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Category: jazz

Monday, 9/28/09

Sheila Jordan has an instantly identifiable sound. But her singing, though idiosyncratic, isn’t just that. Saturday night, when I heard her perform at Chicago’s Green Mill, her musical language—her elastic phrasing, her sliding pitches, her often off-center approach to harmony—was so clear and vivid that, by the end of the second set, I felt as though I was hearing the world through her ears.

Sheila Jordan, “The Water Is Wide,” live, Paris, 2003 (75th birthday concert)

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“The main thing is the feeling, and that comes across no matter what she [Sheila Jordan] does. In terms of instruments, maybe her instrument—her voice—is not as great as some. It doesn’t really matter. She sings one note and you know it’s Sheila. Unfortunately there are very, very, very few singers left now who are really unique. And she’s one of the last ones.”—Steve Kuhn

*****

Want more? Here’s a review I wrote, many years ago, of another of Sheila’s performances, also at the Green Mill, for the Chicago Reader.

Monday, 9/21/09

Here, on this last day of summer, saxophonist Albert Ayler takes the Gershwin classic to the far shores of the blues—where (as you’ll hear) the livin’ most certainly ain’t easy.

Albert Ayler, “Summertime”

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reading table

Yesterday, I happened upon this radio interview with New Yorker literary critic (and Harvard professor) James Wood, which I found quite interesting (but then, as an old English Lit major [and one-time high school English teacher], I’m a sucker for this sort of stuff). (Bonus: It’s followed by an interview with director Jane Campion, talking about her new John Keats/Fanny Brawne movie, Bright Star. Oh, and speaking of poetry: If you’d like to receive, via email, a daily dose of one of the finest Japanese haiku poets, you can subscribe to “Issa Haiku-a-Day” here [you’ll be glad you did].)

Tuesday, 9/15/09

Cigarettes, Scotch, amphetamines, cocaine: alto saxophonist Paul Desmond consumed them all, often in prodigious quantities. But that didn’t muddy his playing. It would be hard to find, anywhere in music, a sound more pure.

Paul Desmond, live, Monterey (California), 1975

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“I have won several prizes as the world’s slowest alto player, as well as a special award in 1961 for quietness.”—Paul Desmond

Saturday, 9/12/09

New Orleans Music Festival/day 3 of 3

Only in New Orleans do the dead dance.

New Orleans Jazz Funeral for tuba player Kerwin James (2007)

Friday, 9/11/09

New Orleans Music Festival/day 2 of 3

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

Rebirth Brass Band, live, New Orleans, 2009

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“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])

Tuesday, 9/8/09

Muddy Waters, Saul Bellow, Steppenwolf Theater Company (John Malkovich, John Mahoney, Gary Sinise, Laurie Metcalf, et al.), Curtis Mayfield: a lot of great artists, musical and otherwise, have come out of Chicago in the last 50 years. Among the greatest is this group: the Art Ensemble of Chicago. While the horn players (Roscoe Mitchell, Joseph Jarman, Lester Bowie) got the lion’s share of the attention, what gave their music its juice—what made it dance—was (as you’ll hear) one of the finest rhythm sections ever: Malachi Favors, bass; Don Moye, drums.

Art Ensemble of Chicago, live, Poland (Warsaw), 1982 (in four parts)

Part 1 of 4

Part 2 of 4

Part 3 of 4

Part 4 of 4

(I talk about the AEC in the past tense because, while recordings are still released under this name from time to time, with two key members [they were all “key members”] now dead—trumpeter Lester Bowie [1999] and bassist Malachi Favors [2004]—it just isn’t [nor could it be] the same.)

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subscribe

Many things in life don’t quite seem, alas, to live up to their billing. It appears that the RSS (Real Simple Syndication) service that’s referenced in the righthand column (under “Subscribe”) may fall into this category—at least, that is, for those of us who are (as the expression goes) of a certain age. The problem seems to lie at the threshold: “real simple.”

Anyway, in the life’s-too-short, keep-it-simple-stupid department, if you’d like to “subscribe” to this blog, just send me an email (rmcleeselaw@aol.com) with “subscribe” in the subject line and—voila!—you’ll be added to an ever-growing email list that will have you receiving an e-notice whenever there’s a new blog post. As indicated in the “About” section (see righthand column), this whole thing started from a very small (like, oh, two, sometimes three, folks) email list, which then grew, then grew some more. One of many miraculous things about electronic communication is that there’s always room for one more.

Saturday, 9/5/09

One left Cuba after the revolution, the other stayed. Here they play together: pianists—father and son—Bebo and Chucho Valdes.