Lazaro Vega

Cool Ubu -- thanks for the word. She's new to me. David, please post your impressions so I can share them with the Michigan Improv mailing list and get some folks into the UICA for this one.

There's a new one on Steeplechase, recorded at Horace Parlan's house (2002/3?) by the bassist Jesper Lundgaard and including Ed Thigpen on drums, called "Relaxin' With Horace" which is lovely, especially the version of "Theme For Ernie."

"Clink clink clink, house boy or stud? clink clink clink." Oh wait, that's another movie, and another whisjeskey. The Funny Rat thread. Have heard of the "Dried Rat Dog" by Brotzmann and Hamid Drake, but not the Funny Rat thread.

Yes and Yes. Thank you. Like I said it had been awhile since I listened to it. Homegoing was a performance from that disc which shook it up some.

Dave, the thing I notice about Rob is that he may play "out" in some ways, but he'll always end whatever he's doing to meet the changes (and as a flutist he reminds me of Jeremy Steig that way). He's a player coming from John Gilmore and Joe Henderson so his hook up with John Tchcia (sp) makes sense, though JT has had so much more experience. LV

Recently did a program on Air and flew together Ornette Coleman's "Mind and Time" with Sonny doing "It's All Right With Me" (for velocity) and "No. 2" on "Air Time" from Nessa. That really spoke to me -- the Coleman/Rollins contraction of approaches in Threadgill's sax at the time, and the incredible interdependancy of the group concept, the way they'd slide off into a seemingly from out of nowhere accelerando within a high energy melody-rhythm based improv, or during a melody-rhythm based section let those two elements vie for primacy in the performance, creating a sense of daring do, or something like a musical elements horse race that appears to be "out" but is in fact occuring within structure. (This is all from hearing "No. 2" recently: I've yet to segue "No. 2" with Threadgill's later "Paper Toilet" or "Salute to the Enema Bandit" but that is another story). "Subtraction" is a different trip all together, and "I'll Be Right Here Waiting" sounds like something for Mario Lanza! Really, that IS operatic. I can imagine some sad barrell chested fella with a boot on the brass rail turning another shot glass upside down while singing it at his reflection in the silver tinted mirror behind the bar. Or something more scruffy. Tradition? These guys began by playing Joplin. Interpretive (sp) views of the tradition have gone out of (or been drowned under) style in favor of re-interpretation, yet this band reminds us of how tradition includes so many different circles that were drawn out away from functional harmony that should have, by now, been recaptured by the music's mainstream. I know, Chuck, don't even get you started. In any case, the more I heard Air the other evening -- and there's one of those great AACM-type crescendo pieces in "Keep Right On Playing Through The Mirror Over the Water" (Ravel in the Southside '60's) -- the more I liked this band over Very Very Circus, or the string band, etc. that Mr. Threadgill has been up to lately. Not that those are bad bands, I like 'em, but just that this group with McCall was a GREAT band. DeWars anyone? (Remember Threadgill in those print ads?)

...and Jack DeJohnette who is playing lights out these days. His solo on Jarrett's new one during "Love for Sale," the Byron, the new Alice Coltrane and the ECM records he did with John Surman over the last few years are great examples of most musical drumming. Moran just about brings "Freddie Freeloader" to standstill during his solo. Anyone catch that on the new Byron? The previous Blue Note with DeJohnette and Frisell was hipper than an instant giveaway -- I think Dave Holland's composition "Homecoming" gets a treatment that deserves attention (though I don't have the disc in front of me, and it has been some time since I heard it, there's an 11 minute or so piece on that one that was kickin' it). Bug Music is based on that charming John Kirby shit, so if you don't like that cuty pie perfection to begin with a "re-make" isn't going to do much for you either, really. Until I saw an ad slick for "Ivey Divey" I wasn't aware that it was based on a Lester Young recording. Never had the Young/Cole/Rich music in the original package.

Clunky, yes -- it is more compositionally organized than the trio which improvises the entire performance.

Guest Jazz Artists to Perform Posted September 8, 2004 HOLLAND – The department of music at Hope College will feature pianist Fred Hersch, guitarist Gene Bertoncini, and bassist Tom Knific on Saturday, Sept. 25, at 7 p.m. in Wichers Auditorium of Nykerk Hall of Music. The public is invited. Admission is free. Pianist Fred Hersch is an innovative force in the jazz community, having received two Grammy nominations for Best Jazz Instrumental Performance. “The New Yorker” describes him as “a poet of a pianist.” Hersch has recorded 20 albums as either soloist or bandleader. Guitarist Gene Bertoncini is recognized worldwide for his eclectic performances with several groups, including the Benny Goodman Sextet and the Metropolitan Opera Orchestra. In Brazil, Bertoncini was named jazz guitarist of the year twice. Bassist Tom Knific’s talent is also recognized internationally. As the bandleader for the Western Jazz Quartet, Knific has performed on four different continents. He just released his first solo album, “Home Bass.” Knific is a member of the faculty at Western Michigan University, where Hersch and Bertoncini serve as artists-in-residence. Nykerk Hall of Music is located on the central Hope campus, between College and Columbia avenues along the former 12th Street. -30- © 2004 Hope College, Holland, Michigan 49423 616.395.7000

Malaby, his wife Angelica Sanchez and Tom Raney played live on Blue Lake a few months ago. Wonderful couple. They're expecting their first child in another four months. Just saw Fred Hersch tonight and mentioned what a riot it is to hear Tony playing the Lee Konitz tribute on the + 2 recording. On the new Pavone "Boom" they do a tune called "Bad Bird" which finds Tony, who is very much a free player, working in all these Bird quotes. It is really amusing in a good way. I love Mark Helias' band Open Loose, which does a great job combining the written with the improvised. That trio with Angelica Sanchez on Wurlitzer keyboard, Tony on soprano and tenor and Tom Raney on drums completely improvised everything they played for us. Because they've been together a few years now they have a vocabulary and it helps them create structure in performance, especially as relates to intervals studies. Of all the stuff in the library at the radio station Tony really wanted a copy of the Coleman Hawkins Stash CD "Dali." Seems he's been looking for it forever and was gassed to find we had it.

Wow, I bet that was a good hit. What did you think of this band?

Long, long excursions on previously documented in the studio music. Rafi Zabor has described Watts playing at its most energetic as the aural convergence of two conflicting weather systems. The portions of the music on "Detained at the Blue Note" with Garrett go right up to hysteria and beat it about the ears. By the way, what Trane tune is the bass riff from "Sigmond Groid" lifted from?

I caught Walter Cronkite on C-Spann yesterday, a rebroadcast, where a young reporter asked about bias in reporting. Cronkite said use bias to motivate, inspire, drive -- he said it was a good thing. But when it came time to write the article as a journalist you have to drop the bias and give both sides of the story. No ifs. Brian Williams, the NBC Peter Jennings look a like, added that's why don't work for (he didn't name it, but you knew he meant to say) Fox if you want to keep that integrity. That's what Chuck may be getting at. It is one of the principles of the news paper writer/reporter's profession. Given the music under review one of the "ambivilancies," if that is even a word, that one might encounter is the shortness of language to get the long emotional view of what one just heard, i.e. the art conflicting with the writer's own ability in expression, seeing the distance from words up to the level of what was encountered. Figi does an incredible job -- shock and awe is often how one feels after this dynamic of a performance as you may know if you've heard live concerts by the energy players -- and it is very different, to me, than hearing a loud concert. Energy and loud volume aren't the same thing. As you know, Jazz musicians also "play the room," and the overtones created in a space give the sound that much thicker, or more piercing, a presence. The shit stacks up and up and up. Monk did that, and I bet he taught Trane well. One of the hardest things in the world to do is encounter something this new, this life changing, and under deadline pressure and with only a first impression (not repeated listenings to double check) to spit out a readable, sensible description. And as a writer the way he works the implied comparison to the sound of animals throughout the piece -- without going into some racist b.s.: an incredible bit of tight rope walking -- brings the ferocity alive. His comparisons to other aspects of the new music shows how, like others in Chicago, he saw there was room for growth in these innovations, and also reveals an incredible understanding of the changes going on in jazz, something many people today still don't fully appreciate.

From Branford Marsalis (via his forum): " “Ruby and the Pearl” is from listening to the salsa and afro-cuban trumpet players over the years. “Gloomy Sunday” is Sonny Rollins. No, I don't sound like Sonny, nor am I using his licks. But the logic I stole from Newk. Start the solo with one note, then let a few beats of silence pass. Drop a funky line here or there. Things like that. “Dinner for One...” is Ben [Webster], with smatterings of some ideas I stole from Hawk's version of that song on a CD called Body and Soul. “Reika” is Wayne [shorter] logic, as is “Muldoon.” In “Reika,” one of the ways I decided to create tension is with the complete absense of vibrato on the whole song. In most of “Muldoon” I approach the melody with the same technique. Wayne employed that one a lot in the Weather Report years. Now, when I was preparing for the songs, I didn't make these choices (save the shit on “Rekia”) before hand. But after I play something, when I hear it I know where I got it from. I just don't try to mimic. Much like the shit I stole from my parents as i grow up, it comes out sounding like me. At least I hope so. "One of the advantages of listening to the old shit is learning the techniques the had that we no longer employ. Tain, thanks to Smitty, spent a lot of time working on his brush technique. Many drummers, most I hear, can't play brushes for shit. I think it's because they've not even tried to concentrate on it. Kenny Clark was stuck in LaGuardia airport in NYC in the 80's, so Tain invited him to stay in his apartment. He stayed for 3 days and taught him, and any drummer in the area who was interested, a bunch of shit. There are a lot of cats playing who are either afraid of, or not interested in the tradition. Either way, they lose. "To add to it, Tain also played multiple percussion in the orchestra at Duquesne University. Much of what he plays is orchestrated. Little things that many people might not notice, like the slap of the brush at the end of a chours in “Gloomy Sunday.” Or the stop time technique associated with early jazz transferred to brushes. The use of cymbals to suspend the time into the bridge of “Eternal.” In order to play that way, you have to think of the song as a whole structure, as opposed to number of bars or changes. It's a classical mentality. "Another great point for me on “Eternal” (the song) was Joey's "taking one for the team.” When one is focused on his solo first and foremost, there has to be a climax on every solo. Might be good for the player, but it's real fucked up for the song. McCoy did it all the time to great effect. He got to his shit but left the climax for Trane. In “Eternal,” Joey plays a solo that is completely understated and beautiful, but takes one for the team to let the song build on its own terms. "

Thanks! Where did you find it? I'm kind of surprised that there isn't any breakout of the music itself, the juxtaposition of collectively improvised ensembles and soloists, or of the modal character of the music, or how it relates to the new music scene in general. Mathieu had the education and experience in music to have at least touched on how this was put together as music.. (Not that he was a "free" guy). Which again just points out how incrediblely attuned Roscoe was to the music of this time period: to have heard this energy music and to have reacted to it so quickly in a way that makes use of it yet is still personal and unique. Who else was as up on this sea change outside of New York?

In a related matter to Figi, would someone please point me to where Bill Mathieu's review of John Coltrane's "Ascension" might be found (Downbeat 1966). Been digging around and haven't found it. Or, if perhaps you have it, would you mind posting? It begins "This is possibly the most powerful human sound ever recorded." Need to read the rest of that!

That Roscoe played with and was influenced by Ayler is well known, but that he played with this band, got up on that bandstand, is the definition of bravery. The notion that this music somehow falls outside of the corporate idea of acceptable jazz and is therefore outside of the tradition of jazz is belied by Figi's piece: Ayler, Ornette, Trane were jazz itself, amongst other musicians and currents in the music. Another aspect of this period that is bolstered by Nessa's accounts is that the audience for this band was HUGE, that folks were lining up around the block and that Coltrane's later years were a time of his greatest cult-like following, not one where the audience in total turned up their noses and stayed home. According to Sound Scan figures (second hand) this band's music still sells well. And you can see why: it is an experience to encounter. No golf clap from this audience. For what it is worth, the Jazz Institute's main page included this past review as it ties in to the main headline, a comissioned work from Ravi Coltrane reflecting on his father's "A Love Supreme" to be performed on August 31st in Chicago. Anyone planning on going to that concert?

p.s. the Okka Cd is called "No One Ever Works Alone."

What a night. Just returned from the Sonore hit in Kalamazoo and this is just astonishing music. Spoke to Peter Brotzmann before the hit, we were on the porch of the Kraftbrau, about music especially -- how the trio, Sonore, fits together outside of the typical instrumentation of a saxophone quartet ("We're not interested in being so academic. We wanted it to be much freer.") About the scene in Europe, especially Berlin ("After 40 years of hard work I'm only playing once a year in my hometown.") About politics (he as a German brought up the issue of racism, talked about the rise of neo-Nazism all across Europe, even Denmark and Sweden). Enjoyed the sight and sound of a train passing in the warm summer night and watched folks come smiling up the stairs to get his autograph. Ken's elaborations on the Sonore trio vs saxophone quartet were worth repeating . When you think of a saxophone quartet they have a certain set way of making music, sort of coming out of a string quartet model, where people have roles within the ensemble (think of the World Saxophone Quartet or Rova) and there might be assigned parts, harmony, unison, riffs, etc. to create a uniform sound from piece to piece. Not this trio of woodwinds players. First because they switch up so much instrumentally between alto, tenor and baritone sax, clarinets, bass clarinet, taragato, steel clarinet and an e-flat clarinet with a bari mouth piece; and second because they're so free in performing material. I'm just blown away by what was heard tonight -- the opener was some of the most over the top agressive sounding music. Featuring all three on tenor saxs rising in fanfare to triple forte intensity, cooling to a low dynamic for a burbling soup of sound, then rising again on insistent downbeats to a hammering figure much like a car alarm, replete with upper register beeps, commented on by barking rhythmic accents as "inner voicings." Then cooling again, taking the dynamic down as the horns burbled and moaned. All fell away for Brotzmann's rampaging solo. The piece ended with a return of the opening fanfare, and the cool point resulted in the ending. One may have sworn it was composed. They followed that up with a singing clarinet ensemble played with lyricism, and gruff, opened throated textures, to soft, gentle chords, and a wide variety of dynamics. There was a moment in the night where Brotzmann swung a course, roughly textued, hoarse sounding line similar to "Doxy" on alto sax, and his wild shaking of that instrument put me in mind of a younger Marshal Allen, though Brotzmann didn't pummel the keys and his sound isn't so sharp or piercing as Allen's was. Sonore plays free music at its best in today's scene, and it is saxophone playing at a level that rivals the high standards set by the masters. After the two sets I asked Mats if in fact his slap tounge stuff came out of Hawk. He quipped, "Or Rudy Wiendof (sp)." No, it was from drummers, and he laughed that if he tried to develop that tricky stuff in the setting of Sonore he'd be shouted down. (lol). As Brotzmann said he is the last of his generation of European players to tour rigerously, so, if you have the $10 and the time they may be coming to a city near you. Highly, highly recommended. Kalamazoo is fortunate to have been a stop on the tour. The Detroiters who were there, Pat Frisco and company, commented that this was better than Athens, Georgia, earlier in the year. I'll take their word for it -- they go to EVERYTHING (including Ornette at Hill Auditorium recently, which we all dug). Toronto, are you listening? You're next! SONORE NORTH AMERICAN TOUR (Peter Brötzmann, Mats Gustafsson, Ken Vandermark) / WED 9/1/04 Chicago, IL Empty Bottle / THU 9/2/04 Kalamazoo, MI Kraftbrau / FRI 9/3/04 Toronto, ON Goethe Institute / SAT 9/4/04 Ottawa, ON Babylon / SUN 9/5/04 Montreal, QC El Salon / TUE 9/7/04 Boston, MA Zeitgeist Gallery / WED 9/8/04 New York, NY Tonic / THU 9/9/04 Philadelphia, PA Slought Foundation / FRI 9/10/04 Pittsburgh, PA Modern Formations / SAT 9/11/04 Lexington, KY Mecca Gallery / SUN 9/12/04 Newport, KY Southgate House Parlour/

SONORE NORTH AMERICAN TOUR (Peter Brötzmann, Mats Gustafsson, Ken Vandermark) WED 9/1/04 Chicago, IL Empty Bottle THU 9/2/04 Kalamazoo, MI Kraftbrau FRI 9/3/04 Toronto, ON Goethe Institute SAT 9/4/04 Ottawa, ON Babylon SUN 9/5/04 Montreal, QC El Salon TUE 9/7/04 Boston, MA Zeitgeist Gallery WED 9/8/04 New York, NY Tonic THU 9/9/04 Philadelphia, PA Slought Foundation FRI 9/10/04 Pittsburgh, PA Modern Formations SAT 9/11/04 Lexington, KY Mecca Gallery SUN 9/12/04 Newport, KY Southgate House Parlour

Looking forward to recording this for broadcast on Blue Lake Public Radio!

Micheal Phelps is coming to Michigan!

Yes, thanks Brownie. Thanks for that link. Was snooping around for that discussion and came up empty. This friend of Damon's has a promo copy, it seems.

I'd say, with four world record holders in the pool at once, and the hyped battle between Thorpe and the Phelps. Did you catch the men's 4X100 freestyle relay last night? The Dutch dude who swam the anchor leg and caught the Americans will be in the 200, too, and you know he'll be psyched. Should be one of the great races of the Olympics.

Loving this so far. The level is so high all around it is hard to imagine one swimmer or one team dominating. That's my sport, or I should say was -- now my sport is baby wrangling.