Been listening to Stevie Wonder's "Songs in the key of life." Over forty years after it was initially recorded, it seems staggering to think that this was once considered a "pop record" and listening to it made me wonder just how this would be marketed in 2018. One of the tracks on the first disc features the guitar of George Benson and is an unashamedly jazz-rock workout. The other tracks suggest a closeness to the then contemporary "Head-hunters" and make it blatantly obvious why the repertoire has been favoured by so many jazz musicians over the years. This is exactly the kind if thing that would materialise on Don Was' Blue Note label nowadays. Not sure if re-visiting this record in 2o18 is indicative of how pop music has deteriorated or how the definitions of jazz have broadened. Whilst not jazz in a purist sense, I just think that this is where it would be filed these days. On the whole it is an excellent record although the extra -musical additions don't help and some elements betray it's age. That said, this is the kind of pop music I can appreciate.
What Jazz are you listening to now?
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Our local monthly gig offers handed in CDs at low prices to help pay for the hire of the joanna, and last night I was pleased to find a CD of Gorden Beck titled "For Evans Sake", a tribute to guess who? going for £3. Recorded in NY in July 1991: Dave Holland, Jack DeJohnette and the French violinist featured on JRR last week, Didier Lockwood, in a brace of 11 tunes, 9 from Gordon's pen, and one apiece by Lockwood and DeJohnette. Looking forward to listening to this later.
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I have been playing Steve Lehman's "Mise en abime." The more I listen to this disc, the more impressed I am by the music. Once of the best albums of the 2010's for my money and a pivotal recording in the development of jazz. It does not compromise and the whole approach is immediately identifiable. I am starting to think that the likes of Lehman, Steve Coleman and Henry Threadgill are creating the kind of jazz that is dominating this decade. This review pretty much sums up the music with an alternative approach to improvisation that is based upon re-visiting what is meant by composition. It is fascinating that the likes of these musicians are using systems to compose music not unlike what was happening in the 20th century but the results sound markedly different to previous composers who allege to have been influenced by Serialist composers. I think that the results are extremely rewarding .
On Live at the Village Vanguard, Vol. 1, Steve Coleman and Five Elements are blurring, even further than jazz musicians usually do, the distinction between “improvising” and “composing.”
Wonder what Team Saint made of the Steve Coleman record? Seems more organic than the recent slew of Threadgill albums and more approachable as jazz despite the radical intentions of the music.
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Originally posted by Ian Thumwood View PostI have been playing Steve Lehman's "Mise en abime." The more I listen to this disc, the more impressed I am by the music. Once of the best albums of the 2010's for my money and a pivotal recording in the development of jazz. It does not compromise and the whole approach is immediately identifiable. I am starting to think that the likes of Lehman, Steve Coleman and Henry Threadgill are creating the kind of jazz that is dominating this decade. This review pretty much sums up the music with an alternative approach to improvisation that is based upon re-visiting what is meant by composition. It is fascinating that the likes of these musicians are using systems to compose music not unlike what was happening in the 20th century but the results sound markedly different to previous composers who allege to have been influenced by Serialist composers. I think that the results are extremely rewarding .
On Live at the Village Vanguard, Vol. 1, Steve Coleman and Five Elements are blurring, even further than jazz musicians usually do, the distinction between “improvising” and “composing.”
Wonder what Team Saint made of the Steve Coleman record? Seems more organic than the recent slew of Threadgill albums and more approachable as jazz despite the radical intentions of the music.
My main problem with the album at this stage is just its sheer extent. I know it isn’t ( presumably) aimed at people like me, but I’ll have to take this one in chunks.
But, all that said, definitely one I will keep on with, as there was a great deal that sounded interesting, innovative, and enjoyable.
Great recommendation, in fact, thanks.I will not be pushed, filed, stamped, indexed, briefed, debriefed or numbered. My life is my own.
I am not a number, I am a free man.
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Originally posted by Serial_Apologist View PostOur local monthly gig offers handed in CDs at low prices to help pay for the hire of the joanna, and last night I was pleased to find a CD of Gorden Beck titled "For Evans Sake", a tribute to guess who? going for £3. Recorded in NY in July 1991: Dave Holland, Jack DeJohnette and the French violinist featured on JRR last week, Didier Lockwood, in a brace of 11 tunes, 9 from Gordon's pen, and one apiece by Lockwood and DeJohnette. Looking forward to listening to this later.
Gordon Beck held a pilot's licence BUT had an acute fear of flying. I've just read his obituary. The licence was from his days as an aeronautical draftsman etc. Fine pianist. BN.
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Originally posted by Ian Thumwood View PostBeen listening to Stevie Wonder's "Songs in the key of life." Over forty years after it was initially recorded, it seems staggering to think that this was once considered a "pop record" and listening to it made me wonder just how this would be marketed in 2018. One of the tracks on the first disc features the guitar of George Benson and is an unashamedly jazz-rock workout. The other tracks suggest a closeness to the then contemporary "Head-hunters" and make it blatantly obvious why the repertoire has been favoured by so many jazz musicians over the years. This is exactly the kind if thing that would materialise on Don Was' Blue Note label nowadays. Not sure if re-visiting this record in 2o18 is indicative of how pop music has deteriorated or how the definitions of jazz have broadened. Whilst not jazz in a purist sense, I just think that this is where it would be filed these days. On the whole it is an excellent record although the extra -musical additions don't help and some elements betray it's age. That said, this is the kind of pop music I can appreciate.
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Originally posted by BLUESNIK'S REVOX View PostNot many people know, did you know "thing"....
Gordon Beck held a pilot's licence BUT had an acute fear of flying. I've just read his obituary. The licence was from his days as an aeronautical draftsman etc. Fine pianist. BN.
I'm shortly off to the Royal Festival Hall to hear Kit Downes accompany saxophonist Tom Challenger on the RFH organ in materials from Kit's new ECM album "Obsidian". There can't be many occasions when the RFH hosts freebies in the main hall. Nevertheless I can almost feel the air turn as Ian Thumwood turns up his nose at the thought of it. Admittedly the last time I heard Kit on a church organ (in Islington) it sounded more like Herbert Howells music for Mattins than jazz - not that I don't like cathedrals and organ music, just what they were built for - but Tom Challenger is one of the genuine originals, a young Don Weller in spirit if not style, who managed to avoid standardisation via the academic route to jazz respectability. I first heard him as a 19-year old red-haired polite young guy at a pub in Balham, (The Bedford, where Andrea Vicari used to host weekly jazz) and put it to him that it was unusual to hear someone who had obviously been influenced by both Stan Getz and Sam, Rivers! Since when he's rather hidden his light under a bushel, though I last saw him maybe 5 years ago co-fronting a trio accompanying a large section of African tribesmen on native drums in the foyer of the Purcell Room/QEH. Quiite a....challenge!
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Originally posted by Serial_Apologist View PostI did, vaguely I guess; but it was Peter King, our great Peter King, who told me that whole story a few years ago.
I'm shortly off to the Royal Festival Hall to hear Kit Downes accompany saxophonist Tom Challenger on the RFH organ in materials from Kit's new ECM album "Obsidian". There can't be many occasions when the RFH hosts freebies in the main hall. Nevertheless I can almost feel the air turn as Ian Thumwood turns up his nose at the thought of it. Admittedly the last time I heard Kit on a church organ (in Islington) it sounded more like Herbert Howells music for Mattins than jazz - not that I don't like cathedrals and organ music, just what they were built for - but Tom Challenger is one of the genuine originals, a young Don Weller in spirit if not style, who managed to avoid standardisation via the academic route to jazz respectability. I first heard him as a 19-year old red-haired polite young guy at a pub in Balham, (The Bedford, where Andrea Vicari used to host weekly jazz) and put it to him that it was unusual to hear someone who had obviously been influenced by both Stan Getz and Sam, Rivers! Since when he's rather hidden his light under a bushel, though I last saw him maybe 5 years ago co-fronting a trio accompanying a large section of African tribesmen on native drums in the foyer of the Purcell Room/QEH. Quiite a....challenge!
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