Mark Stryker

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About Mark Stryker

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    Groove Merchant
  • Birthday 08/10/1963

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  • Gender Male
  • Location detroit, mi

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  1. RIP Stanley Crouch

    From 1979. “Coltrane had a black following while most of the avant-garde didn’t because Elvin Jones had orchestrated the triplet blues beat into a sophisticated style that pivoted on the boody­-butt sway of black dance. In tandem, Col­trane and Jones created a saxophone and drum team that reached way back to the sax­ophone of the sanctified church shouting over the clicking of those sisters’ heels on the floor and the jingling, slapping pulsation of tambourines. The sound was lifted even higher by the antiphonal chants of the piano and bass played by McCoy Tyner and Jimmy Garrison, whose percussive phrasing helped extend Jones’s drumming into tonal areas. In fact, one could say that both Coltrane and Coleman were the most sophisticated of blues shouters. Yet Coltrane’s fascination with African music gave him an edge, for he was to discover in his own way the relationship between harmonic simplicity and rhythmic complexity held together by repeated figures played on the bass and piano. In fact, one could say that the actual time or the central pulsation was marked by the piano and bass while the complex variations were made by saxophone and drums. “What made Coltrane’s conception so significant was that it coincided with the interest in African or African-related dance rhythms and percussion that has been re­vived at the end of each decade for the last 40 years. One saxophone player even told me that the first time he heard Coltrane, around 1961, he thought that a new kind of Latin jazz was being invented. I recall, too, that during those high school years the mambo and the cha-cha were gauntlets of elegance. Norman Whitfield’s writing at Motown for the Temptations and Marvin Gaye leaned on congas and bongos, and the dance power of the drums came to the fore, sometimes light­ly and elegantly, as in the bossa nova. The very nature of most black African music, which is layers of rhythm in timbral and me­lodic counterpoint, and the exploration of the blues were the sources of the dominant aes­thetic directions in jazz, rhythm and blues, and rock. For the jazz players those reinvestigations of roots called for the kinds of virtuosity developed by Elvin Jones and Tony Williams if another level of polyrhythm was to be achieved; James Brown’s big band, while alluding to Gillespie and Basie, evolved a style in which guitars became percussive to­nal instruments staggered against chanting bass lines, two drummers, and arrangements that were riffish, percussive, antiphonal; rock players began to investigate the electronic textures and contrapuntal possibilities of Point overdubbing.”
  2. RIP Stanley Crouch

    I don't, but I'm afraid the answer would likely be not very far. I think it wasn't all that long after Vol. 1 came out that he was over taken by various maladies and eventually stopped working altogether.
  3. RIP Stanley Crouch

    Sadly, there is no Vol. 2 and will not be — the Amazon listing is the result of a technological and publisher glitch dating back to the publication of Vol 1.
  4. Essential John Gilmore?

    Yes, I was co-signing his post. Did Gilmore ever come back to Chicago as a single to play clubs etc?
  5. Essential John Gilmore?

    Yes, should've added Hill's "Andrew!" and "Compulsion" to my short list. I also like the Freddie Hubbard record, "The Artistry of Freddie Hubbard," for hearing Gilmore with a more mainstream rhythm section. Seriously, though, does anyone know why he never recorded as a leader?
  6. Essential John Gilmore?

    Well, the crazy think about Gilmore is that, discounting the 1957 Blue Note session that he co-led with Clifford Jordan, Gilmore never made a recording under his own name. How does that even happen, even for a self-effacing player who obviously shied away from the spotlight? Fascinating musician and a unique voice -- Trane said in an interview he was a direct influence on "Chasin' the Trane." Lots of dark mysteries in Gilmore's sound, rhythm, note choices, articulation, and texture. Two quartet records (saxophone plus rhythm) where he gets a lot of space and to which I return frequently: Pete LaRoca's "Turkish Women at the Bath" (1967). Quartet with Chick Corea on piano and Walter Book on bass Paul Bley's "Turning Point," quartet with Peacock and Motian (1964)..
  7. Maybe! When is she coming and what will she be doing?
  8. This is such a significant cultural news story for Detroit that I came off the bench to write it up for my former paper.
  9. The Saxophone Colossus turns 90 today.

    FWIW, I created a fun Twitter thread today of 25 great live performances by Sonny. You can see it here:
  10. Gary Peacock R.I.P.

    With official confirmation, I've once again added R.I.P. to the thread title. I note that the obituary says the family confirmed a Friday death, which means that Jack DeJohnette's initial posting was not wrong -- but suggests he was probably out in front of the family's wishes and that is what caused the confusion.
  11. Gary Peacock R.I.P.

    Given the continuing uncertainty, I removed the R.I.P. designation from the thread heading ...
  12. Gary Peacock R.I.P.

    Jack DeJohnette is reporting on Twitter that Gary Peacock has died.
  13. Bob Hurst’s band Black Currant Jam is exceptional. I think they play Sunday night.
  14. Tonight through Monday. Free streaming. Not the same as usual but strikingly ambitious and way more than anyone else has been able to do.