What live music are you going to see tonight?

[mr jazz]

Pat Metheny tonight in Annapolis, MD

Total Wow! I've seen him with various bands over 35 years and this may have been the best yet. Venue was very nice with excellent acoustics as well-Maryland Hall for the Creative Arts.

[ejp626]

Itzhak Perlman was in town with Rohan de Silva on piano. He seems to have some mobility issues, as he went around -- and even played from -- a little scooter. The music was good though: Vivaldi's Violin Sonata in A, Beethoven Violin Sonata No 7 and Ravel's Violin Sonata #2. The Ravel was interesting, as it was so heavily influenced by Gershwin, but I liked the Beethoven the best.

They played a number of short pieces after that, mostly transcriptions done by Kreisler or Heifetz, with many of them being transcriptions of Rachmaninoff, though they ended with Poulenc and Albeniz. Not sure how much longer Perlman will be touring, so I'm glad I went.

[Steve Reynolds]

I may make it up to Baltimore for both the Ran Blake and Mat Maneri & Lucian Ban New Quintet shows as well. I was debating between Robert Glasper Experiment at Birchmere and Mat Maneri/Lucian Ban at Windup Space (especially to see Billy Hart), but the Glasper show sold out, so the decision has been made for me!

BTW, are there any videos or recordings of the Mat Maneri & Lucian Ban Quintet material online, e.g. from when they played in NYC? If I recall correctly, I passed up seeing them at Cornelia Street Cafe for a show at the Stone with Milford Graves/Evan Parker.

I don't think so

Don't miss the show. The Cornelia Street shows (Spring & Fall) were both great. The fall show was even better.

[jeffcrom]

This won't mean much to most folks here, but I have to post about it.

I drove from Atlanta to Nashville yesterday with a guitar-playing friend to hear Jack Pearson at his monthly gig at the Station Inn. Pearson is the "lost" guitarist with the Allman Brothers Band - he played with the ABB from 1997 to 1999, during a period in which the band didn't make any albums. I had never heard of him until a couple of years ago, when I heard some live recordings from that period, and some later shows with Pearson subbing for Warren Haynes. I was immediately struck with his playing, which exhibited a sophistication and technique a step or two beyond what you would expect from a blues/rock guitarist. So I tracked down as many ABB shows with Pearson as I could.

But that didn't prepare me for last night. He opened with a solo version of "I Can't Get Started," and later, with his excellent organ trio, played a blistering "Bye Bye Blackbird," in addition to many of his R & B - flavored originals, some blues, a gospel song by Rev. Gary Davis, and a couple of Allman Brothers tunes ("In Memory of Elizabeth Reed" and "Blue Skies"). On every tune, whatever the style (or mixture of styles), his playing was just jaw-dropping. If I had to list the 20 best musical performances I have attended, this would be one of them.

[Leeway]

Ran Blake at An Die Musik, Baltimore, Dec 4, 2014

This is the backdrop to the Ran Blake concert stage. The concert was dedicated to his sister, Marthe. The room was shrouded in a twilight gloom. The piano was turned so that Ran sat almost facing the audience, behind the baby grand. Looking over the piano (top up), I could just discern Ran's face; the keyboard was not visible to the audience. When Ran came by my aisle seat, he was pushing a wheeled walker. I will admit to a flicker of doubt. He managed the large step up to the stage with the assistance of his manager.

Ran sat at the piano. He struck the first note. Amazing. One of those notes that seems to capture all possibilities. All doubts were dispelled, and I knew this was going to be a special event. The only other pianist I know who could combine such strength and authority with such delicacy and sensitivity is Cecil Taylor. Hearing Ran or Cecil in concert is revelatory and unforgettable.

The first set lasted about 50 minutes or so. Ran played set pieces from the program and also improvised. His playing didn't flag. It was ruminative and vital. During the first set, a film clip was played from "Dr. Mabuse," a classic silent horror film. The noirish atmosphere deepened. Ran improvised (I assume) along with the clip, which was visually stunning.

An intermission was taken before the 2nd set. Ran played about 30 minutes, broke briefly, then played another 15 minutes or so. Another silent movie clip, "Spiral Staircase," another noir of course, to which Ran played. The playing remained vital and full of feeling.

Ran's performance was remarkable. He was by turns poetic, spiky, lyrical, powerful. I'm going to try to attend his master class on Saturday.

[colinmce]

Sounds perfect.

"There's too much light in the world" -Ran

[Leeway]

Went to the Ran Blake Master Class today in DC. The format was 4 young journeyman musicians-- a trumpeter/singer, a guitarist, a bassist, and a saxophonist--played various music suggested by Ran. One was based on an Abbey Lincoln song. First they played the melody "straight," then Ran asked them to play more expressively, putting more of their personal self into it.

Ran also had them improvise as a quartet to the 2 noir films I mentioned in the previous post for Thursday's show.

There were various other musical exercises and discussions. Unfortunately, Ran did not play, except to tap out a few notes on a Fender Rhodes to illustrate a point (there was a piano there too but Ran didn't use it). I took a few notes of things Ran said. Probably old news to died-in-the-wool Ran fans. Anyway, here goes:

1) Ran takes "aural cocktails" two or three nights a week. He has arranged for music he is interested in to be piped into his bedroom while he sleeps. He believes that he absorbs the music while he sleeps over several nights.

2) Ran believes it is important to rest your ears once in a while; no sound, no music, etc, instead read, watch silent film, etc. Your mind needs rest from sound occasionally.

3) Singers are "so important" to developing one's musical sense. He esteems Abbey Lincoln highly.

4) In order of importance, Ran ranks the following as influences on his musical thinking/playing: orchestral music, singers, film directors, then the piano.

5) His personal style was developed though film noir, novels, painting.

6) Development of personal style needs hours and hours of solitude; difficult but important to the self.

7) He is not skilled at algebra but engages in algebraic work to develop himself. He made a promise to his father to achieve certain capabilities in algebra.

8) Ran is always searching his memory; reflections on past and present are vital.

9) Ran spends hours in bed orchestrating music in his head.

10) Ran;s book's title, "The Primacy of the Ear" is foundational to Ran's method; getting the music by ear before getting down to analysis and written form.

11) Developing your personal style requires that you "have a story" to tell.

12) Silence and space are very important to one's development.

Ran struck me as a very sensitive and kind individual, very courteous to audience and the 4 musicians, very encouraging to them also. The time went quickly. I was glad to have met him.

[colinmce]

Sounds like a very nice time.

[BFrank]

A lot on tap this coming week:

SFJAZZ Celebrating 50th anniversary of A Love Supreme

Dec 10, 'A Love Supreme' Symposium w/ Ashley Kahn, Ravi Coltrane, Ishmael Reed & more!

Dec 13, Ravi Coltrane saxophones, Nicholas Payton trumpet, Adam Rogers guitar, Matt Garrison (Jimmy's son) electric bass, Marcus Gilmore (Roy Haynes' grandson) drums

Dec 14, Johnny Marr at the Independent, a small club - 12/8, TOUR CANCELLED

Edited December 8, 2014 by BFrank

[Leeway]

MAT MANERI & LUCIAN BAN NEW QUINTET with special guest BILLY HART, Baltimore, windup Space, December 7, 2014

Mat Maneri (viola); Tony Malaby (ten & sop saxes); Lucian Ban (Fender Rhodes); Bob Stewart (tuba); Billy Hart (drums)

This is a group that promises a lot, but last night's performance turned out to be a mixed bag. First the negatives. I have a limited appreciation for the Fender Rhodes. When used for splashes of color or a touch of weirdness, it can be enjoyable. When Ban, who plays the piano so beautifully, tried to solo on it, it was downright ugly. What a huge stepdown from a proper piano. Billy Hart is a great drummer, but was a clear mismatch here. On the positive side, he kept the energy level up. On the negative, he tended to drive the group into conventional grooves and limited thematic development. Worst of all, the group invited Dave Ballou, who has a resume in new music, a resident of Baltimore, and a teacher at Towson University, to sit in for three numbers. How can I put this nicely? I am decidedly NOT a fan of Ballou's playing. He screeched and overplayed his way through the pieces, and managed to upset the careful balance of Malaby's reeds and Maneri's viola. BTW, I got to the venue early and found that Ballou was holding a workshop or seminar for a group of his students, using the quintet for performance purposes. I have to think this took some of the edge off their actual performance.

Positives? Bob Stewart killed on tuba; he played it like it was just a tenor. Some great solos from him. Malaby was in fine form, forceful, focused, great tone. Hit some awesome low notes. Maneri was excellent on his solos, but they were not often or long enough. Much of the time, he sort of blended into the rhythm section. Too bad, he sounded great, the venue seemed to play to his sound. The performances without Ballou were so much better. The first number was superb. Maneri mentioned they would play a number of new compositions; no titles given. Only one, that sounded like a polka (!) left me underwhelmed, although the performance itself and individual playing was strong. I can only imagine what this group would be like with a good piano, a less mainstream drummer, and without distractions. Like I said, a mixed bag but still some goodies in it.

[colinmce]

I just can't fathom trying to replace a piano with Fender (which I just flat out hate). Why bother with the performance under those conditions? Sounds like a bummer to me.

[Steve Reynolds]

MAT MANERI & LUCIAN BAN NEW QUINTET with special guest BILLY HART, Baltimore, windup Space, December 7, 2014

Mat Maneri (viola); Tony Malaby (ten & sop saxes); Lucian Ban (Fender Rhodes); Bob Stewart (tuba); Billy Hart (drums)

This is a group that promises a lot, but last night's performance turned out to be a mixed bag. First the negatives. I have a limited appreciation for the Fender Rhodes. When used for splashes of color or a touch of weirdness, it can be enjoyable. When Ban, who plays the piano so beautifully, tried to solo on it, it was downright ugly. What a huge stepdown from a proper piano. Billy Hart is a great drummer, but was a clear mismatch here. On the positive side, he kept the energy level up. On the negative, he tended to drive the group into conventional grooves and limited thematic development. Worst of all, the group invited Dave Ballou, who has a resume in new music, a resident of Baltimore, and a teacher at Towson University, to sit in for three numbers. How can I put this nicely? I am decidedly NOT a fan of Ballou's playing. He screeched and overplayed his way through the pieces, and managed to upset the careful balance of Malaby's reeds and Maneri's viola. BTW, I got to the venue early and found that Ballou was holding a workshop or seminar for a group of his students, using the quintet for performance purposes. I have to think this took some of the edge off their actual performance.

Positives? Bob Stewart killed on tuba; he played it like it was just a tenor. Some great solos from him. Malaby was in fine form, forceful, focused, great tone. Hit some awesome low notes. Maneri was excellent on his solos, but they were not often or long enough. Much of the time, he sort of blended into the rhythm section. Too bad, he sounded great, the venue seemed to play to his sound. The performances without Ballou were so much better. The first number was superb. Maneri mentioned they would play a number of new compositions; no titles given. Only one, that sounded like a polka (!) left me underwhelmed, although the performance itself and individual playing was strong. I can only imagine what this group would be like with a good piano, a less mainstream drummer, and without distractions. Like I said, a mixed bag but still some goodies in it.

I'm very lucky to have seen the band:

A) Without mainstream drummer

B) Without fender Rhodes

C) Without superfluous, unneeded and grating trumpeter

Plus with plenty of Mat Maneri improvising.

My history of seeing and listening to the great violinist is that his improvisations increase in intensity and creativity when the drummers increases in their abstraction and in their breaking up of the groove

I.e. at his best with guys like Randy Peterson, Ches Smith, Billy Mintz and even Gerald Cleaver. He is certainly fine improvising close to standard changes but he goes to the stratosphere when challenged and when he is challenging the rest of the musicians in the band.

Edited December 8, 2014 by Steve Reynolds

[Leeway]

I just can't fathom trying to replace a piano with Fender (which I just flat out hate). Why bother with the performance under those conditions? Sounds like a bummer to me.

It sometimes can work. Matt Mitchell in Snakeoil turned it to good effect in the same venue. Lucian is a different of player than Matt and the group has a different sound than Snakeoil (of course). When Lucian was just filling in, it wasn't bad, but any type of extended solo didn't really work for me. The cheesiness of the Fender starts to intrude. I thought Ballou was more harmful to the group than the Fender. Nevertheless, i wouldn't call it a bummer, there were plenty of good moments, and I always want to hear great players working in new or different circumstances. It eventually but always pays dividends.

[Shawn]

Opeth at the Hollywood Palladium tonight.

[BFrank]

Opeth at the Hollywood Palladium tonight.

They just played here on Monday - I missed it.

Let us know how the show is!

[Shawn]

Opeth at the Hollywood Palladium tonight.

They just played here on Monday - I missed it.

Let us know how the show is!

They will be coming back for a second leg of the tour in the spring, playing smaller venues and doing two 90-minute sets.

[BFrank]

Opeth at the Hollywood Palladium tonight.

They just played here on Monday - I missed it.

Let us know how the show is!

They will be coming back for a second leg of the tour in the spring, playing smaller venues and doing two 90-minute sets.

Spring, huh? I wonder if they will make a stop at SXSW?

[Shawn]

Opeth was phenomenal as expected. It was a short set because of the dual-headlining arrangement (In Flames & Opeth both played roughly 75 minutes a piece) but it was definitely quality and hit highlights of both their progressive and more metallic moments.

Setlist: (same set as the Warfield gig from the night before)

1. Eternal Rains Will Come (Pale Communion)

2. Cusp Of Eternity (Pale Communion)

3. The Drapery Falls (Blackwater Park)

4. The Moor (Still Life) - they've done some really nice re-arranging of the mid-section of this song, I hope they release it at some point.

5. Windowpane (Damnation)

6. The Lotus Eater (Watershed)

7. Deliverance (Deliverance)

Hearing both Windowpane and Deliverance was a treat, two of my favorite Opeth songs.

Can't wait till they come back through with their longer set next year.

Edited December 10, 2014 by Shawn

[alankin]

Seeing the Philadelphia Orchestra tonight. In Philadelphia.

Bramwell Tovey - Conductor

Alison Balsom - Trumpet

PROGRAM

Britten - Passacaglia, from Peter Grimes

Tovey - Songs of the Paradise Saloon, for trumpet and orchestra

INTERMISSION

Gershwin - Catfish Row; Suite from Porgy and Bess

Bernstein - Symphonic Dances from West Side Story

[Hardbopjazz]

Jimmy Greene Beautiful Life. Celebration of his daughter's Ana's life. Very powerful two sets of music.

[Steve Reynolds]

Tony Malaby with John Hebert & Billy Mintz

9:00 set time

[Steve Reynolds]

Above @ Cornelia Street Cafe

First piece a warm up

Second piece on soprano - very fine playing with the energy level increasing

Then we get the trio starting to crank it up a bit with a piece that was penned by Mintz. Then one of the two or three ballads, or balladic pieces if you will, of the night - great tone on tenor and great brushwork but these pieces only go so far with me.

Then we get "We See" which is the first time I hear Malaby play Monk

Close to what ICP does with "Jackie-Ing" or "Criss Cross"

Pretty fucking incredible to my ears.

And Billy Mintz by now is elevating

Then a Lionel Hampton ballad and they close the first 70 minute set with some awe inspiring groove piece that had the whole trio playing at the next level.

Second set starts with an subtle piece with some terrifyingly agile playing by Malaby.

Then comes another Mintz piece that we find out is called "Cannonball"

Oh my

Lordy Lordy

The *great* Billy Mintz takes about 7 or 8 minutes to build this groove - by 12 or 15 minutes it has exploded into one of those pieces that is beyond genius.

Malaby by now is playing out of his mind.

Then the last ballad. I guess we/they needed a break

Second soprano piece follows - this time skronky, oblique with some terrific Hebert bow work. My wife didn't like this so much - for me, right down my alley - fine insect inspired piece

Last piece ends up with another Mintz groove with Tony playing the best tenor I've ever heard him play. Full range of the horn - full concentration and focus - elbows flapping left and sometimes right - the man right now is playing as if possessed. He has it all going on. He is playing better than ever. As many of you know I've seen him often over the past number of years - but these last two shows.....wow

Time for some serious music listeners to take note and come see the man live if you are interested in hearing a truly great tenor player.

And also it is great to see Mr. Billy Mintz in an open yet structured (all compositions ) like this. He develops magical grooves and the sound he gets from the bass drum and toms is simply magnificent. Understated yet very powerful last night.

If this sounds like fanboy shit - too bad - a few of you maybe oughtta check him out live rather than keeping him on ignore - so those near NYC come by on 12/26 or 12/27 and see Open Loose (at the same great little venue) for the Mark Helias led trio with another version of Tony Malaby on tenor with the *great* Tom Rainey at the kit.

Edited December 14, 2014 by Steve Reynolds

[Leeway]

Thanks Steve.

Two things jump out.

Even at that misfire with the New Quintet, Tony's playing is as tight and intense as I've seen it in, lo, these many years. He seems very very focused.

Drummers make all the difference.I'd rather have a "straight" group with an "out" drummer than the other way around. I've seen out players trying to play with a straight drummer, and the results are quite deflating. The drummer is like the pilot on a boat: sets the course.

Glad it worked out.

[alankin]

Last night:

Venue:

Philadelphia Art Alliance251 S. 18th Street
Philadelphia, PA

Saturday, December 13, 2014 - 8:00pm

Todd Sickafoose’s Tiny Resistors

Jenny Scheinman, violin

Ben Goldberg, clarinet

Kirk Knuffke, cornet

Erik Deutch, piano

Rob Reich, accordion

Adam Levy, guitar

Todd Sickafoose, bass

Allison Miller, drums

Ars Nova Workshop is pleased to present the Philadelphia premiere of Todd Sickafoose’s original composition BEAR PROOF.

[kh1958]

Last night, Dave Burrell playing solo piano at a church in Houston for two and a half hours straight. That was pretty great.