music clip of the day

jazz/blues/rock/classical/gospel/more

Month: July, 2011

Sunday, 7/31/11

hot, adj. having or giving off heat, having a high temperature.
E.g.
, services at Bishop Perry Tillis’s Alabama church.

Bishop Perry Tillis (1919-2004), preacher, singer, guitarist

Live, Savior Lord Jesus Pentecostal Church
Samson (pop. 2071 [2000]), Alabama, 1995

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lagniappe

The Bishop Joe Perry Tillis . . . gives Church services every 1st and 3rd Sundays at the Our Saviour Jesus Holiness Pentecostal Church in Samson, Alabama, playing electric slide-guitar, singing, and talking through one scratchy amplifier. He preaches the Pentecost and uses a combination of testimonies and extended hymns he developed with the help of his guiding angels, his daughter, and good friend Sister Bertha Lee Baker.

Steve Grauberger (1995)

Saturday, 7/30/11

The four familial instruments seem to whisper directly into our ears, communing with us about our personal sadnesses and anxieties.

—Wendy Lesser, Music For Silenced Voices: Shostakovich and His Fifteen Quartets (2011)

Dmitri Shostakovich, String Quartet No. 14 in F-Sharp Major (1972-73)
Fitzwilliam String Quartet

1st Movement (Allegretto)

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2nd Movement (Adagio)

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3rd Movement (Allegretto)

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More? Here.

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lagniappe

musical thoughts

I think he [President Obama] needs to listen to some jazz. Maybe the entire capital needs it to calm down.

—Chicago Mayor Rahm Emanuel, 7/28/11

Friday, 7/29/11

what’s new
(an occasional series)

Kanye West & Jay-Z, “Otis” (feat. Otis Redding)

*****

 favorites
(an occasional series)

Buddy Holly, Patsy Cline, Stevie Ray Vaughan, and many more, including this man: if you could somehow revive all the folks who’ve died falling out of the sky, you’d have a hell of a band.

Otis Redding, “Try a Little Tenderness,” live, Norway, 1967

***

give the drummer some

Listen to the double-time pattern Al Jackson begins playing at the start of the second verse (0:47): what a subtle, rippling urgency it creates.

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“[Otis would] keep pushing, and each time Al Jackson would go with him. He would enable the rest of the musicians to reach whatever Otis was trying for. Otis would record stripped to the waist. He put bath towels under his arms. He wanted those horn players live on the floor; he’d sing their parts to them and put that whole session together. Otis got a live feel that nobody else on that label [Stax] ever got.”—Jim Dickinson (in Peter Guralnick, Sweet Soul Music [1986]; for more on Dickinson, see the 9/9/09 post)

***

Bassist Duck Dunn (also in Guralnick’s book):

— “Otis would come in [the studio], and, boy, he’d just bring everybody up. ‘Cause you knew something was gonna be different. When Otis was there, it was just a revitalization of the whole thing. You wanted to play with Otis. He brought out the best in you. If there was a best, he brought it out. That was his secret.”

— “When you talked to him [Otis Redding], he was like you was. Then you see him on stage. Hey, there ain’t too many people wear the crown. Elvis wore it, and I guess Frank Sinatra wore it. And here he comes, and, boy, he wore it. He wore that halo. He knew it. He was a goddam star.”

***

At Redding’s 1996 Whiskey A Go Go shows in Los Angeles, Bob Dylan “presented Redding with a prerelease copy of ‘Just Like A Woman,’ claiming his vocal approach had been Otis-inspired. ‘Otis’ appraisal of it,’ says [Phil] Walden, ‘was that it had too damn many words in it.'”—Carol Cooper

(Originally posted 9/25/09)

Thursday, 7/28/11

 favorites
(an occasional series)

A charter member of the just-announced (to excitement so deafening it’s inaudible) MCOTD Hall of Fame, he’s being celebrated tonight at a concert, in Chicago’s Millenium Park, featuring musicians who came up under him, including saxophonists Steve Coleman and Eric Alexander.

*****

No tenor player moves me more.

Von Freeman

“I Can’t Get Started” (excerpt), live, Belgium, 1992

*****

“Blues for Sunnyland,” live, Germany (Berlin), 2002

*****

Live, Chicago, 2009

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Being a local legend can be a mixed bag. Consider Von Freeman, the 72-year-old tenor saxophonist who reigns as Chicago’s preeminent local jazz legend. In the 40s, he performed with bop genius Charlie Parker. In the 60s, Miles Davis tried to hire him as a replacement for John Coltrane. In the 80s, he and his son Chico, a formidable saxophonist himself, shared an album with the first family of jazz: trumpeter Wynton Marsalis, his saxophonist brother Branford, and his pianist father Ellis (Fathers and Sons, Columbia). And in the 90s, he’s performed at New York’s most prestigious concert halls–Lincoln Center and Carnegie Hall.

But legendary status can have drawbacks. It’s opened a lot of doors for Freeman, making him a familiar figure at a variety of local clubs (including the Bop Shop, the Green Mill, Pops for Champagne, and Andy’s). But appearing so often at so many places can make a performer seem as unremarkable as a crooked alderman. And the tag “legendary,” which smacks of the sort of hushed reverence usually reserved for the dead, can make a performer seem less a vital artist–one who continues to take chances–than a bloodless icon.

But Freeman is neither unremarkable nor bloodless. Hearing him live is like taking a tour of a fun house: you never know what you’ll find behind the next door.

Upon entering, the first thing you notice is that the floor seems tilted–the result of Freeman’s distinctively oblique intonation. His sour off-center tone–which occasionally prompts charges that he plays out of tune–invests the best of his performances with a hard-edged emotional intensity. When he played Charlie Parker’s “Confirmation” on a recent weekend at the Jazz Showcase, where he led a fine quintet (Brad Goode on trumpet; Joan Hickey on piano; Mendai on bass; Robert Shy on drums one night and Michael Raynor on drums the other), he bristled with energy but also sounded wounded. And when he played the ballad “Lover Man,” he conjured up a world that was unremittingly bleak.

Freeman’s improvisations take you quickly from one room to the next. Some of them, like the meowing slurs during an unaccompanied solo on the ballad “Body and Soul,” are breathtakingly strange. Others, like the wild chorus at the top of his range on Duke Ellington’s “Caravan,” offer hair-raising adventure.

Not all of his ideas are equally striking. But jazz improvisation on the order of Freeman’s is necessarily a hit-or-miss affair. As Somerset Maugham put it, only the mediocre are always at their best.

Throughout the recent performance Freeman played the role of genial host. One moment he was encouraging the bassist: “Hit it, Mendai!” The next he was indulging in Von-speak, adding the ending “-ski” to proper nouns, turning himself into “Vonski” and the Duke Ellington piece into “Caravanski.” And in another he was explaining, in a tone half mocking and half serious, the unpredictable nature of jazz: “Sometimes this horn plays and sometimes it doesn’t. I have no control over it.”

At their best, Freeman’s performances dazzle in ways all too rarely encountered in jazz these days. While the well-mannered music of many of today’s most acclaimed performers (Wynton Marsalis, Marcus Roberts) may have its appeal, it generally lacks those undomesticated virtues that Freeman’s music celebrates: daring, originality, and unpredictability. Like the man himself, Freeman’s musical values are a product of this city. He began developing them while attending DuSable High School, where–like many other Chicago-bred jazz giants, including fellow tenor saxophonists Gene Ammons, Johnny Griffin, and John Gilmore–he studied under the fabled music teacher Captain Walter Dyett. As Freeman once explained in a New York Times interview, Dyett stressed originality, preaching a message both simple and elusive: “Try and find yourself.” Even when performing classic material (Ellington, Parker, Monk), Freeman’s music sounds brand-new. The difference between him and many younger musicians who have achieved greater renown is like that between a fun house and a museum.

Jazz Tilt-A-Whirl,(review of Von Freeman, Jazz Showcase, 1/13-14/1995), Chicago Reader, 1/26/1995 (yeah, I’m cannibalizing myself here)

*****

. . . one of the most original and creative tenormen of the 1950s and, in light of other work I’ve heard by him, a great tenor player by any standards.

***

An exceptional artist, he belongs in jazz’s pantheon.

Harvey Pekar, JazzTimes, 1-2/2001

(Originally posted 9/21/10.)

*****

My favorite tenor player?

A while back, I said that if I had to name my favorite alto player, there would be days where I’d say Art Pepper.

Tenor players?

Some days this’d be the guy.

Like Pepper, he has a sound that’s immediately identifiable. It’s a sound that, like Pepper’s, holds both joy and heartbreak. And like Pepper, he’s hard—no, impossible—to pigeonhole. Swing, bebop, free: the label that’s capacious enough to contain him hasn’t been invented.

Von Freeman, “Lester Leaps In,” live, Chicago (New Apartment Lounge), 2010

Vodpod videos no longer available.

(Originally posted 2/12/11.)

*****

Our music is a Secret Order.

—Louis Armstrong, 1954 (John F. Zwed, Space Is The Place: The Lives And Times Of Sun Ra [1997], epigraph)

Von Freeman (tenor saxophone, with Ed Petersen, tenor saxophone; Willie Pickens, piano; Brian Sandstrom, bass; Robert Shy, drums), live, Chicago (Green Mill Lounge), 12/31/10

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(Originally posted 2/25/11.)

*****

More Von

The other night, during a performance and interview at the University of Chicago, he seemed, at times, a bit frail. He’s nearing 90 and was recently in the hospital. But what I said a while back still holds true: no tenor player moves me more.

Von Freeman (tenor saxophone, with Mike Allemena, guitar; Matt Ferguson, bass; Michael Raynor, drums), “Bewitched, Bothered and Bewildered,” live, Chicago (Mandel Hall, University of Chicago), 2/24/11

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lagniappe

better late, etc.

The University of Chicago recently awarded Von the Rosenberger Medal, which was established in 1917 . . . [and recognizes] achievement through research, in authorship, in invention, for discovery, for unusual public service, or for anything deemed of great benefit to humanity.” Past recipients include Toni Morrison, Pierre Boulez, and Frederick Wiseman.

*****

musical thoughts

It takes years to explain those vibrational things in verbal language. And it still might not work. One time I asked Von Freeman about his voice-leading in harmony, he’s the master of that shit. I asked him, “How did you learn that shit? You’re so fluent at it.” And he said, “Well, you know, I sat down one day and I said, let me look at this thing.” He said, “I began with one tone. I studied one tone. And I studied all that I could study about one tone.” When these old guys talk, you don’t ask too many questions. You pretty much just listen to what they say. And so, I didn’t know what he meant, but I just listened. And he said, “I worked on that for a long time, you know, for months. Just seeing what could be done with one tone. When I felt pretty good about that, I moved on to two tones. That was a bit harder. I worked a lot longer, but I worked and saw all that I could do with two tones. Then I moved to three tones, and so on. After I went on for a while I realized that you can pretty much do everything that you need to do with two tones.” That’s what he told me. I spent years thinking about this shit. Years. I’m still thinking about it, you know. I feel like I have a better handle on knowing what he meant now than then, although it is not a simple thing to explain. And when I tell the story to somebody playing in my group or something, and they ask me, “What did he mean?” it takes me literally years to explain what I think he means. And I’m sure I only have part of what he means. What it means to me. Some things, you have to explain them with a million examples over a period of time. The meaning dawns on a person and when they have to explain it it’s funny. We live in this McDonald’s type society where everybody thinks everything is just quick. It’s not like that. You have to actually build the understanding, slowly over time. So this thing that Von Freeman explained to me, it sounds like a very simple thing, but it really doesn’t make any sense at all without the experience. It’s maybe fifteen years ago that he told me, and I found it to be absolutely true. I could never explain it in one day, or in a lecture over an hour.

Steve Coleman (whose latest album was named one of the year’s ten best in the 2010 Village Voice Jazz Critics’ Poll)

*****

my back pages

No other musician, in any genre, has meant so much to me in so many ways for so many years. I first heard Von in the mid-70s, when I was in my twenties (and working for Alligator Records) and he was in his fifties. The setting, coincidentally, was the University of Chicago; he opened for Cecil Taylor. I got to know him and booked a few shows for him. In 1977, when I got married, he and pianist John Young played at our wedding ceremony. Later, when I was reviewing live jazz, I wrote a piece about him for the Chicago Reader. Over the last three decades, I’ve listened, avidly, to his growing catalog of albums and seen him live more times than I could count. He is now an old man. And I am getting there.

(Originally posted 3/1/11.)

*****

rewarding the deserving

So often, it seems, when arts awards are announced, my initial reaction is: “Huh?” Not this time. The National Endowment of the Arts just announced their 2012 Jazz Masters Awards, which recognize, with Lifetime Honors, “living musicians for career-long achievement.” And the winners are Jack DeJohnette, Jimmy Owens, Charlie Haden, Sheila Jordan, and Von Freeman.

(Originally posted 6/25/11.)

Wednesday, 7/27/11

old stuff
(an occasional series) 

Coolest campaign music ever?

Nashville Mayor Karl Dean, campaign commercial
(released 7/21/11, election 8/4/11)

Vodpod videos no longer available.

*****

Here’s the original recording, made for Paramount Records, in Grafton, Wisconsin, in 1929.

Charley Patton (AKA Charlie Patton), “High Water Everywhere”

Part 1

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Part 2

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If Captain Beefheart and Tom Waits got their sound from Howlin’ Wolf,
Wolf got his sound right here.

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lagniappe

[A]lthough Patton’s success was undoubtedly due in part to his astonishing abilities as a guitarist, and the depth and soul of his blues singing, it also owed a lot to his professionalism and skill as an entertainer. Friends interviewed in later years would comment on his dependability, the fact that he always showed up on time and took care of business. His performances were masterpieces of showmanship: he was famed for tricks like playing behind his head or between his legs, to the point that some rival musicians disparaged him as a mere trickster. Unfair as this seems to modern listeners, it highlights an important point: To his live audiences, Patton was not the subtle player and singer we hear on the records, nor particularly noted for his soulful depth. He was a man who banged out loud rhythms, shouted so he could be heard to the back of the room, and was a dazzling showman–despite his older, acoustic repertoire, he can in some ways be considered a predecessor to Little Richard and James Brown.

***

It is a mistake to view this music through the prism of modern blues, to see Patton and his peers as the progenitors of the first electric Chicago bands, and thus of the barroom boogie bands that fill suburban bars outside every American city. His rhythms are a world–or at least a continent–away from the straight-ahead, 4/4 sound that defines virtually all modern blues. That is why so few contemporary players can capture anything of his greatness. There is the tendency to play his tunes for driving power, missing the ease, the relaxed subtlety that underlay all of his work. It is a control born of playing this music in eight or ten-hour sessions, week after week and year after year, for an audience of extremely demanding dancers, and of remembering centuries of previous dance rhythms–not only the complex polyrhythms of West Africa, but also slow drags, cakewalks, hoedowns, and waltzes.

Elijah Wald

*****

Holly Ridge, Mississippi

Tuesday, 7/26/11

You’re never too young to die.

 Amy Winehouse, September 14, 1983-July 23, 2011

“Tears Dry On Their Own”

Take 1: original recording and video (2006)

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Take 2: remix by Organized Noize Dungeon Family (Big Boi)
(released 7/24/11)

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lagniappe

reading table

heat shimmers—
someone listening to
a snail shell

—Kobayashi Issa, 1808 (trans. David G. Lanoue)

Monday, 7/25/11

What better way to start the workweek?

 Joe Lee Wilson, singer, December 22, 1935-July 17, 2011

Archie Shepp, “Money Blues” (featuring Joe Lee Wilson, lead vocals)
Things Have Got To Change (Impulse!), 1971

Part #1

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Part #2

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Around Joe Lee (excerpt)

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Sunday, 7/24/11

Last Sunday they sounded so good—let’s hear some more.

The Staple Singers, “On My Way To Heaven,” “Going Away,” “I’m Leaning,”
“I Know I Got Religion”; Uncloudy Day (Vee-Jay), 1959

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listening room: (some of) what’s playing

• Muhal Richard Abrams (with Malachi Favors), Sightsong (Black Saint)

• King Oliver, Off the Record: The Complete 1923 Jazz Band Recordings (Off the Record/Archeophone)

• Beethoven, Symphonies Nos. 1 & 3 (“Eroica”)/ Arturo Toscanini, conductor, NBC Symphony Orchestra (RCA)

• Bach, Cello Suites, Steven Isserlis (Hyperion UK)

Morton Feldman, For Bunita Marcus, Stephane Ginsburgh, piano (Sub Rosa) (available as a download from Amazon for 89¢)

WKCR-FM (broadcasting from Columbia University)
Bird Flight (Phil Schaap, jazz [Charlie Parker])
Traditions in Swing (Phil Schaap, jazz)
Afternoon New Music (Various, classical and hard-to-peg)
Eastern Standard Time (Carter Van Pelt, Jamaican music)
Raag Aur Taal (Various, Indian music)

WFMU-FM
Mudd Up! (DJ/Rupture, “new bass and beats”)
Sinner’s Crossroads
(Kevin Nutt, gospel)

*****

reading table

Here are a couple cheery things (ha, ha) from a favorite poet.

John Berryman, Two Dream Songs

More? Here. And here.

Saturday, 7/23/11

In his world Frederic Chopin and Professor Longhair are neighbors.

James Booker, December 17, 1939-November 8, 1983

“Classified,” live, Switzerland (Montreux Jazz Festival), 1978

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Playing for friends (home video), Europe, 1978

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art beat

Lucian Freud, December 8, 1922-July 20, 2011

Self-Portrait: Reflection (2002)

Friday, 7/22/11

only rock ’n roll
(an occasional series)

The great thing about rock ’n roll is you don’t have to understand
a single word for it to make perfect sense.

Hasil Adkins, “She Said”

Take 1: live

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Take 2: recording (1964)

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More? Here.

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