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About mandrill

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  • Location Raleigh, NC

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  1. Arthur Blythe

    “The Leaders, huh?...I’d sure hate to see the followers!” Lou Donaldson via Brad Mehldau blog. Having their "Mudfoot" album on Blackhawk years ago, I wasn't impressed- somehow it sounded much less than sum of its parts would suggest. I highly respect all the individuals involved and have various albums by them that I enjoy, but then All-Stars concept seldom works in general.
  2. Great show in Durham, NC yesterday. The timing was about an hour for each set, perhaps given more time (compared to Ed's description) to Jimmy Herring, as he's Fayetteville, NC native son. "A big effin gong" was kept in check and only used sparingly on a couple of Mahavishnu Orchestra songs. The real highlight of 4th Dimension set was when Gary Husband joined Ranjit Barot on drums in the end, both of them raising up a storm and then ending with kind of call and response game.
  3. Berklee in the News (and it ain't pretty)

    Do you believe NOTHING you read in the media? That how it sounds from your diatribe on this thread. Or do you think there are still some credible sources left? FOX over CNN? Breitbart News over Washington Post perhaps?
  4. Pharoah Sanders

    Pharoah on Timeless. Love this set, especially the last album.
  5. Greg Osby

    Some fairly recent album with Osby that I like.
  6. How do you define genius , as it pertains to jazz?

    Armstrong, Parker, Monk, Davis, Mingus, Coltrane, Coleman. Honorable mention: Ellington, Powell, Dolphy, Braxton. Criteria: totally original thought that moved jazz into new territory.
  7. Wynton Marsalis

    I heard ole Wynston [sic] is busy building the Cathedral.
  8. Wynton Marsalis

    In this case, what (who) are those continents of Planet Jazz? And when, in your opinion, did the last tectonic movement take place?
  9. This thing looks scary. Massive. Monolithic. The Kaaba of fusion?
  10. Wynton Marsalis

    We all hear different things. Some are able to hear big advancement in Grateful Dead sound vintage of April 78 vs July 78, while most of that band output totally bores me (though I can agree that Workingman Dead/American Beauty is good music to drive by).
  11. Wynton Marsalis

    At the very least there are some Asian influences in David S. Ware music (not that he pioneered that, mind you). Yes, one may argue that he still essentially plays that "cosmic jazz" of late Coltrane & Sanders, but he's thoroughly his own man in that idiom. He's not your "same fucking Merlot". For example, the way he dis- and re-assembles the standards on his DIW albums is unique and beautiful. I don't find Mary Halvorsen "hybridization" all that interesting- the whole of it seems to me less that the parts it's assembled from. As for blending free jazz with garage rock, I'll take Raoul Björkenheim over Mary H. This discussion got run in circles, kicking clouds of dust, so it's hard to see anymore where it's started. "Huge difference" between those two albums? Maybe not, depending on one's scope of "huge". But the later is definitely an advancement on the former, and, for me, it's more interesting listening experience.
  12. How do you define genius , as it pertains to jazz?

    Poor Wynton. Can't catch a break. As for Shipp- I was listening to him playing on Third Ear Recitation and thought of Ravel of all things. Has anyone heard any of The Art Of Perelman-Shipp series issued by Leo? Here is an interesting overview. I think the author has a valid point whether it is worth listening to pure improvisational recordings more than once.
  13. Well put and eloquent article, if not of particularly great depth (but it’s written for New Yorker, not Downbeat). I enjoy reading Iverson’s “Do The Math” blog. As a scholar and disseminator of jazz tradition knowledge he is everything Wynton Marsalis is not. Ethan Iverson was a curator of Monk@100 celebration organized by Duke Performances in Durham, NC, that concluded yesterday. There were essentially two parts- J.D. Allen Trio with various guests the first week and Ethan Iverson Trio w/ Dave Williams on bass & Victor Lewis on drums with a guest saxophonist the second. In between there was two afternoons of free performances where four pianists covered the whole Monk's catalog, both solo and in duets. I attended the last show yesterday, were the sax player was Ravi Coltrane. It was a fairly orthodox interpretation of Monk’s Quartet from the 60’s, and enjoyable for what it was. Ethan Iverson gave a little introduction before each number and played Crepuscule with Nellie solo for the encore. The crowd was very enthusiastic. I also saw JD Allen Trio with Dave Douglas the week before and was rather disappointed, as they choose to use Monk’s music as blowing vehicles of sorts, raising temperature considerably but overcooking that particular goose in the process. Dave Douglas especially seemed to be out of Monk’s idiom (granted, he mentions in one of his interviews that he had little use for Monk’s music until fairly recently).