uli Posted December 21, 2017 Report Share Posted December 21, 2017 (edited) https://daily.bandcamp.com/2017/12/21/artist-reflections-jaimie-branch-on-the-surprise-success-of-fly-or-die/ Edited December 21, 2017 by uli Quote Link to comment Share on other sites More sharing options...
mjazzg Posted December 21, 2017 Report Share Posted December 21, 2017 (edited) Thanks for posting this. The album is right up there with the best of the year as far as I'm concerned. Interesting that she's working on patience as I thought she'd taken quite some time to get around to recording as a leader (well done International Anthem - a very good label at the moment). It's nine years since she took my notice with her contributions to The New Fracture Quartet edit to add: just what is in the water in Chicago? So many of my favourite recordings of the last few years (and before) coming from there Edited December 21, 2017 by mjazzg Quote Link to comment Share on other sites More sharing options...
Larry Kart Posted December 21, 2017 Report Share Posted December 21, 2017 "just what is in the water in Chicago?" Among many things -- a remarkable degree of community among the players; decent or better than decent places to play (and you can park nearby), many of them run more or less by the musicians, not by traditional club owner types; relatively affordable places to live (compared to, say, almost any part of the greater NYC area); places to rehearse; relative availability of day gigs if that's what you need to keep things together. Much of this no doubt has to do with the example set by the AACM way back when, but later generations have learned those lessons and made them their own. I can't tell you how many reasonably or more than reasonably talented guys have come to town over the years and then developed a whole lot in terms of skill and temperament in the course of several months because they've been welcomed and stimulated by other talented players. Then, when it comes to the actual music-making, the vibe seemingly is non-competitive; even in the "free-est" most spontaneous settings, the unspoken assumption seems to be "Let us make a piece" -- emphasis on "us." When that happens and works over and over, you got it. Finally, it helps to play in places where the audience is listening, not socializing or getting blasted. Indeed, before every set at one of the mainstay places for more than a decade, the Hungry Brain, the audience is told in a direct but friendly manner that if they want to talk there's a patio area in the back. Similarly with The Hideout -- noisy bar for hanging out in the front, listening area behind closed doors in the back. Quote Link to comment Share on other sites More sharing options...
Chuck Nessa Posted December 21, 2017 Report Share Posted December 21, 2017 What Larry said about the Chicago scene. Jamie's disc is wonderful. Ultimately the original AACM set the stage and Hal Russell brought the white folk in. Quote Link to comment Share on other sites More sharing options...
Larry Kart Posted December 21, 2017 Report Share Posted December 21, 2017 Actually, Jamie is an interesting example of the Chicago scene's cooperative/helping you to find your way atmosphere. Just about every good-sized ensemble i've heard her in, where charts are being played, she's taken on/been given the lead-dog role because everyone knows she can do it -- and this has happened in ensembles where she's far from the oldest/most veteran player. Further, it's no secret (been spoken of by her at some length in an article recently) that Jamie has had some significant substance abuse problems over the years -- those days, it is to be hoped, never to return. But the number of people who did everything they could to help her.... Yes, Jamie is not only a terrific musician, but also a loveable person, yet what it took for her friends (my son among them) to try to deal with all that -- whew. Quote Link to comment Share on other sites More sharing options...
Chuck Nessa Posted December 21, 2017 Report Share Posted December 21, 2017 2 hours ago, Larry Kart said: Actually, Jamie is an interesting example of the Chicago scene's cooperative/helping you to find your way atmosphere. Just about every good-sized ensemble i've heard her in, where charts are being played, she's taken on/been given the lead-dog role because everyone knows she can do it -- and this has happened in ensembles where she's far from the oldest/most veteran player. Further, it's no secret (been spoken of by her at some length in an article recently) that Jamie has had some significant substance abuse problems over the years -- those days, it is to be hoped, never to return. But the number of people who did everything they could to help her.... Yes, Jamie is not only a terrific musician, but also a loveable person, yet what it took for her friends (my son among them) to try to deal with all that -- whew. Good for her. Quote Link to comment Share on other sites More sharing options...
mjazzg Posted December 22, 2017 Report Share Posted December 22, 2017 Thanks for your insights, Larry. From a big distance, that idea of co-operation and mutual assistance comes across strongly on disc. Whilst I can't put a finger on it I also hear a "sound", not rigid or restrictive in any way, one that never seems to lose a "groove" no matter how free it goes. It's no coincidence i think that some of my favourite musicians from the scene are drummers - Chad Taylor, Tim Daisy, Michael Zerang, Mike Reed, Frank Rosaly, Makaya McCraven ao. Quote Link to comment Share on other sites More sharing options...
AllenLowe Posted December 29, 2017 Report Share Posted December 29, 2017 (edited) I gotta say I am bewildered at how well this album has been received; at first I liked what I heard of her work - but then realized she does the same 2 or 3 things on everything she plays. I dunno; it just sounds so amateurish to me. There is one particular solo where she seems completely stumped so instead just noodles, and not in a particularly interesting way. I tried to like that record; just ran out of patience. I will now slink away........ Edited December 29, 2017 by AllenLowe Quote Link to comment Share on other sites More sharing options...
Larry Kart Posted December 29, 2017 Report Share Posted December 29, 2017 3 hours ago, AllenLowe said: I gotta say I am bewildered at how well this album has been received; at first I liked what I heard of her work - but then realized she does the same 2 or 3 things on everything she plays. I dunno; it just sounds so amateurish to me. There is one particular solo where she seems completely stumped so instead just noodles, and not in a particularly interesting way. I tried to like that record; just ran out of patience. I will now slink away........ Good luck on your slinking... Quote Link to comment Share on other sites More sharing options...
AllenLowe Posted December 29, 2017 Report Share Posted December 29, 2017 slink or swim as the saying goes. Quote Link to comment Share on other sites More sharing options...
JSngry Posted December 31, 2017 Report Share Posted December 31, 2017 Is slinking mandated to be a solo act, or can it have company? Glad to hear the backstory and personal triumph, but as far as the trumpet playing.... Quote Link to comment Share on other sites More sharing options...
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