cannonball-addict

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Everything posted by cannonball-addict

  1. Roscoe Mitchell in the Nation

    Who wrote this article? Gene Santoro or Brian Morton perhaps?
  2. I'm sitting here at the office unable to get the Coltrane version of "What's New?" (The Gentle Side of John Coltrane) out of my head. Can anyone recommend some good versions - preferrably from vinyl since I'm sitting right next to an amazing vinyl collection. I should be asking this everyday about a new song but I didn't think of it til now. Peace, Matt
  3. favorite modern large jazz ensembles

    I didn't include the ghost bands or the Lincoln Center band because I don't consider them modern playing much new music. I know I have an East Coast (specifically NY) bias in these choices, but part of my goal here is to have you all introduce me to some other notable big bands out there that are making waves in the jazz community. I have probably left out some obvious choices but please express your opinions. If you would like, you can do an appraisal of all these groups if you know stuff about them! Have fun with this!
  4. #1 Worst

    Yes. There are questions as to whether some of these guys can really be called jazz singers. And please vote honestly. I didn't include Joe Williams, Andy Bey, Jimmy Scott, Jon Hendricks because these guys don't deserve to be bashed.
  5. I don't know much about Sam Rivers besides that he was involved in the Avant-Garde scene with Braxton and Holland and others in the 70s. What is the origin of this band? Can anyone explain who is in it and how it got together. I was just listening to a CD of them that I got out of the public library and I'm really digging it but since I just ripped in onto my computer and then returned the disc, I have no info on it, at least nothing that I can find on AMG or elsewhere. It is called "Inspiration." The soloists (especially both alto players) are BAD!!! Would appreciate any help. Natt
  6. from the Blue Note news site (full disclosure: I am working this set to bloggers and podcasters) CHARLES MINGUS SEXTET WITH ERIC DOLPHY CORNELL 1964 - AVAILABLE JULY 17 BLUE NOTE RECORDS PROUDLY ANNOUNCES CHARLES MINGUS SEXTET WITH ERIC DOLPHY - CORNELL 1964 A remarkable never-before released concert from Cornell University in 1964 that captures the bass master at a creative peak with one of the finest ensembles of his career. The 2-disc set features inspired performances of Mingus classics such as "Fables of Faubus," "Meditations," and "So Long Eric" when the piece was still a living celebration of Dolphy, just 3 months before the iconoclastic reedsman was to pass away at age 36. CHARLES MINGUS - bass ERIC DOLPHY - alto saxophone, flute, bass clarinet CLIFFORD JORDAN - tenor saxophone JOHNNY COLES - trumpet JAKI BYARD - piano DANNIE RICHMOND - drums Release date: July 17, 2007 IT'S TRULY UNBELIEVEABLE THIS HAS NEVER BEEN OUT BEFORE. matt
  7. David Torn, Prezens

    I went to this show last night at Philadelphia Clef Club. Everyone in the band rocked except Torn. He was just playing with his fucking sampler the whole time and occasionally playing a semi-inspired riff. The highlights were Michael Formanek & Tim Berne (on baritone sax) performing their world premiere of "The Offbeat Manifesto," and Taborn playing with all his "toys." Torn benefits from a lot of hype as a producer. As a musician, there's just not much there (that I hear).
  8. still alive

    I used to be cannonball-addict.
  9. still alive

    hey organissimo board people, it's been a while but I wanted to update you guys on my status. I am in Philly working as a music publicist (since June of last year). It would be a conflict of interest for me to post in many of these topics since I work for a lot of different labels and artists. but I will be commenting in the coming weeks again with full disclosure whenever it's appropriate. ok...good to be back, Matt
  10. Henry Threadgill & Zooid at the Jazz Gallery

    Was the drummer Elliot Humberto Kavee or Tyshawn Sorey? Both are fucking killer but different gigs, Threadgill uses different guys. I saw this band in Philly last March and it was a truly transformative expierience. They had a lot of room to spread out in their semi circle with Threadgill at the conductor's podium sometimes conducting but mostly playing sax and flute facing the audience. I can imagine this was somewhat cramped at the Jazz Gallery but it would be interesting to see that band really up close.
  11. Classical Music Forum Poll

    I would call it a "new music" forum but my vote is YES.
  12. Sam Rivers Marathon on WKCR

    It's all supposed to culminate in a reunion of the trio with Rivers, Dave Holland and Barry Altschul at Columbia University's Miller Theatre (2960 Broadway at 116th St.). I'm definitely going up. details from their website. p.s. speaking of Altschul, he is coming to philly to play with Billy Bang and Joe Fonda as the F.A.B. Trio June 1 at the International House at 3701 Chestnut St. (right near UPenn). It's a double bill with Rudresh Mahanthappa's Codebook (w/ Vijay Iyer - piano, Francois Moutin - bass, Dan Weiss - tabla, drums).
  13. New Bobby Hutcherson

    this label is one I work with. I will be as objective as possible. this record is bobby's first in 8 years. he will be at the blue note in NY May 29 - June 3 in support of the record though it doesn't hit stores until June 19 in the US. the band is very good (renee rosnes, dwayne burno and al foster) - it was recorded right after a run the group played at Dizzy's in NYC this fall. and that will the be group at the Blue Note too. richard seidel, formerly of the Verve A&R department produced this record. the mark soskin record is a studio session with chris potter, john abercrombie, john patitucci and bill stewart. it doesn't get much more all-star than that. ok. enjoy.
  14. BFT46 main disc. Discussion thread

    You're quite right - it's neither BJP nor Zorn. Everyone should know this sax player - but few do, unfortunately. There are so many great jazz musicians in that position, arent there? I haven't looked post the first page of this thread OR heard the disc but could track 1 be Ned Rothenberg or Andrew D'Angelo or Gianni Gebbia? Matt
  15. Woody Allen

    I think Woody Allen is great. Besides being a godawful clarinetist, he has had some great music in some of his movies including Radio Days and Mighty Aphrodite. My favorite routine he used to do is "The Moose." Any other recommendations of his movies? Soundtracks? Comedic routines?
  16. Upcoming Concord/Fantasy releases

    They are putting out a lot of great stuff this year. One I'm looking forward to is Clark Terry's Serenade to A Bus Seat.
  17. Moutin Reunion Quartet

    Any thoughts? I have had this in my car for a few days now. I like their approach. Nothing new. It just swings really hard. Margitza has been long forgotten by anyone who bought his Blue Note stuff including Blue Note itself, but the guy has some serious chops/ideas. And he doesn't always sound like Brecker on this one. Also this pianist is ridiculous. I saw them at the JazzWeek Conference in Syracuse. They do this song where the trio is just cookin at some ridiculous tempo in like 7 or 12 or something and Margitza's tenor comes in just swingin' like simple and somehow the sounds just meld immediately. Its some kind of crazy polyrhythmic thing where two totally different things meet on the other side. Also, Francois took the sickest bass solo I've ever seen at that concert in Syracuse. And Louis drums REALLY QUIETLY BUT WITH SUCH PANACHE. It's really quite something. I recommend all your DC folks go see them on the Mall next weekend at the inaugural Washington DC Duke Ellington Jazz Festival. Also appearing are Jerry Gonzalez & The Fort Apache Band, Wayne Shorter's quartet and Brubeck.
  18. Youtube.com

    Not on YouTube, but still totally worth it! http://mingusmingusmingus.com/MingusBands/footage.html Dig Kuumba Frank Lacy, Craig Handy, John Stubblefield, Eddie Henderson, Boris Koslov, Conrad Herwig, etc. etc. So many talented players have passed through these bands over the years.
  19. Charles Mingus, Music Written for Monterey 1965,

    Here is the official word from MingusMingusMingus.com (Sue Mingus' official website for all things Mingus). Note: it discusses both Music Written for Monterey Not Heard... Played in its Entirety at UCLA 1965 AND the concurrent release by the Mingus Big Band Live in Tokyo 2005: Charles Mingus lives! Although the late composer and bassist passed in 1979, as we approach his 85th birthday year, the complex, passionate, and supremely personal compositional work lives on through the frequent performances and recordings of the bands his widow Sue Mingus has assembled - the Mingus Dynasty, the Mingus Big Band, the Mingus Orchestra, and the Epitaph Orchestra - and through upcoming releases of landmark Charles Mingus performances, available for the first time on CD. Two live recordings, Music Written for Monterey, 1965 Not Heard...Played Live in Its Entirety at UCLA and Live in Tokyo at the Blue Note, 2005 will be released simultaneously Sept. 26 on Sue Mingus Music, distributed by Sunnyside. One documents the jazz giant in 1965; the other documents the big band that bears his name, forty years later. But more than mere historical documents, both provide a rare glimpse into the creative process of the maestro and composer, and the musicians that live and breathe new life into his music today. Music Written for Monterey, 1965 Not Heard...Played Live in Its Entirety at UCLA captures Mingus leading an octet performing at the University of California, Los Angeles. To expand the story of the title: Mingus had triumphantly performed at Monterey Jazz Festival in 1964, and returned the following year with a collection of difficult new material that he intended to debut there. However, Mingus' set was truncated to a half an hour, and most of the set list was scrapped. A week later he premiered and recorded the material at UCLA, which demonstrates in raw, you-are-there detail why Mingus liked to refer to his live shows as workshops, where he could continue to rehearse new material (not written down for the other musicians) until he was satisfied with the spirit and sound. That this "workshop" concert was also recorded opens a window on Mingus' creative process, and the listener is privy to the inner workings of the composer, his outward shouts and reprimands. It is an unvarnished behind-the-scenes look at the struggle Charles Mingus sometimes faced in his efforts to get his demanding compositions performed. It includes musical confrontations on stage, the difficulties band members experienced with brand new music, his own furies and, ultimately, his refusal to edit out the warts, to tell it like it was. This fearless exposure of the creative process in all its contradictions had led earlier to his concept of the jazz workshops- performances on stage in which the trials and errors of creating music were presented to viewers, unedited. He also understood the fascination with "process" for an intelligent audience. "All these years I've been trying to promote Mingus the composer, and downplaying Charles the larger-than-life character," Sue laughs. "By putting this CD out, here I am playing right into that image of Charles. But what eventually transpires after the musical fist fights, extraordinary solos, hirings and firings and a feast of new composition - is musicians achieving incredible musical heights as they resolve their conflicts in the fire of the music." Released by Mingus' own label forty years ago, Mingus pressed only 200 copies before he ran out of money, and then the masters were destroyed in 1971 when Capitol cleaned out its vaults. This two-disc CD was re-mastered from the original vinyl. (Sue Mingus and Fred Cohen also issued a limited edition version of the LP in 1984.) In the liner notes to At UCLA Sue writes, "It should be obvious that no established record company at that time, or any other, would have released a recording with so much dissension and so many irregularities. Mingus opted for the truth of the performance, and we witness not only the flaws and failures but the sheer joy as he shrieks his approval, encourages his drummer, exhorts his trumpet player and jumps from the piano chair to the bass and back in order to conduct his compositions." Mingus's band included trumpeters Hobart Dotson, Lonnie Hillyer and Jimmy Owens; alto saxophonist Charles McPherson; French horn player Julius Watkins, tuba player Howard Johnson; drummer Dannie Richmond; and Mingus on bass. Tunes included "Meditation on Inner Peace," "Don't Be Afraid, the Clown's Afraid, Too," and "Once Upon a Time There Was a Holding Corporation Called Old America" (a later version was titled "The Shoes of the Fisherman's Wife Are Some Jive-ass Slippers"), and a rare opportunity to hear Mingus perform on otherwise unavailable compositions "They Trespass the Land of the Sacred Sioux," "Don't Let It Happen Here," and "The Arts of Tatum and Freddy Webster," and arrangements of "Muscrat Ramble" and a be-bop medley, "Ode to Bird and Dizzy." -------------------------------------------- the best part of this set is when Mingus fires most of the band when they screw up "Once Upon a Time There Was a Holding Corporation Called Old America" and they attempt to play it twice before he calls the band back when they finally read it correctly the third time. Hilarious! A must have!!!
  20. BFT 38 - Disc Two Answers

    1. "Time To Smile" by pianist Freddie Redd featuring Jackie McLean from the Blue Note album Music from "The Connection" 2. "Pat 'N' Chat" by tenor saxophonist Hank Mobley from the Blue Note album The Turnaround! 3. "Bright Mississippi" by pianist Renee Rosnes from the Blue Note album With A Little Help From My Friends 4. "More Than You Know" by baritone saxophonist Nick Brignola from the Reservoir album Like Old Times 5. "John Denver" by saxophonist Chris Cheek from the Fresh Sound New Talent album Blues Cruise 6. "Godsend" by tenor/soprano saxophonist Jimmy Greene from the RCA Victor album Brand New World 7. "Bonus Round" by tenor/soprano saxophonist John Ellis from the Hyena album One Foot In The Swamp 8. "Madame Toulouse" by saxophonist Michael Brecker from the Impulse! album Two Blocks From The Edge 9. "Big Top" by tenor/soprano saxophonist Chris Potter from a Live Show at the Bimhuis (Amsterdam, The Netherlands) 10. "Big Top Continued" by tenor/soprano saxophonist Chris Potter from a Live Show at the Bimhuis (Amsterdam, The Netherlands) in-depth info to follow sometime soon when I get a chance.... matt
  21. BFT 38 - Disc One Answers

    The answers to Disc 1: (comments w/ sidemen will follow sometime soon) 1. "A Joyful Noise (For JW)" by pianist Bruce Barth from the MaxJazz release [n]East And West 2. "I Think My Wife Is a Hat" by bassist Steve Swallow from the XtraWatt release Deconstructed 3. "Carla'nin Ikinci Tangosu" by pianist Ayse Tütüncü Üclüsü from the EMI Turkey release Panayir 4. "Song For Midwood" by pianist Vijay Iyer from the 2005 Savoy Jazz release Reimagining 5. "Thirty Foot Ceiling" by pianist Jim Ridl from the 2005 Dreambox Media release Door In A Field 6. "Rather Not" by bassist Emmanuel Vaughn-Lee from the 2005 Fresh Sound New Talent release Previous Misconceptions 7. "Paz" by trumpeter Tom Harrell from the 2003 Bluebird release Wise Children 8. "Fleure" by pianist Bryn Roberts from the 2005 Fresh Sound New Talent release Ludlow 9. "Radio Dial/These Foolish Things" by pianist Michel Petrucciani from the Dreyfus Jazz release Au Théâtre des Champs-Elysées 10. "Unknown" by guitarist Jim Hall Quartet with Greg Osby from a live artist-recorded bootleg recorded at Umea, Sweden on October 26, 1991 11. "Ting For Ray" by bassist Reuben Rogers from the 2006 self-released album The Things I Am COMMENTS TO FOLLOW SOON!
  22. BFT 38 - Disc One Answers

    5. "Thirty Foot Ceiling" by pianist Jim Ridl from the 2005 Dreambox Media release Door In A Field This is a CD that I was hipped to by my radio gig at Princeton University this summer. Ridl is a Philadelphia local who has played with a lot of national names but still keeps his home base in Philly. I understand he journeys up to NY often to play with saxophonist JD Allen. This track is a really infectious hip-hop-ish groove that I really enjoyed from the first moment I heard it. I understand it can be a bit repetitive but I really like that ostinato thing in his left hand. The bassist is one of the young stars of the instrument today - Daryll Hall (winner of the 1995 Thelonious Monk Competition for Bass). The string section I don't care for so much on this CD but Ridl plays his ass off. A nod to a local guy basically... Matt
  23. Forthcoming Blue Note projects

    http://top40-charts.com/news.php?nid=25677 Jazz (2006-08-08) Blue Note Studio Update: August 2006 New York, NY (Blue Note Records) - Kenny Burrell: The guitar legend and Blue Note alum spent last week at Yoshi's Club in Oakland, CA celebrating his 75th birthday and Blue Note was there to record it. The stint featured Kenny's working band with special guests Hubert Laws on flute and Joey DeFrancesco on B-3 organ. The last night of the week featured Burrell with the Gerald Wilson Big Band. The material will be mixed and mastered later this fall. Steve Kuhn Trio: A consummate and swinging pianist, Steve Kuhn last made his first appearance on Blue Note as a sideman on drummer Pete LaRoca's 1965 classic 'Basra'. In 1986 Kuhn had a very special trio engagement at the Village Vanguard featuring Ron Carter on bass and Al Foster on drums. The power trio celebrated the 20th anniversary of this gig last month at Birdland and Blue Note rolled tape on the set of orginals and standards including Fatz Waller's 'Jitterbug Waltz 'and Charlie Parker's 'Confirmation'. Kuhn will mix and master the material later this month. Kenny Werner: The unsung piano hero is recording his debut for Blue Note on September 5th-7th in NYC. The date will feature Werner's very personal writing performed by the all star collective of Chris Potter on saxophones, Dave Douglas on trumpet, Scott Colley on bass, and drummer Brian Blade. Jacky Terrason: After a brief hiatus Terrasson will be recording his next effort for Blue Note in October. For the first time ever, Jacky will be recording a solo piano album that will include a range of repertoire from standards to new originals. Wynton Marsalis: Went into the studio last month to record his fourth release for Blue Note. This time around Marsalis documented an extended work still in progress entitled 'From the Plantation to the Penitentiary'. Wynton's working quintet was joined by young chanteuse Jennifer Sanon on vocals and Delfeayo Marsalis produced the affair. They will mix and master in mid-September. Joe Lovano & Hank JonesL Off the success of Joe Lovano's two wonderful quartet records featuring the legendary Hank Jones we have embarked on this special one-off album. Lovano & Jones performed as duo the week of April 25th at Dizzy's club @ Jazz at Lincoln Center and we ran tape for this joyous encounter. The material was mixed in June and will be mastered soon. Charles Tolliver: One of the stalwarts of the avante-bop scene of the 1960s, trumpeter Charles Tolliver's direct link to Blue Note's history is the trumpet chair he held in Jackie McLean's group of that decade. In the 1970s he began the Strata-East label with pianist Stanley Cowell and after 5 years of putting out fine records he maintained a relatively low profile until he formed his stunning big band in recent years. The ensemble, which contains a who's-who of jazz musicians from the past three decades, recorded this past June at Bennett Studio in New Jersey. Charles will be mastering soon. Billy Strayhorn Documentary Soundtrack: In the fall of 2004 Blue Note teamed up with documentary Producer/Director Robert Levi who is following up his Duke Ellington film with a piece on Billy Strayhorn. Levi and crew filmed Blue Note artist performances at Bennett Studios in New Jersey which will be part of the documentary film as well as make up our album release. Featured roster mates include Joe Lovano, Bill Charlap, and Dianne Reeves who each covered four Strayhorn pieces. Special guest Elvis Costello also recorded a version of the Strayhorn classic 'Blood Count' accompanied by Lovano and Charlap. The film is in post-production and we have recently received the final mixes of the soundtrack. Amos Lee: Has put the finishing touches his sophomore release for Blue Note. The Philadelphia native recorded in both his home city of Philadelphia and in Los Angeles with the assistance of producer Barrie Maguire. A prolific writer at 27, Lee whittled down a wealth of great new material he's penned since his successful debut and mixed the tracks last month in NYC with mixer Kevin Killen. The album documents the diverse and soulful stylings of this exciting young singer/songwriter who is growing artistically by leaps and bounds. Special guests include vocalist Lizz Wright and slide guitarist Greg Leisz. Norah Jones: Is currently in the studio recording her third album for Blue Note. This time around Norah's showcasing her continual growth and expansiveness as an artist by writing the material for the album. The record will feature her working band along with a number of special guests to be announced. The date is being produced by Lee Alexander. Suzanne Vega: We are pleased to announce the signing of Suzanne Vega, one of the most distinctive & successful female singer/songwriters of the past 20 years. Since her last album was released in 2001, Vega has been writing new material in her signature style of poetry meets pop. There is an intriguing theme of New York City interwoven into many of the new songs which Suzanne is currently laying down in demo form. We will be recording early this fall with producer and special guests TBD.
  24. BFT 38 - Disc One Answers

    4. "Song for Midwood" was chosen simply becuase I think Vijay Iyer is one of the most enthralling composer/performer/improvisers in jazz. He is a thoroughly studied, yet always in-the-moment musician whose ability to evoke so many dense moods is virtually unparalleled among his peers (i.e. those in his age group). I truly think Vijay holds a ton of promise for the future of jazz. Same goes for Rudresh Mahanthappa. These two guys have really got something amazing going on IMHO. I also really dig "Infogee Dub," "Phalanx," and This particular recording was my #1 pick of 2005. I played this so much on the radio the listeners had it memorized just as well as Vijay, Rudresh, Stephan Crump, and Marcus Gilmore (who is Roy Haynes' grandson - also a very special drummer). Matt
  25. BFT 38 - Disc One Answers

    A start....more coming Bruce Barth - A Joyful Noise (For JW) composed by Steve Wilson MaxJazz 2001 Barth - piano; Terell Stafford - trumpet; Steve Wilson - alto/soprano saxes; Ugonna Okegwo - bass; Al Foster - drums Bruce Barth is one of my favorite living pianists playing straight-ahead jazz. For my money, he's just as good as anyone out there (save Dave Burrell, Vijay Iyer, and Herbie Hancock - but none of these guys fit nicely into any one sub-genre of jazz). I put him up there on the level of pianists like Mulgrew Miller, John Hicks, Kenny Kirkland, Jacky Terrasson, Frank Kimbrough, Kevin Hays, Rick Germanson, Michael Weiss, Dave Kikoski, etc. This is a recording I purchased online after seeing Bruce play with a saxophonist named Tim Armacost in DC at Blues Alley. His technique, craft, and soulfulness blew me away. I will never forget that night because in a moment of intense improvisation, the piano bench gave way and he fell backwards off the stage. With Steve Wilson and Terell Stafford as well as Al Foster on the drums, this band is unstoppable. "A Joyful Noise 'For JW'" was written by the saxophonist Wilson. The latter part refers to the late James Williams, whom many of the cats on the NY scene today both miss a lot and owe a debt of gratitude (for his unending support and caring for young musicians). Wilson (who came to prominence playing with Chick Corea, Dave Holland's Quintet, and with Mulgrew Miller. He recently replaced Tim Ries in Maria Schneider's reed section (in the Alto 1 chair). I wanted to include some music from his CDs as well but I thought this song best represented his sound and style. But some would appreciate his alto playing more, which is equally if not more fiery. I recently saw Wilson with org board member Michael Weiss at the Kitano Hotel in NY and the band was really smokin'. Weiss and Wilson have a long working relationship that Mike can tell you more about. Steve Swallow - Deconstructed (WattXtraWatt) Personnel: Swallow - elec. bass; Steve Cardenas - elec. guitar; Chris Potter - tenor sax; Ryan Kisor - trumpet; Adam Nussbaum - drums This track was chosen by mistake. I meant to choose another track off this CD called Lost in Boston but oh well. I am not terribly partial to this track but I do very much enjoy Steve Swallow's bebop for the electric bass writing style. And these players - Chris Potter, Ryan Kisor, Steve Cardenas play the parts very well. My favorite Swallow disc which I didn't include here because I thought it would be too obvious and since I already included Potter in the BFT elsewhere (as a leader). But Adam Nussbaum's ability to really groove with Steve is remarkable. On the electric bass, I don't think there's been any better player since Jaco passed. Ayse Tütüncü Üclüsü - Panayir The inclusion of this track is explained above. It's spooky and I like that in my jazz. I also like celebrating jazz' international status as an art form. I always love discovering cats in other countries that I am totally no hip to. It amazes me the amount of music that we have no clue about that is always being made. This is part of a much larger connundrum of the vacuum in which jazz exists within the greater lexicon of music (recorded and unrecorded)....spooky...