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ctuck1

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  7. George Lewis - Rainbow Family

    in New Releases

    Posted · Edited by ctuck1

    I could be wrong.  Perhaps this has been released before.  

    As I've learned, George Lewis was sponsored at IRCAM in the early '80s.  His studies there culminated in a May 1984 sound project with Lewis operating three midi-networked Apple II computers linked to Yamaha DX7's which "interact" with invited guests in a series of performances.  These guests were Doug Ewart, Derek Bailey, Steve Lacy and Joëlle Leandre.

    It seems this series of performances was broadcast on TV in Europe at the time; until now they've not been released as sound recordings.

    Now available from Carrier Records on Bandcamp at:

    https://carrierrecords.com/album/rainbow-family

    I think it’s pretty cool.

     

  14. So, What Are You Listening To NOW?

    in Miscellaneous Music

    Posted

    12 hours ago, JSngry said:

    41TCRRFYDRL._SX300_.jpg

    This is a good record too, albeit in so many different ways as to make comparisons as irrelevant as they are unnecessary (or vice-versa?).

    I like to come back to this ever year or so for a few reasons, the foremost of which is that I like it a lot, but the second is to find the bottom/back of Spector's Wall. No luck to date! Plus, I just like thinking about Hal Blaine playing on all those LA pop records and never being less than a total boss. AFAIK, Spector never doubled him, never had to, just put him there and let him be Hal Blaine.

    If Hal Blaine & Randy Weston can't be appreciated for the unique triumphant human accomplishers they are, totally different except for being total badass accomplishers of their own abilities and ambitions then humanity is spiritually slow-fucking itself into extinction.

    And oh yeah, the post "Waling In The Rain" records are really interesting, period.

    Plus you have the lovely Veronica kicking errybody’s ass.

  16. Don Cherry in NYRB

    in Jazz In Print - Periodicals, Books, Newspapers, etc...

    Posted

    18 hours ago, Larry Kart said:

    One line in this piece stopped me in my tracks. Dealing with the period of Cherry's latter-day physical decline and return to heroin, Adam Shatz writes: "His old bandmate Gato Barbieri passed him on the street and pretended not to recognize him."

    Sure sounds mean of Gato, but unless Barbieri himself said that he did that, or he told someone whose word can be trusted that he did that, how the the heck does Shatz know that Gato "pretended" not to recognize Cherry when he passed him on the street? And then in the next sentence Shatz writes that William Parker, seeing Cherry  on the Lower East Side, "mistook him for an elderly Chinese man." So others who knew Cherry didn't recognize him in his last years, but Gato "pretended" not to? I don't get it.

    Shatz’s piece falls in the category of “this is more interesting than most the shit I’m reading.”  Regrettably, that’s a pretty low bar.  Seems a little thinly sourced to me.

  18. Charlie Rouse redux

    in Artists

    Posted

    For all you Monk/Rouse lovers/haters, there is a newly-discovered (to my knowledge) recording of an appearance the quartet made at the Odd Fellow Palæet (Mansion) in Copenhagen on March 5, 1963.  Rouse, Monk, John Ore and Frankie Dunlop. 
        
    1. Bye-Ya
    2. Nutty
    3. I'm Getting Sentimental Over You
    4. Body Soul
    5. Monk's Dream
    6. Nutty, Pt.1     
    7. Nutty, Pt.2

    It's being released by Gearbox (as I understand it with the permission of the Monk estate) this Friday, the 28th.

    Available at bandcamp: https://theloniousmonk.bandcamp.com/album/m-nk

  20. Wayne Shorter in the New Yorker

    in Jazz In Print - Periodicals, Books, Newspapers, etc...

    Posted

    On 8/27/2018 at 7:25 PM, JSngry said:

    oh god, here I/we go again...broken recod, same song, different verse...

    Super glad that Wayne is getting bigger and better props as time goes on, and I'll reluctantly cede that the cheesy title of this article is "right for the times", but I really do not understand why an article about "The World's Greatest Living Jazz Composer"( and do you love that arc? World's to greatest ULTIMATE! and then work downwards, living, to jazz, to, finally composer, from the peak to the valley, such a tribute!) anyway, I do not get why this is the premise of such an article, nor why it is pursued with such vigor.

    His first three records as a leader for Blue Note display especially thrilling powers of transmutation. Shorter’s done a lot since, but, on the occasion of his birthday, many fans—and especially many musicians—will be reaching for “Night Dreamer,” “Juju,” and “Speak No Evil” to celebrate and give thanks...Pressure creates diamonds. In the liner notes to “Night Dreamer,” Shorter says to Nat Hentoff, “I knew that for my first album for Blue Note, I had to create something substantial!” “Night Dreamer” was tracked on April 29th, “Juju” on August 3rd, and “Speak No Evil” on December 24th. It’s intensely personal art, music that could only have been created by Shorter. But one could also say that “Night Dreamer” is in the style of a Blakey album, “Juju” is a Coltrane album, and “Speak No Evil” is a Davis album. These explicit references help explain why this trilogy is so beloved among musicians, who revel in how Shorter puts his own imprint on these major influences....

    Yes, they're great albums, and yes those compositions are "beloved" (I found a Hallmark card that said "Dear Wayne, Speak no more juju, just keep dreaming those night dreams, love, a jazz musician", but what's this with seeing them as Blakey/Coltrane/Miles albums. I really had never thought of them like that before, nor does it really occur to me to do so now. It's kinda creepy?

    There are so many great Wayne compositions, so much evolution, so much ever-broadening vision, and all this guy can do is pimp three Blue Note records? Shit, I wore those records out back in the day, but I can't remember the last time I've "reached for" them. If anything, I'll go for Super Nova or "Elegant People" or "Beauty and the Beast" or those post-WR Columbia albums that everybody hates except a few musicians, or hell, Adam's Apple, the list goes on, from Vee-Jay to To-Day!

    You're paying tribute in a general audience forum to 50+ years of supremely unique artistry and narrowing it down to 3 Blue Note records. I think this cat can do better than that, and I know Wayne deserves better. The guy evolved from a "tune" writer into a real composer but who's ready to go there in the name of "jazz" in They New Yorker? Or too much of anywhere, really.

    You know, just fuck people, fuck people in general. :g

     

     

     

    Hilarious.

  21. Nate Chinen's "Playing Changes: Jazz For The New Century"

    in Jazz In Print - Periodicals, Books, Newspapers, etc...

    Posted

    On 8/19/2018 at 6:10 PM, JSngry said:

    Here's my thing - ok, one side says that "jazz" has to be this. And I get that. And then the other side says, no, jazz can be anything, and although I get that, uh...yeah, whatever. Taylor Swift is anything, and Taylor Swift is NOT jazz, right? Right!

    So either way, "jazz" is no longer a thing as much as it is an object fixed in time, place, and esthetic. If you're gonna be from Antarctica and play jazz, you better to be ready to bring the Charlie Parker and such, and really, why would you want to do that. or more to the point, how could you do that as anything except an abstraction based on what you think you should know? Call it the Grace Kelly Paradigm, play everything, know nothing, and then start dancing because that's something you DO know.

    And ok, sure, that's a starting point. But the "industry" today is so rooted in itself rather than in the communities that organically fertilized and birthed really unique visions with so may variations AND commonalities...I don't know, this shit is just getting too "digital" for me, not technologically, but just in terms of thought. 0s & 1s, nothing in between (when we know the reality that there's EVERYTHING in between), executing code, not writing it (or jsut scrambling somebody else's). Call me crazy, but that's how it feels to me. It's different, and it's  a difference I don't know how much I have it in me to go with over the long haul. Young people, I wish you well, hope you get at least as much out of yours as I've gotten out of mine, but ours are not the same things except for each being our own things.

    Truthfully, given an opportunity to hear a new, young energetic string quartet playing, say, Bartok or Janacek or..anybody but Mozart (LOL) or a jazz quartet that's not really telling me anything that I don't already know, really know, I'm going to the string quartet. Because for me personally, "new" is, like the man said, in the ear of the behearer. There's so much I don't know that...why not? Or, why?

    I'm also quite happy to engage in "post-jazz" musics that seem to come from the gut and brain in more or less equal measure. Because if "jazz" can only be so much, what comes next? Something or nothing? More of the same is not really something, is it? Not a next-thing thing, anyway.

    Gotta go looking for things, but oh well, the more things change...

     

    Amen and thanks.

  25. Ethan Iverson in The New Yorker

    in Jazz In Print - Periodicals, Books, Newspapers, etc...

    Posted

    1 hour ago, JSngry said:

    Well, that's one way to look at it, you know, ooooh, CONTROVERSIAL!!!! I just think he's boring too often for his own good, doesn't get my "teeth on edge" (I guess not, although I don't know what that means, really. my teeth hit on many surfaces that have edges, like a good piece of pie).

    Then again, I'm probably old enough to be his father, don't buy his records, don't read The New Yorker these days, and only read his blog when somebody brings it up here, so, I don't know that he'd really give any more of a fuck about what I think any more than I do him. I was also pissed of about a lot of the things that seem to put his "teeth on edge" (what kind of teeth are we talking here, anyway?) back when they were actually happening, and whatever need to happen to stop it didn't happen, so, really, what's done is done. I don't care if it's Wynton or Ivanton, what's done is done, and if you think there's a future in bitching about it, you're right, but I got better ways to spend my time, like taking the next....

    That train never went off the tracks!

    LOLOLOLOLOL!!

    1 hour ago, JSngry said:

    Well, that's one way to look at it, you know, ooooh, CONTROVERSIAL!!!! I just think he's boring too often for his own good, doesn't get my "teeth on edge" (I guess not, although I don't know what that means, really. my teeth hit on many surfaces that have edges, like a good piece of pie).

    Then again, I'm probably old enough to be his father, don't buy his records, don't read The New Yorker these days, and only read his blog when somebody brings it up here, so, I don't know that he'd really give any more of a fuck about what I think any more than I do him. I was also pissed of about a lot of the things that seem to put his "teeth on edge" (what kind of teeth are we talking here, anyway?) back when they were actually happening, and whatever need to happen to stop it didn't happen, so, really, what's done is done. I don't care if it's Wynton or Ivanton, what's done is done, and if you think there's a future in bitching about it, you're right, but I got better ways to spend my time, like taking the next....

    That train never went off the tracks!

    I think I hear a sample of "Train To Skaville" by The Ethiopians at the start of this Wevers clip.

    Amirite?

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