7/4

Looks like we lost a day or so of posts. Not complaining...just lookin'

Sounds dam fine to me!

hello!

punk vibes?

Cool. It's amazing. http://en.wikipedia.org/wiki/Kinetic_art

A reason to go to a NYC record store!

The cat or the record?

I admire how many gigs you go to J Larsen. It reminds me of my days of really hitting it, going to shows constantly. Except you live in town and I was always in transit between NY & NJ. I wish I could live in town.

And how long have you been playing the vibes? Since I was about three years old, so fuck off!!! I have been playing mallet instruments for the majority of what you would call a short life. It has been very much a part of my life up till this point. It was just until recently I decided to put myself out there and focus on the vibes full time, after about 10 or so years of playing drums. Fuck off?

looks kinda familiar.

I'd go for Cindy or Susie. Schwing.

And how long have you been playing the vibes?

June 23, 2007 Music Review | Keith Jarrett Trio A Group That Lives for Understatement By JON PARELES The huge catalog of jazz standards is a cozy, private place for the Keith Jarrett Trio, which returned to Carnegie Hall on Thursday night as part of the JVC Jazz Festival. Mr. Jarrett on piano, Gary Peacock on bass and Jack DeJohnette on drums have been playing together for 24 years, Mr. Jarrett proudly announced onstage. In the concert’s only overstated moment, he added, “Every time we play is a historical event for me, and it should be for you, too.” Otherwise, this trio lives for understatement. Together the three musicians have evolved an approach so delicate that it verges on stealth. Mr. Peacock and Mr. DeJohnette provide a hushed, tiptoeing counterpoint to Mr. Jarrett’s long, singing piano phrases, keeping the music translucent. When Mr. Jarrett states a melody as a series of chords, each note sounds precious and irreplaceable, and when he takes off on one of his graceful linear improvisations, he constantly varies speed and inflection — ambling, darting, sprinting, sighing — in ways he might have learned from Ornette Coleman and Paul Bley. The whole trio plays softly, whether in a ballad or a lightly swinging blues, so that every crescendo becomes an event. Tempo is never rigid; the trio breathes together, lingering or lilting. In their long careers, all three musicians have visited the edges of free jazz, but this trio prizes tonality and the way a single note can recast a chord. Their set included songs as familiar as “Someday My Prince Will Come” and as rarely unearthed as Dave Brubeck’s “It’s a Raggy Waltz.” Mr. Jarrett started “Yesterdays” with a piano solo of chromatically mutating chords, as if he were pondering the possibilities the song held. When he unveiled the melody, Mr. DeJohnette announced its appearance with gusts of whooshing cymbals played with mallets. The trio is also fond of ostinatos, hovering over a chord or two and letting each musician’s part rise out of it in turn: Mr. Jarrett’s harmonic permutations, Mr. Peacock’s springy and teasingly varied bass riffs and Mr. DeJohnette’s carefully orchestrated drums and cymbals. “I’m a Fool to Want You,” a ballad that Billie Holiday sang, arose like a distant mirage out of an intricate modal Afro-Latin vamp, its melody not appearing — and its absence not even noticed — until five minutes in. Eventually the melody was left behind again as the vamp faded out, then back in, then out, with an almost hypnotic suspense. Another Holiday song, “God Bless the Child,” grew out of a rolling, gospel-like riff, topped with the melody in widely splayed chords and later terse but rounded blues phrases, over a rolling funk beat from Mr. DeJohnette. Even at its heartiest, the music held the audience hushed, as if no one wanted to miss a single precious detail.

Man, that's a great album. I just got the CD last Winter.

figures. How the hell did that happen? Youngest of three here and my oldest sister is a fucking loon.

Same for me, except that I would add that I think Cream, particularly those long instrumental jams, prepared me for Mahavishnu I was only 12 or 13 when I heard Mahavishnu, I don't think I heard any the long Cream jams by then. More likely the Allman Bros., Hendrix and Santana.

Funny, but that's exactly what a Hari Krishna said to me once at the airport.

June 22, 2007 Music Review | Bill Dixon A Trumpeter in His 80s Feeds the Fires of His Revolution By NATE CHINEN, NY Times “The new thing, the third great revolution in jazz, has suddenly found its audience.” Whitney Balliett wrote those words in 1965, bestowing a serious subculture with a modicum of approval. By his estimation, jazz’s first two revolutions had been spearheaded respectively by Louis Armstrong and Charlie Parker. The “new thing,” a looser but better term than “the avant-garde,” seemed a bit more surprising in its appeal. What led Mr. Balliett to his conclusion was the success of the October Revolution in Jazz, a new-thing festival held the previous year by a handful of intrepid musicians, and the Jazz Composers Guild, a related artist collective. In both cases the chief organizer was the trumpeter Bill Dixon, though he didn’t receive full and proper credit at the time. This history bears more than a casual significance to the artists and audiences convening this week at the Angel Orensanz Foundation for the Arts for the 12th annual Vision Festival. On Wednesday night the festival honored Mr. Dixon with a lifetime recognition award, acknowledging the extent to which his early efforts still serve as a precedent. There was also the premiere of his latest large-scale work, an untitled hourlong composition that confirmed the depth and vitality of Mr. Dixon’s art. Mr. Dixon, an eminence now in his 80s, played his trumpet in the middle third of the piece. Characteristically, his approach was both inventive and analytical, involving a catalog of textures — variously creaking, chortling or chuffing— along with a ghostly echo effect. Behind him, his 16-piece Sound Vision Orchestra ventured a collective improvisation, drawing from a similar sonic palette. The first half-hour was more orchestral, beginning with a mysterious accretion of timbres. Its prologue was a solitary cry on soprano saxophone, followed by a pitch-bending rumble on timpani. Crescendos gathered, peaked and dispersed, with a bassoon and contrabass clarinet buzzing at one register and a line of saxophones fluttering in another. Repeatedly there was a sharp, sudden quiet, then a free-form solo cadenza. Each of the group’s cornetists — Taylor Ho Bynum, Stephen Haynes and Graham Haynes — took one of these, starting out unaccompanied and ending with full ensemble support. Among other things, Mr. Dixon was exploring a balance of expansion and contraction and letting the players generate any number of internal arrangements. During the final 15 minutes, he drove the group toward full-bore combustion, a shocking release after so much measured tension. His gestures as a conductor were simple and emphatic: seeking more intensity from his drummer, Jackson Krall, he mimed the bashing of a cymbal. At another point, leaning into the saxophone section, he waved both arms and shouted “More!,” inducing the desired effect. Eventually he cut the storm short and cued the final section, an afterimage consisting of ceremonial long tones. Mr. Dixon’s performance was one highlight among many for the Vision Festival; a strong subsequent set featured the pianist Marilyn Crispell, the bassist Henry Grimes and the drummer Rashied Ali. This weekend the schedule will include rare appearances by Ganelin Trio Priority (tomorrow) and the South African drummer Louis Moholo (Sunday). And the Orensanz Foundation will probably be packed, as it was Tuesday and Wednesday. Mr. Balliett might or might not have been right to say that the new music suddenly found an audience in 1965; what matters is that it’s still finding one, and that the feeling of suddenness still applies.

Mahavishnu later lead to A Love Supreme and Bitches Brew.

Happy Birthday!

I hope the patient is doing well today.

Happy Birthday folks!

Oddly enough, when I think of Jazz, I never think of Ron Carter or Jimmy Carter.

Wow, I hope you're feeling better. I spent Saturday in the ER, nothing but fun for me. Bronchitis & bloody nose issues...