New Stuff on Jazz Note

I have deleted a lot of numbers with very low ratings.  I can see no sense in some of the deletions, but what other guide do I have?  I am adding some more music to challenge my listeners. 

Rebus, by Ken Vandermark (sax), Joe Morris (guitar), and Luther Gray (drums) is one of those albums that caught my ear and wouldn’t let go.  It’s both raw and abstract‑all the cuts are labeled Rebus 1, Rebus 2, etc. 

I also nailed a couple of recordings by Oliver Lake.  Dedicated to Dolphy is a superb tribute to a jazz genius frequently celebrated on this blog.  Here is the Quintet:

• Bass – Belden Bullock
• Drums – Cecil Brooks*
• Piano – Charles Eubanks
• Saxophone – Oliver Lake
• Trumpet – Russel Gunn*

I am playing ‘245’, a Dolphy composition.  It is a hearty blues with a surprisingly old timey feeling. 

Also by the Oliver Lake Quintet is Talkin’ Stick.  This is a must have for your collection.  I am playing ‘Hard Blues,’ a Julius Hemphill composition.  Everything is here.  Ringing swing, avant garde digressions, hard bop energy, and amazing sax. 

• Acoustic Bass – Belden Bullock
• Alto Saxophone – Oliver Lake
• Drums – Cecil Brooks III
• Piano – Geri Allen
• Vibraphone – Jay Hoggard

I note Geri Allen on piano.  I really like her style.  I also note Jay Hoggard’s vibes.  He lends the number a soft, magic touch. 

I also have a rocking good melody by Wayne Shorter from Wayning Moments. 

• Bass – Jymie Merritt
• Drums – Marshall Thompson
• Piano – Eddie Higgins
• Tenor Saxophone – Wayne Shorter
• Trumpet – Freddie Hubbard

Trust me.  Finally I have a lyrical piece of such beauty that one can only point to it.  William Parker’s Raining on the Moon will water the driest heart.  ‘Old Tears’ is exquisite. 

• Bass – William Parker
• Drums – Hamid Drake
• Saxophone [Alto] – Rob Brown (4)
• Trumpet – Louis Barnes*

Newport Jazz Festival 2013

I have been covering the Newport Jazz Festival for WHUS FM for the last 5 years, and the 2013 festival is one of the best I've had the pleasure to attend.

Musically, the festival covered a wide range of jazz styles; fusion, latin, avant garde, funk, modern post-bop. So many of the artists were exploring new sounds. There was a lot of experimentation with electronics and effects creating interesting sonic textures. Rhythmically the music was moving away from bop and more towards progressive rock-fusion or "free" jazz. In general I felt that most of the musicians, young and old were taking the music beyond its reliance on traditional jazz constructs from the past. 

Highlights at the festival for me were:

The Festival was themed as an 80th birthday celebration for Wayne Shorter. Herbie Hancock was his special guest. They played a duo performance before Shorter's quartet took over with a rousing somewhat avant-garde set. Wayne took a much more aggressive role in his playing than I had seen in his past performances with this group. Herbie took the stage again at the end of the set to share the piano with Danilo Perez in a 4 hands one piano accompaniment.

Terrence Blanchard with a surprise appearance by Herbie sitting in to play Footprints. Terrence's entire performance was memorable. It was a modern sound, with subtle electronic effects that provided sonic interest but did not overwhelm the music.

Chick Corea's new band was reminiscent his electric bands of the fusion era, with a bit of a latin feel, and based more on Chick's compositions and arrangements than the musicians pyrotechnics. 

Jon Batiste brought the New Orleans feel to his music with a fresh modern sound. It combined R&B with straight ahead jazz chops. His use of the melodica added an interesting twist to his great performance.

Gregory Porter is an outstanding new vocal force in jazz. You can hear the influence of R&B and Gospel with his tremendous vocal chops. He has a talented jazz band that know how to swing hard to his tunes.

Guitarist David Gilmore was the final show we saw at the Festival. He had a great All-Star band with Miguel Zenon (sax), Jeff Tain Watts (dr), Christian McBride (b), Luis Perdermo (p) and Claudia Acuna (v). They played his Numerology suite, an hour long set that was smoking.

Other notable performances we saw: Marcus Miller, Mary Halverson, Robert Glasper Experiment, Eddie Palmieri Salsa Band, Bill Charlap w/Anat Cohen & Bob Wilber, Lew Tabakin, Joshua Redman, URI Big Band, Jim Hall, Hiromi, (and more).

It was a thrill to meet the great Chick Corea backstage

Check out our picture gallery from the 2013 Jazz Festival (credit Claire Laster)

More photos from Ken's gallery

Wayne Shorter Without A Net

Wayne Shorter has a new album, his first for Blue Note in 43 years.  I have a very special place in my heart for Shorter.  When I first began collecting jazz a few years back, his work was one of my areas of concentration.  I still think his Blue Note recordings (Speak No Evil and Juju come to mind) were examples of pure genius. 

Without A Net is more than one could hope for.  Here is the band:

1.       pianist Danilo Pérez,

2.      bassist John Pattitucci, and

3.      drummer Brian Blade

It is no surprise that the recording is getting a lot of laudatory reviews.  Shorter is, if not a jazz god, at least a jazz demi-god.  Shorter will turn 80 this year, if my math is correct.  It is nothing short of astonishing that he plays with so much energy and imagination.  Shorter is playing soprano sax on the album as he did on some of cuts from the 1969 European recordings with Miles Davis.  Here, however, he has a very different sound. 

I think that his playing is eerily reminiscent of Steve Lacy, especially on the first cut.  There is surely nothing here that would be familiar to anyone who knows his work for Blue Note or his history with Art Blakey and Miles, let alone his fusion period.  Shorter is doing something original here.  One could only wish to get more of it.

I am playing ‘Orbits’ and ‘Starry Night’.  I am also playing ‘Fee-Fi-Fo-Fum’ from Speak No Evil, and ‘Mahjong’ from Juju. 

Miles Davis Quintet Bootleg Series Vol. 2

Miles Davis Quintet: Live in Europe 1969 (The Bootleg Series Vol. 2).  This box set is one of the most valuable documents to emerge from jazz vaults since the advent of the compact disc.  The Quintet is as follows:

1.       Miles Davis (trumpet)

2.      Wayne Shorter (tenor and soprano saxophones)

3.      Chick Corea (electric piano, piano)

4.      Dave Holland (bass)

5.      Jack DeJohnette (drums)

Wayne Shorter, of course, returns from Miles’ second great quintet.  The rest of the band is new.  They never recorded in the studio, something Miles apparently regretted.  I believe this is the first official release of their music.  It would be enough to get three CDs and a DVD of new music from a Davis quintet to make this a red letter occasion. 

However, this is also priceless as a document of the last big turn in Miles’ career.  ‘Bitches Brew’ appears twice in the collection.  The Dark Magus is about to emerge, leaving jazz rather behind in my view.  In this collection, however, Miles and his crew are still firmly in the template that was established with the Plugged Nickel recordings in 1965.  This is genuine jazz in anyone’s book.

Like The Bootleg Series Vol. 1, the music is pensive yet intense.  It presents a series of solos mostly unmoored from any central melody.  Also like Vol. 1, it is not nearly as laconic as the Plugged Nickel sessions.  If anything, these recordings are a step away from avant garde. 

However, the third quintet, if one may call it that, clearly displays the fusionesque elements that show where Miles is going in 1969.  Having Shorter play soprano feeds this impression.  Most of all, the inclusion of Chick Corea on electric piano gives several of the numbers a Return to Forever touch. 

I am not as ready as I once was to agree with Stanley Crouch about Bitches Brew.  Crouch, a brilliant jazz critic, thought that Miles’ recordings after 69 were just an example of sellout.  I am still making up my mind after all these years.  I will say that I wish we had a few more years and some studio recordings of this last jazz quintet.  Holland and DeJohnette are consummate jazz men.  Miles could have molded this group into as powerful an instrument as his first two quintets, if he hadn’t decided to go in a different direction. 

Judged on its own merits, the Bootleg Series Vol. 2 is a marvelous collection of music.  I am playing:

1.       ‘Paraphernalia’

2.      ‘Nefertiti’, and

3.      ‘Round Midnight’.