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- Past Hour
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I’m fired up for the show. I’m going with a young friend who’s all in right now to free jazz/improv, etc. Some of the Rempis recordings on his own label are very good and a few are more than that. The last double drummer Percussion Quartet recording (Cochonnerie) with Ingebright Haker Flaten is incredible for one example. His playing is more than it initially appears to be. He’s more than just intensity and mind blowing technique. I’m hoping or wishing he brings his non-alto horn(s) BUT I’ll settle for just his alto saxophone playing:) plus looking at his newest releases, I’m sure he will have the new CD of the trio I’m seeing, plus if he has copies of the last 3-4 I havn’t bought, I’ll get them all at the show next Tuesday.
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I wish Bradford and Winten had been a recurring bit on Key & Peele, replete with their musics. That shit writes itself.
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Rempis for sure. I haven't heard Gilgore, but want to.
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Which one? The one with Rempis that I’m seeing or the one with Gilgore that Larry saw live?
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Both good. Don't miss the Petrucciani recently released CD with Roy Haynes & Gary Peacock.
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What live music are you going to see tonight?
jlhoots replied to mikeweil's topic in Live Shows & Festivals
Andy Milne Trio: with John Hebert & Clarence Penn -
You'll like the group.
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Thanks, Larry - I’ll be looking out for Gilgore and this trio As an aside, I’ll be seeing the great Chicagoan saxophonist Dave Rempis on next Tuesday 4/23 with Brandon Lopez on double bass and another Chicago musician (one I’ve never heard of - Ryan Packard on drums) for a show at a new performance space started by Eric Stern - 244 Rehearsal Studios - 244 West 54th Street, 10th Floor. I’m a big fan of Rempis but I’ve only seen him once live (a short set a couple of years back - Lopez was also in that group and he’s a very exciting young bassist) so here’s hoping we are in for a show somewhere near what you just experienced. Although some are not so excited about high energy Saxophone trios, quartets, etc. led by kick ass freely improvising saxophonists, I certainly am.
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Do you like Kenny Garrett? I find no real differences between he and Branford. At the end of the day, I just think people let what the Marsalis boys say color their perception way too much. Then again, I could listen to Wynton, Branford, and Ingrid Laubrock in one sitting and enjoy all of it. I’m not going to listen to Wynton and think, “now THIS is how Jazz is supposed to be played!” Nor will I listen to Ingrid and think, “THIS isn’t real Jazz!”, because I don’t let a couple of loudmouths dictate my reality or how I perceive the music I’m listening to.
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Look at the albums at his feet: Roy Ayers, Curtis Mayfield ..... is he playing some tunes from these? With some meditative intros? Don't get me wrong, I'd appreciate that.
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I've heard more than enough of both of them to know that they don't matter to me except as a damned nuisance every damned time they open their damned mouths.
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But had they not been raking money in due to groups like Whitesnake and Guns ‘N Roses, they would have never started the DGC sub label that Sonic Youth signed to. And Sonic Youth never sold anywhere near the number of albums that the high profile groups did. It’s mainstream vs underground. And both come by those names honestly. And while mainstream popularity fades and changes usually every decade, the underground will never attain mainstream popularity.
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I'm quite familiar with the music of both Wynton and Branford. Your characterization of Wynton's music is accurate as far as it goes -- I would say in a straightjacket rather than "straight ahead" -- but while Branford's music is freer/looser in style than Wynton's, by contrast with a whole lot of other jazz artists of recent times, Branford seems to me to be very concerned with coloring between the lines, even if he draws the lines in different places than Wynton does. His comments on Miles not following the musical "rules" as Branford understands them are an example of this, no? I'll add that Branford might be right about Miles's relation to the beat on the piece he cites in that DB interview, but in the context of Miles' relation to the music of that group and Miles' relation to the music in general -- give me a break.
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Heart of the Ghost -- wow!
clifford_thornton replied to Larry Kart's topic in Live Shows & Festivals
Sweet -- only one of these guys I've encountered is Luke Stewart, and he's awesome. -
As the dope who passed up on a partial Larry Young box due to a bout with my budget conscience, I am glad to see Heaven on Earth on this list.
- Today
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Maybe this has been said elsewhere, but Crouch had been pushing the music of Arthur Blythe, David Murray, Oliver Lake, and possibly Henry Threadgill (can't recall) until he decided to head 'uptown' and get in with the Marsalises. I think that the music of these players in the post-Loft era could really have gotten over in a more interesting way than the Young Lions did, a la Sonic Youth signing to Geffen. That's my perspective, anyway -- what could have been.
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What rock music are you listening to? Non-Jazz, Non-Classical.
HutchFan replied to EKE BBB's topic in Miscellaneous Music
Strength in Numbers - Telluride Sessions (MCA) Outstanding newgrass session with Sam Bush, Jerry Douglas, Bela Fleck, Mark O'Connor and Edgar Meyer. Willie Nelson - Stardust (Columbia/Sony Legacy) I first heard this music while I was in college, and hearing it again always takes me back to that time. -
The fact that so many of you keep lumping Branford and Wynton together proves that you’ve heard little, if any, of either of them. Wynton writes and play very straight ahead, while Branford’s quartet are more akin to 60’s Free Jazz. Educate thyselves, folks.
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Just finished: Now playing:
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A Slew of Box Sets for Sale (Mosaic, Avant, and More)
Justin V replied to Face of the Bass's topic in Offering and Looking For...
I claimed the Curtis Amy set after 15 years of curiosity. Unlike many Selects, it hasn't been released as a download, so I figured $40 was reasonable. -
It's always interesting when a thread of mine become huge; that doesn't happen too often. As usual, some insults have been tossed around, always the case when the Marsalis boys come up. I was interested in some of the marketing/business talk. I recall reading that Columbia was first trying to go with Arthur Blythe as the next big thing, but they shifted soon enough to the younger guy with more straight-laced notions of jazz. I don't directly recall there being a big push on Blythe, which occurred shortly before I discovered jazz. I remember getting some of his used records cheap, and even nowadays his Columbia records are not that easy to find. But I'll take Blythe (on any label) over anyone in the Marsalis clan any day of the week. I think we can agree (most of us, at least) that Blythe was more adventurous than the Marsalis brothers. I did find some appeal in the early work of of BM and WM, but I think much of came from their tendency to work with major figures like Herbie, Ron, Tony, Sonny, Joe Henderson. But I guess they didn't learn anything from those guys.
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Four hours between scans from Ybor to Plant City? How did you arrive at that number? They’re about 45 minutes apart, IIRC.
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But the point being missed here is that while trends in music come and go, every genre you mentioned there is catchy and accessible. Now, if 80’s Heavy Metal (the now renamed “Hair Metal”) had been knocked out of the top 40 charts by something like Progressive Death Metal, well then you’d have a viable comparison. Rap was exciting, new, and easily digestible. So was Grunge. So in essence, you’re continuing to make my point for me. Was Nirvana more marketable than Def Leppard? Absolutely. Grunge killed Hair Metal. Job offers, compensation, and everything else you mentioned is commensurate to ROI. You are only going to get what your benefactor deems worthy based on market appeal. I really have no idea, honestly, why that is somehow a radical or controversial opinion. Other than the fact that it tears down the “Marsalis killed all that is good and right” narrative. Investors (record companies, managers, venue owners, etc.) want to maximize profits. The “young lions” keep fat cats fat. European Free Improvisation and Free Jazz leaves you eating rats. If Wynton and Branford never spoke or wrote a word, that fact would still remain. People didn’t avoid those genres because Wynton told them to. That’s just silly.
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Any citation for the Marsalis/Carter/Drummond story?
