What Jazz are you listening to now?

[Ian Thumwood]

Why oh why these endless juvenile wars of X is better than Y, therefore Y is overrated? For God's sake move on. There are no "points", just artistic expression. Jack Sheldon is a very good trumpet player (sometimes actor & comedian). But he held Chet Baker in personal awe and his style came from that, albeit with a spice of Clifford. What I like about Sheldon on the Counce sides is that he would occasionally get lost on the changes. You can hear him doing thing this, trying to resolve a line he'd stretched too far. It's endearing & human in that way. Chet was never endearing, bland sometimes, coasting often, but when he REALLY wanted (or was drug sober) to play at his best, he was brilliant. The late Tokyo concerts, the Milan RCA date with Bobby Jasper, the deeply Paris sober sides after the death of Twadik... something else. REALLY.

But the article is not saying that Baker is over-rated. What it is doing is suggesting that a lot of fans are not looking beyond a trope in their appreciation and that, to a large extent, it is media which is shaping their perception. I felt this was a good analogy simply because Sheldon is relatively unknown and there were several aspects that they shared beyond their choice of musical instrument. There is even a quote from Baker about "people not caring about the music." In many respects their lives were similar. The article questions why Sheldon enjoys a better reputation with his peers yet is obscure in comparison to Chet Baker.

The reason I posted this article was not to extoll the virtues of Sheldon over Baker but to draw attention to the fact although similar in many respects, it is Baker's reputation that has endured and not necessarily for musical reasons. I find polls pretty transient and reflective of a particular moment in time. They are fun but effectively meaningless. Baker is a soft target insofar that I think his stock has declined over time and certainly the "jazz fan's" perception of his work has changed. I don't think the notion of him being a "white Miles Davis" has much traction now and the comparison is unhelpful insofar that Miles' timbre changed form the BofC style that influenced Baker and his harmonic understanding was richer. I don't feel that Baker had much in common with Davis post-first Quintet. It is a lazy suggestion.

I think the underlying issue about the article by Steve Provizer is how the reputations of some jazz musicians in the public consciousness is determined by non-musical elements or just how far a character's personality matches the cliché of a tortured genius to put a tick in the appropriate box. Ultimately, the article effectively implies that fans may be either lazy or ignorant in their perception of artists and let these non-musical issues dictate their judgement. The is the nub of the article for me because whilst the importance of key individuals in developing jazz is relatively undisputed, with the passage of time it is apparent that the accepted narrative might not necessarily be correct. I agree that there are some good Baker performances (the duet with Bley, for example) but had the non-musical aspects of his life not have been of such interest to fans, you could see a scenario where, with the passing of time, he could be seen as a modern equivalent of someone like Red Nichols. Take away the frantic and unpleasant lifestyle, would Baker be so interesting ? As someone who is as passionate about history as jazz, it is interesting to question how the standing of particular musicians has changed over nearly 70 years as the music becomes divorced from the life story.

[Stunsworth]

Sam Rivers: Contours

The latest (in the U.K. at least) of the Blue Note ‘Tone Poet’ series of LP reissues. Absolutely stunning recording/mastering.

[Jazzrook]

Thelonious Monk playing 'Coming On The Hudson' on a French TV programme in 1969:

https://www.youtube.com/watch?v=tZHJ3Sv7AU4

JR

[Stanfordian]

'Side by Side'
Duke Ellington and Johnny Hodges with Harry ‘Sweets’ Ellison, Les Spann, Sam Jones/Al Hall & Jo Jones
Verve (1959)

[Ian Thumwood]

Working my way through two "box sets" of CDs.

The first of these being the complete works of Benny Goodman's trios and quartets. There are 72 tracks albeit it does include a number of unissued takes. I have just got through the first disc which features the likely suspects of Hampton, Wilson and Krupa. In the final disc the familiar quartet changes line up with players like the excellent Dave Tough coming in for Krupa. It is really good to be reacquainted with these records. Goodman's stock of late has rather diminished and these 3 CDs are a welcome reminder of the musical level that he and his cohorts were working at between 1935-8. Few smaller groups from that era managed to produce such an exemplary body of work and Loren Schoenberg's insightful notes are something of a revelation in understanding the mechanics of the music. I had no idea that Goodman was using pairs of triads to suggest alternative keys back in the late 30's and that this intervallic improvisation had roots over twenty years prior to Coltrane. I really want to listen to these records over and over again to understand what is happening. Listening to the trio I was put in mind somewhat of Paul Motian's trio with Wilson having to deal with harmony and bass lines akin to the role performed by Bill Frisell in the later group. In addition, there are moments when this group play totally straight and really enhance the melody which was also a trait of Motian's group. The interplay between the musicians is incredible and whilst I can appreciate that the audience would have been switched on by the pyrotechnics from Krupa and Hampton, it is staggering to learn from Schoenberg's notes how musically sophisticated this group was, the originals often having bizarre forms such as 10-bar long bridges or forms which were very long. Granted there are a lot of standards and the odd blues amongst the repertoire yet this group was seemed to tackle musical problem solving whilst keeping the audience on side. There are also things such as vamps on minor chords which you would have expected more in the 1960s'. The music is accessible yet was cutting edge at the time as well as largely defining the clarinet in jazz. Listening to Goodman's late 30's small group recordings, you can appreciate why Parker had to ultimately materialise because players like Goodman had already seriously started to push at the processes that made improvisation work in more interesting ways. It is also interesting to see how relaxed Goodman's phrasing is in many instances and that the freneticism of the previous generation has been largely lost. I think these records are essential in any collection and a high water mark in jazz.

The other box set I have been exploring is the Soul Note Paull Bley box set. There are supposed to be 9nr CDs in this set but there is actually a tenth that isn't mentioned. Oddly enough, of the two records I have played so far, the bonus record is staggeringly good. It is a duet between Bley and clarinettist / altoist Keshavan Maslak who might be better known by his 1980's alter ego, Kenny Millions. He is a musician who has intrigued me but one I have avoided because of his reputation to shock. (Google his discography and you will quickly get the picture.) The duet with Bley is called "Not to be a star" and all the material is freely improvised. If this was a blindfold test, I think that most people would say that the clarinet player on the opening track was Jimmy Guiffre. Bley is imperious but Maslak is a real surprise and if you can accept jazz at the point where composition has no real function, this will fascinate. Never heard Maslak's name mentioned on this board

So far, the only other record from the set I have played is "Tango Palace" which was once selected by "Wire" as one of the jazz records of the 1980's. I have a lot of affection for Bley's slightly later "Tears" yet I think this record would be a key component of any Bley collection. Again, this is exceptional and on a magnitude with the Goodman CD. I have not played the rest of the box set which includes musicians as diverse as Tony Oxley, John Scofield, Gary Peacock, Pail Motian , Charlie Haden. Barry Altschul, John Abercrombie and the aforementioned Jimmy Guiffre in the famous trio with Steve Swallow. I would be surprised if all of these discs are classics but what I have heard so far is pretty exceptional.

[Ian Thumwood]

[elmo]

Bought the latest Wes Montgomery 2cd release on the Resonance label (Back on Indiana Ave) have only played it through once but would say it contains some of the best previously unissued Wes that I have heard. Wes is heard with various group configurations including two musicians associated with George Russell, Dave Young and the fine trombonist Dave Baker. These recordings do not have a date but probably late 1950's - Wes sound and conception was fully formed and he plays some very fine solo's on live versions of Opus De Funk, Ecaroh, Round Midnight, Four on Six, Whisper Not etc. The personnel's are mostly unknown but the names suggested seem very likely. one track " Between the devil and the deep blue sea" reputedly has the Great Carl Perkins on piano though I have to say it does not sound like Carl to me.

elmo

[Jazzrook]

Miles Davis Quintet @ Ronnie Scott's, November 2, 1969:

https://www.youtube.com/watch?v=5uW0SRgmxkY

JR

[Stanfordian]

‘Unity’
Larry Young, Woody Shaw, Joe Henderson & Elvin Jones
Blue Note (1965)

[Stunsworth]

Bought the latest Wes Montgomery 2cd release on the Resonance label (Back on Indiana Ave) have only played it through once but would say it contains some of the best previously unissued Wes that I have heard. Wes is heard with various group configurations including two musicians associated with George Russell, Dave Young and the fine trombonist Dave Baker

The LPs released this Record Store Day are on my 'to be played' pile.

I also picked up the Bill Evans at Ronnie Scott's set. That's excellent, and considering the recording was essentially a bootleg it sounds very good.

[Serial_Apologist]

Thanks for this and your other insights on Benny Goodman & co, Ian: will certainly be following up on that klink when I've got time.

Just been listening to the Don Rendell Five recording "Just Music" from 1973 reissued on Spotlite from the original vinyl with liner notes by Peter Clayton. Alongside Don was Barbara Thompson, also on tenor, soprano and flute, and making her first real debut as a daring soloist on each of her chosen instruments in her own right. The other musicians were Pete Lemer on piano and what sounds like harpsichord and organ, but was probably one of the electronic pianos of the time, with Steve Cook on upright bass and the underrated Laurie Allan on drums - a popular call-in for deps whose gift for listening and interacting in or with exacting situations or musicians is legendary among survivors from a period when even what was considered straight ahead tended to push boundaries. All cope well with compositions, mostly by Don, which amounted to small scale works in an almost classical sense, stretching harmonies and throwing unexpected modulations at the musicians in ways reflective of Don's own eccentricities as an improviser always challenging orthodoxy - something for which he should arguably be more remembered than for his Jehovah's Witness involvements; Barbara comes off remarkably well here, undoubtedly helped by her avoidance of bebop phraseology in favour of her idiosyncratic adaptation of the Coltrane influence at that stage in her development.

[Ian Thumwood]

The Goodman box set is fascinating. There are quite a number of tracks I am unfamiliar including a couple with the singer Helen Ward whose appeal is illusive. There are few singers from that era I can abide. The disc I have played today in the car has included the initial 1935 trio sessions which are exceptional even by Goodman's standards. There were few musicians working at that kind of level of musicianship at that time and whilst the material largely consisted of what would have been considered jazz standards from the previous decade which already had a pedigree, there are weird tricks going on with modulations . etc. I think the are four modulations on "Lady be good" which also includes going in to a minor key which is pretty unsettling! All in all, the first sessions with the trio are perfection. The trio seems so balanced that the incorporation of Hampton's vibes could almost be seen as an intrusion but with the guidance of the liner notes it is evident that his arrival serves to push the harmonies even further outside the norm for the time. I did not realise that he had been a "guest" musician on the recording of "Moonglow" and that Goodman's delight in his playing resulted a further session in quick succession where Hampton became a permanent member of Goodman's entourage. Wilson's piano playing is pretty incredible and I concur with Schoenberg's observation that he was the Bill Evans of his era.

I have been working from home this afternoon and then moved on to the Bley set. The first CD was a duet with Pau Motian called "Notes" which is pretty much essential for both musicians. I remember it getting good reviews at the time. Slightly more odd is a live session with John Scofield, Steve Swallow and Barry Altschul which has been re-mastered but doesn't sound to have been that balanced to begin with. Scofield and Bley seem like mismatch on paper and it is an odd combination. It is a strange session because Scofield really pushes the ensemble which includes a Ornette cover. To hear Bley is such a intensively hard swinging context is fascinating but it is the guitarist who seems to be setting the agenda upon first listen albeit more orthodox in regard to the tone. Maybe not a classic but certainly very fascinating. No grumbles with this disc. I am midway through the other quartet session which features John Abercrombie on set of standards. This is a bit of a let down (long version of "Lover man") and hampered by the hammy bass-playing of Red Mitchell. (There is a jaw-dropping rock n' roll cliché played in one of his solos.) I have not thoroughly listened to this record but Mitchell seems are really odd fit for a Paul Bley group which is quite mainstream in this instance. This is the kind of Paul Bley session that would probably appeal more to Bluesnik on the face of things whilst the Scofield disc is superior. In contrast with everything else I have heard so far, this is the most straight ahead Bley record I have heard but I am only 2 (lengthy) tracks in.

The set with percussionist George Cross McDonald is more typical of what Paul Bley is about. There are 10 freely improvised pieces with his fellow Canadian. I have not heard of the late GCMcD before but the use of all types of percussion is demonstrative that he should have been more familiar. This is more to SA's liking I would suggest albeit the trio with bassist Furio Di Castri and drummer Tony Oxley is better still. This features solos, duos and the full trio and again, worth the admission money.

Of the ten discs, the ones that stand out are the solo "Tango Palace" and the duet with Motian. Both are essential in my opinion. The Maslak, Oxley and GMcD sessions are also very good and whilst the effort with Scofield is atypical, I cannot see many fans of Sco or Bley being disappointed.

[BLUESNIK'S REVOX]

I think this is utterly exquisite, and very moving. Despite the quality of those Bley works with (including the fine one off with Chet!), I really appreciate his solo work. Far more than Bill Evans say.

http://https://youtu.be/KYeBxbqEbbw

Agree about the Goodman small groups. I recently picked up a CD with those sides on in a charity shop for 50p thinking "why not, I always liked Moonglow", but there is magic all through. There's some interesting anecdotes about Wilson and Goodman, not always sweetness and light.

[Ian Thumwood]

Went to see Marquis Hill's Blacktet at the Turner Sims last night. I had heard of the trumpeter but never heard his music. None of the musicians in the quintet were familiar to me and the line up included trumpet, alto, vibes doubling piano, bass and drums. There was a comment last week about people not investing in records by contemporary jazz groups and I felt this group is probably demonstrative of why this might be the case. The best element of the music was the interplay between the drummer and the vibes which threatened to dominate the front line horns, neither of which struck me as being particularly strong. Put Hill in context with other contemporary players such as the late Roy Hargrove, Dave Douglas, Ambrose Akinmusire, Jeremy Pelt , etc and you could appreciate his standing. Odd to think that he hails from Chicago because the music was far more orthodox than what you might associate from that city. The biggest problem was that the material was not particularly memorable. A lot of it relied on ostinato bass hooks and, again, there was the preponderance to vamp on one chord in some instances. When the group performed ballads the music went up a couple of gears and started to connect but the closing composition saw the acoustic bass replaced with a bass guitar and things drifted in to what might have been called Smooth Jazz thirty years ago. The hall was half empty yet the group got a good reception and the good natured personalities of the leader and his sidemen made the audience warm to them even if the bassist had the dress sense of Phil Harding from "Time Team." Wondered if anyone else had caught this group?

When I was getting in to contemporary jazz in the 1980s there was a sense of excitement and wonderment with the new bands. They had something of a shock value to them. Having listened to Paul Bley all afternoon it was quite salutary to hear was contemporary means now and maybe a younger generation of musicians are find hip-hop grooves and busy drumming more relevant that a more abstract approach. I was underwhelmed yet the fact that the audience was largely younger suggested younger generations have other values. The familiar faces in the audience were absent last night.

[Jazzrook]

I think this is utterly exquisite, and very moving. Despite the quality of those Bley works with (including the fine one off with Chet!), I really appreciate his solo work. Far more than Bill Evans say.

http://https://youtu.be/KYeBxbqEbbw

Agree about the Goodman small groups. I recently picked up a CD with those sides on in a charity shop for 50p thinking "why not, I always liked Moonglow", but there is magic all through. There's some interesting anecdotes about Wilson and Goodman, not always sweetness and light.

That was a beautiful solo track, BN. Pity the album is so hard to find.
I've always loved the Chet Baker & Paul Bley duet album 'Diane':

https://www.youtube.com/watch?v=Rl5wuQn0KJk

JR