What Jazz are you listening to now?

[Ian Thumwood]

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.

[Stanfordian]

‘Dippin'’
Hank Mobley with Lee Morgan, Harold Mabern Jr, Larry Ridley & Billy Higgins
Blue Note (1965)

[Stanfordian]

‘White Gardenia’- a tribute album to jazz singer Billie Holiday
Johnny Griffin with Nat Adderley, Clarke Terry, Ernie Royal, Jimmy Cleveland, Paul Faulise & Urbie Green
Riverside (1962)

[Beef Oven!]

[Stanfordian]

‘Workout’
Hank Mobley with Grant Green, Wynton Kelly, Paul Chambers & Philly Joe Jones
Blue Note (1961)

[Serial_Apologist]

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.

[Ian Thumwood]

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 .

https://jazztimes.com/reviews/albums/steve-coleman-and-five-elements-live-at-the-village-vanguard-vol-1-the-embedded-sets-pi/

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.

[teamsaint]

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 .

https://jazztimes.com/reviews/albums/steve-coleman-and-five-elements-live-at-the-village-vanguard-vol-1-the-embedded-sets-pi/

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.

Well, funny you should ask, as I got round to giving it a better listen today, admittedly in the car. As you will be aware, My knowledge of any jazz is very limited . However, what I heard I did really enjoy. I felt there was a real clarity about the music, something I tend to need at this stage of my jazz listening and education.
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.

[Jazzrook]

Joe Lovano's 1997 BLUE NOTE album 'Trio Fascination(Edition One)' with Dave Holland & Elvin Jones.

Here's 'Days of Yore':

https://www.youtube.com/watch?v=TpKjtWGoxNs

JR

[BLUESNIK'S REVOX]

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.

Not 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.

[Stanfordian]

‘Saxophone Colossus’
Sonny Rollins with Tommy Flanagan, Doug Watkins & Max Roach
Prestige (1956)

[Stanfordian]

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.

In my view 'Talking Book' was Stevie Wonder's masterwork and 'Songs in the Key of Life' is first class too.

[Serial_Apologist]

Not 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 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!

[Stanfordian]

‘Another Workout’
Hank Mobley with Grant Green, Wynton Kelly, Paul Chambers & Philly Joe Jones
Blue Note (1961)

[Serial_Apologist]

I 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!

Re the above experience (which perhaps I should have posted on the Jazz in the Smoke thread section), it turned out rather well - hard to get into the main hall at the RFH without first parting with rather a lot of ticket money, let alone none, these days - and I was surprised and delighted that the place was probably 80% full for what might have been popularly prejudged esoteric in prospect: only the stalls being opened for the occasion. Kit did as expected make strong reference to the English organ school in his approach - he ended with an affectionate tribute to his dad by performing a group of hymn tunes composed by him, though they could easily have been the work of George Butterworth - but spread his purview much wider than this, one section concentrating on the lowest registers of the venue's remarkable instrument in ways recalling Ligeti's 1968 piece Volumina, and at one point invoking an extraordinary helicopter-like flapping that seemed to circumambulate the entire space - at which point a young mother with babe in arms hastily left with a small girl in tow. Whether or not the one weakness of the enterprise was to be put down to inadequate miking, Tom Challenger's tenor saxophone came over as very subordinated to the featuring of Kit - who for understandable reasons wasn't going to let the opportunity to make maximum use of the resource go to waste - amounting to little more than garnishing on the exterior of a very large musical edifice.