jazz unDone

Born February 27

2005-02-26T23:05:00.000-08:00

Dexter Gordon (1923-1990) would have been 82 today.

What I'm Listening To - February 23rd

2005-02-23T15:19:00.000-08:00

On Joshua Redman's 2000 release, Beyond (Warner Brothers), you can already hear the funk and rock inspiration that characterizes his current funk-jazz project, the Elastic Band. However, this band is completely acoustic (Aaron Goldberg on piano, Reuben Rogers on bass, and Gregory Hutchinson on drums), while with Elastic, Redman employs Sam Yahel on organ and keyboards and Brian Blade on drums.

On "Belonging (Lopsided Lullaby)," the time signature is practically undescernable. (Is it in 7? Is it in 13?). Redman and Goldberg trade choruses, playing with ease as if it's in 4. Hutchinson thrashes the drums, propelling the music forward. On "Leap of Faith," Redman and band are joined by tenor saxophonist Mark Turner, who is often said to be influenced by Redman. (I bet the influence moves both ways.) The song starts with Redman and Turner performing a subdued duet, before the rhythm section joins in to play a melody that sounds similiar to "Still Pushin' That Rock" from Redman's electric Elastic. According to his website, Redman has his next CD coming some time this spring from Nonesuch Records.

Deep Song

2005-02-22T22:10:00.000-08:00

As is the case at other major record labels, Verve's jazz roster is falling apart. Most of their recent releases are by smooth jazz musicians (David Sanborn) or mega-selling singers (Jamie Cullum), and then there are the never-ending reissues. However, on March 1, in a welcome exception to this trend, Verve will issue a new CD by a deserving player: guitarist Kurt Rosenwinkel's Deep Song. I was lucky enough to recieve an advance copy.

Much of Deep Song focuses on intricate arrangements, rather than the usual head-solo-head format. On songs like "The Cloister" and "If I Should Lose You," Rosenwinkel and band (saxophonist Joshua Redman, pianist Brad Mehldau, bassist Larry Genadier, and drummers Jeff Ballard and Ali Jackson, trading turns) spend more time exploring the melody than the solos. Rosenwinkel and Redman play winding, trance-like melodies over the rhythm section's quiet, intricate vamps. In this way, Deep Song is out of the Miles Davis "Nefertiti" tradition.

You can hear Rosenwinkel singing along with himself as he plays the melodies and solos. His voice is so pure, that I had assumed it had been overdubbed until cochise told me otherwise. His voice lends a meditative feeling to the music.

Occasionally, the band steps out to play in a more swinging style. On "Cake," A Rosenwinkel tune based on George Gershwin's "Let 'Em Eat Cake," the rhythm section masterfully changes the feeling under the soloists: from waltz, to march, to the pulse of a mid-1960's Wayne Shorter band.

Among Verve's new releases, Rosenwinkle's Deep Song is an anomaly in that it is actually interesting. Lets hope Verve keeps him on its roster.

Pat Metheny is Coming to Town

2005-02-22T21:39:00.000-08:00

I'm not sure if I'm going to be able to be able to catch the Pat Metheny Group when it comes to the Kuumbwa Jazz Center on March 2, but Cassie of JazzWriter saw it in Illinois, and here's her review.

Musician's Musicians

2005-02-15T16:04:00.000-08:00

I've been going on some transcriptions sites (saxsolos.com, Charle's McNeal's website, Pick's Place, etc.) and the modern saxophonists they transcribe are people like Jerry Bergonzi, Michael Brecker, and Bob Berg. Musicians who, with the obvious exception of Brecker, have never had a lot of mainstream popularity but have been highly respected by other musicians. Who are some other saxophonists like that? Also, I want to pick up some recordings with Bob Berg (I hear the work he did with Chick Corea was really good). Are there an particular CDs of his you would recommend?

Watson, Redman, Goldings, Villela, and McCoy

2005-02-07T20:52:00.000-08:00

The following are the concerts and master classes that I can remember having attendeding since my last post (I might be missing some):

Bobby Watson Clinic: December 10 at Cabrillo College. Bobby emphasized practicing the way you improvise: only play patterns that you would play over a song, don't just practice for the sake of moving your fingers.

Joshua Redman Elastic Band with Sam Yahel and Brian Blade: I attended on December 28, both sets, and December 30, the late show. This was the first time I'd ever heard him lead his own band (I'd heard with the SFJazz Collective) and had never been that into him. At one point during the show onf the 30th he played a phrase in the high altisimo of his horn that was extremely melodic and powerful: most have trouble just getting the notes out. He has complete control over his instrument, as did the other members of the "Elastic" band. Sam Yahel managed to keep a funky base line going on one keyboard while soloing on another and applying sound affects with a third. My one complaint was that the music wasn't consistent enough -- I wish he had stuck more with the fusion rather than divide the time between that and the organ trio format.

Larry Goldings Trio: January 10, early show, at the Kuumbwa Jazz Center. He was with guitarist Peter Bernstein and drummer Bill Stewart. There was a really organic atmoshpere to it, like a jam session, as they played through their repertoire which consisted of standards, orginals, and Ray Charles songs. Also at the break Larry was busy hawking CDs for a certain Johnny "Bowtie" Barstow.

Claudia Villela with Kenny Warner: January 24 at the Kuumbwa. This was a show of two great performers who just didn't mesh. Claudia Villela was trying to be like Bobby Mcferrin with the vocal acrobatics, singing the bass line and drums. She's good at it, but it distracted from Kenny Warner's playing. I wish she'd just sing the song.

McCoy Tyner with Stanley Clarke and Billy Cobham: January 25, the late show, at Yoshi's. This was the best I've ever seen McCoy. The whole band was really into the music. Stanley Clarke took a bass solo that had the whole house roaring with his melodicism and virtuosity. They have played together before, and know eachother so well, that at points they changed into a latin or gospel feel withouth even exchanging a glance. Can't wait till next year.

CDs of '05

2004-12-06T23:47:00.000-08:00

I've been looking at Jazzmatazz's list of upcoming CD releases. Here are the 2005 albums that look the most promising, with their release dates:

Lincoln Center Jazz Orchestra - A Love Supreme (Palmetto): Jan. 11th. Strange that Coltrane's "A Love Supreme" hadn't been re-recorded by anyone for 40 years -- until November when a new version was released by Branford Marsalis and his quartet. Now, another is on its way from Wynton and his big band. Is there a little brotherly rivalry going on? I'm curious to see whether a piece originally performed so freely can be effectively played by a big band that thrives on structure.

Stefano Di Battista - Parker's Mood (Blue Note): Jan. 25th. I actually have this already. It is a tribute to Charlie Parker, on which Di Battista plays with conviction and an obvious love for Bird's music. Add to that an all-star rhythm section with Kenny Barron and you can't go wrong.

Dave Douglas & Nomad - Mountain Passages (Koch): Jan 25th. I'm unsure who is in the band, but Douglas's playing is explosive and incorporates jazz, classical, and pop. On his last record, he was able to break loose and create new music by playing in a style akin to 70's Miles Davis.

reissue...

Sonny Rollins - Saxophone Collosus (Wellspring) - Jan. 25th. This is a documentary about Rollins that is being reissued. It includes "recent performances and interviews" as well as older clips.

new...

Miguel Zenon - untitled (Marsalis Music): March 1st. Recently, Zenon has been taking the jazz world by storm. I saw him with the SFJazz Collective playing the music of Ornette Coleman. Despite his first CD on Marsalis Music, Ceremonial, being straight-ahead, he was able to attack Coleman's music with emotion and familiarity.

Albums with Unanounced Release Dates
Jacky Terrasson - Solo (Blue Note): I've been hooked on Terrason since I saw him co-lead a band with Stefon Harris a few years ago.

Dave Holland Big Band (Dare 2): The bassist's last big band album, What Goes Around, was incredibly swinging; his band members are all great performers in there own right (Chris Potter, Gary Smulyan, and Steve Nelson, oh my!). It will be exciting to see what Holland does with his first album on Dare 2, his new label.

Joe Lovano/Paul Motian/Bill Frisell (ECM): I'm not crazy about Frisell, but I just can't resist Joe Lovano's warm tone and his free-moving improvisational style.

Brian Blade (Marsalis Music): I've been waiting for Blade to record his Marsalis Music debut for a while now. I've seen everybody's favorite drummer with Wayne Shorter, the SFJazz Collective, Bill Frisell and lots of others. It's about time he takes center stage again -- Blue Note, stupidly, dropped him a couple years ago.

Sonny Rollins (Milestone): That's right, SONNY ROLLINS. The greatest saxophonist alive and perhaps the greatest one ever. It's too bad he doesn't play more of the straight-ahead music he perfected in the '50s and '60s. And it's too bad he doesn't play with a better band. But still, it's amazing the things he can do with a calypso.

Updated on December 10th.

Concerts in ‘05

2004-12-04T18:13:00.000-08:00

It’s almost 2005, so I’ve decided to make a list of the shows I’m especially excited about in the coming year:

Joshua Redman Elastic Band with Sam Yahel and Brian Blade: Dec. 28th through Jan. 2nd at Yoshi's in Oakland. If it weren't for stupid Warner Brothers, which sat on Redman's latest disc, I’d have it by that time. As it is, the yet untitled record will come out in the spring on Nonesuch.

McCoy Tyner with Stanley Clarke and Billy Cobham: Jan. 25th through Jan. 30th, again at Yoshi's. This is Week One of Tyner's annual residency at the club.

Directions in Music (Herbie Hancock, Roy Hargrove, Michael Brecker): February 7th at the Civic Auditorium in Santa Cruz. I saw the band a couple of years ago when they were first touring. I think it was pretty good, but can’t totally remember. The record is exciting, although not quite at the level you would expect from three jazz titans. Michael Brecker’s solo sax tracks are bruising.

Kenny Garrett: March 31st through April 3rd at Yoshi's. There’s also a possibility that I will be able to attend a clinic with him around this time in San Francisco.

Dave Holland Big Band: April 6th through April 8th at Yoshi's. Maybe the band's new CD will be out by then too.

Saxophone Summit (Dave Liebman, Joe Lovano, Michael Brecker): June 13th at the Kuumbwa Jazz Center in Santa Cruz. I’ve seen Liebman and Brecker, but not Lovano. The
"Summit" CD is fantastic, the type of in-the-moment music that should be even better live.

Bobby Watson

2004-12-03T23:49:00.000-08:00

Next Saturday, Bobby Watson will be giving a clinic at a local community college here in Northern California. In anticipation, I've decided to review his new CD, Horizon Reassembled (Palmetto Records), which reunites one of the great ensembles of the late '80s and '90s:

Watson's music is as joyful and uplifting as ever. His compositions draw on everything from jazz to hip-hop to soul. Turning on the first track, "Lemoncello," I couldn't help but dance and sing along.
In addition to originals by Watson and his bandmates, there is the Jimmy Heath standard "Ginger Bread Boy" (Heath sometimes jokes that the song should now be called "Ginger Bread Man," since his son, who inspired it, is an adult), as well as a beautiful ballad by Watson's wife, Pamela, titled "The Love We Had Yesterday." The CD includes Horizon's version of "The Look of Love," the old Burt Bacharach hit, and a piece by one of Watson's students.
The CD's highlights are its compositions; they are that good. Still, Watson plays with soulful elegance, and the reassembled Horizon plays tightly, as if they had never disbanded.

A Side Note: I was first turned on to Bobby Watson's compositions when I heard his "Fuller Love" on the Art Blakey album Keystone 3. It is one of the most addictive songs I have ever heard.

I'll be going to the clinic next Saturday, and will report back to you about it.

Bud Shank Quartet with Phil Woods

2004-11-27T18:31:00.000-08:00

On Monday, November 8th, I witnessed history in the making: Bud Shank and Phil Woods, two of the greatest alto saxophonists alive, shared a bill at the Kuumbwa Jazz Center in Santa Cruz. Although both men are in their 70s, their playing is still captivating and youthfully energetic. Yet the show was not merely that of an all-star band. Woods' fluid bebop lines and Shank's screaming, often avant-garde playing complimented each other, creating an exciting night of music.

Although both Shank and Woods are rooted in the music of Charlie Parker, each has created his own vocabulary. Woods is more virtuosic and blues-oriented. Shank at times resembles Eric Dolphy in his howling tone and loose solo structure. Yet, their disparate vocabularies made for a very interesting conversation. As soon as one finished his solo, the other would respond. The two saxophonists' solos flowed together and seemed like continuous thoughts.

A prime example of this came in their rendition of Woods' song, "And It was Nowhere." The song's familiar chord changes - reminiscent of standards and Charlie Parker tunes- allowed for both men to become more expressive. When it came time for the horn players to trade fours with drummer Bill Goodwin, the three musicians began what sounded like a friendly argument, every four bars becoming more furious and technically dazzling. When Woods quoted "Harlem Nocturne," Shank responded with "Donna Lee," and Goodwin with a break so rhythmically enticing he had the entire club shaking and hollering.

Another high point was when the band played pianist George Cables' beautiful "Helen's Song," deceptively simple, like a children's song. Starting with a funky ostinato played by bassist Bob Magnusson, the rest of the band soon joined in the soulful melody. Then came the real treat: Magnusson took a slap bass solo, pianist Mike Wofford played a solo that started quiet and slowly built into a storm of notes, and Shank took a solo that resembled Kenny Garrett's playing with its gospel-like enthusiasm.

I arrived at the Kuumbwa on Monday night expecting to see two men who were on the threshold of innovation fifty years ago, but was surprised to find two men who are still exploring that ground today.

Wynton Marsalis' New Book

2004-11-27T18:14:00.000-08:00

Wynton Marsalis' new book, To a Young Jazz Musician: Letters from the Road, is weird. Since I am myself a young jazz musician, seeing the title for the first time made me think, "Wow! It's like it was written just for me." I expected it to reveal how to survive as a musician, what to listen to, and what to practice. As I began reading it, however, I realized that it is nothing like that. Instead, it resembles a motivational book more than a guide to becoming an artist. For the most part it offers boring lessons on how to become a man, and being yourself. Marsalis' book is full of clichés, and in trying to make it apply to everyone, not just musicians, he's made it not really applicable to anyone. To a Young Jazz Musician is a disappointment.

What I'm Listening To - November 25th

2004-11-25T18:51:00.000-08:00

The Duke Ellington Orchestra - Digital Duke (GRP): On Digital Duke, the Ellington Orchestra minus Duke plays some of his classics. The disc features several modern masters, including Branford Marsalis and Eddie Daniels. This combination makes for extremely exciting music, as the guest stars' more contempory styles contrast greatly with the traditional sound of the orchestra. However, it is not only the featured soloists that shine; under the direction of Mercer Ellington the band is in top form, playing with crisp and swinging phrasing on this 1987 album.

I Read Downbeat But I Didn't Vote

2004-11-24T18:51:00.000-08:00

My ballot.

Well, there's a new Downbeat Reader's Poll out and McCoy Tyner has finally been inducted into the Hall of Fame. If I hadn't been too lazy, here's how I would have cast my votes:

Hall of Fame: McCoy Tyner. The one, the only.

Jazz Artist of the Year: Joe Lovano. He has participated in so many good recordings this year. You can't help but love his quirky, but fiery playing.

Jazz Album of the Year: Joel Frahm's Don't Explain. (Look two posts down to see my review.)

Acoustic Group: Dave Holland Quintet. Everyone in this group is great and together they're even better. The group has really developed its own sound - partly because of the unorthodox instrumentation (vibes, tenor, trombone, bass, drums) and partly because the arrangements are so unique that the musicians are forced to find new ways of expressing themselves.

Jazz Reissue: You know, I don't really care. I guess I'd go with Monk In Paris: Live At The Olympia, but I don't spend a whole lot of time listening to reissues.

Record Label: Marsalis Music. This label is just getting started, yet it has already produced a big percentage of my favorite recent CDs. Oh my god, I'm still trying to get over how good Branford’s Footsteps of Our Fathers is.

Electric Group: Roy Hargrove’s RH Factor. This music is funky as hell. I haven't gotten the new CD yet (part re-mix, part new material), but am looking forward to it.

Soprano Saxophone: Dave Liebman. This guy is a monster. His playing is passionate and original. He's also one of the funniest people I've ever met.

Alto Saxophone: Kenny Garrett. Part Coltrane, part gospel singer, part... himself. He is unlike any other musician around today. Like I said before, Kenny Garrett is my god.

Tenor Saxophone: I'm going to give it to Branford Marsalis. His playing reflects the immense knowledge he has of jazz history. Seeing him live is inspiring. I don't know how he manages to keep up his playing when he also runs a record label and a steady band.

Baritone Saxophone: Hamiet Bluiett. He is one of the most creative musicians I've ever seen. Bluiett never repeats himself and his charismatic personality on the horn is captivating.

Clarinet: Don Byron. The only jazz clarinetist I listen to and look forward to hearing. Seeing him play at the Monterey Jazz Festival two summers ago was mind-blowing, like experiencing nirvana. Read his "Blindfold Test" at the back of the new (December 2004) Downbeat. Do it.

Flute: No idea.

Trumpet: Roy Hargrove. His warm, brassy sound and imaginitive... I really need to get Roy Haynes's Birds of a Feather CD.

Trombone: I will abstain from voting on this.

Acoustic Piano: Uri Cane.

Electric Keyboard/Synthesizer: I don't know.

Organ: Sam Yahel. I don't like Bill Frisell but I sure do dig Sam Yahel.

Guitar: Anybody, Pat Martino, Jim Hall, Peter Bernstein. Just NOT Bill Frisell.

Acoustic Bass: Dave Holland.

Electric Bass: Christian McBride.

Drums: Elvin Jones. He lives.

Percussion: Kahil El Zabar.

Vibraphone: Stefon Harris. (Kindred Spirits, anybody? Anybody, Kindred Spirits?)

Miscellaneous Instrument: David Murray, bass clarinet. What exactly is a miscellaneous instrument? Aren't all instruments equal in the eyes of god (Kenny Garrett)?

Male Vocalist: No idea.

Female Vocalist: DENA DEROSE! She is so good, if you don't have any of her records go out an buy them. She's an equally talented pianist.

Vocal Group: I don't know.

Arranger: Dave Holland! YES! His next big band album is coming out early next year on his new label Dare2.

Composer: Once again, Dave Holland.

Well there you go, folks... my winners. Next year, I will vote, and hopefully they will be THE winners.

What I'm Listening To - November 21st

2004-11-21T21:54:00.000-08:00

Nando Michelin Quintet featuring Jerry Bergonzi - Facing South (Brownstone): I've been trying to get my hands on a recording with Jerry Bergonzi for quite some time. So when I found Facing South for $2.95 in the bargain bin of the local record shop, I was excited.
Bergonzi plays long, focused lines, leaping across wide intervals like an acrobat. On the record, his angular playing contrasts with the flowing rhythms of percussionist Sergio Faluótico.
Michelin, the leader of the date, is a pianist with fluid technique, but Bergonzi ends up stealing all the attention because of his more distinctive style.
Yes, fear a man with a saxophone.

Historic First Post

2004-11-20T17:27:00.000-08:00

There is no better way to kick off a blog than by posting a Best CDs of the Year list. In no particular order:

Joel Frahm with Brad Meldau - Don't Explain (Palmetto): I don't usually like Brad Mehldau; he strikes me as overly intellectual and detached, even bland. But lately I've heard two CDs that feature him in a duo, and I've loved both. This is one; the other is by bassist Darek Oleszkiewicz (Like a Dream - Crypto Gramophone). Somehow, Mehldau becomes much freer and melodic in a duo setting.
Don’t Explain teams him with tenorist Joel Frahm, who possesses an incredibly warm tone and a unique style of improvisation. Friends since childhood, Frahm and Mehldau perfectly compliment each other so that written melody and improvisation are almost indistinguishable. I can't emphasize enough how good this CD is. Every time I listen to it, I feel tingly all over. If only they would tour together; Frahm is a member of Jane Monheit’s band. She doesn't deserve him!

Joe Lovano - I'm All For You (Blue Note): Lovano is officially on fire, what with his CDs On This Day and now I'm All For You. It is a collection of ballads, save Countdown - a welcome selection from the Coltrane songbook. As any jazz musician will tell you, ballads are harder to play than fast tunes. Yet, with the help of veteran pianist Hank Jones, bassist George Mraz, and drummer Paul Motian (what a band!), Lovano shapes every song into a thing of beauty.

and now a short departure from saxophonists' CDs (don't worry. there'll be more.)...
Jeff "Tain" Watts -Detained (Half Note): Jeff Watts is my favorite drummer today. I've seen him with Branford Marsalis, Michael Brecker (Watts’s playing was the only redeeming part of that concert), and with his own group. In the past, his CDs have been uneven, especially 2002’s Bar Talk (Sony). Although they've had some magnificent music, they've also had some...less magnificent music. Well, Detained sets the record straight. With guest saxophonist Kenny Garrett (who is my god) on hand, this is hard-driving bliss. And Watts has a sense of humor: His composition JC Is The Man, according to the liner notes, was written for a bartender, not Coltrane or the Christian savior.
The CD’s best moment comes on Sigmund Groid when Garrett propels the band forward until it is so funky I can hardly stand it. Watts also tries his hand at singing on ...Like The Rose. Although his vocal skills can’t be compared to his technique on drums, the performance is strangely beautiful.

i promised there would be more saxophonists...
Michael Brecker, Joe Lovano, Dave Liebman - Saxophone Summit: Gathering of Spirits (Telarc Jazz): What's better than one great saxophonist? Two great saxophonists. What's better than two great saxophonists? Three great saxophonists. What's better than three great saxophonists? Three great saxophonists playing music written and inspired by John Coltrane.
I knew that Lovano and Liebman were good before I heard this CD. What surprised me was how well Brecker plays. He can hang with these guys, handling way more than the corny shit that’s on his own CDs.
This isn't a sax battle. There is a good deal of group improvisation and each saxophonist drives the others on to play more and more beautiful thoughts. The band reworks some Coltrane songs in new ways and offers a few very nice original compositions, too, especially Lovano's Alexander the Great. Damn! Lovano really is on fire.

Chris Potter - Lift (Sunnyside): Lift is a breakaway from the more polished, studio CDs that Potter has made. It starts off strong with a mind-blowing saxophone solo improvisation and stays strong. My one problem is with the telephone-like-sound produced by keyboardist Kevin Hays on 7.5. It's really weird; I have no idea what he is thinking.
By the end, Potter has played two solo improvisations, both awesome, as well as originals and standards. Oh, I forgot to mention that the CD was recorded live at New York’s Village Vanguard, always a plus.

I'm going to stop here at a nice even number of CDs - five. Some other great CDs that I am too lazy to review, but which deserve mention, are…

Don Byron - Ivey-Divey (Blue Note): A genius. And a member of MENSA; 'nough said.

Von Freeman - The Great Divide (Koch): Chicago’s great, under-appreciated tenor veteran has put together an instant classic.

Branford Marsalis Quartet – Coltrane’s A Love Supreme in Amsterdam Live (Marsalis Music): This package includes the band’s performance on DVD, along with an audio CD. Both are beautiful. The DVD also features interviews with Alice Coltrane, Michael Brecker, Ned Goold, David Sánchez, Miguel Zenón, and follows Marsalis around for a day.

Maybe it's just me, but I think you should buy every CD on this list. Yah, you know what? I command you to go and buy every CD I mentioned.