Entries tagged with: jazz
The Blue Note Jazz Club was the host to jazz legend McCoy Tyner and his trio on Monday.
McCoy, as you may know, was the pianist in John Coltrane's classic quartet from 1960-1965 and has had an long and brilliant solo career since. The Trio was comprised of Gerald Cannon on bass, Francisco Mela on drums and special guest Gary Bartz, a grammy winning alto and soprano saxophonist. Bartz has also been on the jazz scene since the 60's and has played with Miles Davis, Charles Mingus and Max Roach.
While McCoy is now 77 years old and Bartz 75, they proved on Monday that both still have all the skills that made them such important parts of the history of jazz. They opened their short, one hour set with a favorite of mine, the title track of the 1977 classic Fly With The Wind, one of McCoy's many classics on Milestone Records. The track was delivered perfectly and immediately drew the crowded Blue Note audience under their spell.
Bartz was playing a brand new alto and his tone was sweet, well rounded and lyrical and meshed perfectly with McCoy's gorgeous piano work. They continued their set with an even earlier classic, the wonderful "Blues On The Corner" from McCoy's seventh studio album The Real McCoy released on Blue Note Records. The next track was the muscular, driving "Walk Spirit, Talk Spirit" from 1973's live album Enlightenment, also on Milestone. This is a powerful song that is one of McCoy's greatest and to see him deliver it with nearly the same intensity he had when he was a young man was very impressive.
The band really stretched out on this track with everyone delivering wonderful solos. Francisco Mela and Gerald Cannon made the whole thing really swing and they both seemed to be having a great time, smiling broadly throughout. The band then left the stage to put the limelight on McCoy for a solo piece from his 1991 Blue Note album Soliloquoy called "I Should Care." This track is a wonderful and dynamic piece that really highlighted the range and incredible dynamics of McCoy's unique and distinctive style of block chording and use of pentatonic scales. The set concluded with the Duke Ellington composition "In A Mellow Tone" that you may also recognize as the opening theme to The Howard Stern Show from 1987-1994.
While the set was a bit shorter than I anticipated, it did concentrate on the older classics which was a very pleasant surprise and made the evening especially enjoyable. If you missed this you can still see McCoy at The Blue Note on February 1 and 15 and again on March 1. He does two shows each night. Tickets are on sale.
More pictures from Monday night's show, below...
Comedian H. Jon Benjamin is releasing his first musical project, a jazz album called Well I Should Have...* (*Learned How to Play Piano), which comes out Friday (11/27) and is available right now digitally via Sub Pop. The LP has six songs, four of which are called "I Can't Play Piano." In a promotional video about the making of the album, Jon makes it clear that he really can't play piano, and saying "in hindsight, I don't think it was the best idea in the world." The video features actual jazz musician Odean Pope and you can watch it below.
The album, meanwhile, was mixed by Loren Bouchard (Bob's Burgers, Home Movies) and Jon is accompanied by Scott Kreitzer (saxophone), David Finck (bass), and Jonathan Peretz (drums). The album's opening skit, Deal with the Devil," features Aziz Ansari (Jon had a part in Master of None) and Bob's Burgers co-star Kristen Schaal. You can listen to that, and two of the "I Can't Play Piano" tracks, below.
To listen to opening track "As A Wife Has A Cow" is to jump into the deep end. It's 54 seconds of words, voice, and technology, a looped, echoing reading of a Gertrude Stein poem. The effect is disquieting and alien but deeply rhythmic, too-and that's Krog's USP. Don't Just Sing takes in these spoken experiments along with free jazz, improvisation, standards, contemporary covers, and electronic manipulation. It features some of the best regarded jazz players in Europe, not least her partner, John Surman, the English saxophonist/multi- instrumentalist and composer. Like Annette Peacock, Krog experiments with solo vocals run through electronics and performs with progressive electric jazz combos and traditional acoustic groups as well.Norwegian jazz singer Karin Krog, whose work (most of which was never released in the US or UK) got a profile boost this summer when venerable reissue label Light in the Attic released Don't Just Sing | An Anthology: 1963-1999. You can stream it via Spotify, and stream 1974's classic "We Could Be Flying" and her cover of "Ode to Billy Joe," below.
Krog began singing jazz in the 1950s and started her first band in 1962. She not only had two tracks on the first ever Norwegian jazz LP, Metropol Jazz, but also became the first Norwegian jazz artist to record and release a full album (1964's By Myself on the Philips label). Her sound developed as technological advances made new recording techniques possible, and she quickly embraced the album as the perfect form to contain her sonic experiments. "There is such a thing as too much manipulation," says Krog today. [Light in the Attic]
Krog will be making a rare visit to NYC this month, playing Joe's Pub on September 30 where she'll be accompanied by pianist Steve Kuhn, with whom she recorded We Could Be Flying. Tickets are on sale.
Jazz saxophonist/composer Kamasi Washington has been at it for over a decade -- early works include Young Jazz Giants, his quartet with Stephen Bruner aka Thundercat and others, who released a self-titled album in 2004 -- but he's been in the spotlight recently thanks to his contributions to Kendrick Lamar's To Pimp A Butterfly and his debut album as a bandleader, The Epic, which came out earlier this month on Flying Lotus' label Brainfeeder. (Thundercat appears on this too.) Pitchfork gave the album Best New Music and wrote:
It's something of a gobsmacking paradox to discover what a hip-hop-free zone The Epic is, and how enamored of jazz's past it turns out to be. This triple-album set is an extravagant love letter to (among other things): soul jazz, John Coltrane (various periods), and 1970s fusion leaders like Miles Davis and Weather Report. The Epic's Disc 1 opener, "Change of the Guard", might as well be titled "We Love All Kinds of 'Trane". Its ringing opening piano chords sound almost entirely lifted from the playbook of McCoy Tyner, the pianist in Coltrane's so-called "Classic Quartet." (That's the group responsible for A Love Supreme.) The opening theme in the saxes is something that could only have been written after "Impressions". And the harmonious writing for Washington's string section recalls posthumous Coltrane releases like Infinity--tracks from which featured orchestral overdubs supervised by Alice Coltrane (who is, as you may have read, Flying Lotus's aunt).He performed the album live at the Regent Theater in LA the day before it came out, and tonight (5/27) at 9 PM EST, NPR will broadcast it for all to hear. HIs band at that show included Thundercat once again, arranger Miguel Atwood-Ferguson leading the orchestra and choir, and many more (LA Times has a good review). His only two upcoming dates at the moment are in LA and DC, but let's hope he makes it to NYC soon too.
Stream a track from the album and browse his tour schedule below...
Charles Lloyd -- photo by D. Darr
Blue Note Records announced:
More than 50 years into an already legendary career, 2015 is shaping up to be a momentous year for Charles Lloyd. As reported in The New York Times, the esteemed saxophonist and composer has signed with Blue Note Records and will release his first album for the iconic label in 30 years with the April 14 arrival of Wild Man Dance, a magnificent live recording of a remarkable long-form suite commissioned by the Jazztopad Festival in Wroclaw, Poland. Lloyd will present the North American premiere of the "Wild Man Dance Suite" on April 18 at the Metropolitan Museum Temple of Dendur in New York City followed by two performances of the work during a four-night stand at SFJAZZ (April 23-26) in San Francisco. Lloyd will also perform with his Quartet at the New Orleans Jazz & Heritage Festival on May 2.Tickets for the show at The Met are still on sale, but I don't see public tickets for the Lincoln Center thing at the moment.
On April 20, Lloyd will reach another career landmark when he is awarded the NEA Jazz Masters honor celebrating his remarkable career as well as recognizing his creative brilliance in the pantheon of such other living and vital jazz legends as Sonny Rollins and Wayne Shorter. An awards ceremony and concert honoring the recipients will take place at Jazz at Lincoln Center in New York City.
Charles Lloyd -- photo by D. Darr
Those interested in learning more about Charles can check out 2013 documentary "Arrows Into Infinity". Ornette Coleman, Herbie Hancock, and other greats also appear in the film. The trailer is below.
In related news, Blue Note has been collaborating with my favorite home speaker system Sonos who will be releasing their first ever limited edition speaker, the "Sonos PLAY:1 Blue Note Limited Edition". It's literally blue and looks like this:
Founded in 1984 and based in Washington DC [Silver Spring, MD], Cuneiform Records is one of the longest-running and largest independent record labels in North America, dedicated to releasing high-quality recordings by some of the world's best and most adventurous musicians, and distributing and promoting these releases worldwide. The label focuses on cutting-edge music regardless of genre: the progressive frontier of myriad musics, from avant jazz to noise/electronica, classical minimalism to experimental rock, and especially music that transcends, redefines, and goes "beyond" traditional genres.Cuneiform Records is 30 this year and will be celebrating in NYC tonight (10/22) at Shapeshifter Lab in Gowanus (18 Whitwell Pl) with three of its artists: The Microscopic Septet, Curtis Hasselbring's newest project Number Stations, and Ideal Bread. Tickets are on sale and you can stream tracks from all the artists playing tonight below.
Other Cuneiform-related shows coming up include The Cellar and Point at the closing Glasslands on 11/19, and the Anthony Pirog Trio at IBeam on 12/12. More dates in many cities around the world at Cuneiform's site.
by Ian Chainey
Jazz bassist/producer Teruo Nakamura will be playing two upcoming shows with his Rising Sun band that will focus on material from his albums Rising Sun (1976) and Manhattan Special (1977). Both will take place at Greenwich Village's Zinc Bar, with the first happening Tuesday (6/24). The second is scheduled for July 31. Tickets are $15 at the door.
Teruo Nakamura has served as a noted jazz producer and session man, playing with and producing leaders like Roy Haynes, Barry Finnerty, and Bob Mintzer, while also working with all-star session men such as Roy Ayers, Steve Gadd, and Jaco Pastorius. For crate-diggers and samplers, he's known for his fusion/electric jazz albums that balanced a funky edge with effervescent, instrumental hooks. Manhattan Special, featuring Herbie Hancock on keys, even broke into the 1977 Billboard Jazz charts. Plus, if you've heard The Roots' Illadelph Halflife, you've also heard Teruo Nakamura, as Rising Sun's "Cat" served as the sample for the Q-Tip collaboration "Ital (The Universal Side)."
Teruo Nakamura's new Rising Sun band lineup along with a few streams, below...
Swedish free-jazz saxophonist Mats Gustafsson has a number of European dates with his trio The Thing (with bassist Ingebrigt Håker Flaten and drummer Paal Nilssen-Love) coming up, and he'll also bring them to NYC for a show at the Guggenheim museum on November 20th in celebration of the Christopher Wool exhibit. Also on the lineup for the eclectic event are punk vet/writer Richard Hell (who recently released his autobiography), no wave vet/composer Arto Lindsay and jazz multi-instrumentalist Joe McPhee. Tickets are on sale.
The Thing's new LP, BOOT!, will be out November 12th and you can hear their skronky, distorted cover of John Coltrane's "India" below. According to the band's website, they also have a few more records coming up in the next half-year, including two more LPs and a collaborative live album with Sonic Youth's Thurston Moore (who is touring and playing NYC on NYE) due in spring.
Hear the song below...
Walton grew up in Dallas, Texas. His mother was an aspiring concert pianist, and was Walton's initial teacher. She also took him to jazz performances around Dallas. Walton cites Nat King Cole, Bud Powell, Thelonious Monk and Art Tatum as his major influences on piano. He began emulating recordings of these artists from an early age. He attended the University of Denver as a composition major originally, but was encouraged to switch to a music education program targeted to set up a career in the local public school system. This switch later proved extremely useful since Walton learned to play and arrange for various instruments, a talent he would hone with Art Blakey's Jazz Messengers -[Wiki].Warren, a prolific solo artist as well, also collaborated with some major names of the era, including Gene Ammons and Sonny Stitt, Ornette Coleman, John Coltrane, Jimmy Heath, Pat Martino, Donald Byrd, Freddie Hubbard and many many more. RIP Cedar Wilson, your recordings will live on.
by Fred Pessaro // BBG
Rumors were put to rest when confirmation of Byrd's passing was announced by the artist's nephew Alex Bugnon who said that his 80 year uncle had indeed died on Monday, February 4th, adding that for some reason other family members were trying to shroud his passing in secrecy. "I have no more patience for this unnecessary shroud of secrecy placed over his death by certain members of his immediate family," wrote his nephew. So far the exact cause of death has not been made public.I grew up listening to hip hop, so my first encounters with Donald Byrd came by way of Guru's Jazzmatazz LP and "Buck Em Down" by Black Moon. The latter song samples the "Wind Parade" from his Blue Note LP Places and Spaces, an album I sought out which eventually lead me to more excellent funk/soul-infused jazz. But Byrd had quite the career before adopting funk into his repertoire, playing with the likes of Cal Tjader, John Coltrane, Wes Montgomery, Thelonious Monk, Lou Donaldson, Art Blakey's Jazz Messengers, Sonny Rollins, Herbie Hancock and countless others, as well as a member of his own band The Blackbyrds.
In latter years, Donald Byrd's music was sampled by countless hip hop artists as well, including names like J.Dilla, Large Professor, Public Enemy, Nas, Jungle Brothers, Ice Cube, and so many others. Check out some of Donald Byrd's work and some of the music he influenced below. R.I.P. Mr. Byrd, you will be missed.
From the Inbox:
University of the Streets, the University of the Streets Musicians Committee and the musicians union Local 802 are formally announcing the end of a seven month boycott of University of the Streets, effective immediately.---
The announcement follows successful resolution of negotiations between the non-profit jazz venue's management and members of the University of the Streets Musicians' Committee, an ad hoc organization representing musicians who had played at University of the Streets and were participating in the boycott, and Local 802, AFM, whose representatives were present in support of the musicians' committee.
The boycott was called last September, after reports of a musician being injured during an altercation with a UOTS employee circulated widely through social media. The boycott also stemmed from musicians' concerns over what they considered a "pay to play" policy, in which the venue sometimes required bands to pay out of pocket to cover a guarantee in ticket sales.
In January 2012, the UOTS Musicians Committee contacted Saadia Salahuddeen, director of University of the Streets, with a list of grievances. These were resolved in a meeting on April 12, 2012, attended by members of the UOTS Musicians Committee, representatives of Local 802, Ms. Salahuddeen, and several members of the UOTS board.
As part of the agreement, UOTS will end the 'pay-to-play' policy, and will bar the employee involved in the altercation from the venue.
A statement issued by the UOTS Musicians Committee reads:
'We're extremely pleased that UOTS has addressed the musicians' concerns, and that both they and we can now get back to presenting and performing creative music in this historic venue. We wish the venue and the musicians who play there every success.'
A statement byLocal 802 organizer Shane Gasteyer reads:
"These musicians have shown again that collective action really works. Local 802 is happy to be here supporting working musicians in every part of today's scene."
Ms. Salahuddeen invites any interested musicians to join an advisory committee of musicians so that UOTS can work more closely with the local jazz and improvisational music community "to ensure more productive and positive relationships with musicians."
Endorsed by: Marc Ribot, Brandon Ross, Ches Smith, Avram Fefer, Jim Pugliese, and Weasel Walter for the UOTS Musicians Committee, and Saadia Salahuddeen For University of the Streets.
FOUR NIGHTS celebrating the incredible, dynamic, explosively creative jazz, instrumental, and adventurous music being made in New York City.The 2012 Undead Music Festival (formerly known as Undead Jazz Fest) starts Wednesday (5/9) with three shows in Greenwich Village, including a Tonic reunion happening at Le Poisson Rouge on Wednesday, 5/9. (There's a Tonic Reunion tonight at The Stone tonight, 5/7, too, unreleated to the Undead fest.)
May 9th: A Marathon of Concerts in Greenwich Village
May 10th: Medeski, Martin & Wood & ?? at Brooklyn Masonic Temple, featuring So Percussion, Steven Bernstein, Vernon Reid & more!!
May 11th: Night Of The Living DIY in Brooklyn, Seattle, Norway & more...
May 12th: Improvised Round Robin Duets at 92Y Tribeca
Lovingly and tirelessly organized by Adam Schatz of Search & Restore, and Brice Rosenbloom of BoomCollective.
Other Undead performers include Medeski, Martin & Wood at Brooklyn Masonic Temple on Thursday (5/10) and a multi-venue "Night of the Living DIY" on Friday (5/11) which includes the previously mentioned Bjorkestra show at the new Shapeshifer Lab (which meanwhile is hosting two nights of Undead-presented shows with Nels Cline, Tim Berne & Jim Black).
"this newly renovated performance space hosts the world's most innovative artists who are looking for a flexible platform to present their work. Bass player Matthew Garrison, son of Jimmy Garrison (bass player for John Coltrane), is the co-owner and creative director with his business partner, Fortuna Sung. With many years as a successful touring musician under his belt, Matt and his team have designed the space with versatility in sound, lighting and layout, each of which can be tailored to each artist. With state-of-the-art equipment and raw space, Matt and his team are creating something truly unique and desperately needed in today's venue scene in New York City."All About Jazz points out:
"Matthew has also been busy recording a new project of his at ShapeShifter Lab, to be released online as an interactive website in June 2012, and has successfully video and audio captured performances by Meshell Ndegeocello, Arto Tuncboyaciyan, Gene Lake, Terri Lyne Carrington, David Binney, Adam Rogers, Mark Guiliana, Jojo Mayer, Marko Djordjevic, Hadrien Feraud, Tobias Ralph. Many more incredible artists are scheduled to come participate on this ground breaking project throughout May 2012."If you haven't figured it out yet, Shapeshifter Lab, which has been open for a few months now, is catering mainly to the jazz scene. Upcoming shows on their calendar include Nels Cline, Tim Berne & Jim Black (tonight and tomorrow), Bjorkestra (pictured playing the space above), Snarky Puppy (who already recorded a DVD there. Check out a video snippet below.), Kenny Werner, and many more. Check out some videos, including a venue tour with Matthew Garrison, below...
Back on 9/9 we posted about an incident at NYC jazz venue University of the Streets where Kevin Shea of Talibam! ended up with a pretty nasty injury to his face after an altercation with the venue's staff. About a week later the venue did in fact respond.... all in caps and with some fun lines like this: "THE ATTENDANT RAISED HIS HAND TO PROTECT THE DIRECTOR AND IN THE MELEE THE BAND-MEMBER'S FACE CONNECTED WITH THE ATTENDEES HAND." Read the whole thing below...
Due to Hurricane Irene, City Parks Foundation was forced to postpone the Charlie Parker Jazz Festival which was originally scheduled for Saturday, August 27 and Sunday, August 28. We are proud to announce a new date for the festival, Friday, September 23, from 6-10 pm at the Richard Rodgers Amphitheater in Harlem's Marcus Garvey Park. Due to the rescheduling of this event, the lineup has been altered and the typically two-day festival has been consolidated to just one day.Watch James Carter play the saxophone in a video below...
On Friday, September 23, the festival will take place at Marcus Garvey Park with KENNY WERNER, JAMES CARTER, TIA FULLER and THE GERALD CLAYTON TRIO.
This FREE performances is certain to fill up quickly, so get there early: the show begins at 6:00pm.
by Andrew Frisicano
As announced a few months ago, the four-night Undead Jazz Fest kicks off tonight (6/23) with music at Le Poisson Rouge, Sullivan Hall and Kenny's Castaways. The format is similar to that of the Winter Jazz fest (and the inaugural Undead fest last year): one ticket that covers entry to a handful of neighboring venues. This year, each night offers something a little different.
Thursday night the venues are in Greenwich Village and music include Marc Ribot's Ceramic Dog, Dave King Trucking Company, Gerald Clayton and Alan Licht & Brian Chase. Friday night features a "round robin of improvised duets" at the Bell House. Scheduled participants for that are: "David Torn, Elliot Sharp, Jim Black, Erik Friedlander, Dean Bowman, Chris Lightcap, Brian Chase (Yeah Yeah Yeahs!), David King (Bad Plus!), Darius Jones, Chris Speed, Jamie Saft, Chris Dingman, Eivind Opsvik, Charlie Burnham, Marco Cappelli and Kirk Knuffke."
Saturday the music will be in the Gowanus/Park Slope area (at Littlefield and unconventional spots Homage Skateboard Training Facility and Cross Fit) where you'll be able to see Elliott Sharp (playing Thelonious Monk), David S. Ware, the Darius Jones Trio and more, all on the same Degraw Street block.
Sunday, the music (a super-varied lineup that includes The Claudia Quintet, Peter Brotzmann's FULL BLAST, Bobby Previte Quartet, Erik Friedlander and UB313 with Sun Ra Arkestra's Marshall Allen) is in Williamsburg, split between four stages at three venues: Public Assembly, Cubana Social and the Cameo.
There are copies of the Undead Jazz Fest Review floating around town that come with an excellent sampler CD, which you can stream below.
We should note that last week, the New York Times published news about an online petition asking for an increase in musician pay for the Undead and Winter Jazz Fests. Initially, it was unclear whether that situation would affect this year's festival (some of the signees are scheduled to perform), but the organizers of the petition have since clarified some points, mainly that they support this year's fest and that they didn't mean for the press to find out about what they thought was a private email, but that they're hoping to negotiate for a pay raise at future fests. Some more info on that is below, if you're interested...
Now that that's out of the way... the fest recently put together a trailer containing one second of music from each artist on the bill. That and the full schedule are below...
Brian Wilson played the Highline Ballroom [Sunday] night as part of its sister club's month-long Blue Note Jazz Festival, and though the two-set show featured his entire current Brian Wilson Reimagines Gershwin album of Gershwin standards, it wasn't jazz, really, but no less demanding--and rewarding.As mentioned in that review, Brian Wilson's three shows at Highline Ballroom this week are part of the ongoing and inaugural Blue Note Jazz Festival, a month-long celebration of Blue Note's 30th Anniversary. The fest includes a ton of shows including the recent Aloe Blacc, Idle Warship, and Larry Graham gigs. Brian finished his run Tuesday night, while, Dave Brubeck (who just turned 90) and George Wein & the Newport All-Stars each began their own three-night run at Blue Note Jazz Club. Advanced tickets to the Dave Brubeck shows are sold out, but you can line up to sit be at the bar on a first come, first served basis (if you're 21+). Tickets are still on sale for George Wein.
The Beach Boys' beloved creative genius brought a 12-piece band of multi-instrumentalists/vocalists--and a local female string section--and all lived up to his contention that it's one of his best bands ever.
The Gershwin album, which was conceived under the aegis of his hero George Gershwin's estate, led off the second set--the first being a breathtaking recreation of Beach Boys classics ranging from the ultra-romantic 1963 ballad "Surfer Girl," his first composition, to the symphonic "Heroes And Villains" of 1967. While Wilson's ability to sing his signature falsetto vocal leads and harmonies is long gone, guitarist Jeff Foskett was downright spooky in mimicking it on hits like "Don't Worry Baby" and "Wouldn't It Be Nice." [Examiner]
The recently mentioned Bjorkestra show at Highline Ballroom on June 14 is also part of the festival. As discussed, tickets are on sale and can be purchased with a 50% discount by using the access code "BIGBAND."
Bootsy Collins, who just played Bonnaroo, brings his previously announced Blue Note festival show to BB King's on June 26....
"Bootsy Collins was just one more band on our to-do list -- we didn't expect him to nearly steal the whole festival. After an annoying hour-plus wait that had the crowd chanting "bullshit," Collins instantly won the fans back in his favor by bringing THA FUNK. Everything was on the one after that. Lead guitarist Blackbyrd McKnight melted minds, while original P-Funk keyboardist Bernie Worrell provided the ballast. A special mid-set run found the band tackling classics by P-Funk, Jimi Hendrix, and Sly and The Family Stone." [American Songwriter]Tickets are still available for the NYC show.
Questlove is presenting Mo' Meta Blues I at The Blue Note on June 20 and 21. Both days consist of an early show and a late show. Mo' Meta Blues I features Questlove on drums/electronics, Booker T on organ/keyboards/vocals, Eric Krasno on guitar, and Christian McBridge on bass. Tickets are on sale.
The following night (6/23), The Roots will present Mo' Meta Blues II - Paid In Full 25th Anniversary featuring Black Thought and Rakim at The Blue Note. There will also be an early and a late show. Advance tickets for table reservations are sold out, but you can still get in at the bar on a first come, first served basis (if you're 21+).
"The Music of Stax Records" featuring Steve Cropper, Duck Dunn, Eddie Floyd and Lester Snell is happening on June 26 at Highline Ballroom. Tickets are on sale.
Last but not least, we want to highlight the Dances of Vice presentred Powerhouse Stomp II: a musical tribute to the classic cartoons of the 1920s, '30s, and '40s on June 29 at Highline Ballroom featuring Brian Carpenter's Ghost Train Orchestra. Sounds fun and tickets are on sale.
Check the Blue Note Jazz Festival's website for the full schedule. A selection of related videos below..
Todd Sickafoose & Mary Halvorson
Speaking of Andrew Bird (who has a big headlining free Brooklyn show coming up), check out who the players in Todd Sickafoose's Tiny Resistors are:
John Ellis * sax + clarinetTickets are still on sale for the Undead Jazz-presented show happening on May 18th at Le Poisson Rouge that also includes a set by the Mary Halvorson Trio
Alan Ferber * trombone
Andrew Bird * violin + looping
Steve Cardenas * guitar
Jonathan Goldberger * guitar
Ted Poor * drums + percussion
Todd Sickafoose * bass + piano
by Andrew Frisicano
Speaking of Colin Stetson, you can see him tonight at the Blue Note (2/25), where he plays with Steven Bernstein (trumpet), Vicente Archer (bass) and Dan Weiss (drums) as part of Spontaneous Construction, a new series put on by Search & Restore happening at the venue most Fridays (midnight doors, with a $10 cover). The idea is to pair up musicians that don't regularly play together into one-night combos, and the schedule for the next few months includes big names like Jason Moran, Bobby Previte, Ari Hoenig, Nasheet Waits and Dave King (with plenty TBAs too). All the sets will be recorded for Search & Restore's ongoing video project, which launched earlier this year. For a taste of the quality of those videos, check out their recording of the group Four Bags, posted below, with the Spontaneous Construction schedule thus far...
by Andrew Frisicano
Ben Perowsky's Moodswing Orchestra w/ TK Wonder
Like the year before it, NYC Winter Jazz Fest 2011 was a hit. Capacity crowds filled the venues on both nights (all together 1,400 on Friday and 2,600 on Saturday), and it'd be hard to find two people who came away seeing the same acts, or with the same impression of the fest. From what I've heard and read of Friday night, the music was stellar, but after LPR closed around 9:30pm for another event the numbers overwhelmed the remaining two spaces, with long lines and many disgruntled jazz-heads.
(Le) Poisson Rouge, the largest of the venues, was crammed full on Saturday for a curious lineup of jam-band jazz (Charlie Hunter), noisy guitar improv + painting (Nels Cline and painter Norton Wisdom) and Steve Coleman & Five Elements (high-strung group improv with vocalist Jen Shyu scatting along). I only stayed for those, before heading to Kenny's Castaways for part of its Search and Restore showcase. Aethereal Bace - drummers Nasheet Waits and Eric Mcpherson, and saxist Abraham Burton - improvised as a duo after Mcpherson didn't show (their tight, restrained set mainly served to make me more curious about the two-drummer set up they usually employ). Talibam!, who followed, were something else entirely: spasmotic punk in jazz clothes. Back at LPR, at this point well after 2am, Ben Perowsky's Moodswing Orchestra backed up MC/singer TK Wonder for a criminally underattended set. Then I ended the night with trumpeter David Weiss's band at Bitter End, which, at 3:45am, it was.
Some pictures of the above-mentioned acts (plus Asphalt Orchestra who made an appearance at LPR) are below...
by Adam Schatz (Search & Restore)
Mary Halvorson (photo by Peter Gannushkin)
Mary Halvorson's sound is a hyena, sharp and active. Historically, the classic jazz guitar tone and reputation is closer to a basset hound. 9 out of 10 dentists prefer the one who's out for blood. Standing out from the pack, Halvorson's strings cut with beauty and precision. Her melodies are hooky and complex at the same time, no small feat, and her talent for improvising with her hand picked ensemble is one to be seen to be believed. There is a fluidness to her style, and it is all in the art of juxtaposition. She is jagged but defined, aggressive but beautiful.
On Thursday, January 13th, she's performing at Littlefield in Brooklyn in a collaborative trio with improvisers Weasel Walter on the drums and Peter Evans on the trumpet. This double whammy show pairs Halvorson's crew with Mostly Other People Do The Killing, an gloriously titled high energy group (sharing Evans on the trumpet and Talibam!'s Kevin Shea on drums), smashing jazz aesthetics with subtle and not so subtle humor and phenomenal talent. Don't miss it.
The Littlefield show is a record release party for the trio's new record, Electric Fruit, out January 25th via Thirsty Ear. It will be Mary's first release in 2011. She lists nine that came out in 2010. Those include the notable Mary Halvorson Quintet album, Saturn Sings, which was released via Firehouse 12.
Mary can also be found tonight, January 12th, playing with Marc Ribot at Le Poisson Rouge. A video and all of her tour dates can be found below...
"NEVER STOP is the first album by The Bad Plus to consist entirely of originals. Recorded in Minnesota with a live, stripped-down sound, NEVER STOP showcases the band's range as well as its three distinct personalities. From gentle and melodic to fierce and abstract, from swing to 80's techno, NEVER STOP is tied together by a group sound that embraces diversity as strength. Ten years in, The Bad Plus is here to stay."- The Bad PlusThe Bad Plus play The Village Vanguard in NYC on December 28th, 29th, 30th, 31st, January 1st and 2nd. They play two sets each day except New Years Eve. New Years Eve tickets are $150 each. All the other December shows are either sold out or not selling anymore advanced tickets, but you can still get $25 advanced tickets for 1/1 11pm and 1/2 11pm. Info on their latest CD is above. All Bad Plus tour dats below...
Dave Brubeck is playing the Blue Note in NYC Friday, Saturday and Sunday (11/26-11/28). Reserved tables are sold out, but first come, first served bar tickets are available for all the shows. You can also catch him at Tarrytown Music Hall on December 3rd.
The jazz pianist legend will turn 90 years old on December 6th which is the same day TCM will premier "In His Own Sweet Way," a Clint Eastwood-produced documentary on his life.
A mix with some of the artists is up on Bandcamp. The full lineup with set times, a poster for the fest and group rosters are below...
by Andrew Frisicano
John Hollenbeck @ The Bitter End for Winter Jazz Fest 2010 (more)
The sixth Winter Jazz Festival in January brought some of the city's best jazz musicians to five Greenwich Village venues. With that lead in, the inauguaral Undead Jazz Festival will be happening in three of the same venues - (Le) Poisson Rouge, Sullivan Hall and Kenny's Castaways - on June 12th and 13th. Tickets for one night and two-night passes are on sale.
The lineup - almost perfectly configured to complement Winter Jazz Fest - includes Happy Apple (sideproject of the Bad Plus' David King), pianist Matthew Shipp, trumpeter Dave Douglas & Keystone (his cinema-scoring/inspired sextet), drummer-composers Dan Weiss and John Hollenbeck (who both appeared with different groups in January) and many more. The initial lineup is posted below...