(New) Album For The Day

[charles t]

Frontal by Simone Graziano, Italian pianist leading a quintet which includes American reed stars David Binney & Chris Speed - playing Graziano's compositions.

Most of which neatly fold into one-another in succession, compositionally.

#1 & #6 excepted ('Collective Improvs').

A fresh voice...said release ending with a contemplative piano solo.

Available on the usual clouds, such as Spotify...emusic.

[aka Calum Da Jazbo]

thanks for the new thread Chas ...and for the pointer to Graziano

[Serial_Apologist]

Si, grazia a tutti!

[Ian Thumwood]

I've bought the last three albums David Binney and have come to the conclusion that he is one of the most important jazz musicians around at the moment. He is really thinking about what jazz should be and how it can develop in to the current century. The last album was largely inspired by free music and pushed the boundaries. It is intriguing reading SA's enthusiasm for the more avant garde and free-jazz that evolved in the late 60's and the suggestion that the music seemed to reach the zenith of possible expression. What I love about Binney's music is that an album like "lifted Land" is that he can take these ideas and develop it into something in to today's vocabulary. I would have to argue that Binney's music can do this and still swing extremely powerfully - check the encounters with the likes of Chris Potter and Mark Turner where the horns seem to compete with each other.

I love Binney's writing for which you can download his leadsheets from his website. The chord sequences are fascinating and largely unexpected and some of the tunes employ devices like 9-bar sequences instead of the standard 8 bars. Binney's approach owes a lot of post-bop yet he seems to be able to re-imagine it into something very personal and, dare I say it, in a visionary fashion. He is easily one of the most important players on today's scene in my opinion.

[charles t]

Know that Binney has always been at the forefront of your Pantheon, Ian!

One of the more intriguing things I have read about Binney, is, that some interviewer asked him how he came to name his latest release: Graylen Epicenter?

His response was: 'That it just popped into his head'! Can you imagine what his pre-sleep reading must be?

Similar to yourself, have been listening years now. to Binney...including buying downloads from his website of stuff from the 55 Bar in NYC that also featured Donny McCaslin. (Had the good luck to catch both as part of the Antonio Sanchez Qt -4th member Scott Colley - in Hollywood couple of years ago.)

[BLUESNIK'S REVOX]

Know that Binney has always been at the forefront of your Pantheon, Ian!

One of the more intriguing things I have read about Binney, is, that some interviewer asked him how he came to name his latest release: Graylen Epicenter?

His response was: 'That it just popped into his head'! Can you imagine what his pre-sleep reading must be?

Similar to yourself, have been listening years now. to Binney...including buying downloads from his website of stuff from the 55 Bar in NYC that also featured Donny McCaslin. (Had the good luck to catch both as part of the Antonio Sanchez Qt -4th member Scott Colley - in Hollywood couple of years ago.)

There is a really good interview with Binney on Utube where he talks very honesly about jazz and its economic/artistic future, education, the double edge of the university as "scene" etc.


BN.

Do not gasp....my tastes are wider than rare Blewnotz. Last night I watched Han Bennick play solos on his Edam cheeses and clogs.....

"I never want to play with that guy again!" ~ Hank Mobley.

[charles t]

[QUOTE=BLUESNIK'S REVOX;396365]There is a really good interview with Binney on Utube where he talks very honesly about jazz and its economic/artistic future, education, the double edge of the university as "scene" etc.


Bluesie: I want to thank you for reminding board jazzr's re: same.

The jazz university 'scene' is prodigious...BIG as browsing in a typical Downbeat Magazine mag will clue one.

Half of the content will be devoted to articles comprising the 'scene'. But, as David Binney remarks...they (the schools) train you for non-existent work! Even Binney has to scramble to make a living.

An example of the SAD rite-of-passage in playing your axe to feed oneself, can be found on your next oceanic cruise.

I have heard the tales of woe from some of those musicians backing up

tHe sINgErs & dAnCeRS

on various cruise lines.

A bass-guitarist, who after graduating from Berklee School of Music in Boston, attempted to break-into the Holy-Of-Holies NYC scene...and failing...signs up for cruise ship work (a typical contract is for six months...and you always have to share a 'stateroom'). For my friend, that was 19 years ago. (Discounting a year lost in a failed marriage in Chicago...the marital gig not helped by being unable to even break-into the bar mitzvah scene!)

A Canadian reed-player...all reeds...as well as a serious keyboardist, told me the (financial) highlight of his musical career was being a member of the house orch. backing up Cirque du Soleil in Vegas. All he wants is to have - normal, steady employment.

[Tenor Freak]

[QUOTE=charles t;396580]

There is a really good interview with Binney on Utube where he talks very honesly about jazz and its economic/artistic future, education, the double edge of the university as "scene" etc.


Bluesie: I want to thank you for reminding board jazzr's re: same.

The jazz university 'scene' is prodigious...BIG as browsing in a typical Downbeat Magazine mag will clue one.

Half of the content will be devoted to articles comprising the 'scene'. But, as David Binney remarks...they (the schools) train you for non-existent work! Even Binney has to scramble to make a living.

An example of the SAD rite-of-passage in playing your axe to feed oneself, can be found on your next oceanic cruise.

I have heard the tales of woe from some of those musicians backing up

tHe sINgErs & dAnCeRS

on various cruise lines.

A bass-guitarist, who after graduating from Berklee School of Music in Boston, attempted to break-into the Holy-Of-Holies NYC scene...and failing...signs up for cruise ship work (a typical contract is for six months...and you always have to share a 'stateroom'). For my friend, that was 19 years ago. (Discounting a year lost in a failed marriage in Chicago...the marital gig not helped by being unable to even break-into the bar mitzvah scene!)

A Canadian reed-player...all reeds...as well as a serious keyboardist, told me the (financial) highlight of his musical career was being a member of the house orch. backing up Cirque du Soleil in Vegas. All he wants is to have - normal, steady employment.

A sad tale...there's probably a joke in there somewhere...

On the Sax on the Web forum one contributor's sig file says something like this: a jazz musician is a person who transports a $5000 horn in a car costing $500 to a gig paying $50