The dog trots freely thru the Rolling Jazz Canto Thread 2016

Probably. But the album got dissed a bit in the Christgau, Ann Powers, Joe Levy, Greg Tate discussion

Mostly by Christgau, who came off like an out-of-touch old fuck (which he is, so that's not exactly a surprise). I mean, here's the full discussion for those who don't want to search it out on the Voice site:

Ann Powers: Nothing on this list shocks me. How 'bout you guys?

Robert Christgau: I would say the Washington was a sleeper, but it doesn't shock me at all.

Greg Tate: I saw more people under thirty at his Blue Note shows than I've seen at any Blue Note show in the last twenty years. [Note: I was there too and can verify this.]

AP: That definitely was a huge NPR Music favorite. Every kind of music person at NPR is into Kamasi Washington.

GT: Another great Compton story.

RC: So Greg — as opposed to its positive cultural ramifications, you actually listened to the Kamasi Washington three-CD set?

GT: I did.

RC: Well, I listened to it once, I don't mean that. But do you listen to it because you think it's really good jazz?

GT: I listened to it, and I watched him play it in concert and on various YouTube videos, certain tunes.

AP: I listened to it not a lot — a few times, because it's super long and there's a lot to listen to — and it certainly resonated with me, but I haven't had the chance to see him live. It's all about live, right?

GT: I think the album definitely holds people. I step outside of myself enough to weigh its impact on people younger than me who didn't hear all the music that it derives from — the early-Seventies freedom swing, Charles Tolliver, McCoy Tyner, Lee Morgan, the Black Jazz label from Oakland. All that stuff is in there. For me, it's interesting hearing some cats that are young reclaiming that as their jazz tradition. That's where I came in. The jazz was actually speaking to me in my nascent moment, sixteen, seventeen, in Washington [D.C.]. And for it to have all the political intentions of that music, too, the Afro-collective community intentions.

RC: Afro-collective community I'm all for. That music? Not interesting. I think it's the Afro-collective community part that got it into the Top 10.

GT: It's also the Thundercat and Kendrick Lamar connections. You couldn't have asked for a better trifecta of hype that descended on them at the right time. Seeing them live, they totally live up to it, especially with Thundercat and his brother in the band.

RC: I had a student file her final paper on Kamasi Washington, and she actually consulted with Greg, and to my great surprise, she concluded at the end...that it wasn't such a good record. What was great about it was the live show and the spectacle of it...she appreciated it in the end more as a spectacle than as jazz. That I'll buy. I wasn't there and I suspect I would've been moved by that situation, too.

GT: It wasn't just spectacle — it was definitely hardcore, funky blues riffing, which you haven't heard in New York. New York jazz has gotten very chamber-ish. I don't even mean the Jazz at Lincoln Center side of it.... Everyone's getting real contemplative. This is some fire music with some funk up under it. It's just a roaring sound out of six or seven cats, which I love. There's just a looseness and a freedom to it that I haven't heard in a long time, especially in a New York club.

But, you know, if you're looking to Robert Christgau for thoughts on jazz, you're an idiot anyway. It's never been a genre he's had time for in any serious way.

i never ever understand critics who levy the "too long" argument.

I love that Christian Scott album now, for some cloth eared reason I didn't like it on my first listen.

http://static01.nyt.com/images/2016/01/14/arts/14ROVA/14ROVA-superJumbo.jpg

NYT review

I had "The Celestial Septet" with Cline and Rova on cd, but didn´t like it too much. This sounds interesting though.

This new-ish Esperanza Spalding song is pretty cool imo. I'm not sure that it fits in this thread, exactly, but I don't think there's a rolling psych-funk thread. I think Matt Stevens is on guitar. Also classic for the Youtube comment "...this kind of variety gives bands like Ulver a run for their money".

The new Sonny Rollins album - the fourth in his Road Shows series of live collections - comes out in April. Most of the material is from 2001 and later, but there's one surprise: a version of "Disco Monk," from his Don't Ask album, from 1979. He hasn't played that song since that tour, so it's kind of interesting to hear it preserved here.

This is fun:
http://www.npr.org/2016/01/19/463589100/comedian-jon-benjamins-jazz-album-is-full-of-real-untapped-un-talent

interesting to read greg tate's thoughts on kamasi, was just listening to burnt sugar last night and thinking how much better than kamasi it sounded

Really interesting interview with Stanley Jordan (who I admit I've never listened to).

omg this Jon Benjamin thing

NPR: Yeah! He knows what he's doing.

JB: He really does. But that's just not as interesting.

NPR: Do you think it lacks the complete sense of free-form surprise that you're after?

JB: He's not taking any risks. He just knows how to do it.

NPR: How safe, to actually—

JB: [Laughs.] I feel bad for people like that.

Benjamin is so much more right than he knows.

This Kamasi Washington story from the New York Times Magazine is fantastic - really in-depth and provides a massive amount of context and history of L.A. jazz and '70s spiritual jazz. Really a great piece, well worth reading.

oh rad, that's adam schatz! Great guy!

I want to put together a mixtape of the kind of newish kind of jazz (is it jazz? or jazz-influenced stuff) spanning Sons of Kemet to Bohren and Der Club of Gore, Girls In Airports and Go Go Penguin. Might put some earlier stuff like Pat Metheny Group's 'Offramp' on there. So nothing really 'free' or too abstruse but still kind of skewed, minimalish, atmospheric. Is there much else I should include?

Dawn of Midi.

Melt Yourself Down, Fire! Orchestra, Supersilent kinda thing?

Vijay Iyer, whose music I don't like as much as a lot of other jazz critics do, gets profiled in this week's New Yorker, because if the New Yorker is going to profile a jazz pianist, it's either going to be Vijay Iyer, Brad Mehldau, or Ethan Iverson. (Note: This comment is about marketing and image-making, not about race. And Iyer is keenly aware of how he's perceived and how he's promoted; he even mentions it in the article. But he doesn't seek to change it, because that's how you get your grant money to dry up and blow away.)

Phil,
It's up to you to spread the word about Benito Gonzalez.

My first thought when I read your otherwise apt comment was "what about Jason Moran"? Sure enough: http://www.newyorker.com/magazine/2013/03/11/jazz-hands

I actually wouldn't be surprised to see something on Cecil Taylor, to coincide with his appearances at the Whitney Museum in April. But if they do run something, it won't be as in-depth as this story on Professor Iyer, I'll guarantee you that.

I have it on good authority that a certain musical funny man, member of a famed jazz family, likes to tease his friend Ethan Iverson by calling his band "The Bad Pus."

Huh, didn't know Iyer was teaching at Harvard these days.

Yeah, somebody I know was up there for a little bit for another reason, teaching in a clinic, I think, and mentioned it to me.

Just got an album featuring alto saxophonist Ricardo Tejero, tenor and baritone saxophonist Colin Webster, and Marco Serrato and Borja Díaz (aka Spanish avant-doom band Orthodox) on bass and drums. It's called Spain Is The Place, and it's coming out next month on Raw Tonk. Skronk doom, basically. I'm into it.

That sounds goooood

http://www.benitogonzalez.com/itinerary.php

Pianist has a couple of Baltimore dates among the NY and Senegal ones...

Thanks for the tip about him James Redd

https://soundcloud.com/astral-spirits-records/rosso-corsa-excerpt-from-amaranth-by-icepick-as018

An excerpt from the track "Rosso Corsa" off the upcoming Amaranth LP by Icepick. Amaranth features the first studio recordings from Icepick (Nate Wooley, Ingebrigt Haker-Flaten & Chris Corsano) and builds upon their debut cassette "Hexane" on Astral Spirits in 2014.

"Amaranth" is also one of the first vinyl LP releases on Astral Spirits. Out January 22, 2016 in an edition of 300 LP's.

just picked up the Roland Kirk "volunteered slavery" reissue ... SO DOPE

http://www.nytimes.com/2016/02/01/magazine/a-playlist-fit-for-a-harlem-renaissance-painter.html?ref=arts

The Schaap cousins on artist Archibald Motley, music and drinking---Keppard, Beiderbecke, Jaxon, C. Hawkins, Basie, Armstrong

I told Phil that Motley was born in New Orleans, raised in Chicago and lived briefly in Paris. I said that the paintings that interested me most were from the years 1926 to 1945. And I couldn’t help mentioning that, yes, there’s a lot of drinking going on. With only these pieces of information, Phil devised this six-song playlist

Saw the Motley show at the Whitney Museum last month. I like his stuff.

Remember Freddie Hendrix, the trumpeter I mentioned at the beginning of this thread? I interviewed him for Burning Ambulance; you can stream three tracks at the link, too.

playlist is up to date

ILM's Rolling Jazz Thread 2016 Spotify Playlist

BEST picture of my dad as a teenager hanging with stan kenton at Birdland. dad's on the left. sitting next to chico hamilton, i think. looks like chico.

https://scontent-lga3-1.xx.fbcdn.net/hphotos-xpt1/v/t1.0-9/12669440_10156523808750298_4211091960178335000_n.jpg?oh=5d80d02db335cf6d731a661f9b22e6d1&oe=576BB8E7

Wow, that is so cool!

the double life of a new jersey prep school boy.

too cool!

I had the pleasure of seeing Jakob Bro perform with Thomas Morgan and Joey Baron this Monday - great show. Apparently they're releasing a record later this year, looking forward to it.

great photo, look at all those hipsters

RESONANCE RECORDS PRESENT
TWO NEVER BEFORE RELEASED INSTANT CLASSICS:
JOÃO GILBERTO & STAN GETZ — GETZ/GILBERTO ‘76
STAN GETZ QUARTET — MOMENTS IN TIME
Recorded at San Francisco’s Keystone Korner May 11-16, 1976
Getz/Gilberto’76 is a rare follow-up to two of the best-selling bossa nova record
of all time, 1964’s Grammy-award-winning Getz/Gilberto, which sold more than
one million copies, and 1966’s Getz/Gilberto #2
Moments in Time is the deluxe CD companion to Getz/Gilberto ’76, capturing Stan Getz’s most adventurous quartet with Joanne Brackeen, Clint Houston and Billy Hart
Both albums, out Feb. 19, include extensive 28- and 32-page liner notes containing newly commissioned essays, interviews and previously unpublished photos from acclaimed music photographer Tom Copi
---yadda yadda, the main interest to me is the quartet:

...Moments in Time was also recorded at the Keystone Korner, the same week as Getz/Gilberto ’76 and features Stan Getz’s same adventurous rhythm section. Moments in Time and Getz/Gilberto '76 document the only time this dynamic quartet recorded together.
The accompanying 28-page book includes essays by producers Feldman and Barkan, journalist Ted Panken, a tribute by Steve Getz, interviews with Brackeen and Hart and statements from saxophonists Branford Marsalis and Joshua Redman. The album cover is beautifully designed by the acclaimed Japanese artist Takao Fujioka.
Ted Panken describes Moments in Time as capturing the artists on this recording as a “unit of thirty-something masters-in-the-making.” Keystone’s Barkan recalls: “Stan explained to me quite a few times backstage at Keystone Korner that ‘I have never felt as free and as totally supported as I do with this band with Joanne Brackeen, Clint Houston, and Billy Hart. They are happy and free to go with me wherever I go . . .’” Barkan relates that Getz frequently told him that he felt the most comfortable at the famed San Francisco club, more than he did at any other club.
Brackeen talks about playing with Getz in her interview with Feldman: “I think that it kind of really also displays the quartet at its best, which we rapidly became and stayed. And he had to be really daring to hire us. He already had his thing. He was already famous. He didn’t have to have this band. And this band was crazy! I mean, we would do anything and everything we possibly could. We weren’t just there as accompaniments . . . And then you hear how he played on it, it’s so lyrical. He doesn’t play one note that he doesn’t mean. At any time. That’s the one thing I guess that I would say about him that was so unique to me. And he also talked that way, when he was speaking.”
The release features eight tracks, including Antonio Carlos Jobim’s “O Grande Amor,” Wayne Shorter’s “Infant Eyes,” Horace Silver’s “Peace,” Dizzy Gillespie’s “Con Alma,” Jimmy Rowles’s “Morning Star” and others. These tunes were staples of Getz’s repertoire and remained so for many years. Pre-order digitally via iTunes and receive three tracks instantly: “Summer Night,” “The Cry of the Wild Goose” and “Peace.”
In his contribution to the album package for Moments in Time, saxophonist Joshua Redman pays homage to Getz: “His virtuosity — he could play any tune in any key at any tempo, with command and control and a sense of relaxation.” And he further celebrates Getz’s “. . . incredible storytelling ability — the natural, organic logic in the flow of his phrases and ideas.” Resonance Records is pleased to unearth these notable historic recordings of Stan Getz/João Gilberto and the Stan Getz Quartet and to share them now with the public.
For more information, check www.ResonanceRecords.org

Resonance is turning into a hell of a label. I don't care about that Gilberto/Getz thing (hate bossa nova), but the other one looks good.

Basically Getz with Brackeen's trio, definitely something I want to hear.

Brackeen is super underrated imo. Wish her records had had better producers/engineers, not crazy about the sound of them but love the music.

Saw Mary Halvorson last night, it was excellent

And I can't wait to get this

http://eremite.com/album/mte-59-60

Yeah, I want one of those for sure. I loved TEST back then. Saw them perform at Kim's on St. Mark's, and interviewed them for Alternative Press of all places.

Saw Mary Halvorson last night

I mean I got the impression that they more or less show up for a first lesson and say "make me sound like Mary Halvorson."

that's awesome

wow, that's great. my guitar teacher would have made a face and moved onto the next track from Surfing with the Alien.

There were plenty of younger folks at the show, which possibly could be cuz it was a free concert at an art museum, but there were at least as many youths as there were old heads (like me).

Watching this Eric Lewis thing now, he's an interesting figure (and I've been checking for him ever since seeing him with Elvin Jones in the early '00s, he was the most thunderous pianist I've ever seen live):

https://www.youtube.com/watch?v=yLfq17MLPwc

yeah, i would definitely like to go. i saw Jeremy Pelt in this venue a few years ago and it was pretty darn intimate/amazing. it's like watching a concert in your living room, kinda.

pitched a story on 'em in another town in hopes of parlaying that into a list spot here. we'll see...

ilxor andy k turned me on to this

really fantastic

https://yussefkamaal.bandcamp.com

love that record--"lowrider" is a mega jam imo

The new Forebrace album Steeped, like their last one shows a lot of Last Exit influence and their more hard edged stuff is excellent. Probably not a great album but definitely a work in progress.

I interviewed Portuguese saxophonist Rodrigo Amado for Bandcamp.

http://www.slate.com/articles/arts/culturebox/2016/12/la_la_land_s_clich_d_confused_depiction_of_jazz.html

Not surprising I guess

I interviewed Kamasi Washington's bassist, Miles Mosley, for Bandcamp. His album Uprising comes out 1/27; it's not a jazz disc, more of a '70s funk/R&B album, but with massive, fuzzed-out, almost Hendrixian bass solos on pretty much every track. It's really good.

speaking of The Bad Plus, pretty enjoyable set w Frisell at Newport, still here (get it while you can, never know about npr jazz staying up)
http://www.npr.org/event/music/158004697/the-bad-plus-with-bill-frisell-live-in-concert-newport-jazz-2012

There is a great bit of audience interaction on Joe McPhee's Flowers live album where he explains that when he was in the army he couldn't quite explain to his fellow soldiers why he had a watercolour tribute to Ornette Coleman in his locker door rather than the standard girlie pics.

ha

I played drums on a little New Orleans jazz album earlier this year: https://darrensterud.bandcamp.com/releases

Somehow I missed that the Bad Plus even released an album this year, much less Bad Plus-ed Prince:
https://www.youtube.com/watch?v=fjtvIi_T0lY

(or more likely i knew and forgot)

Oh damn, Alphonse Mouzon passed away.

https://youtu.be/psfHjIVd8VI?list=PLHlcpNxyojhFStR2pUzMsxZmcYE_OTu2r

How'd you miss that?

Stuck in electronic music land I guess

Ha, I missed it too. The NPR clip with Frisell is good btw!

Flag posting both of you for that

Da Capo al Fine

(Aka new thread for new year)

My fav bass player at the moment is the young German livewire dude by the name of Noah Punkt, his work with Protean Reality and his Ordnung Herrscht album are both quality imo. I'm not usually too bothered about no-wavey influenced stuff but there is something about his style I love.