jimi089

I'm looking forward to seeing her in several different contexts when she plays in Chicago in May. She's doing one chapter from her Coin Coin project, playing with Mike Reed and Tomeka Reid at the Velvet Lounge and doing a set at the Chicago Cultural Center noon series with Jim Baker and Marcus Evans.

Yeah, it's a weak designation. On one hand I understand the inclination to attach it to some genre that is known, but on the other hand it sells a lot of people short who are interested in the actual roots and history of the music.

Last night I went to see Etran Finatawa at the Old Town School of Folk Music here in Chicago. Some info on them from their website: The desert nomad blues style is definitely reminiscent of elements of Tinarewen's style, but it's definitely different. Very deep grooves and hypnotic melodies. They played two sets and both of them went by in the blink of an eye. I picked up their album: I haven't listened to it yet but if it's anything like the live show it will be great. I'll report back after I've listened.

Yeah, I had heard that he had made a move to New York. Anyone going to the record release tonight? I'm not going to make it unfortunately. I'm going to try and catch Nori Tanaka while he's in town at the Velvet this Friday with Jason Adasiewicz and Josh Abrams.

Straight from the Segals, it's looking like a early-mid June reopening. I actually got to see the space today and it is going to be beautiful when it's finished, but it sure ain't there yet.

The good of all of this is that it will help spur innovation and create a market for that innovation in buyers who see the urgency of new technology to patch this ridiculously broken system we've been relying on in regards to fossil fuels. In the mean time though, our wallets are in for a world of hurt.

Yep, that should be a good one. Some local cats are going to be part of that as well. I'm hoping Rudresh will perform elsewhere while in Chicago as well but I'm not sure if his contract with MP allows that. What other info would you like? I can help.

I must admit to being underwhelmed by the whole affair. I've given it a few spins and it's elicited little more than a shrug.

Well, I feel a bit out of my league waxing poetic about Chicago and its sound with the likes of Chuck Nessa, Larry Kart and John Litweiler hanging around, but I'll give it a shot. To my ears, Von is inextricably linked to Chicago, but he also transcends some of those basic characteristics on a regular basis. When I hear him play I hear the entire history of jazz in the course of a chorus, and it's obvious that his experience with Charlie Parker and any other number of jazz luminaries (a group to which Von rightfully belongs as well) have imbued in him an incredible understanding of the whole jazz lexicon. With that said, Von was a contemporary and colleague of Gene Ammons and Clifford Jordan and Johnny Griffin - and that kind of peer influence can't be understated in terms of trying to draw some kind of picture of what a Chicago sound might be. Von also played with Sun Ra and Andrew Hill, and I think the fact that Von turned into such a unique, singular player, is no mistake given the wide range of musical experience available in a city like Chicago. So, I suppose my convoluted thesis here is that Von simultaneously reflects and transcends certain aspects of Chicago in terms of tone and approach. There are tunes I've heard Von play dozens of times and every time he plays them differently, and every time I could identify little strains or phrases that I could attribute to the influence of Chicago or to any number of nationally recognized musicians. I'm not sure where I'm going with this but I thought I'd try.

Very well said Mark. I was at the show and you summed it up perfectly. I could have listened to him keep playing for hours more, what a wonderful concert.

From the Tribune:

http://novometro.com/news_details.php?news_id=2642

Very sad, he was a Chicago treasure for sure.

http://www.youtube.com/watch?v=NVF-0JKLnd4 http://www.youtube.com/watch?v=RNDJF4azgog http://www.youtube.com/watch?v=OFTSm_LX8kE

I hear you about Byrne. He definitely has his flaws, although for all its issues Luaka Bop still did some great things in exposing artists to US audiences. Check out the documentary though if you get a chance - it's very impressionistic and there's not much in the way of heavy handed narrating. The viewer is left to come to their own conclusions to a large extent. Lots of beautiful footage too. I just found that Victor Deme through some other channels and liked what I heard. I'll probably pick up the album when I can get my hands on it.

Fascinating. If you've ever seen the David Byrne produced documentary Ile Aye about the Candomble in Brazil, there's this great image early on of Africa and South America as one continent, part of Pangea if you will, breaking apart and moving into separate continents. The implication of course is that they're inextricably linked, and he explores these connections in the film. Has anyone heard Victor Deme? He's from Burkina Faso and apparently is releasing his first album after a long career as a local musician there - his MySpace page has some clips and it sounds great. Amazon is only carrying the MP3s right now but hopefully the disc will get distribution stateside so I can pick it up.

I'd guess it'll be back soon. Looks like they forgot to renew their domain though.

Well alright! I think I have a mutual acquaintance coming Chuck so I will ask her to introduce us if you don't stick out from the other irritated old farts in the crowd.

Bump up to the top. This is tomorrow!

Well, Acabou Chorare is definitely on a different level than Vamos Pro Mundo - the latter is a fine album, but I'm honestly starting to believe that the former is a masterpiece. Just incredible, joyous, fantastic music. The Nara Leao is great as is the Alaide Costa - the latter is a bit more arranged, with strings and accompaniments, and the former a bit more stripped down and bare. Two fantastic voices though and I've been enjoying them both.

My pleasure! My two most recent purchases in the African music realm are: Ngoma: The Early Years, 1948-1960 and Roots of Rumba Rock: Congo Classics Both of them related to my ongoing education in Congolese popular music. The former is just what the title says, a collection of songs from the Ngoma label in Congo, and the latter is a two disc collection of records released on the Loningisa label in the 50s. The music is similar stylistically on both collections, all coming from the same scene. I find the whole phenomenon of Caribbean musics, which were enormously influenced by African slaves in the Caribbean, being filtered back into Africa and becoming popular music there. It really brings into my mind so many issues of diaspora and cultural affinity. Great liner notes in both. I'm working my way through the Rumba On The River book rather slowly, since listening to the music really makes the reading experience much richer and contextualized. I'm looking forward to finishing it though and collecting some more music along the way.

Went and saw Phil Cohran at the Velvet Lounge last night. It alternated between beautiful and bizarre, with the scales being tipped in favor of the latter on this occasion. We were treated to some classic Cohran rants as well.

Another new release with Ajemian and Tanaka I just found out about - a digital only release of A Cushicle, with Jeff Parker, that plays Tuesdays at Rodan (most recently with Josh Abrams and Frank Rosaly since both Ajemian and Tanaka left town) on Ropeadope Digital.

Yep, I just got it and agree 100%. I spun it twice in rapid succession when I first got it a few days ago and it has been in regular rotation ever since. FYI, Tanaka is going to be back in town in late April/early May for some gigs. And I agree with the liner notes as well, but I wish someone had proofed them since there are some silly errors that could have been avoided.

An interview with Ms. Mitchell about her upcoming release on Firehouse 12 and some other topics.