Leeway

Herman's Hermits SImon Stylites Frank the Hermit

Yeah, I got taken in for a moment by that "Thing" thing AD LIB - Jimmy Giuffre 4- Giuffre (cl), Jimmy Rowles (p), Red Mitchell (b), Lawrence Marable (d). Verve/Polygram France LP.

I used to consider myself a pretty dedicated Bellow fan and read most everything by him. However, recently, I tried to re-read "Humboldt's Gift," and ran into serious problems getting to the end, although I did. I then took on "Henderson the Rain King," which I read when I was 17 or 18 and thought mighty fine. This time around, I found it appallingly bad. I don't think I got past page 25 or so. Odd though, I still like "Augie," and I'm sure some other of his books would still resonate for me, but I wonder if his reputation is already falling below the horizon.

On an incredibly beautiful Sunday afternoon, I headed into Washington DC to see the Matthew Shipp Trio at Bohemian Caverns. I arrived a little early to find a huge crowd of party-goers occupying the upper level and patio of the club; the downstairs “caverns” where the Shipp concert was to be held was still locked. I also found Matt Shipp hanging out, enjoying the weather and the crowd, which provided an opportunity for some pleasant conversation with Matt, and a bit later, bassist Michael Bisio. Eventually, the downstairs space opened and I followed Matt in. The two-set concert was billed as “The Matt Shipp Trio’s Tribute to Duke Ellington.” I knew Matt had done some astonishing interpretations of Ellington pieces, so I was looking forward to this concert. A full house was on hand, whether for Matt, the Duke, or both, could not be determined. But first, one of those gremlins that seem to be popping up regularly, had to be dealt with. It turned out that the group on the upper level was part of a U Street Corridor “bar crawl” (sounds like fun), and we would have to wait a half hour for them and their sound equipment and DJ to move on. The mood was good, so not a big deal. While we’re waiting, I should mention that drummer Whit Dickey, as usual, made up the third member of the trio. Matt introduced the first set by telling the audience that the Trio would do their usual set, but that Ellington might rise-- or disappear below the surface—in the course of that set. Indeed, this turned out to be a very accurate description of the music. Matt also commented that Ellington was an icon of his, but that he also learned from Ellington to play true to oneself. Matt started the set with a long-ish solo, which incorporated “Prelude to a Kiss.” The Trio them came together, and, really, they were on fire. In the course of the 65-75 minute set, Matt incorporated some terrific interpretations of “C Jam Blues,” “Take the A Train,” and near the end, “In a Sentimental Mood.” Like some mythical dolphin, Ellington would first appear skimming above the foam of the musical waves, then diving just below the surface, visible but refracting light and shape. Or, to mix metaphors, sometimes he was heard; sometimes just felt. The second set had a different feel to it, possibly because it was marked by longer solos from Bisio and Dickey. Dickey is not on my Top Ten drummers list, but I was interested in observing his drumming. Basically, Dickey is a “stick guy.” No kitchen utensils used as percussion instruments; no edging the cymbals for eerie sounds, no hundred little objects tossed around. Just drumsticks deployed like a threshing machine. If Dickey is a relentless rationalist, Bisio is an ecstatic. As Matt called him after the second set, “Michael “Throw your hear and soul into it” Bisio. But even Bisio works with the basics: one bow, hung from his hip, deployed only occasionally (hardly at all in the first set, somewhat more in the second). Highly romantic playing, but again, no esoterica. Matt himself did a very little bit of inside the piano playing, but again, his playing relies on his imagination and knowledge, rather than any advanced pianistic techniques. It made me think that the Trio is essentially a very conventional piano trio. As for second set Ellington, Matt included “Satin Doll” and “Mood Indigo,” while Bisio played, “ Do Nothing Til You Hear From me” during his bass solo. However, it was an extended treatment by Matt of “Summertime” that closed the set that had some audience members shaking their heads (in a good way). Being able to see Ken Vandermark, Ingrid Laubrock/Tom Rainey, and Matt Shipp in the space of four days made for a memorable musical week.

OK LeeWay, here a pic of my copy. I know Gijs for years and have him seen perform dozens and dozens of time. Thanks! Too nice a cover to crop. I like Gijs playing here. (Don't have anything else by him). Tracey's too.

Yes, add Territory Band to the list, but not the first iteration of that ensemble. I don't think there are electronics on that one (haven't listened to it in a while), which might indicate that that KV wasn't thinking along those lines when the ensemble was started. As for my reviews, "trust but verify" LOL . But I'm glad it got you to investigate. After some initial skepticism on my part, I find I really like the group. Better yet, the music grows on you. Seems like you had an all-star weekend in Toronto, glad to hear that. Nate might be our next Braxton (I wonder if Broomer thinks so). I suspect Braxton thinks so. Although Taylor Ho Bynum seems heir apparent from a strictly logistical perspective. There is a difference between talent and genius.

TRIOS - Lawwrence "Butch" Morris (tp, cornet), Bill Horvitz (elec guitar), J.A. Deane ("Trombonelectronics" & hand drum). Dossier Records. I think this is a pretty fine album, somewhat ahead of its time.

KOM HUP LOOS - Gijs Hendriks Quartet: Gijs Hendriks (ts, as, ss), Stan Tracey (p), Bert Van Erk (b), John Engels (d). he LP. 1983. Hard to find a decent image of this album; the one above is a little bit trimmed. Not quite straight-ahead.

Brock Yates Vic Edelbrock Leon Edel

You know, that was what I was thinking! I haven't heard any more.

SECOND BREATH - Fire Room: Ken Vandermark (reeds), Lasse Marhaug (electronics), Paal Nilssen-Love (drum). Bocian Records LP. Play this record loud! Marhaug's electronics are as loud and over-the-top as the crazy oscilloscope sounds from Flash Gordon's instrument panel. Unlike a lot of laptop slingers, Marhaug wants center stage, and this album is a mano-a-mano contest between Marhaug and Vandermark for the spot. PNL's drumming is as powerful and spiky as it gets.

This is probably not news to those keeping watch on the Marsalis.Crouch front (is that all of us?), but thought I'd post it anyway. From the Avant Music News interview of Matt Shipp, March 2014: Your run-ins with Wynton Marsalis and Stanley Crouch are becoming the stuff of legend, but can you describe your main ideological differences between yourself and those gentlemen? I really have no problem with Wynton He is not making “pronouncements” these days, and I assume he has matured and grown up over the years and most likely has a better perspective of things. That is an assumption on my part. Crouch on the other hand is a horses ass. I know him and have dealt with him and I think he is a truly evil person. There are no ideological differences with him for he has no ideas. He is a pure opportunist in my opinion. To have an ideological disagreement presupposes someone has some principals of some sort. To me, Stanley is completely empty of ideas, principals or a soul. The whole interview can be found here: http://avantmusicnews.com/category/amn-interviews/

Yvor Winters Jonathan Winters Anna Wintour

Does it do what the name suggests? I bet it's not a ballads session..... I don't think I've heard any Williams since NRG Ensemble (just remembered a very good Extraordinary Popular delusions date on Okka) They could call this "Flamethrower" and it would be fitting too. There is one quieter piece, but mostly high-energy playing. I think it's a good one and can recommend it.

On Friday, April 25th, I headed over to Baltimore to see LARK at An Die Musik. LARK of course is an acronym for the last names of the members of the group: Ingrid Laubrock, Ralph Alessi, Tom Rainey and.....well....Kris Davis, but, if the arrangement were to be strictly followed, the group would have to be called LARD, which wouldn't do. So K for Kris, and LARK. Things did not go quite as planned. About a half hour after the scheduled start, venue management advised the audience that Kris Davis was ill and not able to play at the moment, and that there would be some additional delay. After a little while, Tom Rainey came out and explained that the group had gone for a bite to eat before the show at a nearby restaurant. Kris had something to eat that contained peanuts (although the restaurant had maintained it was peanut-free), and Kris, who has a severe peanut allergy, became ill as a result. The group decided they would play as a trio, would do a couple of pieces, then take a break to see if Kris could play. As Rainey put it, "LAR will play." So Rainey, Alessi and Laubrock did one long piece, and one a bit shorter, then went to check on Kris. After maybe another half hour, it was determined that Kris could not play. So the trio did another set. Altogether they may have played for about 70 minutes. It was disappointing that Kris could not play, but the trio made up for it with some wonderful, impassioned improvisation. Laubrock and Alessi confirmed that the whole performance was completely improvised. So many performances now seem to rely on charts, either partly or through-composed, it was nice to find three highly-skilled and interesting improvisors do their thing. Laubrock played soprano and tenor, and had some terrific solos on both, but I thought her soprano work was outstanding. Alessi I first heard live with his Baida group at Winter Jazz Fest, and was impressed. I was in the mood for some unadorned, non-processed, non-electrified trumpet and cornet playing, and Alessi provided that. He has a clipped, almost curt style, but was always thoughtful. Rainey is a master at this sort of improv and keeps the group moving. You could say the whole evening was a series of improvisations. I feel bad for Kris, but the trio provided some memorable music.

Thanks Clifford and Steve. I was going to mention that Vandermark, who I still tend to think of as an "acoustic machine" guy, is pretty committed to the electronic aspect, e.g, Fire Room, Powerhouse Sound, Made to Break. It didn't occur to me until recently how committed he is to this course.

A birthday so powerful it knocked the Board offline! Some of your friends stopped by to play for you too: https://www.youtube.com/watch?v=_aDuymevgNA https://www.youtube.com/watch?v=DmzOdMyq1vk Happy Birthday

For once, I did not have to drive dozens or even hundreds of miles, for a concert. In fact, I only had to drive about 3.5 miles on Thursday, April 24th, to Jammin’ Java, in Vienna, Virginia to see Ken Vandermark and Made to Break, on their “Cherchez La Femme: North American Tour.” The venue, quite nice in many respects, was also a bit odd, as it is not known for jazz performances of any stripe; this may have kept the attendance down. You probably already know that Made to Break is Vandermark on reeds, Tim Daisy on drums, Jasper Stadhouders on electric bass, and Christof Kurzmann on electronics/Lloop. This was the first time I had seen this particular ensemble, although I had seen Vandermark in numerous other bands over the years. I suppose the aspect I was most curious about was Kurzmann’s electronics. During the concert, the electronic aspect was more in the foreground than it is on the ensemble’s two releases. I thought it took a little while for the sound to come together, but it soon enough did. I’m still a bit of a skeptic when it comes to electronics. If it’s interesting sound, I’m interested. If it is mere sound effects, I’m not. I thought Kurzmann fell into the former category. Kurzmann, Daisy and Stadhouders (who laid down a strong heavy beat and pulled off some pyrotechnics also) formed a strange bedfellows rhythm section, creating a Spector-ish wall of sound with, or against which, Vandermark could drive his assortment of reeds (tenor, bari, clarinet). Vandermark seemed to me to integrate best with Kurzmann’s sound when he was on clarinet and, maybe oddly, on the big bari. The interesting thing, to me at least, is that the electronics are really arythmic in nature, and so there is that little bit of a contradiction between what the electronics does and what Vandermark does. I think that gap, if there is one, is pulled together by the high level of energy of the band: “Powerhouse Sound,” to borrow the name of another of Ken’s ensembles. Anyway, those of us who came out were treated to a really fine show. You should see this group if you can, even if you have to drive more than 3.5 miles.

BONESHAKER - Mars Williams, Paal Nilssen-Love, Kent Kessler - Trost LP.

VARMINT - Jason Adasiewicz (vibes), Josh Berman (cornet), Aram Shelton (as, cl), Jason Roebke (b), Frank Rosaly (d). Cuneiform LP.

Vandermark's Free Fall trio, which I think was patterned somewhat after Giuffre's trio.

OPEN AIR SUIT - AIR - Henry Threadgill, Fred Hopkins, Steve McCall. Novus LP. The liner notes, which I assume were written by Threadgill, talk about "play a hand" and "game plan," which reminds me of Zorn's "Game Piece" and "Parachute."

Yeah, that's the way I felt about him, until I had a chance to see him in concert with the trio and the octet, and I started appreciating his music more. Also having a chance to talk with him. I still think he needs to open the playing field a bit more, so to speak.

Geoff Chaucer Geoff Beene Mutt and Geoff

TUTANKHAMUN - Art Ensemble of Chicago - Lester Bowie, Roscoe Mitchell, Joseph Jarman, Malachi Favors. Don Moye was soon to join and take the drum seat. John B. Litweiler's liner notes (taken from "Jazz Monthly") remain provocative, tough-minded yet appreciative.