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Category: jazz

Saturday, 8/21/10

replay: a clip too good for just one day

If spirit could be sold, New Orleans would be rich.

Rebirth Brass Band, live, New Orleans, 2009

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lagniappe

Brass band musicians are a wild bunch. They’re hard to control. The street funk that the Rebirth Brass Band plays definitely isn’t traditional—it might be in thirty years time.

—Lajoie “Butch” Gomez (in Mick Burns, Keeping the Beat on the Street: The New Orleans Brass Band Renaissance [2006])

(Originally posted on 9/11/09.)

Wednesday, 8/11/10

Anyone can play fast.

Ben Webster (tenor saxophone, with Kenny Drew, piano; Niels-Henning Orsted Pedersen, bass; Alex Riel, drums), “How Long Has This Been Going On?”; live

Want more? Here. Here.

Saturday, 8/7/10

Let’s lift the bandstand.

—Thelonious Monk

Woody Shaw/Johnny Griffin Quintet (Woody Shaw, trumpet; Johnny Griffin, tenor saxophone; John Hicks, piano; Reggie Johnson, bass; Alvin Queens, drums), “Night in Tunisia,” live, Germany (Koln), 1986

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Now there’s a great trumpet player. He [Woody Shaw] can play different from all of them.

—Miles Davis

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Anthony Braxton on playing with Woody Shaw.

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reading table

Look after the sound and the sense will take care of itself.

—Adam Phillips, London Review of Books, 7/22/10 (reviewing Christopher Ricks’ True Friendship: Geoffrey Hill, Anthony Hecht and Robert Lowell Under The Sign Of Eliot And Pound)

Thursday, 8/5/10

He doesn’t pummel the beat, the way so many drummers do.

He pulls it out of the air.

Jo Jones (“Papa Jo” [as distinguished from “Philly Joe“]), October 7, 1911-September 3, 1985

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lagniappe

[W]hat really distinguished the great drummers I heard growing up, what really attracted me to men such as Sonny Greer, Chick Webb, Sid Catlett, Jo Jones and Kenny Clarke was that they all thought like composers, they all had their own way of hearing a band. They were all original thinkers who identified themselves when they played. And they stood out. They played like leaders.

Max Roach

Wednesday, 8/4/10

Weary of gravity?

Lionel Loueke, live

Part 1

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Part 2

Want more? Here.

Wednesday, 7/21/10

getting older

“Where did everybody go?” you wonder.

With each passing year, more of the musicians who’ve shaped your world—who’ve made life sing—are gone.

Ed Blackwell, Lester Bowie, Betty Carter, Malachi Favors, Steve Lacy, Kate McGarrigle, Art Pepper, Professor Longhair, Sun Ra, Junior Wells, Julius Hemphill (below): the list goes on, and on, and on.

World Saxophone Quartet (Julius Hemphill, alto saxophone; Oliver Lake, soprano and alto saxophones; David Murray, tenor saxophone; Hamiet Bluiett, baritone saxophone)

Medley: “West African Snap,” “I Heard That,” “Fast Life,” “Hattie Wall,” live (TV Broadcast [Night Music]), 1990 (music starts at 2:20)

Listening to Julius Hemphill (far left), a phrase from Martin Luther King, Jr.’s “I Have a Dream” speech comes to mind: “the fierce urgency of now.” Hemphill has, it seems, so much to say—right now. Listen, for instance, to 4:30-6:35.

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Live, with M’Boom (Max Roach’s 9-piece percussion ensemble), New York (The Cathedral Church of St. John the Divine), 1981 (music starts at 1:55)

Want more? Here.

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lagniappe

musical thoughts

Without music, life would be an error.

—Friedrich Nietzsche


Monday, 7/12/10

Here’s a big birthday shout-out to my wife Suzanne, who’s not nearly as crazy as I am about music—not nearly as crazy, period—but is crazy enough that she kept going out with me after I took her on our first date, in the summer of 1974, to Chicago’s Jazz Showcase (then on Lincoln Avenue) to see this guy, whose multimedia performance that night featured some of this footage—the stuff with the pyramids.

Sun Ra & His Arkestra in Egypt and Italy, 1971

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Even in the excesses of this era there were few audiences prepared for an ominous, ragtag group of musicians in Egyptian robes, Mongolian caps (Mongolian, as from the planet Mongo of Flash Gordon), and B-movie spacesuits who played on a variety of newly invented or strangely modified electronic instruments (the sun harp, the space organ, the cosmic side drum) and proclaimed the greatness of the most ancient of races (this, the Sun Ra of the Solar-Myth Arkestra); or, on yet another night, a merry band in jester’s motley, jerkins, and pointed caps (a la Robin Hood or perhaps the Archers of Arboria) who marched or crawled through the audience, chanting cheerful songs about travel to Venus. It was intensely dramatic music, moving from stasis to chaos and back, horn players leaping about, or rolling on the bandstand, sometimes with fire eaters, gilded muscle men, and midgets, an all-out assault on the senses. At the end of the evening the musicians and dancers moved among the audience, touching them, surrounding them, inviting them to join the Arkestra in marching off to Jupiter.

—John F. Szwed, Space Is The Place: The Lives And Times Of Sun Ra (1997)

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Sun Ra’s consistent statement, musically and spoken, is that this is a primitive world. Its practices, beliefs, religions, are uneducated, unenlightened, savage, destructive, already in the past. . . . That’s why Sun Ra returned only to say he left. Into the future. Into Space.

—Amiri Baraka (formerly known as LeRoi Jones)

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Silence is music. There are different kinds of silence, each silence is a world all of its own . . . silence is an integral part of all music . . .

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When you meet a man

You meet a scheme of words

Patterns of concept

A concepted being

Whose very birth conception is called.

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The earth cannot move without music. The earth moves in a certain rhythm, a certain sound, a certain note. When the music stops the earth will stop and everything upon it will die.

—Sun Ra

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Saturday, 7/10/10

replay: a clip too good for just one day

Here is the onliest Thelonious.

Thelonious Monk, “Epistrophy,” live (TV broadcast), Paris, 1966

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Thelonoius Monk, “’Round Midnight,” live (TV broadcast)

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You can tell a lot about Monk’s music—about the centrality of dance, about the interplay between melody and rhythm, about the way a melody’s irregular accents override the pulse (making the dance melodic)—just by watching, in the second performance, the way his right foot moves.

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lagniappe

He played each note as though astonished by the previous one, as though every touch of his fingers on the keyboard was correcting an error and this touch in turn became an error to be corrected and so the tune never quite ended up the way it was meant to be.

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You had to see Monk to hear his music properly. The most important instrument in the group—whatever the format—was his body.

—Geoff Dyer, But Beautiful: A Book About Jazz (1996)

(Originally posted 11/2/09.)

Wednesday, 6/30/10

The other night, after falling asleep, my older son Alex (now 22) had an unexpected visitor—this guy showed up and began to play.

Vijay Iyer Trio (VI, piano; Marcus Gilmore, drums; Stephan Crump, bass)

“Galang,” recording session (Historicity), New York (Systems Two Studios), 2009

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“Questions of Agency,” live, New York (The Stone), 2007

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Playing and Talking about Historicity, 2009

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Presto! Here is the great new jazz piano trio.

—Ben Ratliff, New York Times (9/9/09)

Monday, 6/28/10

Muscular, unadorned, direct: his playing conjures the old Chicago, when there was no Millennium Park, no flowers blooming in the middle of the street, no dining al fresco (unless you had nowhere else to eat).

Fred Anderson, tenor saxophonist, co-founder of the Association for the Advancement of Creative Musicians (AACM), club owner (Velvet Lounge), March 22, 1929-June 24, 2010

Live, with DKV (Ken Vandermark, tenor saxophone; Kent Kessler, bass; Hamid Drake, drums), Chicago (Hideout), 2008

(Hamid Drake is among my favorite drummers; he’s the perfect foil, in his buoyancy and drive, for Anderson’s dark, searching, sometimes brooding lines.)

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“Spirits Came In,” live (with Kidd Jordan, tenor saxophone; William Parker, bass; Hamid Drake, drums), live, New York (Vision Festival), 2002

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Live (with Jaribu Shahid, bass; Hamid Drake, drums), France (Le Mans), 2005

Part 1

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Part 2

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Part 3

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Part 4

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Part 5

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Part 6