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

Interesting. Surely ilxor man alive has posted about that album somewhere here before. Believe Albert "Tootie" Heath has relocated to Santa Fe in the past few years.

Yeah, I wanna hear that album. Funny encounter with Heath, who grills his interviewer, for starters:http://www.npr.org/2015/03/14/392324106/albert-tootie-heath-drummer-extraordinaire-turns-the-tables

Thanks. Hopefully can listen to soon. Know from my own brief interactions with him and from two people who know him really well that he is very funny and is always ready to needle you/call you out if he thinks you are putting on some kind of act.

Haven't heard note one, but just saw that trombonist Ryan Keberle is leading a band of killer musicians/super nice people at Dizzy's tonight

Got the new album from saxophonist James Brandon Lewis in today's mail. He's young by jazz standards (born in 1983) but he can really pick a rhythm section. On his last album, he worked with William Parker and Gerald Cleaver (I wrote about it here); on the new one, he's got Jamaaladeen Tacuma and Rudy Royston backing him up. The last one was kinda melodic, gospel-ish free jazz; this one is funkier—Lewis claims it's a tribute to early '90s hip-hop. Also, there's a version of Don Cherry's "Bamako Love," from the Home Boy album.

this kamasi washington album -- it is quite impressive and i am just excited about well yea how "EPIC" it really is

at the same time though i don't know if it is the mixing on it or what but it sounds a little muddy? there are so many instruments at times and i am so used to a certain kind of classic blue note clarity w/ most of the jazz in my collection but i don't know. could just be it is exposing the limitations of my various modest stereo

very various modest stereo

Don't have time to watch the whole thing again right now, but seems like it's all still here, in robust x meticulous performance (exemplary live sound)
http://www.npr.org/event/music/402062824/kamasi-washingtons-the-epic-in-concer

Darius Jones wrote about his new album for Burning Ambulance; there's also an exclusive stream of a new track.

I have been playing the hell out of the latest Kris Davis album Save Your Breath, she is an awesome pianist and it is so brilliant. I was out walking earlier and was knocked off my feet by the appropriately titled Always Leave Them (Wanting More). Mucho gracias to the poster on piano thread that recommended it.

http://jazz.cbcb.umd.edu/

better start here tho': http://jazz.cbcb.umd.edu/pages/tutorial.html#1

Coming November 6, John Coltrane, A Love Supreme: The Complete Masters. A 3CD set; here's the track listing:

Disc 1
1. The Original Stereo Album, Impulse! AS-77 Part I Acknowledgement
2. The Original Stereo Album, Impulse! AS-77 Part II Resolution
3. The Original Stereo Album, Impulse! AS-77 Part III Pursuance
4. The Original Stereo Album, Impulse! AS-77 Part IV Psalm
5. Trane's Original Mono Reference Masters Part I Acknowledgement
6. Trane's Original Mono Reference Masters Part II Resolution
7. Trane's Original Mono Reference Masters Part III Pursuance
8. Trane's Original Mono Reference Masters Part IV Psalm

Disc 2
1. Day 1: December 9, 1964 Part I Acknowledgement undubbed version
2. Day 1: December 9, 1964 Part I Acknowledgement vocal overdub 2
3. Day 1: December 9, 1964 Part I Acknowledgement vocal overdub 3
4. Day 1: December 9, 1964 Part II Resolution take 1 / breakdown
5. Day 1: December 9, 1964 Part II Resolution take 2 / breakdown
6. Day 1: December 9, 1964 Part II Resolution take 3 / breakdown
7. Day 1: December 9, 1964 Part II Resolution take 4 / alternate
8. Day 1: December 9, 1964 Part II Resolution take 5 / breakdown
9. Day 1: December 9, 1964 Part II Resolution take 6 / breakdown
10. Day 1: December 9, 1964 Part IV Psalm undubbed version
11. Day 2: December 10, 1964 Part I - Acknowledgement take 1 / alternate
12. Day 2: December 10, 1964 Part I - Acknowledgement take 2 / alternate
13. Day 2: December 10, 1964 Part I - Acknowledgement take 3 / breakdown with studio dialogue
14. Day 2: December 10, 1964 Part I - Acknowledgement take 4 / alternate
15. Day 2: December 10, 1964 Part I - Acknowledgement take 5 / false start
16. Day 2: December 10, 1964 Part I - Acknowledgement take 6 / alternate

Disc 3
1. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Introduction by M.C. Andre Francis
2. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Part I - Acknowledgement (Live)
3. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Part II - Resolution (Live)
4. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Part III - Pursuance (Live)
5. Live At Festival Mondial du Jazz Antibes, July 26, 1965 Part IV - Psalm (Live)

Some of those alternate studio takes are performed by a six-piece band that includes Archie Shepp and a second bassist whose name I forget (Sam Jones, I think).

The second bassist is Art Davis, who also played on Olé and Ascension (in addition to having a long and fruitful career where he played with everyone from Judy Garland to Bill Dixon).

Some of this was released on a previous two-disc "deluxe edition," which included the Antibes performance. But there's a fair amount of unreleased stuff here as well (mostly the breakdowns/false starts).

Yeah, this'll actually be my third copy of the live performance. But I'm still gonna buy it.

Played Same As You by Polar Bear last night at record club: http://devonrecordclub.com/2015/09/22/polar-bear-same-as-you-round-84-nicks-choice/

Trane's birthday today

Just been listening to the Monk/Trane/Hawkins album with that exquisite Abide With Me intro, it's one of the best.

http://jazzmuseuminharlem.org/today-in-jazz/happy-birthday-john-coltrane-frank-foster-and-ray-charles/

I bought the latest reissue of the amazing loft jazz compilation Wildflowers, and discovered they're using my review of the mid '90s Knitting Factory Records edition as liner notes:

https://pbs.twimg.com/media/CP2Kx4FU8AA4-Wr.jpg

Blows my mind that those records were originally released on Casablanca. When major labels had money to burn, they used to burn it on this music.

This is a quick, third-quarter reminder that all available tracks mentioned on this thread (and/or an album selection from each listed) are being updated to the thread-specific Spotify playlist as posted. I just did another top-to-bottom sweep prior to posting this message and have revised as of today with everything that's been added since first mentioned. Subscribe if you're into it!

It's 77 tracks, over 9 hours long.

Rolling Jazz 2015 Thread Spotify Playlist

As is well-established at this point, I really like buying those multi-album budget CD boxes. I'm currently looking at two pairs - Vol. 1 and Vol. 2 - of the Seven Classic Albums boxes: Kenny Burrell and Johnny Griffin. I'll probably buy all four eventually, but right now I can only afford two. So should I buy:

1) both Kenny Burrell boxes
2) both Johnny Griffin boxes
3) one by each?

Does one of the Johnny Griffin boxes have Introducing Johnny Griffin? If so, definitely that one.

Yeah, the breakdowns are as follows:

Johnny Griffin - Seven Classic Albums Vol. 1: Johnny Griffin, The Tenor Scene, Tough Tenor Favorites, Studio Jazz Party, Battle Stations, White Gardenia, The Kerry Dancers
Johnny Griffin - Seven Classic Albums Vol. 2: Introducing Johnny Griffin, The Congregation, Blowin' Session, Johnny Griffin Sextet, Way Out, Little Giant, Big Soul Band

Kenny Burrell - Seven Classic Albums Vol. 1: Jazzmen: Detroit, Blue Lights Vol. 1, Blue Lights Vol. 2, On View at the Five Spot, A Night at the Village Vanguard, Weaver of Dreams, Bluesy Burrell
Kenny Burrell - Seven Classic Albums Vol. 2: Introducing Kenny Burrell, 2 Guitars, All Day Long, All Night Long, K.B. Blues, Earthy, Kenny Burrell

Dafnis Prieto and band's new Latin jazz effort Triangles and Circles

Finally listened...It's a decent jazz record.

Posted that on the Afro-Latin thread but it is probably better here

I'm only familiar with Introducing, but man, looking at the lineups on Blowin' Session (Coltrane, Blakey, Morgan, Mobley) and The Big Soul-Band (Pat Patrick!) I'm definitely gonna have to check that Vol. 2 box out.

I'm curious about the Burrell sets as well. My parents' first date was at a Kenny Burrell show; the least I could do is listen to a few of the guy's records.

xp

Actually, I flipped those by mistake - everything I listed (for each artist) as being on Vol. 1 is on Vol. 2, and vice versa.

I wound up buying each man's Vol. 1 set. If I like them enough, I'll go back for Vol. 2.

I am just saying that Burrell's Soulero is underrated imo, nothing groundbreaking about it but it still rules.

This Pitchfork list of "spiritual jazz" tracks from the late 60s/early 70s is decent, for a barely-scratching-the-surface sampler. I've never really liked Sun Ra, but the salute to Pharoah Sanders' Impulse! run ("the pinnacle of spiritual jazz, showing how the caustic fire music that he once embodied could be sublimated into a sound of exquisite beauty") is dead on.

RIP Phil Woods.

dang

Luis Vicente, Theo Ceccaldi, Valentin Ceccaldi & Marcelo Dos Reis - Chamber 4
^^^
This is getting better with every listen, it is stunningly beautiful in places and completely out there.

Reminds me, think I'll listen to Trane & Burrell again; don't remember it very well, but think it was pretty good (although if I can't remember an album co-starring Trane...?)

WBGO "Singers Unlimited" playing lots of Monk and versions of "Body and Soul" because of birthdays of Monk and composer Johnny Green yesterday.

Also, Oscar Brown, Jr. and Roy Kral. I believe Skot is a big fan of the latter.

Wondering if Phil or anyone like that has gotten ahold of Pete McCann's new release. I like what I have heard so far.

He's a current jazz guitarist that I think even man alive would like

Have not heard that, but I'm mildly intrigued.

The most interesting disc I've heard recently is the self-titled debut by Norwegian saxophonist Mette Henriette, coming out 11/20 on ECM. It's a two-CD set - the first disc is sax, piano and cello, while the second features a 13-member ensemble including six string players. The music is very quiet and atmospheric, but the pieces are often extremely short: there are 15 tracks on the first disc, and 20 on the second, and the longest is eight minutes, but the shortest is just 41 seconds.

Just streamed. First half is fine but second half is where the shredding really kicks in and never lets up.

Will check. Just determined that neither Henry Threadgill's In For A Penny, In For A Pound nor Steve Coleman's Synovial Joints are on Spotify---outrageous! May actually have to buy. What are they like?

Switch to Apple Music and you will hear the second one.

Listening to that Coleman album. Second track, "Celtic Cells," is great. Lyricless vocals and a cello joined by some sad horns, some kind of ethereal elegiac, not-quite dirge.

Detecting a tiny bit of some kind of otherworldly sf vibe as well.

Maybe I'll try the free trial

My xpost man----

ELEMENTAL MUSIC AND WIDOW’S TASTE MUSIC READY
ART PEPPER LIVE AT FAT TUESDAY’S
Previously unissued, remastered CD by alto sax great Art Pepper from an April, 1981 engagement at New York’s iconic jazz club out October 30.
Detailed booklet includes interviews, essays from Stepháne Ollivier, Steve Getz, Brian Priestly, John Koenig, and Laurie Pepper

LOS ANGELES, Calif. — Art Pepper Live at Fat Tuesday’s features five extended live performances at the famed New York jazz club from the spring of 1981, Pepper’s most fertile period since his re-emergence onto the music scene in the mid-1970s, after years in prison and rehabilitation from drug addiction. Recorded April 15, 1981, the session featured Pepper flanked by a rhythm section composed of Pepper’s long-time associate, pianist Milcho Leviev, and two all-star guests, bassist George Mraz and drummer Al Foster.
Due out October 30, 2015 on Elemental Music (distributed in the U.S. by INGrooves), the package contains a 40-page booklet that includes: noted jazz historian and author Brian Priestley’s lengthy and probing 1980 interview with Pepper; an essay by French music scholar and journalist Stéphane Ollivier; producer Zev Feldman’s interview with Pepper’s widow, Laurie Pepper, who not only was her husband’s muse and closest collaborator, but who had vivid memories of the Fat Tuesday dates; a personal recollection by jazz producer John Koenig; and a first-person account by Fat Tuesday’s general manager, Steve Getz, of Pepper’s engagement at the club, as well as previously unpublished photographs by Laurie Pepper. The set will be available on CD and digital download.
According to producer Zev Feldman, the release of this album is a real stroke of luck; it could easily never have seen the light of day. Feldman explains, “In January of 2015, I received a phone call from Elemental’s CFO, Carlos Augustin, who informed me that label owner Jordi Soley had located a collector’s tape of Art Pepper recorded live at New York’s iconic jazz club, Fat Tuesday’s, in April of 1981.” The discovery of a previously unheard Art Pepper recording was a thrilling prospect for Elemental’s president, Jordi Soley, and for Feldman; Art Pepper is one of their absolute favorite jazz artists. Feldman continues, “I’ve been an Art Pepper fan since my early 20s when I was just starting my career in the music business and I discovered and was awestruck by his late-’70s to early ‘80s recordings.”
When Feldman learned of the existence of the tape and Soley and his team at Elemental had negotiated with Laurie Pepper to make it an official release, he determined to build the best album package possible to celebrate Pepper’s memory.
One of Feldman’s first moves was to bring in jazz producer John Koenig, who had worked with Pepper in the ‘70s, as an executive producer to work with Feldman on the album package and to bring to the project his memories of Art as a musician and as a man. And Feldman and the Elemental team assembled an outstanding array of voices, not only to place Pepper in historical perspective, but also to try to place listeners inside Fat Tuesday’s as the recording was made.
The recordings that make up this set, presented by Elemental Music and Widow’s Taste, represent Art Pepper — in his latest period — at his artistic peak. Having the benefit of a superb and sympathetic rhythm section, and in the intimacy of the leading New York jazz club whose management prided itself on creating a comfortable atmosphere for musicians so they could be at their best, Pepper was able to reach deep and produce some of his finest performances yet to be heard on record.
As Priestley has noted, “As with all of the major jazz soloists, the power of Pepper’s music outlives the circumstances in which it was created.” Art Pepper was an artist whose music embodied both transcendent beauty and powerful swing. His recorded output is celebrated decades after his death as art of the highest order. And the 1981 live engagement at Fat Tuesday’s in New York City that is presented on this album is among his finest recordings.
Pepper’s regrets regarding his own drug abuse are underscored in a poignant passage from the Priestley interview included in this album, in which Pepper recalled a conversation he had with one of his most important musical heroes, John Coltrane:
[We] [Pepper and Coltrane] became very good friends, and he told me, “You were given a gift by God, and to just ruin it by being a junkie, it’s really a crime. It wasn’t given to you just for your own selfish reason, it was given to you so that you could give it to the other people.” He had went through all those things and stopped, and that’s why he practiced continuously. And he said, “You’re a great player,” and that was the greatest compliment I’ve ever gotten in my life, for John Coltrane to say that. Because he is an idol of mine. So now I’m trying to give it.
The Band:
Pianist Milcho Leviev, from Plovdiv, Bulgaria’s second-largest city, is not only a pianist, but a noted composer and arranger in both jazz and classical music. In the early 1970s, Leviev relocated to Los Angeles. He encountered Art Pepper in the Don Ellis Orchestra, where Leviev served as pianist and arranger. Leviev has also performed and recorded with John Klemmer, Roy Haynes, Dave Holland, Gerald Wilson and Jack Sheldon. In the early ‘80s, he was one of the founders of the band Free Flight.
Virtuoso Czech bassist George Mraz was a member of Oscar Peterson’s group, and has worked with Pepper Adams, Stan Getz, Michel Petrucciani, Stephane Grappelli, Tommy Flanagan, Jimmy Raney, Chet Baker and many other important jazz musicians. Mraz is featured prominently on Pepper’s legendary 1977 Village Vanguard recordings on Contemporary Records featuring Pepper, Mraz, pianist George Cables and drummer Elvin Jones.
Drummer Al Foster has been closely associated with Miles Davis, both during the 1970s and in the early ‘80s, when Davis returned to music after a hiatus of several years. Foster has also worked with a virtual Who’s Who of jazz: from Herbie Hancock, Sonny Rollins, Joe Henderson and Cannonball Adderley, to Freddie Hubbard, Thelonious Monk, Horace Silver and many others. This is the only recording on record of Foster with Pepper.
The Repertoire:
“Rhythm-a-ning,” by Thelonious Monk, first appeared on the 1957 Riverside album Mulligan Meets Monk. It’s an angular yet rollicking, up-tempo groove based on so-called rhythm changes, which is to say, the chord changes of George Gershwin’s “I Got Rhythm.” The track begins at a high energy level but several choruses of melodic solos that even hark back to Art’s earliest saxophone influence, Lester Young. The urgent instrumental tone, though, is definitely early 1980s rather than mid-1950s and, after the first three minutes of the six-minute solo, there are instances of more distorted tones, sudden flurries and isolated use of upper-register screams.
Cole Porter’s 1929 song “What Is This Thing Called Love” has become a jazz standard. Here, Pepper takes it at a medium tempo, with avant-garde elements appearing from early on, integrated into passages that still harken back to the familiar Pepper sound heard earlier in his recorded output.
Benny Goodman used Gordon Jenkins’s 1935 composition “Goodbye” as the closing theme for his orchestra. Pepper had a great affinity for it and his approach is, as it always was when he played it, to take it as a very slow ballad full of moodiness and lyricism. This is typical of Pepper’s approach to ballads, where he was always at his finest and most expressive.
“Make a List, Make a Wish” and “Red Car” are both compositions by Pepper. “Make a List, Make a Wish” is typical modular/angular Pepper line that falls into a gospel-ish groove reminiscent of other tunes of the ’60s and ’70s like “Compared to What” as recorded by Les McCann and Eddie Harris.
“Red Car” is a Pepper composition he first recorded on The Trip in 1976. It’s a funk-gospel-infused, medium-tempo blues variant with a groove not unlike “Make a List, Make a Wish,” and gives all of the members of the band a chance to stretch out and play freely and without inhibition.
Art Pepper Live at Fat Tuesday’s is attractively designed by Burton Yount, who has created the artwork for many major jazz album packages, including Thelonious Monk Quartet With John Coltrane Live at Carnegie Hall, Wes Montgomery’s Echoes of Indiana Avenue and Bill Evans’ Live at Art D’Lugoff’s Top of the Gate for Resonance Records.

Brian Blade posted this video from last night's Wayne Shorter concert in San Francisco:

https://www.facebook.com/video.php?v=10153762367818489

probably the first time I have been able to say "just came here to post that" in a jazz thread

lol, i saw dejohnette beat the shit out of a drum set like that a time or two

Not sure if this should be in the ECM thread, the Necks thread or here ... anyone caught Nik Bärtsch's Ronin live in recent years? I half-remember Stoa from an ECM phase ...