The trumpet trio - the ultimate jazz group risk?

[Lat-Literal]

Speaking of trumpets, Peter Evans take on Body & Soul sounds close to a trumpet trio:

Self-recorded solo, played during a visit to Oberlin College in August 2009. Recorded in Fairchild Chapel, pictured.

Not a very profound comment but I really like this clip.

Jazz in churches!

This absolutely works for me and I only half know why.

Which is good.

Are there many other examples, I wonder?

Is it thought to be a runner?

[Ian Thumwood]

Pete Evans really impressed me when he first arrived on the scene yet ,when I picked up a CD of his about 8 years ago with guitarist Brandon Seabrook on it, I felt it was really poor. Evans himself was excellent but the band weren't up to scratch. He is these days more associated with MOPDTK which tended towards pastiche. I believe he has left the quartet so it will be interesting to see what happens next. I had high hopes for him yet the slapstick element of MOPDTK left me a bit cold.

[Lat-Literal]

Pete Evans really impressed me when he first arrived on the scene yet ,when I picked up a CD of his about 8 years ago with guitarist Brandon Seabrook on it, I felt it was really poor. Evans himself was excellent but the band weren't up to scratch. He is these days more associated with MOPDTK which tended towards pastiche. I believe he has left the quartet so it will be interesting to see what happens next. I had high hopes for him yet the slapstick element of MOPDTK left me a bit cold.

Well, I'm not keen on their name but I like the atmospherics in that link of him on his own. It takes it away from its commercial concept and injects soul to the musical physicality.

Guess I am talking in a way about vibes and associations around echo. Possibly those always have an attractive gospel tinge without carrying the weight of anything dictatorial!

[elmo]

Not a very profound comment but I really like this clip.

Jazz in churches!

This absolutely works for me and I only half know why.

Which is good.

Are there many other examples, I wonder?

Is it thought to be a runner?

Lat Literal

Yes there is an excellent album that was released on Ogun in 1977 by Marc Charig on Cornet and Keith Tippett on church organ. The piece called "Pipedreams" was very moving, it was recorded in a Bristol church and the sonic quality of the church really added to the piece. unfortunately it does not appear to be on Youtube.

elmo

[ferneyhoughgeliebte]

Jazz in churches!

Are there many other examples, I wonder?

I have this (and attended the Parker/Sandell events scattered around various Huddersfield churches at last year's Festival):

http://www.amazon.co.uk/gp/product/B003U7RDN2

[Lat-Literal]

Lat Literal

Yes there is an excellent album that was released on Ogun in 1977 by Marc Charig on Cornet and Keith Tippett on church organ. The piece called "Pipedreams" was very moving, it was recorded in a Bristol church and the sonic quality of the church really added to the piece. unfortunately it does not appear to be on Youtube.

elmo

I have this (and attended the Parker/Sandell events scattered around various Huddersfield churches at last year's Festival):

http://www.amazon.co.uk/gp/product/B003U7RDN2

Many thanks for these suggestions.

I will certainly try to locate them

[Ian Thumwood]

Review of Josh Berman CD from All about jazz:-

http://www.allaboutjazz.com/a-dance-and-a-hop-josh-berman-delmark-records-review-by-mark-corroto.php

[MrGongGong]

way to go.

[Ian Thumwood]

Elmo

Article of Kirk Knuffke which is quite revealing. (New album out too.):-

http://jazztimes.com/articles/169253-kirk-knuffke-lessons-from-ornette

[Ian Thumwood]

I snapped up Kirk Knuffke's "Arms and hands" which is supposedly a post-Ornette inspired acoustic session. The approach is , perhaps, a lot more considered than the more energetic Coleman's group even if the comparisons in the interplay on the cornet / bass / trio tracks suggest a strong link. It was a bit weird seeing the more mainstream Bill Goodwin's drums featured alongside the bass of Mark Helias as well as cult avant-reed player Daniel Carter in the same line up. Basically the group features a load of Knuffke's mates from different circles who he thought might fit well together. The music is pretty good and Knuffke is clearly a name to look out for.

It is intriguing that I feel this New York based ensemble doesn't quite sound as adventurous as Josh Berman's Chicago group. The latter trio are much more integrated and it really shows that these three musicians have a great understanding of each other - it is on the par of Evans / LaFaro / Motian. The review on All about jazz captures the nature of the music:-

http://www.allaboutjazz.com/a-dance-and-a-hop-josh-berman-delmark-records-review-by-mark-corroto.php

I totally agree about the fact that the music really requires 100% attention to suss out what is going on. Quite how these three musicians have managed to go und

[Serial_Apologist]

Has Ian been kidnapped???

[Ian Thumwood]

......under the radar.

just escaped!

[Ian Thumwood]

More Berman......

http://www.allaboutjazz.com/southern-sun-keefe-jackson-josh-berman-jon-rune-strom-tollef-ostvang-stone-floor-records-review-by-mark-corroto.php

[Ian Thumwood]

Frank Rosaly has an album out under his own name called "Cicada Music" which features a sextet interspersed with some multi-tacks drum solos also featuring other percussion instruments. The larger ensemble forms the meat of the recording and represents the better material. The line up is peculiar as it features a clarinet and two bass clarinets with one of these players doubling on contrabass clarinet too. James Falzone is a new name to me but I think he is a cracking clarinet player. The other reeds are Jason Stein and Keefe Jackson. With the addition of Jason Adasisewzc's vibes the immediate comparison is with Dolphy's "Out to lunch" but the music on this disc is demonstrative of how jazz has evolved since 1964. I actually think some of the playing is more "outside" than on the Dolphy disc but ,somehow, the record is easier to listen to. There are two reasons for this. One if the fact that the writing is for a larger ensemble and actually quite good. The track "Babies" seems to illustrate how the avant garde nowadays can be both robust and quite beautiful at the same time. I think the other factor is that the combination of the vibes, Jason Roebke's bass and the leader's drums actually swing harder than the Davis / Williams combination on the Dolphy disc which is often far more abstract angular. I find the Dolphy record to remain far more strident that this offering from nearly fifty years later and probably a disc that still has managed to retain it's shock value than maybe only Coltrane's "Ascension" has matched. Some of the elements of the music are also Mingus-like in their drive ("Wet Feet splashing") but the extended pieces manage to retain their focus , undoubtedly aided by the quality of the drummer.

Frank Rosaly seems to crop up on numerous records these days and I have always been impressed by his playing which is both responsive and propelling. His website is quite revealing and includes a number of transcriptions of favourite drummers including Phil Seamen. I don't understand quite how Rosaly is so under the radar but the current Chicago scene does seem under-reported even though, in my opinion, musicians from this city are the ones making the waves at the moment and provide a state of continuum with the more adventurous jazz that emerged on the 1960's. Shame that no one seems to be paying attention to this stuff which is absent from the European festival scene and doesn't get much attention in the UK with either festivals and tours.

http://fjrosalbio.blogspot.co.uk/