Schaefer tore bits of his drawings from a large suspended pad that hung in the center of the stage area. I recognized Jorgo from his attendance at numerous Vision Fests but had no idea what he did in his spare time. I dug his drawings of a proud lion and a stern cow which he would rip in sections as the piece evolved. He read a poem near the end about metamorphosis which I believe was the theme of the piece.

I missed most of the next set on the main stage by the Kidd Jordan Quintet since I needed a break and chose to get some well-needed fresh air. I did catch half of a set downstairs by the 25 O'Clock Band, a group that I fondly remembered from the early days at Studio Henry circa 1980. They've reunited in recent years and currently feature Dave Sewelson on alto & bari sax, Robin Holcomb on piano, Dave Hofstra on bass and Stephen Moses on drums. I've known all of these musicians for many years and was glad to get a chance to hear them again. They started with a hushed ballad, which was ulta-subtle with a sublime alto from Mr. Sewelson and a stunning piano solo from Ms. Holcomb. They followed this with an intense freer piece which had layers of shifting lines going on at the same time. What really blew my mind was a long piano solo from Ms. Holcomb, who remains one of early Downtown's most creative and under-appreciated composers and players. As I concentrated on her solo, I kept hearing different lines and/or ideas coming from each hand. She kept a dialogue going with the rest of band with one hand while she added twisted chords with the other hand. For me, this solo was one of highlights of the fest and I can still hear parts of it in my mind.

The final set of the night was by Evan Parker and Matt Shipp, an immensely anticipated set since Mr. Parker doesn't come to town so often and has rarely (if ever?) played at the Vision Fest. Evan & Matt do have a duo CD out on the Treader label and did play a trio set with William Parker last year at The Stone. Over the past few years Downtown's most engaging pianist, Matt Shipp, has been playing and recording in either solo, duo or trio performances. In the past year, Matt has recorded duo discs with saxists Sabir Mateen and Darius Jones, both of which are great. Evan Parker, British sax legend, is something else again, a completely unique improviser. Evan played both tenor and soprano sax for this set, his approach to each very different. Both of these men are heavyweight improvisers, with well-established techniques and ideas, yet they worked quite well together, spinning similar lines of notes around one another in concentric orbits. Mr. Parker, who is one of masters of the circular breathing technique, took his time to build into areas of furiously paced lines. When he slowed down, he is able to play distinctively fractured melodies which Matt would respond to and build upon, layer by layer. Evan wielded a blustery, bluesy tone in one section while Matt stretched his phrases in similar spirals. Midway, Matt took a strong solo piano interlude in which he came up with a few different themes to explore before Evan joined him and added counter-melodies to the dialogue. At one point it sounded like Matt was entering a majestic section and Evan sounded like he was about to break into some standard. They built up the tempo and tension once more almost to breaking point, before they finally came back to the home stretch. It was a near perfect set and an amazing ending to a pretty great night.

Friday, June 10th began with some youth groups playing outside of the Abrons Art Center which I missed since I had to work at the store. I heard these sets were pretty cool. The first set I caught that night was by one of my favorite local ensembles, Paradoxical Frog. Usually a trio, this version featured Ingrid Laubrock on tenor sax, Kris Davis on piano, Tyshawn Sorey on drums and special guest Mat Maneri on strings. Since moving here from London & Germany, Ms. Laubrock has become one of the freshest new voices on sax, so check out her trio or quintet CD's on Intakt or Tom Rainey's Pool School trio on Clean Feed. Kris Davis has also become one of the most adventurous pianists in town over the past few years. The same can be said for the fabulous Tyshawn Sorey, master-drummer and major composer in his own right. Tyshawn, who is influenced by composers like Morton Feldman, John Cage or Anthony Braxton, brings a certain spacious quality any group he plays with. Microtonal specialist Mat Maneri seems to be perfect foil for this group and fits in just right. Starting with small fragments, little sounds are used like minimal pieces on a spacious painting. Everyone took their time, as the parts evolved bit by bit, ever so carefully. Ingrid took a short whistling solo, adding vocal fragments to her breath-like sax wisps. Eventually Ingrid and Tyshawn moved into a riveting tenor sax and drums duo. It seems as if certain parts were written and certain parts free yet it all fit together extremely well. Some sections erupted into more explosive moments while the construction of each piece was well thought out. Another great set!

Considering that legendary saxist David S. Ware had a kidney transplant not too long ago, he still remains a force to be reckoned with. He premiered a new quartet called Planetary Unknown with Cooper-Moore on piano, William Parker on acoustic bass and Muhammed Ali on drums. Although Mr. Ware remained seated during the performance, his playing was formidable throughout. This was yet another colossal set of spiritual free/jazz at its best. Since the passing of the great Rashied Ali, his brother Muhammed has come out of retirement and has been playing with similar creative spirit. Muhammed was actually humorous at times, shouting out the names of certain musicians that have passed away over the past decade. Explosive sparks erupted time and again as this quartet took off for parts unknown. The member of this quartet who got my attention the most was the great Cooper-Moore who listened closely before adding layers of twisted notes at the piano, knowing when to interject and when to lay out. Cooper-Moore helped to shape the contour of the set by nudging the tempo or blending phrases which set off small eruptions or changes in direction. This was a cosmic and triumphant set, giving us hope for things to come.

The final set of the night was the duo of Henry Grimes on bass & violin and Marc Ribot on guitar. I've caught these two local giants playing together in both a trio and quartet led by Marc and have dug all of their sets and discs. The set started with a poem by Henry Grimes dedicated to South African saxist Zim Ngqawana, who recently passed away and who played at the Vision Fest not that long ago. Both Marc and Henry sound great together and have an obvious strong connection. While Ribot attacked his guitar and strummed furiously, Henry also provided a constant flow of notes and ideas whether plucking or bowing intensely. Ideas and feelings seem to go back and forth effortlessly and they combined their spirits into one solid force. Mr. Grimes' violin playing sounded great as both men spun their notes into a web of cosmic ideas. This set seemed like a perfect ending for another great night of Visionary music.

Saturday, June 11th was the final night of the 16th annual Vision Festival and what a long, special night it was. The first set of the night was an early one (6 pm) with Reut Regev's R*Time Special Edition with Burton Greene on piano, Reut Regev on trombone, Adam Lane on bass and Igal Foni on drums. I was taking the late train home to Rahway (NJ) a couple of days earlier and who did I meet on the train platform in my town but Burton Greene!?! Turns out that Burton was staying and rehearsing with Reut& Igal who are neighbors of mine. This was a most interesting set with legendary ESP free/jazz pianist Burton Greene collaborating with the much younger Israeli couple and finding some strong common ground. Reut, who is an amazing trombone player, wrote most of these pieces which covered a good deal of stylistic ground. One piece started free with Reut using some minimal electronics, then morphed into a rather funky interlude before moving into a klez-like interlude. One section featured an amazing piano trio with Burton, Adam and Igal. Reut took a couple of amazing trombone solos as only she can. The high-point for me was Burton's piece which had a lovely, dream-like theme with some superb bowed bass from Adam Lane. This set was pretty cool although it seemed a bit too diverse for its own good at times.

Speaking of great pianists, the Connie Crothers Quartet was next with Connie on piano & direction, Richard Tabnik on alto sax, Ken Filiano on bass and Roger Mancuso on drums. Although Connie, Richard & Roger have studied with or have been influenced by the legendary pianist & composer Lennie Tristano, this is only a part of what they do. This quartet has their own sound, their own approach. It is partially free with a certain logic or subliminal connection between the players. The piano and alto sax consistently spin layers of lines tightly around one another in powerful waves. Ms. Crothers is an incredible pianist who often unleashes intense spiraling lines, pushing and pulling her bandmates into an endless stream of lines. Mr. Tabnick, whose tone reminds me of Lee Konitz, inserts themes and tosses out ideas which Connie kept responding to no matter how dense or quickly they flashed by. Mr. Filiano, who is the newest member of this quartet, is a rare find since he fits perfectly with Connie's spiritual center and deep well of ideas. This was an astonishing and exhilarating set and I was glad to be amongst the chosen folks who were there to appreciate its depth and richness.

I am not sure how the All-Star Mystery Collective got their name but they were indeed wonderful. They featured Rob Brown on alto sax, Roy Campbell on trumpet, Jason Hwang on violin, Cooper-Moore on piano, William Parker on bass, Gerald Cleaver on drums and Patricia Parker performing dance. This set was a tribute to the great violinist Billy Bang who passed away earlier this year. Although this set was free, you could tell that these musicians had played together on many occasions. Whenever one of the front-line players (Roy, Rob & Jason) soloed, the other two would play tight repeated riffs underneath to add to the excitement. Each solo was amazing. The Cooper-Moore/William Parker/Gerald Cleaver rhythm team was also superb throughout, balancing the sextet's dynamics perfectly and pushing the soloists higher and higher. Cooper-Moore kept pumping flurries of notes that were completely focused and often explosive. They played a piece called "Lament for Billy Bang" which was a solemn prayer like work with some most expressive dancing by Patricia Parker and an excellent touching and tasty solo from the great Rob Brown. This was an outstanding set of Downtown All-Stars at their best. It concluded with a gospel-like song called, "I'm Going Home, Again" which brought many a tear to eyes of those who remember the wonderful Billy Bang so well. His annual sets at the Vision Fest were always special.

Longtime staple of the Vision Fest, the legendary reedsman Sonny Simmons was up next in a duo with the equally revered but not so well-known French pianist Francois Tusques. Mr. Tusques is once of the first jazz musicians in France to embrace the New Thing ('free/jazz') starting in the mid-sixties. His handful of recordings are incredibly hard-to-find, so check out 'Free Jazz, 1965' and 'Intercommunal Music', if you can find them. The set started out pretty strong with Sonny playing soulful, bluesy lines and making each note count. Mr. Tusques is a fine pianist who obviously knows his jazz history. His playing was elegant, thoughtful, well-paced and drew from different historic traditions. The duo played a spirited rendition of "'Round Midnight' with Sonny's solo telling a story as it evolved. As the set continued, Sonny seemed more restless and unfocused, occasionally walking off stage to let Mr. Tusques play by himself. I don't think that Mr. Tusques has played much (ever?) in the US during his forty-plus year career, so it was a great opportunity to hear him play. He also played a solo set at University of the Streets earlier in the week. Mr. Simmons apologized at the end of the set saying that he wasn't feeling well and would be better shape next time. There is a recent duo disc out with Sonny and French harp player Delphine Latil that I felt was pretty great, so don't miss out on that gem if you can.

The final set of the Vision Festival was an extraordinary orchestral Tribute to Billy Bang with some twenty-plus strings, voices, reeds (Bill Cole & James Spaulding), piano (Andy Bemkey), a handful of basses and drummer(s). William Parker gave a short, poignant introduction about Billy Bang and the piece they were about to perform. It was called "Mystery of the Mekong". This was its US premiere so this was indeed a special occasion. The work was completely mesmerizing with Eastern and Western traditions blended superbly. The lead vocal was performed by Kyoko Kitamura and she did an amazing job, her beautiful, heartfelt voice sailing proudly above the swirling strings, reeds and percussion. There were a number of stunning moments throughout the piece, a duo with Kyoko's voice and Roy Campbell's (?) trumpet, as well as an incredible alto solo from the great James Spaulding. The piece was triumphant in many ways, especially in the way that it brought together different traditions, ethnicities, musicians and the audience into one seamless and joyous ride. It was a perfect conclusion to a another grand Vision Festival experience.

This year, Vision Festival 16 was just seven days, shortened a bit from previous years. Yes, there were a few of those organizational snafu's and the photographers did get a bit carried away, blocking the view of the more committed festival attendees. Patricia did make an effort to keep the photographers in line and we did appreciate that. Overall it was a wonderful year with many inspired sets to remember.
This year DMG had a seller's table downstairs, but more importantly we felt like we were a part of a great community of demanding music listeners and the musicians who inspired us all. Hallelujah & Amen!

- Bruce Lee Gallanter, Downtown Music Gallery - July 4th, 2011

Bill Laswell & Laurie Anderson - 6/30/11 - Quick Live Review

2011-07-03T20:15:00.001-07:00

This past Thursday night I saw Laurie Anderson and Bill Laswell perform a mostly instrumental set at Castle Clinton in Downtown, NYC in the River to River series. Ambient improvisation emitted from Laswell's electric bass and Anderson's violin for a little over an hour. Anderson has been enjoying a closer examination of her work after the release of her last CD in 2010 "Homeland." I recommend always keeping an ear out for any of the numerous projects that Bill Laswell either produces or plays on as they always intrigue no matter the genre. Melodic aural sketches over effects and beats provided the meditative soundtrack for a nice summer night. - Mark www.marksmusicloft.com

http://en.wikipedia.org/wiki/Bill_Laswell
http://en.wikipedia.org/wiki/Laurie_Anderson

All Up In Arms - Live Review - 6/25/11

2011-07-02T04:01:00.000-07:00

Last Saturday night I had the pleasure of finally seeing my neighbor and resident guitarist Ilmo perform with the punk trio that he joined last year, All Up In Arms. The band was founded in 2005 and is currently led by bassist and vocalist Matt. The new drummer, Vaughn, has been with the band for about over a month. Their new EP "CONservative" was recorded back in late March of this year.

In a small bar called "Mr. Beery's" in Bethpage, Long Island, All Up In Arms played a tearing set that lasted slightly more than a half hour. The music was intelligent angst from the gut with songs such as "True Identities," "Idiot's Epitaph," and "True American Spirit." They also took on songs by Alkaline Trio like "Private Eye" and "This Could be Love." Matt, mohawked and confident, navigated the tight set despite the house sound problems that plagued the set. Ilmo had to contend with a compromised sound for a bit, but after an amp switch, he properly went back to blasting chords from his black Les Paul. Vaughn, not hindered by electrical problems, provided a very positive vibe for the band. All Up In Arms reflect the best things you like about NOFX, Bad Religion, and Sick Of It All and have the promise and potential to give more.

Check the band's music on their myspace page: http://www.myspace.com/allupinarmstheband

All Up In Arms are a welcome sound to hear considering the good music deficit in Queens, NY. Catch them sometime in the city or on the Island. - Mark www.marksmusicloft.com

Vijay Iyer Sextet Live 6/23/11 - NYC - Quick Review

2011-06-27T19:09:00.000-07:00

Last Thursday night as part of The River To River Series at Castle Clinton at Battery Park, NYC, The Vijay Iyer Sextet performed a powerful hour plus set. The pianist was accompanied by Rudresh Manthappa on alto sax, Mark Shim on tenor sax, Stephen Crumb on bass, Marcus Gilmore on drums and Graham Haynes on trumpet. Whether it was his piano or his Fender Rhodes or any of his other wordly sound effects, Iyer drove his sextet through tunes that ranged from the themes that he wrote for ESPN to a cover of an Asian Dub Foundation song with solos that ripped far and wide. The sextet is a newer display of Iyer's talents beyond his trio, quartet, or solo perfomances. The father of Graham Haynes, and elder statesman of jazz, drummer Roy Haynes smiled with approval towards the stage as he sat in the back of the first section of seats enjoying the music. This was the fifth time I have seen Vijay Iyer. He just gets better and better. What a tremendous night of music. - Mark http://www.marksmusicloft.com/

Here is a clip from the actual concert - a furious exchange between the saxophonists ensues:

Also:

http://www.vijay-iyer.com/
http://en.wikipedia.org/wiki/Vijay_Iyer

Chris Potter's Underground Live At The Village Vanguard 6/18/11 - Review

2011-06-19T14:28:00.000-07:00

Tenor saxophonist Chris Potter's Underground group played a smoking set at the 9:00PM show at The Village Vanguard last night. From the opening song, "Facing East," Potter was clearly enjoying playing with this updated version of his Underground group. His tenor playing was crisp and controlled with occasions of soprano and bass clarinet. Beyond the varied reeds played by Potter, propulsive support was provided by Nate Smith on Drums, Adam Rogers on guitar, Scott Colley on acoustic bass and Fima Ephron on electric bass. The rhythm section established a vibrant pulse early on exploiting every aspect of the dual bass dynamic. Rogers punctuated his own tasteful solos with a healthy dose of volume pedal usage. On the new composition entitled "B," Rogers sat and played an entire section of pensive slide guitar phrases evoking the most atmospheric mood of the evening. Funkier songs like "Bounce" composed by Nate Smith opened up the music to some playful soloing by all. Closing out the night with what Potter joked was his "hit," the group charged into "The Wheel" where Smith cut into a punishing drum solo only to be rejoined at the end by the melodic unison lines of Potter and Rogers. Chris Potter had already established himself as one of the key tenor players to be reckoned with several years back. Having also seen him in his mainstay sideman gig with the Dave Holland Quintet last year, it is clear (to me at least) that Potter's compositional abilities, execution, and overall vocabulary continue to flourish as he moves forward in his recordings and perfomances. - Mark http://www.marksmusicloft.com/

http://www.chrispottermusic.com/

http://en.wikipedia.org/wiki/Chris_Potter_(jazz_saxophonist)

German Free Jazz Master Honored Last Night at the 16th Annual Vision Festival in NYC

2011-06-08T23:06:00.001-07:00

Iconic Free Jazz German saxophone player Peter Brötzmann was honored down on the Lower East Side tonight at the 16th Annual Vision Festival taking place all of this week. Brötzmann's night had him playing in 3 of the 4 perfomances for the evening. Whether it was quartet, duo, or quintet, it was clear that his volcanic sound dominated the night. Assisted by luminaries such as Joe McPhee, William Parker, Eric Revis, Jason Adasiewicz, and Ken Vandermark, Brötzmann gave the best display of why he such a revered figure in the worldwide improvisational jazz scene. It was one of the most enjoyable Vision Festival nights I have ever attended. If you are in NYC this week, try to catch the rest of the Vision Festival http://visionfestival.org/schedule/visionfestival16 - Mark http://www.marksmusicloft.com/

Copernicus: Cipher and Decipher - CD Review for All About Jazz

2011-04-16T08:45:00.000-07:00

Below is a link to the latest article that I wrote just published by All About Jazz:

Cipher And Decipher: http://www.allaboutjazz.com/php/article.php?id=39247 is the latest release from performance poet Copernicus. There is also a video below of the song "Mud Becomes Mind" as it was recorded in a studio in Hoboken, New Jersey back in 2008. - Mark

http://www.youtube.com/watch?v=zILCViov3Iw

Planeta Imaginario: Stretches in Spain - Interview for All About Jazz

2011-03-26T06:25:00.000-07:00

I conducted an interview back in February with Spanish jazz / rock group Planeta Imaginario that was just published on All About Jazz: http://www.allaboutjazz.com/php/article.php?id=38937

As always, feel free to let me know any questions or comments. - Mark

Optical Delusions by Planeta Imaginario - CD Review for All About Jazz

2011-03-18T03:29:00.000-07:00

Planeta Imaginario are an amazing jazz rock group from Spain inspired by influences that range from King Crimson and Frank Zappa to Steve Coleman and beyond. There will be a long distance interview published soon that I did with them last month, but in the interim, this is the review I wrote for All About Jazz on their new CD Optical Delusions:

http://www.allaboutjazz.com/php/article.php?id=38936

Boris Savoldelli: Biocosmopolitan - CD Review for All About Jazz

2011-03-11T03:32:00.000-08:00

A refreshing new CD from Italian jazz vocalist Boris Savoldelli. I hope you enjoy the quick read on it below. - Mark

http://www.allaboutjazz.com/php/article.php?id=38957

My Memories of the Music of Gary Moore (1952 – 2011), RIP

2011-02-07T18:51:00.000-08:00

There have been so many music deaths to note this year and I try not to make this blog an endless obituary stream, but this one stopped me in my tracks. Irish Guitarist / Musician Gary Moore passed away in his sleep in a hotel room in Spain this past Superbowl Sunday morning. He was 58. You can read the details on his life and career all over the web and on the links I provided below. What he meant to me you can only read here.

I first heard Gary Moore's blistering guitar in 1981 on the song "Nuclear Attack," a song he donated to the first solo album of Greg Lake after the demise of Emerson, Lake, and Palmer. Impressed I paid attention to the past he had with the legendary rock group Thin Lizzy and his developing solo career. Upon hearing his 1984 live album We Want Moore I felt that nothing could stop him. He had it all, killer guitar playing, an acumen for rock, metal, and blues, great writing and singing, a tremendous work ethic, and a good attitude. He always was happy enough to fight his fight in the 1980's regardless of the glam hair metal bands receiving most of the attention and shred guitarists of the day that won all of the polls. His talent drew in such respectable collaborators, such as Jack Bruce, Ginger Baker, George Harrison, Glenn Hughes, Ozzy Osbourne, the late Cozy Powell, and late ex-Thin Lizzy front man Phil Lynott. Moore's loyalty and collaboration with his friend and former employer lasted right until the end of Lynott's life in early 1986. The photo of Moore above is from their last work together on the Run for Cover album in 1985.

In the 1990's up until his death, Moore moved away from arena rock and more into the blues and ascended as a senior practitioner that rubbed shoulders with greats such as the late axeman Albert Collins. From unmatched lead lines to great ballads, Moore wore his heart on his sleeve and passes from this world with only kind words said of him by all. His music and warm demeanor will be so missed. Take the time to dig back into Moore's catalogue and enjoy some his music that will continue to inspire me and many others for a long time to come.

http://www.rollingstone.com/music/news/thin-lizzy-guitarist-gary-moore-dead-at-58-20110207

http://www.gary-moore.com/

http://en.wikipedia.org/wiki/Gary_Moore

Never Pet a Burning Dog by douBt

2011-02-05T08:59:00.000-08:00

http://www.allaboutjazz.com/php/article.php?id=38666

This is a review of an amazing power trio called douBt and their
release last year, Never Pet a Burning Dog. Great combination of
players from England, Belguim, and the United States. - Mark

Life by Keith Richards - Book Review

2011-02-05T07:47:00.001-08:00

Of course, the blog slowed down for the first part of 2011, I was too busy getting through Keith Richard's 547 Page Autobiography, "Life"! A great Christmas gift and a wonderful read altogether. Richards may have had a ghost written hand in play for the more cogent passages in the book, but all in all it is the real "Keef" (as he affectionately calls himself). Whether you are a fan or just have a passive interest in the Rolling Stones and Richards in general, you will most likely find this book to be an amazing story of this guitarists creativity, longevity, legacy......oh and his debauchery.

My quiet stigma on Richards was always, "C'mon man, give it up, you old burnout!" I am glad that he did not listen. His defence in interviews in the past decade has been, "Would you have told John Lee Hooker to get off a stage? Being a white rock musician comes with some kind of expiration notice. I am an old blues musician playing some rock music, get off my case." I kind of liked that. After seeing the 2008 Martin Scorsese film of The Rolling Stones concert, Shine a Light, I was done with my second guessing.

When you read about this generation of musicians from England, it appears that post World War II life has had such a profound and fascinating affect at how they view culture, art, politics, and daily life in general. This historical backdrop is all well laid out and provides a unique context for how Richards and others progressed against what he describes as a very accepted and given English template of the time of living in quiet desperation. Richards covers his love of Chuck Berry and Chicago Blues, the five string tuning technique that he uses on his guitar and how music has transformed him. We are also taken through his love and hate relationships with Mick Jagger, drugs, and the recording industry. Much more clever than his persona lets on, you may be surprised at some of the insights of this survivor, who continues to stay active and viable. Consuming and detailed, strap in and definitely read "Life." - Mark

Top 10 List - Rock / Other Music Releases for 2010

2010-12-30T08:34:00.000-08:00

Nothing really knocked me out in 2010, but here is my list for the ones that I did like in no particular order. Please send back your own lists (or even if you just have one favorite) and plot them in the comments section of my blog. Thanks and Happy New Year. - Mark

TOP 10 LIST - ROCK / OTHER MUSIC RELEASES FOR 2010:

Absolute Dissent - Killing Joke
Wake Up The Nation! - Paul Weller
Black Country Communion - Black Country Communion
Scratch My Back - Peter Gabriel
Emotion & Commotion - Jeff Beck
For the Ghosts Within - Robert Wyatt
Your Future Our Clutter - The Fall
Heligoland - Massive Attack
Stir The Blood - The Bravery
Strategies Against Architecture IV - Einsturzende Neubauten

ALSO WORTH MENTIONING:

Sea of Cowards - The Dead Weather
Plastic Beach - Gorillaz

and of course - Reissue of the year:

Exile on Main Street - The Rolling Stones

and not forgetting all 5 of the Steve Wilson produced King Crimson reissues that came out as well

Top 10 List - Jazz / Improv Releases for 2010

2010-12-30T06:28:00.000-08:00

My 2010 Top Ten List for Jazz / Improv Recordings was a difficult one to put together. The list is in no particular order other than the fact that I was so happy to see Steve Coleman and Henry Threadgill pop up with new recordings that I let them lead the pack. Please send back your own lists (or even if you just have one favorite) and plot them in the comments section of my blog. Thanks and Happy New Year. - Mark

TOP 10 LIST - JAZZ / IMPROV RELEASES FOR 2010:

Harvesting Semblances & Affinities (Pi Recordings) - Steve Coleman and Five Elements

This Brings Us To Vol. II (Pi Recordings)- Henry Threadgill Zooid

Crime Scene (ECM Records) - Terje Rypdal

Transmit: Vol. 2 of the Music of Steve Lacy (Cuneiform Records) - The Ideal Bread

Pathways (Dare2 Records) - Dave Holland Octet

Blues for Tony (Moonjune Records) - Allan Holdsworth / Alan Pasqua / Jimmy Haslip / Chad Wackerman

Far Side (ECM Records) - Roscoe Mitchell & The Note Factory

Nightwork: Live At The Sunset (Marge) - Evan Parker / Barry Guy / Paul Lytton

Lost in a Dream (ECM Records) - Paul Motian

NDR Jazz Workshop, Germany, May 17, 1973 (Cuneiform Records) - Soft Machine

ALSO VERY WORTHY OF HONORABLE MENTION:

Apex (Pi Recordings) - Rudresh Mahanthappa & Bunky Green

Dual Identity (Clean Feed) - Rudresh Mahanthappa & Steve Lehman

Initiate (Cryptogramophone) - The Nels Cline Singers

What's Rattlin' On The Moon? - A Personal Vision Of The Music Of Mike Ratledge (Moonjune Records)- Beppe Crovella

Live Adventures (Moonjune Records) - Soft Machine Legacy

Old Stuff (Cuneiform Records) - New York Art Quartet

The Rub & Spare Change (ECM Records) - Michael Formanek

To The One (Abstract Logix) - John McLaughlin and the 4th Dimension

The Stanley Clarke Band (Heads Up) - Stanley Clarke

Spark of Being: Expand (Greenleaf) - Dave Douglas & Keystone

Iron Kim Style | Iron Kim Style

2010-12-20T08:17:00.000-08:00

If you are fed up with North Korean agression and Kim Jong Ill, ........and are in need of some great improvised raw edged jazz fusion, please click the link below and read about my next review for AAJ on guitarist Dennis Rea's Iron Kim Style group. Happy Holidays! - Mark

Iron Kim Style Iron Kim Style

A Brief Chat with Jazz Bassist Butch Warren

2010-12-15T06:07:00.000-08:00

Below is a note sent to me last night from my friend Eric Olsson, who resides in Washington D.C. regarding jazz veteran bassist Butch Warren:

After Italian class on Tuesdays I like to have a bite to eat at Tryst (www.trystdc.com), a cafe/bar about a block from my apartment. They usually have local jazz bands play on Tuesday nights.

Recently jazz legend and DC local Butch Warren has been sitting in with bands in the neighborhood, and I've caught him the past couple of weeks at Tryst. If you look him up on Wikipedia you'll find that despite the incredible roster of top flight musicians he's played with from the late 50s onward, he's always preferred a backing role. And despite all efforts by the band he sat in with tonight to promote him as the star he deserves to be, tonight's performance was no exception. Solid backing, occasional solos - which were low-key even on songs the band performed where he had appeared on the original recording.

After the last set Butch sat next to me at the bar, and I jumped at the chance to ask him about his favorite recordings. Two came to mind for him out of a long list of greats - Miles and Monk at Newport, and Kenny Dorham's Una Mas.

Looking forward to seeing him next Tuesday!

- Eric Olsson

Tohpati Ethnomission | Save The Planet

2010-12-14T18:57:00.000-08:00

Below is the link to a review that I wrote for All About Jazz about the new CD by amazing Indonesian fusion guitar player Tohpati. Brilliant stuff. Enjoy. - Mark

Tohpati Ethnomission Save The Planet

Einstürzende Neubauten: "Strategies Against Architecture IV"

2010-12-06T18:09:00.000-08:00

German industrialism perfectly defined in music. One of my favorites for 2010 is "Strategies Against Architecture IV," a 26 song collection of Einstürzende Neubauten's music from 2002- 2010. Fans of electronic industrial music (ala Skinny Puppy, KMFDM, Nine Inch Nails), krautrock, and techno should check this out the latest release by this West Berlin based group in it's 30th year. Synthesizers, and an array of metallic industrial machinery being used alongside guitar, bass and drums make the perfect atmosphere to support the snarling singing of original member and lead vocalist Blixa Bargeld. Bargeld has always sung primarily in German, but has a few tracks in English. But, you know what? The German actually sounds better! I am not selling a Rosetta Stone course here, but I am saying that the effect of Neubauten's music is not found in any set of lyrics, but the overall unique sound of integrating the chaos of a factory floor seamlessly with a studio and a concert hall .

The music is stoically bleak, sobering, but at times exhilarating with it's clanging clarity (and yes I typed that with a straight face). Anything left unsaid by Kraftwerk, Neu! or Can was filled in by Neubauten. Anything later to come from Wax Trax! type industrial music onward was already echoing ground already toiled by these sometimes all too serious experimentalists. Spare me your "Sprockets" jokes.

All of this said, the music is addicting and intoxicating once the proper dosage has been administered. The escapism found in this unconventional yet melodic and rhythmic cacophony is very appealing. The appropriate antidote for the inevitable fatigue of the familiar. This is an absolute case of getting better with age. Accessibility has been a friend. I easily prefer this latest compilation than say "Strategies Against Architecture II." The enthusiastic and active fan base cheers this on as they have been encouraged in the recent past to interact with the website and remix the bands works in progress. Einstürzende Neubauten will fly to the states and come to The Bowery Ballroom in New York City on December 15th, 2010. For a taste of the full capabilities of this band, rent, watch, stream or buy the 2006 DVD of them performing live at the former East German DDR headquarters entitled, "Palast der Republik." Otherwise, "Strategies Against Architecture IV" makes a perfect holiday gift. - Mark

http://www.neubauten.org/

http://en.wikipedia.org/wiki/Einst%C3%BCrzende_Neubauten

Robert Fripp: Live At The World Financial Center, NYC December 4th, 2010

2010-12-05T13:11:00.000-08:00

English progressive rock guitarist Robert Fripp performed solo yesterday afternoon at the World Financial Center in Downtown New York City. The leader of the legendary King Crimson, reveals a very different side when he plays solo. Fripp first created this ambient brand of atmospheric guitar playing with sound texturalist Brian Eno back in the early 1970's with the descriptive name, "Frippertonics." As he has revisited this style over the years in recorded and live performances, he has evolved the overall sound into a wider context further enhanced by technology into what he likes to call "soundscapes." Unlike the stop start karate like guitar riffs that have driven the various incarnations of King Crimson into ambitious rhythmic and harmonic musical territory, soundscapes play out as a Zen-like opponent to the familiar.

After two bows and no introduction banter or dialogue with the audience, Fripp began his third of four performances. Fripp played his sunburst colored Les Paul as he sat next to a rack of devices and floor pedals. The tone was clear and went through different loops and sound delay. There are no hard riffs or arpeggios, but instead light orchestral spacey phrases occasionally punctuated with some minimalistic soloing. The closest thing to compare soundscapes to for the uninitiated is probably film soundtrack music. The relaxing calm of the music appeared to comment on, but not be interrupted by the holiday noise of shoppers and tourists that came in and out of the atrium. The music works as something that you can sample and walk away from by design, take from it what you will. The only identifiable familiar part of the almost hour long set was a brief quotation from the 1974 King Crimson album Red from the song "Starless." Altogether it was an enjoyable early free holiday treat courtesy of a great artist and a city that appreciates his music. - Mark

http://en.wikipedia.org/wiki/Robert_Fripp

Henry Threadgill's Zooid - Overdue Mini-Live Review: Roulette, NYC - November 13th, 2010

2010-12-05T11:46:00.000-08:00

Catching up with things here, I wanted to comment on the November 13th performance of legendary alto sax player / flautist Henry Threadgill's Zooid group at Roulette in Soho, NYC. The timing comes on the heels of the release of the group's new CD, "This Brings Us To - Volume 2" released on Pi Recordings as well as the release of the extensive box set collection, "Novus & Columbia Recordings of Henry Threadgill & Air" reased on Mosaic. Threadgill's music has manged to escape category confinement for years after evolving from his 1970's trio avante jazz trio, Air. From jazz, fusion, and world music, he has cultivated an accessible musical language that continues to intrigue.

Threadgill's current group, Zooid, has been together for a decade. Zooid currently consists of Threadgill (alto saxophone, flute), Liberty Ellman (acoustic guitar), Stomu Takeishi (bass guitar), José Davila (trombone, tuba), and Elliot Humberto Kavee (drums). The complex compositions on the CD almost seem driven by Ellman as leader with Threadgill as colourist soloist supporter. Thankfully, live, Threadgill stepped up as obvious apparent leader taking the band with him through what was to be all new music that night. This was my second time seeing Zooid since 2003. The band are a very gelled unit at this point and hopefully they continue to keep producing more recordings and performing live. I gladly await more output from Threadgill and greedily request more alto into the mix as it is truly a pleasure to hear him play his combination tone of aching melancholy and forceful acerbic patterns. - Mark

http://www.nytimes.com/2010/11/13/arts/music/13flux.html

http://en.wikipedia.org/wiki/Henry_Threadgill

Barry Cleveland | Hologramatron

2010-11-29T19:35:00.000-08:00

Barry Cleveland Hologramatron

This is the latest article I wrote for All About Jazz on a new release by talented avant rock guitarist Barry Cleveland on the MoonJune label. If you like great guitar technique combined with good singing, and very opinionated lyrics check this out. This is more of a prog rock release than jazz. I hope you enjoy reading it. Let me know what you think. - Mark

Free Jazz: The Vandermark 5 - The Horse Jumps/The Ship Is Gon...

2010-11-06T07:40:00.000-07:00

Ken Vandermark is one of the leading jazz figures that I follow from the Chicago scene and in jazz as a whole. Great sax player, band leader, and composer with an amazing respect for past innovators and artists outside of music. I intend on picking up this latest release. The Vandermark 5 are truly a great group. Stef of the Free Jazz blog describes aptly how well the Vandermark 5 plus 2 formula works. - Mark

Free Jazz: The Vandermark 5 - The Horse Jumps/The Ship Is Gon...: "In truth, this is a Vandermark 7 release, with the latest line-up of the band, with Ken Vandermark on tenor saxophone and Bb clarinet
, Tim D..."

Wadada Leo Smith Concert / Free Jazz: Wadada Leo Smith & Ed Blackwell - The Blue Mountai...

2010-10-29T08:19:00.000-07:00

I saw Wadada Leo Smith's Golden Quartet concert at the Brooklyn Public Library tonight -special concert. Smith on trumpet, John Lindberg on bass, Angelica Sanchez on piano, and James Kamal Jones. Great set - all new stuff. My friend Matt and I spoke to him for a while after the show - terrific human being beyond his musicianship. I've seen him 3 times now. I also saw Henry Grimes, Roy Campbell, & Sabir Mateen at the show. great night. This kind of stuff for free? Only in NYC, but it isn't worth a damn if you don't go out and see it while you live here. Glad to see it.

Stef had another great piece from his Free Jazz blog on another Wadada Leo Smith Release:

Free Jazz: Wadada Leo Smith & Ed Blackwell - The Blue Mountai...: "The most magnificent moment of this year's Vision Festival was the duet between Wadada Leo Smith and Günter 'Baby' Sommers, not only because..."

Reggae Legend Gregory Isaacs Dies at 60

2010-10-28T05:41:00.000-07:00

A friend Dave Nankervis wrote a note under this NY Times article on the loss of this great artist:

http://www.nytimes.com/2010/10/26/arts/music/26isaacs.html?scp=1&sq=gregory%20isaAACS&st=cse

If anybody is a reggae fan, this is a huge loss. Gregory Isaacs passed away Monday. Seems like reggae artists either get shot or get cancer from all the weed they smoke. Isaacs was the latter, but at least he left a four-decade career of great music as his legacy. He is easily up there with Bob Marley imo. If you have never checked out his music, you should! One of those guys who, while not having a top-notch singing voice knew how to phrase a song. Nobody could do the slow songs with quite the same flair, which is how he got the nickname ‘Cool Ruler’. - Dave Nankervis

Free Jazz: "Complete Communion" - Don Cherry tribute albums

2010-10-25T05:53:00.000-07:00

Free Jazz: "Complete Communion" - Don Cherry tribute albums: " Don Cherry may not have been the most technically gifted trumpet player, he surely was among the most creative artists, of the last decades..."

Soft Machine Legacy | Live Adventures

2010-10-24T07:31:00.000-07:00

Soft Machine Legacy Live Adventures

Miles Davis epigones and tributes ...

2010-10-20T05:48:00.000-07:00

http://freejazz-stef.blogspot.com/2010/10/miles-davis-epigones-and-tributes.html

This guy Stef has a great blog - read about these new Miles Davis Tributes. Wadada Leo Smith does some wonderful tribute stuff, a master in his own right for over 40 years. He began to pay tribute through a series of albums only focusing on the fusion period, starting in the late 90's, which are fantastic. It doesn't seek to replace or surpass the Bitches Brew era stuff, it just adds to the great language of Miles Davis. I had the pleasure of seeing Smith perform in 2008 with his own group and music and I also got the chance to speak with him for about a half hour. Great guy. Also recommended: America (Tzadik, 2009), which is just Jack Dejohnette and Wadada Leo Smith as a duet.

Hugh Hopper | The Gift of Purpose

2010-10-10T16:47:00.000-07:00

Hugh Hopper The Gift of Purpose

Here is an article that I wrote just published for All About Jazz - It's about late Soft Machine bass player Hugh Hopper's posthumous release The Gift of Purpose. I hope you enjoy reading it - If you happen to buy the disc it goes to a good cause - there were only 300 made.

Free Jazz: Powerhouse Sound - Overlap (Laurence Family, 2010)...

2010-10-01T03:50:00.000-07:00

Free Jazz: Powerhouse Sound - Overlap (Laurence Family, 2010)...: "The second album by Powerhouse sound brings several tracks of the first album : 'New Dirt', 'Coxsonne', 'Acid Scratch', '2-1-75', 'Shocklee..."

Elton Dean's Ninesense | Happy Daze + Oh! For The Edge

2010-09-27T03:44:00.000-07:00

Elton Dean's Ninesense Happy Daze + Oh! For The Edge

Evan Parker / Barry Guy / Paul Lytton: Nightwork - Live At The Sunset - CD Review

2010-09-26T08:04:00.000-07:00

Nightwork: Live At The Sunset captures an amazing live performance in early 2010 from saxophonist Evan Parker, bassist Barry Guy, and percussionist Paul Lytton. The virtuosity and high communication level between these three improvisational masters is front and center for its two improvised pieces. There is a stark contrast in how the three work together in this trio versus the larger context of Parker's Electro-Acoustic Ensemble, creating a sound that appears brighter and more direct.

The opener, "Cohobation," starts off with Parker's slow tenor sax answered by Guy's bowed acoustic bass. Eight minutes later, Lytton's skittering drums enter and pick up the pace. A chase then ensues amongst the three, as Guy's rapid plucking kicks in right after the drums, with Parker blowing hard, muscular phrases. Eight more minutes later, the action and tempo slow down briefly, before returning to the breakneck pace, eventually slowing down once again for Guy's solo against a responsive Lytton. Moments later, Parker returns on soprano for a circular breathing solo, eventually met by Guy and Lytton, gently moving with Parker and guiding the piece to a close.

The shorter "Cupellation" opens with all three playing instantly in synch around Parker's bluesy melody. As the piece builds, Guy strums wildly, eventually leading to another engaging duet exchange with Lytton. Every stop, pull, pluck, harmonic, and slurred note that Guy plays seems to push right through the stereo speakers, with Lytton providing just the right space and tension. Parker reenters the dialogue slowly, as the piece accelerates before coming to an abrupt halt. Nightwork: Live At The Sunset presents some great seasoned playing that begs close and repeated listening. - Mark (This Article was published on All About Jazz on September 15th)

Killing Joke: Absolute Dissent - New Upcoming CD Mini Review

2010-09-12T17:05:00.000-07:00

Prepare for the new Killing Joke CD being released on Spinefarm Records at the end of this month entitled, Absolute Dissent. The band that gave some of the finest post punk / alternative metal since 1978 has returned with the first studio release to feature the original line-up of vocalist Jaz Colman, sonic guitarist extraordinaire Geordie Walker, bassist Youth, and drummer Paul Ferguson in over 25 years. I saw this line up play a riveting set at Irving Plaza in New York City in October of 2008,where they played the first 2 albums in their entirety plus other gems for over 2 hours. Having heard the whole new CD, I am very pleased to say that fans and new listeners are in for a treat. Beyond the sacrilegious cover, political conspiracy, history, and prophecy pound out of all the songs with their punishing guitar riffs and tribal rhythms. I will be adding a new video shortly, so that you can have a listen. If you are new to Killing Joke, considering the influence they have had on bands such as Metallica, Ministry, Nine Inch Nails, Nirvana and many others, I implore you to get your hands on this new release as well as their first album from 1980, Killing Joke.

http://en.wikipedia.org/wiki/Killing_Joke

http://www.killingjoke.com/

Dave Douglas & Keystone: Spark Of Being - Expand

2010-09-06T09:58:00.000-07:00

Just as summer comes to a close, another great release from trumpeter/composer Dave Douglas comes along. Expand is the second part of a trilogy of music, performed by Dave Douglas & Keystone, for the Bill Morrison film Spark of Being (2010). The film and related music bring Mary Shelley's iconic novel, Frankenstein (1818), and the relationship between science and humanity in the future, into a modern light. The first part, Soundtrack (Greenleaf, 2010) , was released earlier in the summer, with the conclusion, Burst (Greenleaf, 2010), to follow in the fall. All three releases are also available together as a box set.

Workaholic Douglas has been even more focused on how he releases his music in terms of format, content, and timing over the past half a decade, since creating his own label, Greenleaf Music. In contrast to the Dave Douglas Quintet, Brass Ecstasy and his larger group projects, Keystone marries film scoring with technology and technique. This ambitious series of Keystone releases represent the group's third outing in the past five years.

Expand stands on its own for those unfamiliar with the finer points of the Keystone's previous releases, or the Spark of Being story backdrop. Douglas's subtle, yet adventurous sound guides like a compass. Clocking in with six songs in 42 minutes, Expand is full of strong compositions that create eager anticipation for the rest of the project. The opening "Spark of Being" eases in with the Douglas' trumpet over Adam Benjamin's bed of Fender Rhodes chords, shadowed by DJ Olive's electronic laptop blips and squeals. Tenor saxophonist Marcus Strickland joins in, blending with Douglas in the front line as light rumbles begin to follow from drummer Gene Lake and electric bassist Brad Jones. The somber "Creature" follows, as the growls of monsters, represented through sound effects, eerily echo behind the music.

In contrast to Douglas's other groups, Keystone relies less on obvious jazz fusion riffs, even though the trumpeter's arrangements often find the band playing in tight unison on pieces where the tempo picks up, such as "Tree Ring Circus" and "Travelogue." DJ Olive's samples and electronic patchworks augment and complement his band mates, particularly on "Observer." The closing "Prologue" is dazzling, as it plods slowly with a solid beat from Lake pushing Benjamin, with Douglas soloing as the imaginary credits roll in anticipation of the next and last part of this trilogy. - Mark

http://www.greenleafmusic.com/store/productdetail.php?p=168

The Fall: "Your Future Our Clutter" - Mini CD Review

2010-09-06T09:26:00.000-07:00

Post punk legends, The Fall, released a new CD this year, Your Future Our Clutter on Domino. Mark E. Smith’s slurred vocals, clever lyrics, along woth the band's overdriven fret buzzed bass, biting rattling guitar, amusement park sounding keyboards, electronic sound effects spilling all over a pounding beats are all in play through out the 9 songs such as "Bury Pts. 1 + 3" and "Cowboy George." Over 30 years later Smith & Co. brings on a new release as relevant as anyone they have influenced be it LCD Soundsystem or Franz Ferdinand. Since Smith burns through so many band members over many releases he has the built in advantage of the music never becoming stagnant…or stable and predicable. Having seen them live twice over the years, I recommend you see them the next time they come your way. Beyond the links below feel free to check out the new book by the famous lead singer, Renegade: The Lives and Tales of Mark E. Smith. I have not read it yet, but I will defer to the friend that I bought it for recently to give us a full report. - Mark

http://en.wikipedia.org/wiki/The_Fall_(band)

http://www.amazon.com/Your-Future-Our-Clutter-Fall/dp/B003BET8GO/ref=sr_1_7?ie=UTF8&s=music&qid=1283784561&sr=8-7

http://www.amazon.co.uk/Renegade-Lives-Tales-Mark-Smith/dp/0670916749#noop

Big Audio Dynamite: This Is Big Audio Dynamite (Legacy Edition – 25th Anniversary Reissue) – CD Review

2010-09-04T21:48:00.000-07:00

I have always been a huge Clash fan, so you might be surprised to hear that my first impression of This Is Big Audio Dynamite back 1985 was not a warm receptive one. I impulsively bought the album after discovering that ex-Clash guitarist Mick Jones had a new group of his own. The band, Big Audio Dynamite (BAD), was talked about for the months before the release of their debut album. Mick Jones had been fired from The Clash in 1983 and beyond popping up on some General Public tracks in 1984, I was very curious about his next move.

I bought This Is Big Audio Dynamite expecting to hear those Keith Richard / Pete Townsend goes punk guitar riffs with snarling vocals from songs like “Stay Free,” “Train In Vain,” and “Should I Stay Or Should I Go” that I had become accustomed to. Disappointed at the album after the first listening, I let it sit in my room for a week while I considered asking for a refund or exchange knowing that the record shop owner would most likely oblige. I decided to play the entire album one more time before the day I proposed to go return the record. This time it blew my mind. Nothing had changed at all in the music since the first listen except my ability to understand what was really happening. It just hit me all at once, rock and roll, the rap like hip hop street poet vocals, the movie dialougue samples, the jangling echo guitar, the beats, the reggae, the storytelling. I played this album into the ground afterward over and over as it slowly became the perfect background music to my senior year in high school.

I was thrilled just recently to discover that Colombia had reissued the CD version of the album as a 2 CD 25th Anniversary Legacy Edition. The first pressing of the CD had extremely bad audio quality. Thin sound with a constant hissing in the background made for an underwhelming listening experience on CD. The new edition is remastered with great sound quality, 12 bonus tracks of 12-inch remixes, outtakes, dub versions & B-Sides and a 24 page booklet of notes and rare band photos. The 8 tracks that make up the original album are pure classics. “Medicine Show,” “E=MC2,” “The Bottom Line,” and “BAD” sound fresh and alive. The clever lyrics are delivered as punky urban rap soul. With all of the jabs at the Cold War, Corporate America and Thatcher’s England you can still hear a very positive uplifting vibe underneath it all. Somehow we end up with a very happy indictment of the 1980’s. The variety and density of lyrical themes that Jones piled on at the time seems to make this reissue serve as a sort of 1985 time capsule being reopened. The connection I have found outside of any associated nostalgia is that this music still emits a very fun and humorous feeling. The swagger and attitude sans hostility that carries the music forward puts this recording in a class of its own. While I am not going near any comparisons to the iconic Clash album London Calling, I will easily say that you can hear the build up toward this type of sound on the subsequent Clash albums, Sandinista and Combat Rock.

The Clash connection to Big Audio Dynamite beyond members Mick Jones and Clash video man Don Letts is revealed in further detail in the booklet. Clash drummer Topper Headon was actually almost part of the band in the early stages before departing. I should point out that in the video that I will attach with this article for “Medicine Show” you can see late great Clash front man Joe Strummer and bassist Paul Simonon portray cops as they end up in a shoot out with a brief cameo from ex Sex Pistols and then Public Image Limited Vocalist, John Lydon. The hatchet was buried by this time between Jones and Strummer. Strummer would end up working with Jones again producing and co-writing the second Big Audio Dynamite album No.10 Upping Street. I had the privilege of seeing the band live in 1987 on the tour for the second album in what would be a knock out show. Big Audio Dynamite eventually would peter out after line up changes and fatigue set into the sound. Mick Jones’s current band, Carbon Silicon, harkens back more towards retro Class of 1977 / Clash territory. I am enjoying this new edition of This Is Big Audio Dynamite and still find it to be a game changer as well as a mood lifter. Pick it up and don’t be like me on my first try, really listen to it. - Mark

http://en.wikipedia.org/wiki/Big_Audio_Dynamite
http://www.pandora.com/#/

“Medicine Show” Video

Paul Weller: Reunites With Ex-Jam Bassist Bruce Foxton on New Release "Wake Up The Nation"

2010-08-29T19:35:00.000-07:00

English Modfather Legend Paul Weller released a new powerful CD this summer, " Wake Up The Nation." After sleeping through most of his 2008 ambitious opus "22 Dreams," I welcomed the volume being turned up. Fans of his work with The Jam, The Style Council as well as his solo career should also be interested to know that Weller brings his old mate from The Jam, Bruce Foxton, to play bass for a bit on "She Speaks" and "Fast Car / Slow Traffic," which is certainly one of the best songs on this release. Weller and Foxton had not spoken in close to 30 years. Bruce Foxton and other ex Jam Member Rick Buckler make their bitterness about the estrangement known in the book that they co-authored almost 20 years ago entitled, "Our Story." Last year, Foxton and Buckler teamed up with hired guns to tour performing Jam music as "From The Jam."

Paul Weller refused to look back on The Jam until the 1990's when he finally started performing classics like "That's Entertainment" again. The change between the two came last year when Foxton's wife died from cancer and Weller reached out. Foxton responded in kind when he attended Weller's father's funeral later that year. Weller later invited him to play on the new CD. Let's hold our breath on a full blown Jam reunion for now (?)

Personal cirumstances bringing winning teams together again plays such an interesting and unexpected part many times in ending feuds or freeze outs. My thought is that this will continue to happen with other estranged bands of the past. If Jack Bruce was not dying of a failing liver in 2004, Eric Clapton would most likely not have helped work for the Cream Reunion in 2005. Chris Difford and Glen Tilbrook have recently reunited as Squeeze again all because they both liked what they read in terms of good things said about each other in a book written back in 2004. As for Pink Floyd's Roger Waters and David Gilmour working and recording together, it may easily never happen again. The charity performance that the duo did together a few months ago in addition to the other charity gig they did, as a full Pink Floyd reunion at 2005's G8 Concert leads me to believe that maybe that story is not entirley over yet either. - Mark

http://en.wikipedia.org/wiki/Paul_Weller

Listen to Paul Weller or The Jam on Pandora: http://www.pandora.com/#/

Jimmy Giuffre: Legacy of Jazz Visionary Continues to Grow

2010-08-21T21:07:00.000-07:00

For the past five years or so, I have been listening very carefully to the work of late multi reed player, composer, and arranger Jimmy Giuffre (April 26, 1921 – April 24, 2008), a major figure in the development of jazz. Although born in Texas, Giuffre would at first be associated with the jazz circles on the west coast before forming his own group, The Jimmy Giuffre 3. Giuffre primarily worked with guitarist Jim Hall and either bass players like Ray Brown for a while eventually working with trombonist Bob Brookmeyer. The best works from this era (1957-1959) were collated into a four CD Box Set on Gambit Records entitled Jimmy Giuffre / Jim Hall Trio - Complete Studio Recordings that was released earlier this year. Covering the most traditional era of his group activity, these discs capture the finest subtleties of this drummer-less small group. From songs that received radio play at the time like "The Train and The River" to their treatment of Thelonious Monk's "Blue Monk", the listener is treated to some of the finest small jazz group interplay that has all too often been labeled "chamber jazz." This box set was not only a recent birthday gift for me from my wife, but it also provided the soundtrack for my recent drive up to Vermont and Massachusetts. Ironically, I actually passed through Pittsfield, MA where Giuffre last lived while his music was playing in my car.

Before and after Giuffre's passing in 2008, I had listened extensively to the next version of The Jimmy Giuffre 3, which was the more avant-garde, yet impressionistic trio that he formed with pianist Paul Bley and bassist Steve Swallow in 1961. The Double CD issued by ECM called "1961" is actually a reissued combination of the first two albums both recorded that year on Verve, "Fusion" and "Thesis." The clarinet playing of Giuffre is peerless on the 20 tracks. Bley and Swallow were the most empathetic partners in creating what I would describe as a beautiful musical water painting. The impact and innovation of 1961 is nearly as important as Miles Davis' "Kind Of Blue" or even Dave Brubeck's "Time Out."

The unexpected shift on Giuffre's next album towards free jazz with the aptly titled "Free Fall" Album recorded for Colombia was the ultimate red herring thrown at unsuspecting record company executives expecting to hear more of his late 50's style. The song title "Divided Man" had to best sum up Giuffre's thought on which way he should turn with this recording date. Playing unaccompanied for most of the album, you get to hear some of the most amazing solo clarinet played brilliantly by a very focused Giuffre. Unfortunately this powerful statement was a brave suicide note to his commercial career potential. "Free Fall" also caused the Jimmy Giuffre 3 to break up due to poor finances as many fans of "1961" were scared off when the trio played live. Leaping into a similar creative pond as John Coltrane's quartet work and Ornette Coleman's double quintet on "Free Jazz," Giuffre broke all preconceived notions of what "The New Thing" could really sound like. Giuffre continued his career teaching and making other groups and would reunite the second version of the JG3 from 1989 into the early 1990's.

The genius of Giuffre would once again surprise me after I bought two reissues of late 1950's gems that precede Giuffre's ultimate break from conventional tradition. "Sonny Stitt Plays Jimmy Giuffre" is where East and West Coast jazz scenes find a happy medium with alto sax player Sonny Stitt, the bebop master, blending well with Giuffre's arrangements and support sax playing. Giuffre would play a similar role with pianist Bill Evans and alto sax player Lee Konitz where 2 albums are placed on one CD called "Bill Evans and Lee Konitz Play The Arrangements of Jimmy Giuffre." As much as Giuffre is missed, his legend has only grown. With tribute groups from people like saxophonist Ken Vandermark with his trio "Free Fall" releasing multiple CD's the echo continues. Earlier this year I was fortunate enough to see saxophonist Marty Ehrlich and guitarist Joel Harrison lead a group at the Cornelia Street Cafe in Greenwich Village, NYC that covered a wide range of traditional and progressive Jimmy Giuffre material. Hopefuly you will be checking out the highly enjoyable sound of Jimmy Giuffre sometime in the near future. - Mark

http://en.wikipedia.org/wiki/Jimmy_Giuffre

http://www.allaboutjazz.com/php/musician.php?id=7059

The Orb: "Metallic Spheres" Featuring David Gilmour

2010-08-18T05:01:00.000-07:00

The Orb's new CD Metallic Spheres due in October features Pink Floyd guitarist and vocalist David Gilmour as guest star performer. The CD also features Martin ‘Youth’ Glover from Killing Joke on bass and keyboards. The Orb have long been seen as an aural descendant of Pink Floyd even copping a sample riff from "Shine On You Crazy Diamond." The Orb actually had gone as far as remixing all Pink Floyd albums in the catalog into ambient electronic recreations years back. David Gilmour expressed his interest in the groups sound when he attended and enjoyed an Orb concert back in 1993. It should be interesting. - Mark

http://www.nme.com/news/the-orb/52532

http://en.wikipedia.org/wiki/The_Orb

Jeff Beck: Emotion & Commotion

2010-08-17T06:07:00.000-07:00

English guitar legend Jeff Beck has the stupidest album covers I have ever seen, which is fine being that he is one of the greatest guitar players alive today. Jeff Beck has always played wonderful guitar from a technical perspective as well as making it sing as he does with orchestra for half of the tracks on this new album "Emotion and Commotion" such as on songs like "Somewhere Over The Rainbow". The rest of the format follows the majority of his playing career, instrumental rock with a proper amount of jazz fusion woven in with occasional vocals as with the four vocal cuts such as "There's No Other Me" and the rework of the classic cover "I Put A Spell On You" both sung by Joss Stone. The slick production on this album by Trevor Horn and Stephen Lipson does not take away from Beck's monstrous sound or the chops of the amazing band players that he has worked with over the past few years like Vinnie Colaiuta (drums), Jason Rebello (keyboards), and Tal Wilkenfeld (bass). Beck consistently projects a big sound that rocks hard and pulls on the heart strings like a Spielberg movie without the schmaltz. This is why he has kept an audience for over 45 years and has helped gain new listeners along the way. His conviction, execution, and accessible innovation is what has always kept Jeff Beck in the same conversations that reference Eric Clapton and Jimmy Page as "guitar gods." Beck has had quite a journey from his short life as a Yardbird in the 1960's. From his conventional rock band leadership role up with The Jeff Beck Group that lasted into the early 1970's, through his strongest instrumental statements into the mid 1970's with masterpieces like "Blow By Blow" and "Wired," followed by his attempt to jump onto the 80's commercial band wagon when he scored an accidental hit in 1985 with the remake of "People Get Ready" using his original vocalist Rod Stewart. Since then he has not had long term bands or tons of radio play. His new album and tour may be the best effort to remedy these points. Beck has always lacked career strategy and fashion, but always manages to remain fresh and interesting. The new CD tops off a busy decade for Jeff Beck, which included multiple releases, flirting with electronica, heavy touring and even doing a cameo on Morrissey's last album. "Emotion & Commotion" invites in listeners that might be more attracted to lyrical songs as opposed to the endless chops of his 2009 live album, "Performing This Week Live At Ronnie Scott's." Jeff Beck will have the last laugh on his detractors in the end as he shows no signs of slowing down. - Mark

http://www.jeffbeck.com/news.php

http://en.wikipedia.org/wiki/Jeff_Beck

Joe Jackson: Happy Birthday Joe - August 11th, 2010

2010-08-11T10:54:00.000-07:00

http://en.wikipedia.org/wiki/Joe_Jackson_%28musician%29

http://www.joejackson.com/

If back in 1980 you told British singer-songwriter Joe Jackson that one day he would be living in Berlin as opposed to London or that his music would be featured in Taco Bell commercials today in 2010 it would not have been imaginable. Known for his post punk pop songs like "Sunday Papers" or his 80's radio / MTV songs like with "Steppin' Out," Jackson has gone over three decades making hit albums, soundtracks, and even larger band work projects. He continues making music as appreciation for his catalog continues to grow. - Mark

Underworld - Scribble (radio edit)

2010-08-09T20:09:00.000-07:00

The UK Electronic music duo from Essex, Underworld, return with their new single “Scribble” from their upcoming 2010 Fall CD release, “Barking”. Climbing into the spotlight with their rave anthem “Born Slippy,” featured in Danny Boyle’s 1996 film “Trainspotting,” Underworld have managed to remain relevant and interesting to the present day by combining a clever mix of real instruments, loopy vocals, club beats, and ambience. - Mark

http://www.underworldlive.com/

http://en.wikipedia.org/wiki/Underworld_(band)

http://www.cheekopek.com/wp-content/uploads/2007/10/underworld-band.jpg

Steve Coleman - Jazz CD Mini-Review: Harvesting Semblances and Affinities

2010-08-08T18:28:00.000-07:00

http://www.pirecordings.com/album/pi33

http://en.wikipedia.org/wiki/Steve_Coleman

Alto Saxophonist and bandleader Steve Coleman makes his first full band studio CD debut on pi recordings. Many of his acolytes such as pianist Vijay Iyer continue to consider Steve Coleman the next link after John Coltrane and Anthony Braxton. Former band leaders that he has worked with like bassist Dave Holland concur. The mathematical and systematic style approach that he employs to composition and his playing has put Steve Coleman ahead of the crowd for years. This new all acoustic album also incorporates vocals that weave into the winding tapestry as a full instrument. If you are late on Steve Coleman, make this your first purchase. You will be thankful. - Mark

Jack Bruce: Recommend Music Book - Composing Himself by Harry Shapiro

2010-08-08T18:17:00.000-07:00

http://www.jackbruce.com/2008/

http://en.wikipedia.org/wiki/Jack_Bruce

This new book is about legendary bassist and vocalist Jack Bruce. This is not an autobiography, but a well done biography with a very cooperative Mr. Bruce. The book shines light on a brilliant and talented career that has spanned over five decades. If anyone new to this blog is unfamiliar with Jack Bruce, I would submit that it is most likely a possibility that they have heard “Sunshine of Your Love” or “White Room” by his band Cream at least once in their lifetime. Despite the fame and success that 1960’s power trio Cream bought Bruce along with guitarist Eric Clapton and drummer Ginger Baker, it becomes readily apparent that he has probably not gotten near the credit due him even as someone that has outworked most of the music business. Substance abuse aside, he took the road less traveled and made some great results knowing that it was hard to cash on all of it. World class bass playing, singing, and composing skills seemed to make him the man everyone wanted to work with in so many different areas of music such as rock, blues, and jazz. Bruce was a member of The Graham Bond Organization, Manfred Mann, Cream, Tony Williams Lifetime, West Bruce & Laing, BLT (Bruce, Bill Lordan, & Robin Trower), BBM (Bruce, Ginger Baker & Gary Moore), played sessions with Frank Zappa, Mick Taylor, Carla Bley, Lou Reed, Andy Summers, and countless others. Professionally he seems to have a much defined way of working, and you can read that he has very low tolerance for musicians that can not change up, think on their feet, or improvise or extend form. The book confirms everything good that I sensed growing up seeing him live, buying and listening to his solo, group works or sideman projects. Critical attempts to minimize or trivialize Bruce as anything but a giant would only appear more foolish and empty at this point. Put this one on your reading list. - Mark