"Weird Means Something You Never Heard Before": Rolling Jazz D-bag Thread 2015

Post here when you gaze upon the Smalls Buddha.

Is this a place I can mention Moloch? Technically an avant-metal / noise band but a lot of free jazz greatness going on here:

https://www.youtube.com/watch?v=nOAq5V219ys

sorry, the album's called Moloch. The band is Merkabah

I don't know shit about Russian jazz, but I got an album that kinda rules, so I wrote about it.

extremely relevant to this thread:

http://www.youtube.com/channel/UC2bbMmLXhQtITdRiqRvy-yQ

listening to that 1607 record now and it sounds very nice, ty.

but for real everybody, you have to watch these Dave King videos.

wow "Dances" goes super hard.

Bunch of the top players in New York are Russian. How many can you name?

Alex Sipiagin...that's it, off top?

You got one. But what about Boris Kozlov?

Or Misha Tsiganov?

learned of this 2013 record via Dave King's really very funny blog/news page, the first track is up my alley (Mike from Happy Apple & Aaron Parks are on it):

http://sunnysidezone.com/album/north-hero

so far i'm listening to a lot more jazz in 2015 than i did in 2014.

Not familiar with that one, but I like Parks enough to give it a chance. I need to check out the second album by James Farm (his group with Joshua Redman).

Just got bassist Ben Wolfe's new one, The Whisperer; comes out on Posi-Tone end of next month. Stacy Dillard on saxophone, Orrin Evans on piano, Donald Edwards on drums, and Josh Evans on trumpet on one track. That's a pretty great modern-straightahead-mainstream lineup; I'm excited.

Winter Jazzfest this weekend. Anyone going?

prob gonna stop by at a few shows

Don't know how long this might be visible, so I'll paste instead of link---anybody heard the album??

Completely New Yet Pleasantly Familiar
Ornette Coleman’s ‘New Vocabulary’ is his first studio album since 1996.
By
Martin Johnson
Jan. 7, 2015 6:10 p.m. ET
With shockingly little advance publicity, a new recording featuring jazz great Ornette Coleman has been released. The album, “New Vocabulary” (System Dialing Recordings), became available late last month via the label’s website, and it features the innovative saxophonist and composer in a collective ensemble that includes trumpeter Jordan McLean, drummer Amir Ziv and keyboardist Adam Holzman.
The release comes at a time when new music from Mr. Coleman has grown scarce. He made a guest appearance on one track of “Road Shows Vol. 2” (Doxy), a 2011 release by fellow saxophone legend Sonny Rollins. His last official recording was “Sound Grammar” (Sound Grammar), a live recording from 2006, which received the Pulitzer Prize for music the following year. His last studio recording was “Sound Museum: Three Women” (Harmolodic/Verve) in 1996.

Mr. Coleman, who is 84, is one of the most pivotal figures in jazz history. In the late ’50s, he arrived on the scene, first in Los Angeles and then in New York, with an approach to music that loosened the rules of harmony and freed musicians to play more of what they felt. The approach was often called free jazz, a name taken from one of Mr. Coleman’s best recordings of the time. Later in the ’60s, he was one of the first jazz musicians to compose string quartets. His band in the ’70s produced classic recordings like “Science Fiction” (Columbia, 1971), and in 1976 he released his first recording with Prime Time, a band featuring electric guitars and basses that seamlessly combined jazz and funk.
Although its arrival was a surprise, the timing of the release of “New Vocabulary” is entirely appropriate. Mr. Coleman’s music was the subject of two heralded tributes in 2014. In October, The Bad Plus performed the entire “Science Fiction” recording in a series of concerts; in June, music luminaries including Mr. Coleman himself played his works in a Celebrate Brooklyn concert called “Celebrate Ornette.”
The new album was recorded in 2009. A year earlier, Mr. Coleman had attended the musical “Fela!” Afterward, he went backstage and met Mr. McLean, who was assistant musical director for the production and is a member of Antibalas, the Brooklyn, N.Y.-based Afrobeat band that arranged and performed the show’s music. The two men became friends, and Mr. Coleman invited Mr. McLean, who is 40, to his home to play music. Those sessions evolved to include Messrs. Ziv and Holzman, Mr. McLean’s bandmates in an electronic music group called Droid. Mr. Ziv, who is 43, has been a leading sideman for more than 20 years; his credits include work with Sean Lennon, Lauryn Hill, and Medeski, Martin and Wood. Mr. Holzman, who is 56 and leads several bands, has played with Miles Davis and Chaka Khan. Informal jamming gradually became more rigorous rehearsals as the musicians honed the 12 songs that appear on the recording.
“New Vocabulary” is a concise 42 minutes, and it begins with two spare tunes, “Baby Food” and “Sound Chemistry,” that contrast Mr. Coleman’s bright, often gleeful saxophone tone with electronic effects by Mr. McLean and piano from Mr. Holzman. From there the intensity picks up on pieces like “Alphabet,” “Bleeding,” “If it Takes a Hatchet” and “H20” as Mr. Ziv’s drumming becomes more prominent and both Mr. Coleman and Mr. McLean accent and play off of his driving rhythms. The album ends with “Gold is God’s Sex,” a ruminative piece that lends the recording a bit of symmetry.
Most Ornette Coleman projects offer either something completely new or something closely related to what he has done in the past. Prime Time and the band on “Sound Museum” were radical shifts. “Science Fiction,” built on the Blue Note recordings that preceded it, and “Sound Grammar” placed Coleman in a familiar setting—a quartet—with repertoire from his lengthy career. “New Vocabulary” does a little of both. Without directly quoting melodies, Mr. Coleman’s playing at times recalls his work in the early ’60s, early ’70s and late ’80s. Yet the backing is completely new for those who know his work only via recordings, and Mr. Coleman sounds energized by his bandmates. One can only hope it is a direction he will continue to pursue. Despite its under-the-radar launch, “New Vocabulary” is a valuable addition to Ornette Coleman’s extraordinary discography.

Would love to see this at the Paley Center. I've seen The Sound of Jazz and have an audiotape; also The Sound of Miles Davis was intriguingly excerpted on Night Music in the 80s, when Miles was a guest. Didn't know there was so much, must check YouTube:

Filming Sonic Emotion
Robert Herridge’s TV programs changed the way people viewed jazz.
By
Marc Myers
Jan. 14, 2015 6:38 p.m.

Halfway into “The Sound of Jazz”—an hourlong live CBS special that aired on Dec. 8, 1957—Billie Holiday did something impetuous that would change the way jazz and jazz musicians were viewed by TV audiences. As Count Basie and an all-star big band wailed away on “Dickie’s Dream,” the singer strolled into the studio, stood for a few moments nodding to the music, and then coolly walked over to the piano to talk to Basie while he was soloing. Four television cameras caught the drama.

Robert Herridge: Jazz on TV

The Paley Center for Media

Through Jan. 18

Minutes later, as Holiday sat on a stool and sang “Fine and Mellow” accompanied by a small group of musicians, the cameras zoomed in even closer, letting viewers see the pain on her face and the sly, loving glances she shot soloists. For a TV audience unfamiliar with jazz, Holiday became an emotional guide, providing a soulful narrative that helped viewers understand how they should feel about what they were seeing and hearing.

Much of the credit for the relaxed cinéma vérité camerawork of “The Sound of Jazz” belongs to Robert Herridge, a producer of TV dramas and a tireless champion of the performing arts. Four of his late-’50s TV jazz programs—“The Sound of Jazz,” “Frankie and Johnny,” “Jazz From Sixty-One” and “The Sound of Miles Davis”—will be screened at New York’s Paley Center for Media on Jan. 17 and 18. Watching them in crisp black-and-white from start to finish reveals much about jazz’s struggle for high-culture acceptance in the 1950s and Herridge’s passion for preserving and promoting the music.

By insisting that studio cameramen shop for drama in musicians’ faces, Herridge treated jazz as a theatrical performance on par with the staging of Shakespeare or Dostoyevsky. It was a bold move in 1957, when network television was largely a white medium that rarely featured modern jazz, let alone integrated ensembles. Charlie Parker and Dizzy Gillespie performed on TV together only once, on a local New York station in 1952, while Bobby Troup’s “Stars of Jazz,” which launched in 1956, was a Los Angeles TV showcase. After “The Sound of Jazz” aired, however, more reverential and dramatic programming followed, including “The Subject Is Jazz” (1958), “Jazz Scene USA” (1962), “Frankly Jazz” (1962-63) and “Jazz Casual” (1961-68). There also were four Timex All-Star Jazz Shows on CBS in the late ’50s, a pair of “Swing Into Spring” specials and jazz on talk shows hosted by Steve Allen.

Yet despite winning many of TV’s major awards during his career—including three Emmys—Herridge, who died in 1981 at age 67, is barely remembered today. Back in the ’50s, he pioneered the concept of television as open theater—placing talented actors in stripped-down sets while multiple cameras slid around capturing their live performances. In 1957, Herridge extended this concept to jazz, encouraging musicians to observe each other performing.

But Herridge would not have been able to attract the likes of Holiday, Coleman Hawkins, Gerry Mulligan, Lester Young, Charles Mingus, Miles Davis, Ben Webster, Ahmad Jamal and many others if not for jazz journalist Nat Hentoff. “Herridge had the idea for ‘The Sound of Jazz’ when he approached me and [New Yorker magazine critic] Whitney Balliett for musicians,” said Mr. Hentoff, 89, in a phone interview. “The first thing he said was, ‘Go after the people you want on the show. I don’t care if the audience knows their names. I just want it to be pure jazz.’”

Balliett, who often reviewed jazz, preferred to take a back-seat role as Mr. Hentoff called in favors. Once the artists were assembled, the next step was a lighting rehearsal a week before airing. “For a moment, the show was nearly scrapped,” recalled Mr. Hentoff. “A high-level CBS official sent Herridge a note telling him that he couldn’t put Billie on TV—that she had been in prison for drugs. Herridge was a deadly serious guy, especially when it came to the arts. He called the executive and told him that if this was his final insistence, everyone would leave and there would be no show. The executive backed off.”

Despite being told to dress casually for the broadcast, most of the musicians ignored Mr. Hentoff’s instructions. All were convinced that a network TV show would be a lavish affair. “Billie spent $500 on a dress and cursed me out when she discovered there wasn’t a glamorous set,” said Mr. Hentoff. “That may be why she walked onto the Basie set—to give Herridge more casual reality than he expected. But Herridge and the cameras ate it up. She kissed me after.”

Herridge told the cameramen to “get the faces” of the musicians and treat them like actors in a drama. He went so far as to tell them to ignore the voice of director Jack Smight in their headsets if they saw something special. “Herridge wanted the musicians to play to their peers, not to the cameras,” said Charles “Chiz” Schultz, 83, the show’s associate producer, in a phone interview. “It seemed insane to the musicians but it worked for TV.”

About a half-hour before going live at 5 p.m., no one could find eccentric pianist Thelonious Monk. “I went outside onto West 55th St. and looked up the block,” said Mr. Schultz. “Monk was standing there, with his arms and hands outstretched in front of him. It was raining, and when I made my way over and asked if he was all right, Monk said, ‘I need to feel what it’s like out here first.’ After a minute, he came with me. That was some kind of insight into Monk.”

In April 1959, Herridge filmed Miles Davis in an orchestral setting with Gil Evans conducting and then with his quintet, featuring John Coltrane, playing “So What” from Davis’s forthcoming album “Kind of Blue.” The hourlong “Sound of Miles Davis” aired in July 1960. Also in 1959, the half-hour television ballet “Frankie and Johnny” was taped featuring original music by Charles Mingus and performed live by a Mingus-led ensemble.

In September 1960, “Jazz From Sixty-One” was broadcast. The half-hour show featured the Ben Webster Sextet and the Ahmad Jamal Trio. Here, Herridge had Webster’s group play first and then surround the piano to watch and listen to Ahmad Jamal. Herridge’s cameras caught the drama as older jazz artists like Buck Clayton and Jo Jones stood entranced by Mr. Jamal’s swinging, delicate sound.

Among those on the set captured by the cameras was a 34-year-old Mr. Hentoff, a pipe clenched in his teeth, nodding happily in time to the music. Fortunately for jazz, Herridge knew that the music performed on TV would be more memorable if viewers could see the reactions of insiders who were hearing it.

Mr. Myers, a frequent contributor to the Journal, writes daily about music at JazzWax.com.

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JAZZ SAXOPHONE LEGEND ART PEPPER’S NEON ART LP SERIES
COMING TO CD FOR FIRST TIME ON OMNIVORE RECORDINGS
Omnivore released the sets on colored vinyl in 2012, and
now makes them available on CD and digital beginning February 17, 2015.
LOS ANGELES, Calif.— In 2012, Omnivore Recordings issued a series of unreleased music from jazz legend Art Pepper on colored vinyl. Now Omnivore, in conjunction with Laurie Pepper and Widow’s Taste Music, proudly offer these landmark recordings on CD and digital.
The jazz alto saxophonist, who was born in Covina, Calif. in 1925 and died in Los Angeles in 1982, placed second only to Charlie Parker in Downbeat magazine’s Readers Poll in 1952. Considered one of the pioneers of West Coast jazz, Pepper began his career on L.A.’s Central Avenue, a hotbed of black music, blues, and swing and made his name in Stan Kenton’s Big Band. Pepper also collaborated with Hoagy Carmichael, Art Farmer, Elvin Jones, Freddie Hubbard, and Johnny Griffin and led and recorded with his own ensembles. His career was repeatedly interrupted by prison stints related to his heroin addiction, but he embarked on comebacks each time, his superior level of musicianship never compromised. He co-authored his autobiography titled Straight Life: The Story of Art Pepper, with his wife, Laurie.
Neon Art: Volume One contains two tracks recorded at Parnell’s in Seattle, Wash., in 1981, with Art accompanied by Milcho Leviev (piano), David Williams (bass), and Carl Burnett (drums). “Red Car,” originally released on 1977’s The Trip, appears in a stunning 17-minute version, while “Blues for Blanche,” first heard on 1980’s So in Love, sees the original version expanded to 18 minutes. Street date for Volume One is February 17, 2015.
Neon Art: Volume Two includes three tunes drawn from the unissued performances of his 1981 tour of Japan. The album features Art’s composition “Mambo Koyama,” as well as his very personal and soulful rendition of the classic “Over the Rainbow” and the bebop workout “Allen’s Alley.” The band on Volume Two, which also appears on Volume Three, is composed of George Cables, piano; David Williams, bass; and Carl Burnett, drums. Volume Two hits the streets March 10.
Neon Art: Volume Three features three more tunes drawn from the unissued performances of his 1981 tour of Japan. Pepper funky originals “Make a List (Make a Wish)” and “Arthur’s Blues” are joined by the standard “Everything Happens to Me,” which has previously been recorded by Frank Sinatra and Billie Holiday. Release date is April 7.
“Art hated the idea that people put jazz in a pigeonhole. He wanted to make people forget the categories and ‘make them open up and listen’,” says Laurie Pepper. The release of these three albums of previously unissued Art Pepper recordings, now available in all configurations, will allow anyone the ability to ‘open up and listen.’
The three albums, now available on CD and digital, as well as in their original colored vinyl, form an entry point into the multifaceted, colorful world of Art Pepper.
Track Listings:
Neon Art: Volume One
1. Red Car (16:52)
2. Blues for Blanche (17:57)
Neon Art: Volume Two
1. Mambo Koyama (18:39)
2. Over the Rainbow (14:37)
3. Allen’s Alley (9:17)
Neon Art: Volume Three
1. Make a List (Make a Wish) (24:41)
2. Everything Happens to Me (8:36)
3. Arthur’s Blues (10:29)
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Watch (and feel free to post) the video trailer:
http://youtu.be/JcnyuZ2tNcA

https://www.youtube.com/watch?v=JcnyuZ2tNcA&feature=youtu.be

**** EVENT UPDATE ****

We have had a HUGE response to the first two installments of our 5 Year Aniversary concert series. Since these are free events and space is limited we have set up an RSVP page linked below. Please help us get the word out and we hope to see you there!

RSVP for Marc Ribot Workshop & Performance 1/24, Sun Ra Workshop & Perfromance 1/31
http://northernspyrecords.com/rsvp-to-the-northern-spy-presents-at-sugarcube-events/

2015 marks Northern Spy’s fifth year of existence. To celebrate, we’ll be rolling out news about some amazing concerts throughout the year. The first two installments will take place at the SUGARCUBE, an inflatable performance space at the South Street Seaport (NYC). On January 24th, we’re featuring an improv workshop with guitarist Marc Ribot and performances by Loren Connor’s Haunted House and Ribot’s Ceramic Dog. On January 31st, we’re presenting a workshop and performance by none other than Marshall Allen and the Sun Ra Arkestra.

All workshops and performances are free to the public thanks to a grant from the Howard Hughes Foundation. Details below.

https://lh5.googleusercontent.com/uqnFCmEnIuHYwHYb7wnP3H2AOpcxckum5Yh8gFRqNqznwkp3QVT31Lj0LiU6r_DaAUDx5aKf-72ch4cjIZ2QOd37IF7hgiaCc6fglgPNNRtBY5LJfmMrTnoX6a9qYQQLoQ

https://lh4.googleusercontent.com/5TJdSzwQsT8Sr2g4dZwbY_PZkrgsxAXgsPAfsPNro4E72NUMLY8ObMZ4Oz-bWIqMYC4Mg5tX21dhPdqAv8sjd2fNdlbZgzijckMFF1_Mxo9mhhM9kTZYgXKAeGWkkRY3aw

SATURDAY, JANUARY 24th

WORKSHOP: NORTHERN SPY PRESENTS
How To Jam with Marc Ribot

(2-4pm) FREE ADMISSION - please bring your instrument, an amp, or whatever you need to play along.

PERFORMANCE: NORTHERN SPY PRESENTS

(7-9pm) FREE ADMISSION
Loren Connors' Haunted House (7pm)
Marc Ribot's Ceramic Dog (8pm)

w/ AdHoc DJs

https://lh4.googleusercontent.com/88i3KU4m222bxy9kW2KeLK6svcGw5rcZ3YtIXecRLvUcuyIUW-hqkeWkFo8io6_UlKx0yFUvbSMNxhqxu5Fb1zx5y-Uttbcm8Y6G7bREKCt7qpw0HTOE6K3LBwztpZnzAg

https://lh5.googleusercontent.com/rtTVWksYJB67yM7qca1b35icE5JfRByTWaVnU54idastHg5TIDvxHWn05gojqvoN-ME4iTu9QKZ0XUfkjKbj4vi-nRhTOlkjzH_ikIRqbayChE7w7kb3BTKfqLbEXsFMvw

"Langille's emotional wails, coupled by the thundered music of Connors, Burnes, and Murgai, will hang on you like a specter, passing through you with the feeling of Antarctica and leaving you with the relentless sweat of Hades.” - Justin Spicer, KEXP

SATURDAY, JANUARY 31st

WORKSHOP: NORTHERN SPY PRESENTS
A Creative Workshop with Maestro Marshall Allen & members of the Sun Ra Arkestra

(2-4pm) FREE ADMISSION - talk and end of workshop jam - bring instruments

PERFORMANCE: NORTHERN SPY PRESENTS
(7-9pm) FREE ADMISSION
Sun Ra Arkestra under the direction of Marshall Allen

w/ AdHoc DJs

https://lh3.googleusercontent.com/ufpEvycbQZHFsADeL3Gi0Wy2uFKr6_MA0YnhQj5qbkUCBYq5fup3amceb88F6UoHlsrW6GNmCe5uSrf_bBpAykYczusTgClVknVF6r5Mb0_RyZNPm30FuY1GQD5y2W22sQ

http://www.youtube.com/watch?list=PL3toajMHYTm0lsjRE3TINizIp7Mwngp-m&v=SJLy74CSsJI

https://www.youtube.com/watch?v=W_qilA78qxw&list=PL3toajMHYTm0lsjRE3TINizIp7Mwngp-m&index=2

SATURDAY, JANUARY 24th
WORKSHOP: NORTHERN SPY PRESENTS
How To Jam with Marc Ribot

(2-4pm) FREE ADMISSION - please bring your instrument, an amp, or whatever you need to play along.

so cool!!!

had never heard of sugarcube, that's a neat pop up
i'm working a show with Ribot for march that i'm kinda excited about

Better give us the info on that show, forks.

Speaking of March:

http://r20.rs6.net/tn.jsp?f=001tYsSGQ4DIIK54Z0o-rg0gpbftDndtQ6tLawkXpE5ZYrlVMA3zRzAaVHehrEfW3UiKq73Q2yxv2ZHrHvQ5RvT2WfSBNSzF-q5Lx95zKCqMGHX6YhH3jXFu91Vv9hONUuP4DVuj_GC-eM5I-LATOz7waCGPoa9SnJLhBF7px6LUDaPOGu1vtT-hmxGS8LJ1I9Qxr2yhQAGcZF6vKL2CFvZqxSqsRM_I2XxrUMTTKknjrQdbwZSiwZtOIbRLLXuMcbbI38uc1uW0OA6W3xNkoC7sfoJhQlGiy1f3cUKhe6tCz87LVMZWSdh3zpwXTQlF4M2vkYrp0maz-GEaIzNo7MwN04DunQ67hC3YxT07nMgNKFqZpyXtR5lk3dmBM-SPrVwNQuw9h7hsvE=&c=xJu3-nL9UfcJcmpMWZkcIXz_nI0vPdhSIBwj8PVYKOhAOQYfPKWiLA==&ch=vRSh_9oIlFVC4kGTLUI1PsbHjEwcHn4GUebXcNlEXJdUe149Aj7o4A==

John Coltrane "So Many Things: The European Tour 1961"
4-Disc Set coming March 10th

The John Coltrane Quintet featuring Eric Dolphy

A sequel to Miles Davis and John Coltrane "All Of You: The Last Tour 1960

"There are so many things to be considered in making music", John Coltrane told an interviewer during his first European tour as a bandleader in the autumn of 1961. "Many things on which I don't think I've reached a final conclusion."

Indeed, the music Coltrane made on this trip took audiences to the very cutting edge, leaving many questions unanswered, even for the saxophonists most ardent fans. For some he had taken the fundamentals of modern jazz to breaking point, thrusting it into "the realms of higher mathematics", as one bewildered journalist put it.

To others, Coltrane was the voice of progress, bravely reasserting the exploratory nature of jazz, daring to push his core repertoire through a process of continual reinvention, taking himself, his fellow players and those who flocked to hear him on an impassioned journey of discovery, night after night. Coltrane's performances were now akin to opening Pandora's Box. "There are all sorts of moods involved", wrote one partisan jazz writer of the tenorists playing during the tour: "deep power...warmth...gracefulness...so many things."

The impact of Coltrane and his regular quartet sidemen - pianist McCoy Tyner, bassist Reggie Workman and drummer Elvin Jones - was made doubly controversial by the leaders last-minute decision to add the formidable multi-instrumentalist Eric Dolphy, a musician who Coltrane regarded as a true kindred spirit but whose introduction the European audiences was to prove equally divisive.

Playing over 30 concert appearances in under three weeks, the band criss-crossed the continent from France to Finland, taking its message to far larger crowds than could be squeezed into its club sets back in the US.

These recordings have since acquired almost legendary status and have previously only been available in sporadic fashion, but for the first time ever, this new release collates tapes made by the quintet in Paris, Copenhagen, Helsinki and Stockholm, creating a truly sundering anthology of this short-lived band at its peak.

Newly remastered for optimum sound quality, along with examples of Coltrane's landmark compositions Naima and Impressions, this collection also includes the saxophonists only recording of Victor Young's theme Delilah and, as a bonus, a stunning rare "second house" performance of Coltrane's transformational anthem My Favourite Things taped in Stockholm.

This release features photographs, concert memorabilia and press clippings, and comes complete with an extensive booklet essay by award-winning British saxophonist and writer Simon Spillett.

John Coltrane (tenor and soprano sax)

Eric Dolphy (alto sax, bass clarinet, flute)

McCoy Tyner (piano)

Reggie Workman (bass)

Elvin Jones (drums)

CD 1:

L'Olympia, Paris, November 18th 1961 (First House)

1. Blue Train (Coltrane)

2. I Want To Talk About You (Eckstine)

3. Impressions (Coltrane)

4. My Favourite Things (Rodgers, Hammerstein)

L'Olympia, Paris, November 18th 1961 (Second House)

5. I Want To Talk About You (Eckstine)

6. Blue Train (Coltrane)

CD 2:

L'Olympia, Paris, November 18th 1961 (Second House, cont.)

1. My Favourite Things (Rodgers, Hammerstein)

Falkconercentret, Copenhagen, Denmark, November 20th 1961

2. Announcement

3. Delilah (Young)

4. Everytime We Say Goodbye (Porter)

5. Impressions (Coltrane)

6. Naima (Coltrane)

CD 3:

Falkonercentret, Copenhagen, Denmark, November 20th 1961 (cont.)

1. My Favourite Things (false starts)

2. Announcement by John Coltrane

3. My Favourite Things (Rodgers, Hammerstein)

Kulttuuritalo, Helsinki, Finland, November 22nd 1961 (Second House)

4. Blue Train (Coltrane)

5. I Want To Talk About You (Eckstine)

6. Impressions (Coltrane)

7. My Favourite Things (Rodgers, Hammerstein)

CD 4:

Konserthuset, Stockholm, Sweden, November 23rd 1961 (First House)

1. Blue Train (Coltrane)

2. Naima (Coltrane)

3. Impressions (Coltrane)

4. My Favourite Things (Rodgers, Hammerstein)

Konserthuset, Stockholm, Sweden, November 23rd 1961 (Second House)

4. My Favourite Things (Rodgers, Hammerstein)

# # #

Oops---that's from MVD Entertainment Group.

i'll drop ribot info here next week. tiny room, only about 120 people and i think a $20 ticket

pharaoh sanders doing a one night only show at Dizzy's Club Coca Cola for $30 - Small room and a nice opportunity

who's he playing with?!

Man, wish I could go down for that...I almost never check the JALC calendars, on the assumption they'll never have someone like Pharaoh.

The Times says he's there 1/29 through 2/1.

I saw him at a festival once and didn't love it, but I'm not the biggest Pharaoh fan anyway

forks what kind of Ribot show is that, trio? Solo?

we're announcing Monday but fuggit, the basics are already out there:

Thursday, March 26
MARC RIBOT and EMELINE MICHEL
The Music of FRANTZ CASSEUS - Father of Haitian Classical Guitar
At Greenwich House Music School - Part of The Uncharted Music Series
Showtime: 8:00 pm
Tickets: $25
Guitar legend Marc Ribot and Haitian songstress Emeline Michel pay tribute to Haitian classical guitar icon (and Ribot's mentor) Frantz Casseus.
As a teen, Marc Ribot played guitar in various garage bands while studying with his mentor, Haitian classical guitarist and composer Frantz Casseus. After moving to New York City in 1978, Ribot was a member of the soul/punk Realtones, and from 1984-1989, of John Lurie's Lounge Lizards. Between 1979 and 1985, Ribot also worked as a side musician with Tom Waits, Brother Jack McDuff, Wilson Pickett, Carla Thomas, Rufus Thomas, Chuck Berry, and many others. Since then, he's become the go-to guitar guy for all kinds of roots-music adventurers: Robert Plant and Alison Krauss, Elvis Costello, John Mellencamp. Additional recording credits include Solomon Burke, Neko Case, Diana Krall, Beth Orton, Marianne Faithfull, Arto Lindsay, Caetano Veloso, Laurie Anderson, Susana Baca, McCoy Tyner, and (more recently) Joe Henry, Allen Toussaint, Norah Jones, Akiko Yano, The Black Keys, Jeff Bridges, Jolie Holland, Elton John and Leon Russell. Ribot frequently collaborates with producer T Bone Burnett, most notably on Alison Krauss and Robert Plant's Grammy Award-winning Raising Sand.
Artist Website: https://www.facebook.com/EmelineMichelMusic
Emeline Michel is the reigning queen of Haitian song: a captivating performer, versatile vocalist and one of the premier Haitian songwriters of her generation. She has recorded and appeared on concert stages throughout the Caribbean, Europe, and North and South America for over 20 years. Singing both in French and Haitian Creole, her nine albums have catapulted her to international acclaim. Beloved by Haitians for combining traditional rhythms with social, political and inspirational content, she is a member of a unique generation of Haitian musicians that emerged in the late 1980's and also includes guitarist/vocalist Beethova Obas and the bands Boukman Eksperyans and Boukan Guinen. This wave of artists emphasized complex themes, conscious lyrics, and a broad palette of musical styles. Jon Pareles of The New York Times called her "... the dancing ambassador with a voice serene and warm like a breeze."

http://www.jazz.org/dizzys/events/154576/Pharoah-Sanders

http://open.spotify.com/user/forksclovetofu/playlist/4banIC4hak3hItzJFNqzAo

Saw Pharoah once at Birdland and it was grebt

I saw him in the early 90s at Iridium (when it was still uptown). He had Cindy Blackman on drums and, I think, Ron Carter on bass. It was really good.

The reason I say I think Ron Carter was on bass is because I definitely saw Ron Carter with somebody at Iridium, but it might not have been the same night.

Oh wow Cindy Blackman. That's a musician I hadn't thought about for a while.

she's awesome

She's Rick James's niece.

Why is there no ILX celebrity sighting thread?

She came to my high school and did a clinic.

ok i don't follow this thread so i don't know if this is shit that's been talked about or whatever. look, i don't #listentojazz *that* much. except i listen to it on weekends mornings a lot. but i feel so cut off from "the jazz world" or whatever.

but so that brian blade & fellowship band album? LANDMARKS? so fucking good.

Whenever I think about Cindy Blackman I get mad about the gender stereotypes in the article the Onion did about her. While it's true that most people would not be enthralled at the prospect of a 45 minute guitar solo, using the drummer in a Tony Williams Lifetime tribute band in the "everywoman" role is super lazy and screams "did not do research".

The WHO Trio: The WHO Zoo
This is a late release from last year and is a trio of Wintsch/Hemingway/Oester (WHO), the album is split into Electric/Acoustic sides and it has grown on me a lot recently. Sometimes they sound a bit like The Necks but they tend to roam a bit more, which is sometimes frustrating, because some really nice passages break down too soon sometimes. i just thought it was worth mentioning because it wasn't on last year's thread and they are an excellent band.

Been doing some really interesting interviews this week. Talked to bassist Cecil McBee midweek (if you're not listening to The Cookers, get on that—all four of their albums smoke in a strictly-for-the-hardcore kind of way), and this afternoon I spent an hour on the phone with André Martinez Reed, who was a percussionist/drummer with Cecil Taylor, off and on, from about 1981 to 1992, and had some amazing stories to tell.

Wow, I didn't know Cecil McBee was still around! Love his playing with Andrew Hill, and on Marc Levin's The Dragon Suite.

xxxpost jaymc yeah some of us talked about Brian Blade Fellowship's Landmarks on I Don't Know etc (Rolling 2014 version of this thread). Good album.

Landmarks is amazing! It's grown on me and I love it, but it still doesn't top Season of Changes.

I just put the opening tape-effect track on a mix btw, wish there were more curveballs like that.

As we move to the end of the year, I'd like to drop a quick note to encourage any readers / lurkers / ilxors to post their favorite jazz tracks or albums from this year to the thread so that I can hoover them into the ongoing spotify playlist. Last chance for any accessible stragglers that may not already be in the lexicon.

I love the way Ethan Iverson mostly just works with triads and does so much with them on that tune.

You might also dig The Bad Plus with Bill Frisell at Newport 2012, in tribute to Paul Motion/Motian---I'm another who doesn't always get into TBP, Frisell, or M, for that matter, but this (full set) is pretty involving:
http://www.npr.org/event/music/158004697/the-bad-plus-with-bill-frisell-live-in-concert-newport-jazz-2012

oh and speaking of punky jazz/blurt vibe with added pop, I still love Boston baked jumping beans Guerilla Toss, especially their only(?) full-length album to date, Gay Disco, which astutely assimilates no wave, maybe The Magic Band and maybe Of Human Feelings-era Prime Time, cos there is the disco (but not too strictly; the drummer's always kicking it). Fave EP is 367 Equalizer. Nowadays, the female vocalist is more up front, sonically anyway. Lots of stuff here, maybe all of it:
https://guerillatoss.bandcamp.com/

Not from this year, but just saying William Parker's Double Sunrise Over Neptune is awesome.

This is some stuff from this year that I liked and might not have been mentioned thus far. I tried to filter out what I would consider probably only liked by me, the bands immediate family + 17 Norwegians, but some of it still might be a bit like that.

Prism Quartet - Heritage/Evolution Vol 1
Steel Bridge Trio - Different Clocks
David Chevallier - Standards & Avatars
Nicole Mitchell, Tomeka Reid, Mike Reed - Artifacts
Oliver Lake & William Parker - To Roy
Mostly Other People Do The Killing - Mauch Chunk
Dave Burrell, Garrison Fewell - New Earth
Myra Melford - Snowy Egret
Kris Davis Infrasound - Save Your Breath
Barry Altschul's 3dom Factor - Tales Of The Unforseen
Henry ThreadGill & Zooid - In For a Penny, In For a Pound

Still need to check out Melford and Altchul at least, thanks for the reminder (yeah, Lake & Parker too, prob all of 'em). And what's the Threadgill like? I've enjoyed several of his through the ages, but haven't heard any recent releases.

I am piss-poor at describing music, but I would describe the Threadgill as melodic and all over the place and nice!

Cool, thanks. New releases, Downbeat Editors' Picks:
http://www.downbeat.com/defaultl.asp?sect=reviews

I mostly only buy jazz cd's these days and none of it is from 2015. The last Brad Mehldau box is from this year but contains old material. Some great purchases this year are:

http://cps-static.rovicorp.com/3/JPG_400/MI0000/576/MI0000576132.jpg?partner=allrovi.com

http://cps-static.rovicorp.com/3/JPG_250/MI0000/559/MI0000559870.jpg?partner=allrovi.com

http://cps-static.rovicorp.com/3/JPG_400/MI0001/575/MI0001575323.jpg?partner=allrovi.com

http://www.billfrisell.com/sites/default/files/images/discs/greg_cohen_goldenstate.jpg

This album only received five-star reviews and sounds definately like something to check out:

http://jakeheggie.com/content-wp/uploads/2015/09/Image-26-300x300.jpg

i love that Gnu High cover!!

gnu high, yes! was listening to that just earlier. been playing lots of things recently with dave holland in a supporting role, but still never checked out anything where he's leading... would guess conference of the birds would be the smart pick?

His long-running quintet (which, depending on the album, expands to a sextet, an octet, or a 13-member big band) is great. They have a bunch of albums on ECM and several more on Holland's own Dare2 label.

This is my first Dave Holland cd, definately looking for more after this one.

This 2015 album is very good, though not necessarily "jazz" (last track is very fusion-y though):

http://www.teuthida.com/productImages/full/21023.Full.jpg

Heard a radio replay of this supple tribute to Kenny Wheeler, still streaming: http://www.wbgo.org/blog/a-tribute-to-kenny-wheeler, where Gnu High is cited as his creative breakthrough.
Holland has done all kinds of things, almost like Charlie Haden, but for me, the DHQ listening breakthrough was Conference of the Birds. Got into the tuneful title track and cute "Q&A" right away, but Rivers x Braxton seemed a bridge and chorus too far/freaky on other tracks, despite repeated listenings. So I put it away, finally tried again, and loved the whole thing instantly, as I have ever since. What was my problem? Anyway, it's great. Don't know that it's the one to start with, necessarily (I'd enjoyed Rivers and Braxton's own, very individual records , but somehow the combination seemed overwhelming, boo-hoo).

thanks for the tips! was the presence of rivers/braxton that had me pointing in the conference of the birds direction, definitely need to seek it out (also the circle stuff with corea et al, only know the braxtonless a.r.c album from that period). re the haden mention, reminds me that holland has had some involvement with people like john hartford and vassar clements too.

The new Raoul Bjorkenheim/Ecstasy album is quite ace. It is one of them kind of "I am not normally a fan of this type of thing" things that I can't stop playing.

Burning Ambulance

Best Jazz of 2015:

25. Kirsten Edkins, Art and Soul
24. Milford Graves/Bill Laswell, Space/Time - Redemption
23. The Adam Larson Quintet, Selective Amnesia
22. The Thing, Shake
21. Rodrigo Amado, This is Our Language
20. Henry Threadgill Zooid, In for a Penny, In for a Pound
19. John Raymond, Foreign Territory
18. Blue Buddha, s/t
17. Stephen Haynes, Pomegranate
16. Dead Neanderthals, Endless Voids
15. Nick Hempton, Catch and Release
14. Terell Stafford, Brotherlee Love
13. Eddie Henderson, Collective Portrait
12. David Chesky/Jazz in the New Harmonic, Primal Scream
11. Mette Henriette, s/t
10. Christian Scott Atunde Adjuah, Stretch Music
9. Duane Eubanks, Things of That Particular Nature
8. Tom Tallitsch, All Together Now
7. James Brandon Lewis, Days of FreeMan
6. Matthew Shipp Trio, The Conduct of Jazz
5. Sonny Rollins, Complete Live at the Village Gate 1962
4. Chris Potter Underground Orchestra, Imaginary Cities
3. Jeremy Pelt, Tales, Musings and Other Reveries
2. Kamasi Washington, The Epic
1. JD Allen Trio, Graffiti

hehe, Kamasi at #2 kind of a statement too, right?

looks interesting though, don't think I've heard any of these albums

Any of you have small children who like jazz? I have to admit I don't know the first thing about it. In 30+ years of record collecting I've only acquired one jazz album -- Out to Lunch. Somehow though my 5 year old has gotten into it and loves for us to stream jazz on Pandora. I'm thinking of getting him a little bookshelf stereo for his bedroom for Christmas and maybe one or two jazz CDs. He hasn't expressed a preference for any particular style yet other than instrumental, but I wonder what you might suggest for one 2015 release and/or one classic release that would set a 5yo on the right path. Maybe one a little upbeat and one on the mellow side as he likes to listen to it as he's falling asleep too.

(I know getting someone started on CDs in 2015 might not make sense but I don't want him to own a digital device yet, plus I'm hoping to have a companion for record store visits down the road.)

I have long believed that little kids would enjoy Thelonious Monk and/or Ornette Coleman, because Monk plays piano in a way that a little kid can appreciate (it sounds weird and fun) and Coleman's melodies are extremely herky-jerky and energetic. So I would recommend Thelonious Monk's Monk, which actually contains a version of a children's song your kid may have heard (this would be an album you could play at bedtime too btw), and maybe Ornette's Change of the Century or This is Our Music for something more dance-around-the-room. I don't have any 2015 recommendations for a kid at this time.

Given the boomlet in music for children over the past 25 years (speaking as old-time CD storekeeper), there must be some jazz albums in there; try searching Amazon or whatever inclusive CD site you like. Blanking on specifics, except----Vince Guaraldi's Peanuts soundtracks? I know several people who say they first got into jazz, if not music itself, via those (think Keith Jarrett did some too). Something TV or maybe movie-related, whatever he's already into.

I could imagine a bit of album-era Ellington would be child friendly, especially Such Sweet Thunder which is very much a pop album of sorts.

My daughter responded well to jazz from like age 2-3, but then suddenly got into this weird thing where she insisted she only likes "kids' music" and jazz is "grownup music." Hoping that will pass quickly. OTOH a few weeks ago this came on and she really liked it and asked me to play it again:

https://www.youtube.com/watch?v=zCeQ5E6gK9M

http://cps-static.rovicorp.com/3/JPG_400/MI0002/944/MI0002944139.jpg?partner=allrovi.com

Sure, if you want your kid to declare you a Suppressive Person when he/she hits teenagerdom...

The first music I remember getting into was Mancini's theme for Peter Gunn, about a detective who frequented jazz clubs (the manager of one was a shrewd source; I think of her when listening to Karin Krog). Tough stuff, none of that "Moon River." Also fascinated by the music that led into cigarette commercials, with some kind of semi-abstract art backdrop: just warm, open(?) strings and maybe a grace note, from a hollow-body electric guitar, I think, def unaccompanied.
Lester Bangs wrote that the first album he bought was TV Action Jazz, by guitarist Mundell Lowe. Anybody heard it? Or his others?

My son started listening to Miles Davis Kinda Blue, but not till high school. Not sure what other jazz he listens too

Bear in mind: http://www.npr.org/sections/ablogsupreme/2009/06/jazz_and_dads_a_short_essay_1.html

Ha, yes, except in this case he's the one pushing it on me -- don't think I've ever played it in the house but at his request. Anyway thanks for all the suggestions; will check them out.

Kind of blue, monk time, favorite things, the blue Yusef all jump timing as albums I loved before I was a teen

Just saw this fantastic clip on Facebook - McCoy Tyner with Sonny Fortune, Calvin Hill and Alphonse Mouzon, live on WNET (NYC Channel 13) in 1971:

https://www.youtube.com/watch?v=_YvovU0vzoQ

cool, will definitely check that out. for a long time 'Enlightment' (w/Alphonse Mouzon) was the cd i would always look for in record stores but never find (and now of course i can listen to it on Spotify or whatever).

new Makaya McCraven, a more beat-oriented addendum to the main record (mastered by Daddy Kev no less): https://intlanthem.bandcamp.com/album/in-the-moment-e-f-sides

After checking out various things from the eoy lists have been loving the Charles Lloyd + Stephen Haynes albums. Also been loving the absolutely brutal, but not mentioned anywhere Joe McPhee + Survival Unit III one, but that one will probably hurt a majority of ears!

Another one to throw into the EOY jazz pot :) http://thequietus.com/articles/19424-the-best-jazz-of-2015

Individual critics' ballots from this year's NPR Jazz Critics' Poll have been posted. Mine can be read here.

Thanks. Man, that Cecile McLorin Salvant record seems to be popular. I only know the one song Michael Bourne keeps pushing on WBGO, "The Stepsister's Lament," from Rodger's and Hammerstein's Cinderella.

16. Dead Neanderthals, Endless Voids

wow. hadn't heard this.

Slowly starting to catch up with these. The Manthappa sounds v good; don't know how I slept on it.

Cecile's first album was a monster and she's among the best live vocalists I've ever seen but I cannot get into her release from this year.

Interesting. Will check out that first album, thanks.

Just downloaded two albums by bassist Konstantin Ionenko on the Russian label Fancy Music - $2 each on Bandcamp. Check http://bandcamp.com/burningambulance if you're interested.

xxp

probably need to check that first Cecile album because I loved her voice but found some of her mannerisms a bit forced and going into bad-pastiche territory on her latest.

Any Norwegians (or people who can read Norwegian) in the thread? I wrote the cover story for the new issue of Jazznytt, on Snarky Puppy:

https://pbs.twimg.com/media/CXK3-yhWAAAlnOi.jpg

I made some attempt to learn it several years ago, can still sort of read it with help of a dictionary obv.

I am really feeling that Tomeka Reid Quartet album, she was aces on the AACM album with Nicole Mitchell as well and joy of joys she has Halvorson on board.

http://hullworks.net/jazzpoll/15/critics.php
more end of year lists here than you can shake a shitty stick at!

Dig the new thread: The dog trots freely thru the Rolling Jazz Canto Thread 2016

I'm wrapping this thread up for the year. If I missed something or if a track comes available sometime in the future, bump here to let me know and I'll add.

Rolling Jazz 2015 Thread Spotify Playlist