Kari S

Watched a broadcast from all the cities and what can I say... LOTS of off-key warbling and that's about it. As far as the music's concerned, I think the Philly show was ony of the worst (at least most of it). Lots of pointless rappers. Will Smith... Linkin Park... Especially the Black Eyed Peas was painful to watch (and listen). The freakish Barbie doll chick didn't even know the lyrics to the Bob Marley song. In the other cities, ridiculous efforts like Craig David's butchering of the Beatles' "Come Together", or lame 80's relics like A-Ha, Duran Duran, and Roxy Music were just embarrassing to watch. At the Hyde Park concert, the "veterans" definitely made the night. Sting, The Who, Pink Floyd - all sounded terriffic.

Do I even have to say it...

Intervention! Intervention!

I have yet to find a good Ayers album, maybe I should try that Virgo Vibes thing. OK 'Everybody Loves The Sunshine' is a classic, which seems to have influenced a whole generation of the so called nu-jazzers. However, the popularity of the rest of his 70's output baffles me. I have this 2CD compilation but IMO the songs are seriously lacking even in the groove/dance genre.

Maupin also plays on Woody Shaw's "Blackstone Legacy".

Where'd you get it?

I finally gave this a listen. Here's some thoughts... First of all, I think it's not fair to have Miles' electric experiments as a reference point - Terence has not gone "electric", even though the drummer plays "straight" time instead of "swinging" on most tunes, and there's an electric bass and synth washes. (Which I thought were a bit unnecessary btw.) In my opinion Flow is just a modern and contemporary jazz (not in that 'smooth' sense) album that sounds suprisingly a lot what Europeans, especially in Scandinavia are doing at the moment. At times there's even a kind of Metheny vibe IMO. As far as compositions go, they're not really memorable. Usual "complex" tunes (like 'Wandering Wonder' or 'Child's Play') with a difficult and an often changing harmony, that seem too common these days. The only memorable "theme" is on the title tune, which ironically is a totally improvised piece - and IMO the only clear Milesian influence on the album, with its playful tone. Musicians. I felt the drummer Kendrick Scott, who apparently is a Berklee student, wasn't playing with enough variation in dynamics. He's a great drummer but I felt his playing was a bit too one-dimensional. I liked how Loueke picked Terence's (improvised) theme to 'Flow' as a motif for his solo. The pianist, who is apparently a quite young guy, as a soloist sounds like a mix between Brad Mehldau, Herbie and Chick Corea. As an accompanist, he's heavily influenced by Hancock, but is harmonically less fluent; some of his voicings sound pretty weak - still: he's gonna be a great pianist some day (he already is really good). But then...the bomb a.ka "The Source"!! Herbie's solo is so unbelievable... I totally cracked when I heard it and almost soiled myself. I mean he's been playing that kind of stuff in concerts, but it's certainly one of his best recorded solos since 'Gershwin's World' in my opinion. WOW. As a whole, maybe not worthy of the hype (they rarely are...), but there certainly are some great moments in there.

Yeah, well: "Hancock, the ten-time Grammy Award winner, is also slated to release a collaborations album, Possibilities, on Aug. 20, featuring appearances from a slew of well-known musicians, among them—Mayer, Carlos Santana, Sting, Paul Simon, Trey Anastasio, Annie Lenox and Damien Rice" (And by the way, even Mayer himself wasn't happy with "Daughters" being a single because he thought it was subpar in some way...)

I listened a bit to the 6 CD 'Cellar Door' set a while back, and I gotta say - it's a must buy. I think I've mentioned it in a similar thread (maybe a KJ one?) before, but Jarrett's playing on this is incredible! Melodically innovative; beautiful 'comping... I've never heard him play like this. Even when he's 'comping he has such a different approach to it compared to Corea ('s playing on the Filmore gigs for example) who has a very angular, dissonant and almost aggressive approach. Also, I couldn't stand "Live-Evil" because of McLaughlin so him not being on this is another 'plus'...

As is Bill Heid and Goldings obviously...

Remember that R.Kelly guy? There was video footage of him allegedly having sex (and doing some more bizarre stuff) with an underaged girl. Also, the dude secretly married (the late) pop singer Aaliyah when she was 15. He was slapped with 21 counts of child molestation charges, all of which were dropped. (I think. At least he's a free and a very happy man.)

I haven't really been convinced by that Gumbs guy. Well, it could've been George Cables who's really not that good of a choice either.

Then there's the chord thing he does on a dominant chord with three "SUS" sounding voicings. You know, hard to explain, but two voices half step up, then back, then down, and then does the same on another chord. Like on "Tyrone". At least Jim knows what I'm trying to say...

I think he's had some problems with his back recently. At least he's had to cancel a few gigs because of it.

Hmm, do I sense a hint a sarcarsm in your tone, sir...? Anyway, here's the review from Jazzwise: --------------------------------------------------------------------- Terence Blanchard Flow Blue Note 7243 5 78273 2 4 **** RECOMMENDED Blanchard (t, synth), Brice Winston (ts, ss, EWI), Lionel Loueke (g, v), Herbie Hancock (p), Aaron Parks, (p), Derrick Hodge (b), Kendrick Scott (d), Howard Drossin (synth prog) and Gretchen Parlato, (v). Rec. date not given Miles Davis’ influence on electric jazz may be deep but it’s not a black hole. Terence Blanchard certainly finds his way around it on this splendid extravaganza: one of the smartest and artful intermingling of electronica flourishes with acoustic modern jazz in recent years. Blanchard escapes Miles’ towering influence by relying on the lustrous tone of his clarion trumpet instead of attaching it to a wah-wah pedal or plugging in a mute. It also doesn’t hurt that he’s already developed a trick-bag of nuances of his own or that he’s a noteworthy jazz composer and film scorer. Interestingly enough, the cinematic sweep on pieces like the heroic ‘Over There’ and the funky title track suggest Blanchard’s film background. It certainly enabled him in manipulating the electronica embellishments without the music sounding gimmicky. But most of the music was composed by Blanchard’s band members. And what a band Blanchard has: his most dynamic yet. Not only does each member afford the music with invigorating solos, some rivaling that of the leader and a thrilling unified sound, they bring compositional wit, too. Loueke’s episodic ‘Wagagbe’ simply enchants as it begins with his percussive guitar solo and Benin chants amidst ominous synth clouds, before enfolding into a picturesque excursion. Parks contributes the lavish ‘Harvesting Dance’ a Moorish-tinged escapade that finds Blanchard firing gallant melodies like a romantic swashbuckler. Winston’s capricious ‘Child’s Play’ returns Blanchard back to a soley acoustic setting while sounding firmly appropriate alongside the electric-laden works. It’ll be unfair to suggest that Miles’ influence is no where to be found here. But it comes, reverentially more so than referentially, possibly pointing towards a fresher approach to electric jazz. John Murph --------------------------------------------------------------------- I'm thinking of picking this up during the weekend, I'll post my thoughts here then.

I've been intending on picking this up - haven't yet - since I read about it in the UK jazz magazine, Jazzwise. They gave it the highest rating, four stars and a "recommended". And when I learned that my man H.H. is on board, I was definitely interested. (plus the cover's pretty cool!) I've been checking out some reviews online, some have been praising, some somewhat reserved. And even though it isn't the most prominent example, "Flow" is yet again another album reaching back to the sounds of the late 60's/early 70's. What's the appeal? Blanchard could be considered the latest addition to a line of trumpeters who are doing something now that a certain prince of darkness was experimenting with over 30 years ago. Look who's done it in the 00's: at least Roy Hargrove, Nicholas Payton, Dave Douglas, Wallace Roney, French Erik Truffaz, Norwegian Nils-Petter Molvaer and Swedish Goran Kajfes. However, I admit that each of these musicians has had their own take on the music, some perhaps more "innovative" than others IMO. Like the hiphop/pop/r&b of Hargrove vs the compositional prowess of Douglas vs the electronica of Payton or Molvaer.

Keith Jarrett's intros to "My Funny Valentine" from Still Live and "How About You" from Complete Live at the Blue Note. Beautiful.

It's not quite the same thing, but Finnish big band UMO Jazz Orchestra did a great little album called "Electrifying Miles" with Tim Hagans as the soloist. Amazon.com link

Solid suggestions, everyone - thanks. I'm aware of artists like Weston (though I've only heard 'Blue Moses' on CTi), Dollar Brand. Or from Africa: Fela and Masekela; but there were a lot of people I've never heard of and might be interested. Even though I was mainly looking for (African-)American jazz artists influenced by the "motherland", mostly in the sounds and colors of their compositions, like McCoy. I came up with one discovery of my own - a group called The Pharaohs (leader Louis Satterfield) whose 1971 "Awakening" seems to be quite tight stuff. Even the reissue is apparently oop though, but you can listen a few clips here. I gotta find that one.

Now, I'm aware that jazz originated from plantation lullabies sung by African slaves, and some rhythmic things like polyrhythms come from there, but having recently been listening to McCoy Tyner's late 60's and 70's albums (like Tender Moments, "Man From Tanganyika" for example), I started thinking. What other great jazz albums and artists with clear African influences are there, and what do you recommend? I think at least Woody Shaw had some...?

How's this? Groove Holmes' "Theme from Six Million Dollar Man and other selections" (Flying Dutchman, '75). At least the cover is somewhat amusing, has anyone heard it?

Was it Angie Stone who had a version (sort of) of Hubbard's "Red Clay"?

Re: "neo" soul sistas recap (slightly Off T) Joss Stone - too much over trying and "soulful" manners. Example: the single "You Had Me". It seems that she's trying to squeeze every last bit of her out. Take a deep breath! Somebody said it, and I agree - if she wouldn't be white and basically still a teen, the hype wouldn't be so huge. Alicia Keys - melismas, manners, an average singer IMO. Has a couple of nice songs, though, but that's it. Beyoncé Knowles - to be able to sing like her and look as beautiful as she does, is so wrong. Too bad most of her songs are so lame. Personally, I gotta go with Erykah Badu and Lauryn Hill... "Mama's Gun" and "The Miseducation of L.H."

My father playing the organ. I was about 5.

I'd say it's not worth it to buy the box set. You can get the best stuff, like "In Pursuit Of Blackness", "Live At The Lighthouse", "Power To The People" and Flora's "Butterfly Dreams" on single cds. IMO those are the best there.