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Jack DeJohnette and Bill Frisell, 2001, Earshot Jazz Festival


Lazaro Vega

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Recorded live in Seattle following their introduction by Don Byron, with "additional production" from Ben Surman. The 11 and a half minute title piece is killin' -- Frisell improvising on electric at length with DeJohnette's full kit (and amazing bass drum sound -- he makes it sound like a Fender Bass) showing his evolution of ideas since his Miles Davis days. DeJohnette does that free funk thing better than anyone. Their interaction on the title number makes for an interesting comparison to how the young drummer Ted Poor played with Frisell in last year's Cuong Vu CD. In Seattle there's good "blowing" on "Otherworldly Dervishes," too, after several textured performances fade by where DeJohnette employs all kinds of percussion sounds, such as what might be metal circle chimes as backdrop for Frisell's banjo as koto on "The Garden of Chew-Man-Chew."

If you dug the DeJohnette/John Surman duets on ECM this is another story in the multi-directional musical world of DeJohnette. (p.s. I haven't heard the entire disc yet).

2006, Golden Bean Productions, GBP-CD-1116

Edited by Lazaro Vega
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Yeah, they were great on Don Byron's Romance..., even though I didn't like Byron's work on there much. A duo? Sounds very promising.

Ted Poor, eh? Loved his work with the Respect Sextet (Respect in You's one of the best discs of 2005, or late 2004 anyway), & didn't know he was working with C. Vu & Frisell.

This is really an excellent disc! I am spinning it for sure. You guys should check out www.kindredrhythms.com - which is DeJohnette's label. The production company releasing his new music is called Golden Beams Productions and you can buy the shit on iTunes and on his website.

Ted Poor also plays extremely well on the new Ben Monder disc Oceana (released last year on Sunnyside). He went to Eastman - met Monder there in a clinic setting and that was one of his first gigs when he moved to NYC two years ago. I got to meet him when I presented Monder at my school in Pittsburgh last year. That band also included longtime Frisell cohort bassist Kermit Driscoll and vocalist Theo Bleckmann (a student of Sheila Jordan who has interestive non-word vocalizations that he does - with Monder they are usually written out and through composed - harmonies to his guitar lines).

You guys should also check out this new Paul Motian Band (they aren't calling this the Electric Bebop band) CD called "Garden of Eden." Monder, Steve Cardenas, Tony Malaby, Chris Cheek, Jerome Harris, and Motian.

Glad to see some folks here are not ONLY into the Blue Note era.

peace out

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Cuong's trio includes Stomu Takeishi, bass; Ted Poor, drums; and on the album "It's Mostly Residual" Frisell is described as a "Recruited Guest." Poor is alzo on the new Ben Monder recording "Oceana." Cuong's trio is coming out on tour and will play live on Blue Lake Public Radio Wednesday, February 15th at 10 p.m. I know they're hitting the Kerrytown Concert House in Ann Arbor and I'd bet they'll be in Chicago on this swing through the Great Lakes.

A lot of the DeJohnette/Frisell duo album hangs time, music static as a mobile, turning, but hung. Purposeful rhthmic stasis. They create music spontaneously in all kinds of areas on this. The title track, though, is a riled up jam for electric guitar and drums that's killin'. Jack D!

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Guest akanalog

Glad to see some folks here are not ONLY into the Blue Note era.

peace out

well that is a silly thing to say. a lot of people on this board-the classic BN era isn't their main or only thing. look at the 1000 or whatever page funny rat thread.

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Glad to see some folks here are not ONLY into the Blue Note era.

peace out

well that is a silly thing to say. a lot of people on this board-the classic BN era isn't their main or only thing. look at the 1000 or whatever page funny rat thread.

Funny Rat is like 5 dudes. That's nothing.....ples...

Edited by cannonball-addict
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I really don't see why we can't dig the whole thing. And if you say Blue Note you're talking all the way back to 1939: Ammons and Lewis, Fatha Hines, James P. Johnson, the great Bechet; and all the way up to Cecil and Ornette, Hill and Osby. Yes, there was a Blue Note "sound." But to be a dweeb about it, The Blue Note era is on-going, and if you consider the label's history it is more than bop.

In any case, yes, at least there is activity to be checked out in the current scene. And yet also spent hours this week listening to records with bassist Isreal Crosby (who achieved a kind of free feel on his own within the Ahmad Jamal Trio, but started at age 16 playing strict time with Jesse Stacy and Gene Krupa) and did a program last night on James P. Johnson (with side trips to Fats Waller, Ellington). The many musical imaginations encompassed in the recorded legacy of "jazz" is ever fascinating.

Edited by Lazaro Vega
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