relyles

I spent the day on Saturday under the tent at the Litchfield Jazz Festival in Goshen, CT. During the ten hours I spent shielded from the threatening rain I heard six performances. There was not a dud in the bunch. The day started with pianist David Berkman in a quartet that also featured saxophone player Dick Oats, bassist Ugonna Okegwo and the very musical drummer Bill Stewart. Solid set featuring interesting compositions by Berkman and very good contributions from all the musicians. Next was Jane Bunnett & the Spirits of Havana. Prior to yesterday I had not heard any of Bunnett's music and this was a pleasant introduction. The group played an infectious brand of Afro-Cuban jazz that in the end made me wonder whether I had just participated in a Yoruba ceremony. It was also obvious that Bunnett has taken the time to investigate this music and create something of substance. For the most part I did not pay attention to the individual contributions of the musicians, but Bunnett did have a couple of interesting solos on soprano. The third group was one of the highlights of the day for me - Mulgrew Miller & Wingspan. Joining Miller were Steve Nelson on vibes, trumpeter Duane Eubanks, Antonio Hart on alto and soprano saxophone and a bassist and drummer that were unfamiliar to me. The group featured pieces from Miller's latest recording on Maxjazz, The Sequel. Miller has the ability to write some gorgeous melodies that provide excellent backdrops for the soloists. On Saturday Hart and Nelson were the stars to me, but everyone played very well. Hart continues to impress me in sideman appearances that I have heard him in and Nelson is simply a genius on the vibes. Great set! Next came Vanessa Rubin with special guest James Spaulding. Rubin has a good voice and sang some interesting songs (although I am not sure how I feel about her rendition of the classic R&B tune "With You I'm Born Again"), but the energy level of her set skyrocketed when James Spaulding came on stage. He first played two tunes with Rubin's trio - Horace Silver's "Nica's Dream" and Joe Henderson's "Recorda Me" - and then played a couple of numbers backing up Rubin. He is a terrific musician and its a shame more people are not listening to him. After the set I spoke to him briefly and he was very gracious. When I told him that I went to college with his daughter and that I had purchased his self produced recent CD on his own Speetones label several months ago he was even just a tad bit more friendly to me. After what I presumed to be the dinner break the evening performances started with the Heath Brothers - featuring all three Percy, Jimmy and Tootie along with Jeb Patton on piano. Very enjoyable set by three masters of the music. They have basically been playing the same songs for a long time ("A Sight For Sore Ears" and "Gingerbread Boy" to name a couple), but what made this performance special in addition to their superb musicianship was the joy they exhibited while playing. Every now and then it is a pleasure to witness someone who really enjoys what they are doing to draw you into the performance. And by the way, Jimmy has a potential career as a standup comic if he ever decides to put his horn down. The final act of the day was the Wayne Shorter quartet with Danilo Perez, John Patitucci and Brian Blade. The one or two times I heard this group's Verve Release Footprints Live I honestly was not feeling them. Shorter did not seem to be playing much sax and I found it difficult to get into the overall sound. In person this group presents a completely different experience. In the beginning of their performance I had my concerns - there did not seem to be any easily recognizable form to the music and Shorter still did not seem to be playing much of his horn - but as I listened further I found myself mesmerized by their performance. This truly is a group. For the most part no one person was featured and I am not sure whether anyone ever really soloed. Instead they listened closely to each other and just played - feeding and reacting off one another in a nearly telephathic manner. At times it seemed that Perez played something on piano that altered the direction of the music, Shorter picked it up and commented, Patitucci would play a thumping bass vamp to compliment and then all of a sudden Blade would come crashing down on the drums with a thunder that shook the tent. By the way, I have heard Blade live a number of times with Joshua Redman and never took much notice. I realized last night that he is a demon on the drums. I am definately going to have to pay closer attention to him. Overall the level of interplay and creativity of Shorter's group was captivating. When they stopped playing the audience let out a roar releasing the tension that had been building while hypnotized by the intense performance. Wow! A great day of live jazz!

I forgot to mention in my original post that I would love to participate. Like several people mentioned in earlier posts, it is wonderful to learn how people respond to music when the preconceived prejudices associated with knowledge of the musicians are removed. It truly forces you to simply listen.

I recently experimented with a blindfold test on another board. That other board is much smaller than organissimo, so the task of copying and mailing the blindfold test disc to the participants was not very burdensome. In any event the experiment was a huge success. We got some very interesting responses and I think it generated decent discussion. This is not an attempt to promote another board, but if anyone is interested in learning how the test went on a much smaller scale than contemplated here, the link to the thread for the first blindfold test is at http://www.52ndstreet.com/forum/viewtopic.php?t=432. We recently completed a second blindfold test compiled by another board member and today I am mailing out the discs for Blindfold Test #3. Its great fun and I think you all will enjoy it.

It will be worth your investment. It is one of the best jazz biographies I have read and the discography in the back has been an invaluable reference tool. It also provides an enlightening glimpse into the Tristano inner circle. Hope you enjoy.

I will check the discography in the Marsh bio, An Unsung Cat later and see if it has any info. In any event, have you listened to it yet? If so, what is the personnel and more importantly, how is it?

Picked this one up based solely on the recommendation of a friend and gave it an initial listen. Impressed with my introduction to Mayhew's artistry. The disc features Mayhew on tenor and soprano saxophone, Ingrid Jensen trumpet and flugelhorn, Harvie S - bass and Allison Miller - drums and percussion. The disc has a nice mix of standards and originals with an overall contemplative mood. Despite the introspective nature of much of the disc there is enough variety so that the disc does not get bogged down in its own seriousness. There are fresh arrangements of the standard material that hold your interest and put a personal stamp on the interpretations. Comparisions to the sound of the Ornette Coleman quartet are not far flung, but this is by no means an avant garde recording. It does not sound like Coleman's classic quartet, but there is a subtle Ornette type vibe, or edge that appealed to me. The musicians play controlled, logical solos throughout. Mayhew has a full and smooth sound on the tenor. Jensen is very impressive and Miller's rhythmic patterns are dancelike at any tempo. Harvey S. has a deep bass sound and anchors the rhythm well. All in all a very pleasant initial contact and I am looking forward to investigating this disc further.

The one Milestone recording that I am hoping will be reissued some day on CD is Home, a live recording with Woody Shaw. More hard bop based than the other recordings discussed earlier, but one of my favorite Bartz recordings.

Was this recorded? I don't know, but I sure wish it was. I was present and it was a historic concert. I have been keeping my eyes open for a copy in the underground concert trading circles but have never seen it. Would also be nice to hear the opening act - if I remember correctly it was Jason Moran. I am bad with time these days, but I have seen McLean in the Hartford area in the past two years. He performed one of the opening concerts of the jazz series at the newest addition to Bushnell Hall in Hartford with his sextet, including son Rene, who I think came into the country specifically for the performance. Great show and Jackie played with the usual vigor. I also remember that the pianist that night was Marc Cary and he almost stole the show.

Interesting comparison, but I would say no. Have not listened to either disc in a minute, but from my memory Harris' disc focuses on the compositions and IMO the improvisations were not that significant. On the othe hand, although the Jones discs features strong arrangements, there is still a strong element of improvisation with good solos by those participating.

I will just add to the pile of non Blue Note releases worth checking out - If You're Not Part of the Solution, You're Part of the Problem - a live date from the Lighthouse on Milestone with Woody Shaw. Just listened to it again the other day. Very good stuff.

I have recently become a fan of Eskelin's playing. To those of you who shy away from the avant garde I would say give him a listen. He has a very good comman of his horn and he has great ideas. I too am not a big fan of Andrea Parkins, but I would recommend a couple of his other recordings. Forms - trio date with Drew Gress and Phil Haynes Open Loose - Come Back Ahead - with Mark Helias and Tom Rainey Daniel Humair - Liberté Surveillée - Daniel Humair (d), Eskelin (ts), Marc Ducret (g), Bruno Chevillon (bass) Joint Venture - Mirrors - Eskelin (ts), Paul Smoker (tp), Drew Gress (bass), Phil Haynes (d)

I do not have much to add. I enjoyed both of his Blue Note releases. They are different and therefore satisfy different moods. I must second the mention of X Field with Osby. That is the recording that turned me on to Jones and it is very good, highlight by a very good version of a Jackie McLean tune - me thinks "Little Melonae"

Purplesaures Rex - although I don't hink they make it anymore. Now I just mix grape and lemonade.

Concept is excellent.

I saw a special preview last night on the big Odyssey screen. Same old Terminator. Lots of mass destruction, limited dialogue and some new special effects. Entertaining, but nothing extraordinary. T2 was better.

I am not sure whether the poll is where does Hill rank compared to other pianists solely, or where he ranks among artists in general. With that said I can conservatively say that Hill is one of my top five favrotie jazz artists of all time - and it would be only five artists. It is not just his piano playing (which I do enjoy), but a combination of his musicianship, composing and band leading. Simply, IMO Hill is one of the most significant jazz artists to emerge in the past 50 years. I enjoy all of his music from the recordings on Blue Note up to his recent Palmetto releases and everything in between. By the way, if you have not heard it, his Soul Note album Shades must be considered one of the best albums of the eighties and it is also the album that introduced me to Hill. I purchased the LP when I was first starting my investigation of jazz based on a five star review it received from Down Beat. It is worth every star it received and it remains one of my favorite recordings - not just favorite among Andrew Hill recordings - ever. I have also been fortunate to hear Hill perform live on a number of occassions with various personnel and have never left not feeling like I have witnessed anything less than a near historic event. In addition I have also acquired a number of unreleased concert performances featuring Hill and have found them all to be consistently fascinating. If it is not clear yet I will state it clearly. I am an Andrew Hill fanatic. All comments by me should be considered with that fact in mind. Thanks for giving me the opportunity to go on record with my appreciation of this wonderful musician.

Sounds like maybe I should give this one another spin. I also have some of the other Blue Series releases by Shipp and completely concur that each succeeding disc buildings upon the discs before. In fact, when Equilibrium was released I think I read and interview somewhere in which Shipp essentially said it was a culmination of the three or four Blue Series recordings before it.

Very active yahoo group focused on trading of unreleased live jazz performances. http://groups.yahoo.com/group/all_jazz/

I think I am in the minority on this point, but when I first heard this disc earlier in the year the use of electronics/dj did not work for me. This disc without Flam would have been great because Shipp, Jamal, et al play great. The electronics/dj were just a distraction for me and added nothing to the wonderful music they sometimes overshadowed. The musicians involved have made much better music IMO.

I am a fan of Byron's music, but after a recent investigation of many clarinet players I do understand some people's complaint that Byron plays on the high end of the clarinet too much. It would be nice to hear him play more often on the lower range of the stick, which does tend to get a warmer sound.

Very good interview. I am a big Shaw fan and never tire of his playing. For those of you with an interest, I have found board member Michael Fitzgerald's critical discography to be very helpful. Shaw Critical Discography

In addition to the titles already mentioned, the two Ralph Peterson Fo'tet recordings with Byron, Presents the Fo'Tet andOrnettology are both very good. In addition to great playing by Byron, the discs also feature the criminally underrecorded Bryan Carrott on vibes. Byron also has some good spots on a couple of Uri Caine JMT releases, Sphere Music and Toys

Another Warne Marsh recording that I did not see mentioned: Ne Plus Ultra. I am also a big fan of Tenor Gladness with Lew Tabackin. I have a bunch of unreleased Warne live performances. If you look at the discography in An Unsung Cat it lists most, if not all, of the existing unreleased live stuff. I have come by copies of about 15 different performances, mostly from the early 80s and a few from the mid seventies.

I agree that But Not Farewell has more of the edge and sense of adventure that listeners expect from Hill than Eternal Spirit, but I very much enjoy both recordings. Maybe I am reluctant to discount Eternal Spirit's value because I was fortunate enough to catch that group live at the Knitting factory around the time it was recorded or released (can't remember which). Memorable experience!

Shades was my introduction to Hill when the album was first released. Excellent album that started the obsession that has continued to this day! Equally enjoyable as anything in his Blue Note output.