What Jazz are you listening to now?

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  • Ian Thumwood
    Full Member
    • Dec 2010
    • 4184

    Jazzrook

    I feel the same about Zorn. There have been a number of Israeli jazz musicians who have appeared on the scene in the last fifteen or so years such as the two Avisihai Cohen's, Anat Cohen and Gilad Heskelman and I do feel a bit guilty about supporting these musicians. In the case of Anat Cohen, she was served in the Israeli military which makes it difficult for me to appreciate her music fully. I think that a future Labour government will do the right thing and ban Israeli artists from performing in the UK when they get elected. I appreciate that music and politics can be argued has being required to be kept separate but I am not aware of any of these musicians making critical statements of the policies of the state of Israel or it does not get reported in the UK. It is quite interesting to listen to the current debate about Anti- Semitism in the Labour Party because whilst there is probably an issue within it where this is a case, the Jewish community is largely silent and uncritical about Israel. I cannot recall this fact ever getting much attention apart from the lone voice of publications like "The Morning Star." This is a marked contrast with the media attacks on the Muslim community when some from within refused to get on board in the war in Iraq. You can start to see this as part of a broader picture. However, I would say that Israel is a really easy target and there are plenty of other dysfunctional countries who could similarly be singled out for criticism especially Saudi Arabia.


    As far as the article is concerned, I note that it describes all four musicians in Masada as being Jewish but this is not correct (Dave Douglas is the exception - incidentally, a musician who has recorded an album of Christian hymns) and I wonder how much else is inaccurate. But I agree that Zorn's stance probably sits uneasy in the UK whilst probably being received more favourably in the US. I think that Zorn has, intriguingly enough, non-Jewish musicians within his groups such as Pat Metheny, Dave Douglas, Joe Lovano etc in to his projects. I am also only aware of his working with one black musician, George Lewis although I might be mistaken in this respect. I have found this pretty surprising, to be honest.

    Comment

    • Stanfordian
      Full Member
      • Dec 2010
      • 9314

      ‘Empyrean Isles’
      Herbie Hancock with Freddie Hubbard, Ron Carter & Tony Williams
      Blue Note (1964)

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      • Ian Thumwood
        Full Member
        • Dec 2010
        • 4184

        Been playing the new Dafnis Prieto big band record all day. I love Latin jazz and big bands so this was a bit of a no brainer once I had read the reviews. However, the icing on the cake are the guest soloists Henry Threadgill and Steve Coleman - probably two of the most significant composers in the current jazz scene. This obviously begs the question as to what kind of music does percussionist Prieto write that appeals to these musicians and the answer is it is pretty much within the contemporary jazz element of Latin music. There is little room for nostalgia in here and there is a cleanness about the writing which is really exciting. The opening track begins with a mutation of the "Manteca" trombone riff but that is about as retro as it gets. For me, this is the kind of jazz which scores on every level. There is a roster of impressive solo talent and maybe a little tip of the hat towards Steve Coleman, his former employer. The other guest soloist is Latin Jazz legend Brian Lynch, another name rarely checked out on this board.


        The thing I love about Latin Jazz is that it clearly has it's own traditions and heritage yet there is also a drive within the idiom to absorb the contemporary and ensure that it remains relevant. Some elements in the field blend towards commercial music and a nostalgia for the 30-s - 50 whereas there are now bandleaders like Bobby Sanabria, Arturo O-Farrill and Cuban Dafnis Preito whose music sits firmly in the jazz tradition. Sanabria's band always remind me of the unruly mayhem of the recent Mingus Big Bands where O' Farrill is probably more broadminded and capable of drawing inspiration from outside jazz. Prieto strikes me as someone with the same commitment towards grove as Steve Coleman and with an ear for punchy riffs in which to feature his soloists. Coleman seems right at home whereas the Threadgill feature is a lengthy ballad that has a nice sandpaper like quality in the alto playing which contrasts nicely with the lush orchestral setting. The line up also includes some big band regulars like Jacob Garchick, Chris Cheek and Alan Ferber in the line up.





        I have been catching up with discs I missed late last year and this one is almost on a par with the Cuong Vu record.

        Comment

        • burning dog
          Full Member
          • Dec 2010
          • 1511

          Comment

          • elmo
            Full Member
            • Nov 2010
            • 544

            I had forgotten just how good the J J Johnson Big Band album from 1964 is - its called simply "J J" and was issued on RCA
            J J 's arrangements of classic modern jazz compositions has not dated like a lot of this kind of thing has. The band is full of great musicians like Thad Jones, Clark Terry, Hank Jones, Budd Johnson and JJ on great form. The band tackle amongst others Stratusphunk, Bemsha Swing, Stolen Moments and Swing Spring.



            Ian - if you are not familiar with this album I think its one you would love

            elmo

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            • Stanfordian
              Full Member
              • Dec 2010
              • 9314

              ‘Candy’
              Lee Morgan with Sonny Clarke, Doug Watkins & Art Taylor
              Blue Note (1958)

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              • elmo
                Full Member
                • Nov 2010
                • 544

                Mo is on - The music of Elmo Hope Vol 2 just released on the UK Trio label.

                Not normally keen on tribute bands but this is very good and the band demonstrate a real love for Elmo's complex compositions. I am not familiar with most of the Quintet except Steve Fishwick, the pianist Claus Raible is very good and conveys the spirit of Elmo in a style of his own. Tenor player Herwig Gradischnig, Bassist Giorgos Antoniou and Matt Home Drums complete a very cohesive group.

                This Video is 4 years old but gives a good idea of the band playing "Roll on"



                elmo

                Comment

                • BLUESNIK'S REVOX
                  Full Member
                  • Dec 2010
                  • 4286

                  They played at the London Jazz Fest in November last year....good to see Elmo getting some attention:

                  "Much of the programme is arranged for the quintet by German pianist Claus Raible, who has performed with artists such as Art Farmer and Mark Murphy. The challenging compositions deliver a hard swinging set fronted by the band’s Austrian co-leader Herwig Gradischnig, member of the Vienna Art Orchestra, and foremost UK trumpeter Steve Fishwick, whose performing credits include Cedar Walton, Peter Washington, the NDR Big Band, Anita O'Day & Bob Martin. The lineup is completed by Switzerland based double bassist Giorgos Antoniou, who forms part of US pianist Benny Green’s European rhythm section, and London based drummer Matt Home who performs with US guitarist Nate Najar and singer Claire Martin. "

                  Comment

                  • Serial_Apologist
                    Full Member
                    • Dec 2010
                    • 37691

                    Trumpeter Steve Fishwick is in the line-up of John Warren's Nonet at the Vortex this coming Thursday, if anyone's in Town. This is the same John Warren whose big band including John Surman recorded the rather fine "Tales of the Algonquin" back in 1970 for Deram. Pete Hurt's on one of the 3 saxes, Alcyona Mick piano, and the excellent Dave Hamblett on drums. Only 15 squid on the door.

                    Comment

                    • Stanfordian
                      Full Member
                      • Dec 2010
                      • 9314

                      ‘Clifford Brown & Max Roach’
                      Clifford Brown, Harold Land, George Morrow, Richie Powell & Max Roach
                      EmArcy (1954) - A classic album!
                      Last edited by Stanfordian; 13-02-19, 10:41.

                      Comment

                      • Stanfordian
                        Full Member
                        • Dec 2010
                        • 9314

                        ‘Takin' Off’
                        featuring hit track ‘Watermelon Man’
                        Herbie Hancock with Freddie Hubbard, Dexter Gordon, Butch Warren & Billy Higgins
                        Blue Note (1962)

                        Comment

                        • Lat-Literal
                          Guest
                          • Aug 2015
                          • 6983

                          Edison Machado - Solo

                          From the album 'e Samba Novo'.
                          CBS Brasil 1963.

                          From the album 'e Samba Novo'. CBS Brasil 1963.

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                          • Stanfordian
                            Full Member
                            • Dec 2010
                            • 9314

                            ‘It's Time’
                            Max Roach and Clifford Jordan with Richard Williams, Julian Priester, Mal Waldron, Art Davis, Abbey Lincoln (vocals) & Coleridge-Taylor Perkinson (conductor)
                            Impulse! (1962)

                            Comment

                            • Ian Thumwood
                              Full Member
                              • Dec 2010
                              • 4184

                              I liked that Edison Machado track. Not someone I have ever heard of and was totally aware than Brazilian jazz ever sounded like that.

                              I have been listening to Chucho Valdes's "Afro-Cuban Messengers" superb album "Chucho's steps" which is similar in some respects insofar that it takes a Latin American trope and recasts it thoroughly in the jazz idiom. The album starts with a re-working of "Birdland" but I feel Valdes seems more fascinated in the rhythmic aspects of music so that the improvisations and development of the music is more significant than what he starts off from. He is very much the archetypal Cuban jazz pianist although technically I think he is up there with Herbie and Cecil Taylor. He is a shockingly brilliant technician and also is familiar with all aspects of jazz. One moment he is playing montunos and then he can instantly slip in to slide or the kind of chaotic runs of Cecil Taylor. Whilst the record features a tenor and trumpet in the line up who solo, Valdes gets the majority of solos space and the effect is staggering. There also seems a be a lot of McCoy Tyner in his playing and the shear attack of his music is on a par with the likes of McCoy and Don Pullen. This studio album is a good representation of what he sounds like live and perhaps indicative of a more traditional style of jazz that still holds valid the values of the jazz scene in the 60's. He is seriously under-rated as a jazz pianist, I think but also a musician who is hugely compelling because he had the ability to seemingly play the impossible.



                              Comment

                              • Lat-Literal
                                Guest
                                • Aug 2015
                                • 6983

                                Originally posted by Ian Thumwood View Post
                                I liked that Edison Machado track. Not someone I have ever heard of and was totally aware than Brazilian jazz ever sounded like that.

                                I have been listening to Chucho Valdes's "Afro-Cuban Messengers" superb album "Chucho's steps" which is similar in some respects insofar that it takes a Latin American trope and recasts it thoroughly in the jazz idiom. The album starts with a re-working of "Birdland" but I feel Valdes seems more fascinated in the rhythmic aspects of music so that the improvisations and development of the music is more significant than what he starts off from. He is very much the archetypal Cuban jazz pianist although technically I think he is up there with Herbie and Cecil Taylor. He is a shockingly brilliant technician and also is familiar with all aspects of jazz. One moment he is playing montunos and then he can instantly slip in to slide or the kind of chaotic runs of Cecil Taylor. Whilst the record features a tenor and trumpet in the line up who solo, Valdes gets the majority of solos space and the effect is staggering. There also seems a be a lot of McCoy Tyner in his playing and the shear attack of his music is on a par with the likes of McCoy and Don Pullen. This studio album is a good representation of what he sounds like live and perhaps indicative of a more traditional style of jazz that still holds valid the values of the jazz scene in the 60's. He is seriously under-rated as a jazz pianist, I think but also a musician who is hugely compelling because he had the ability to seemingly play the impossible.



                                Very interesting - and also excellent.

                                Many thanks Ian.

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