cannonball-addict

Much of this CD doesn't have that ECM sound. I think that's largely due to the rhythm section. Also note that this is the first ECM disc in a while to feature all black musicians. matt

Two words: SO HOT!!!!!

Steve Smith has a group of guys that was touring in the last two years called Steve Smith and Buddy's Buddies, supposedly all veterans of Buddy Rich's band. I missed them but heard their live CD from Ronnie Scott's. Didn't really impress me. Baron Browne was good on bass though.

Wow this is so sad. I am almost crying for a guy I saw twice in my life. So much of my favorite jazz in the world had Percy Heath playing bass. Spinning The Last Concert right now. I didn't know so many people had this LP. I thought it was a minor one since it was clearly not their last concert, was it?? any details about a funeral or memorial service would be greatly appreciated as I finish school in a few days.

He really started a lot of careers. I have heard numerous musicians talk about him as having helped them get their starts. Of course this was largely due to him starting the jazz program at New School in NYC. RIP

Listen this morning from 10-Noon Eastern Standard Time (GMT -6:00). I will be honoring Jug for his birthday and playing lots of Brand NEW stuff that very few have heard yet. But expect to take a plunge in terms of stylistic tendencies. And I will have saxophonist-extraordinaire Jeff Coffin (Bela Fleck's saxophonist who is featured in a Players article in April's issue of Downbeat) on the line plugging his Saturday gig in Pittsburgh. http://www.wrct.org - for easiest listening, on the main page when the site loads, use the webstream option that is on the top-left (High).

you must mean happy jammy? the best fucking track I heard from Dave Holland in years!! Well not really but really amazingly rhythmically intense nevertheless.

She was the pianist at a lot of Jazz @ Lincoln Center things where Ed Bradley is the radio host and they broadcast it live or taped it for future specials. A lot of them can be found at http://www.jazzradio.org

The CD where she conducts the DRBB is also amazing. They play the "Ancestors" song and the voicings are amazing in the horns!

I have ALL her albums (like 11) but my two favorites are her self-titled debut studio session on Blue Note "Renee Rosnes" (with her leaning against a yellow wall) because it has all those amazing cats (Branford, Wayne, Herbie, Lewis Nash, Ralph Bowen etc.) AND "Ancestors" (with Al Foster, Chris Potter, Peter Washington, Don Alias, Nick Payton, etc) which is dedicated to her then newly-discovered Native American heritage. -matt

it's up on AAJ now in the CD review center (published march 30 with minor edits)

This show was really amazing and I was very pleased to meet a fellow Org board member. It was most exhilarating when Kurt played "Casa Oscura" from one of Mark Turner's older CDs (possibly Dharma Days), and "Zhivago," the opening track to his 2000 release <i>The Next Step</i>. I have listened to these two at least a hundred times each. The latter because I transcribed Mark Turner's solo on it. It wasn't a particularly loud show. Kurt is really a sensitive player who doesn't seem to feel the need to crank up the volume. He plays very light but intensely and the cool thing is he sings his solos along with himself. Not in the corny blatant style of John Pizzarelli, but in a subtler whisper. Almost as if you're hearing a faint echo. He was accompanied by the great Jeff Ballard on drums, Joe Martin on bass, and the up-and-coming pianist from numerous Josh Redman releases, Aaron Goldberg (who interestingly was reading an Atlantic Monthly during the breaks and after the gig). All these guys are extremely promising musicians and I think there's a lot to come from each of them. Great show. and we're having Ben Monder April 22. So if anyone's in the "tri-state" area (PA, WV, OH), shoot me a line. We'll be happy to have you over. And it's all free!!!! Matt

That was just cuz he was tired of you trying to call the entire set. ROTFLMAO!!!

your friend huh?

updates; addtions; albums sold taken away

Hey hook me up Rooster. Or somebody else, can you send me a burn. I didn't recognize much off 24 and I couldn't find the time to complete a thorough listen. Was too busy preparing to present Kurt Rosenwinkel at my school. Putting on a show like that is HARD WORK. But sooooo gratifying. matt P.S. - PM sent

Check out "Live at the Half Note." What a great session!!! Pepper is killing the competition.

Jazz Kat, Look for yourself. Jazz @ Lincoln Center presents a whole lot more than Wynton and the LCJO these days. Their programming has become much more diverse. The website is http://www.j@lc.org. Check it out. Try a google search for Zankel Hall (part of Carnegie Hall). See their website for their Jazz series. Check out the magazine Time Out New York (also known among New Yorkers as TONY). It is sold on most NYC streets. They have ALL the listings for jazz and any other kind of music you might ever want to hear. regards, matt p.s. do they still do jazzmobile in harlem and downtown?

get ready for a brand new Bad Plus album. It's a live one in Tokyo. I already wrote my review for AAJ but they won't post it til the street date. It is really pushing the limits. actually, why don't I just post my review here too. many of you haven't ever read any of my writing. ---------------------------------------------------------------------------------------------------------------- Blunt Object: Live in Tokyo The Bad Plus | Columbia Records By Matt Merewitz A turbulent foray into experimental terrain recorded live at the Blue Note in Tokyo, bassist Reid Anderson, pianist Ethan Iverson, and drummer David King, who together make up the The Bad Plus, explore a plethora of styles on their third Columbia release Blunt Object: Live In Tokyo. It is most certainly their most inventive, risk-taking session to date; a logical outgrowth of their rock and shock reputation. Can you believe its been over two years now that the Bad Plus broke out with their hit record These Are the Vistas? And in that time, journalists and fans alike have struggled to pigeonhole their sound to no avail. Well, all I can say is you can expect no help from Blunt Object. It’s clear that the Bad Plus digs experimentation. Whether its punk, pop, grunge, garage, or jazz standards, the formula to success for this band is a philosophy that music is universal and applying the standard jazz trio to other categories is just as valid as your typical two guitars, bass and drums. Like Vistas and Give, the Bad Plus’ third album is not for the light-hearted. Another collection of originals and well-known tunes, Blunt Object has stuff previously released on Vistas but the trio breathes new life into these making for a satisfying sonic experience. And honestly, how can the Bad Plus keep things any more interesting than giving us their take on everything from Queen to Aphex Twin, Rodgers and Hart, and Blondie. Starting things off light and ethereal, all of a sudden you find yourself humming a familiar tune. That's right. It's Freddie Mercury's “We Are The Champions” laid out off-kilter in a slow, deliberate fashion. An uptempo romp entitled “And Here We Test Our Powers of Observation” follows with heavy interplay among all three members, but notably from King whose energy really makes the tune what it is. Iverson’s “Guilty” may be an apology for leading the listener down a strange path with much sound and fury, signifying nothing. What starts out a meandering solo piano flight builds into dawdling honky-tonk blues and before you know it you’re back to the land of the free. Blondie’s “Heart of Glass,” another variations on a theme, is rather boring, while a “Flim,” a plaintive ballad by Richard David James (a.k.a. Aphex Twin) is a done as a beautiful ballad (both were featured on the Vistas) The most intense and frenzied tune, however, is paradoxically entitled “Silence is the Question,” which slowly builds to a dizzying climax as the trio blares with great integrity and purpose. Oh, and don't expect “My Funny Valentine” to simplify things. One should expect as much by now. What is most shocking, is that Columbia has given the Bad Plus virtually complete artistic freedom to do this project their way. Sure, there's probably some pressure to record songs people know if only for their crossover potential, but the way such familiar tunes and the originals are being executed by the Bad Plus is very unique. From this execution It is clear that Anderson, Iverson, and King have a deep appreciation for the developments in jazz since the end of bebop; primarily very liberal modifications of time signatures, intense interaction, and a certain disregard for conventional harmonies. Blunt Object on the whole is an exciting album for modern jazz fans (especially for those who also dig other stlyes). But it will most certainly be uninviting for many uninitiated in free music. It might shock some in its artistic self-indulgence and sonic impenetrability. If you’ve ever checked out Ornette Coleman or anything on recently on Pi or Thirsty Ear, Blunt Object is nothing new. But if you haven't, go ahead, take the dive. The water's nice. Track Listing: We Are The Champions (Queen), And Here We Test Our Powers of Observation, Guilty, Do Your Sums-Die Like A Dog-Play for Home, Heart of Glass, Flim, Silence is the Question, My Funny Valentine Personnel: Reid Anderson - bass, Ethan Iverson - piano, David King - drums Style: Modern Jazz/Free Improvisation Review Published: April 2005

I mean. There's really no one else who can hang with Eddie except maybe Gege Telesforo (but Gege doesn't really do vocalese as much as scat). Lambert, Hendricks, and Ross had a few albums that were OK, but nothing compares to Eddie! Go Pittsburgh!!!!!!!! Matt

Isn't that Lena Horne?

I would tend to disagree. He always stayed true to Bird & Diz. Like a true bemopper.

It was the same for me Jazz Kat until I discovered Woody Herman and started buying Woody Herman records/CDs left and right. You can learn so much of jazz' history be listening to this band which still exists today under the direction of saxophonist and Berklee professor Frank Tiberi.

Stitt.

I also picked up one I really dig. It is an LP reissue from 1995 called "Dexter Gordon - Master Takes The Savoy Recordings with Bud Powell Fats Navarro & Tadd Dameron." He doesn't sound anything like he does on the 60s stuff. His phrasing is much smoother. He sounds like Bird on the tenor, not as convincing as Sonny Stitt though. matt