easter progs

[aka Calum Da Jazbo]

whooppee? repeat of Oliver Lake with AS on JL

Saxophonist Oliver Lake is well-known as a member of the World Saxophone Quartet, now in its 33rd year. He discusses his favourite recordings from that group's work and helps Alyn Shipton select the highlights from the rest of his large catalogue, including reggae sounds and jazz and poetry, ranging from the experimental Black Artists' Group of the 1970s to his contemporary one-man shows.

JLU a steer from Byas'd? apart from some CD excerpts .....

Konrad Wiszniewski is one of the mainstays on Scottish Jazz. Not only a composer of merit he constantly assembles groups both from home and abroad. He is a member of the unique a -cappella brass ensemble Brass Jaw as well as occupying a tenor Saxophone chair in the Scottish National Jazz Orchestra. On this week's Jazz Line-Up hear him with his quintet of Lorne Cowieson on trumpet, Andrew Sharkey on bass, Euan Stevenson on piano and Doug Hough on drums. And also on the show, Claire will be chatting to two members of 'Get The Blessing' - Bassist Jim Barr and Saxophonist Jake McMurchie...who talk about their newly released album, 'OC DC'.

Jon3

ez Nelson presents Chicagoan saxophonist Matana Roberts and the latest chapter of her Coin Coin project. Roberts emerged in the middle of the last decade, blending elements of avant-garde improvisation with the contemporary rock and dub of her native city. Coin Coin is an ongoing, multi-part work, begun in 2011, tracing her family's African-American heritage back over several generations in music and text. Roberts is joined here by five other musicians in a performance of the new, second chapter, at the Bimhuis in Amsterdam.

Line-up: Matana Roberts (alto saxophone / vocals), Jeremiah Obadiah (vocals), Jason Palmer (trumpet), Shoko Nagai (piano), Thomson Kneeland (bass), Tomas Fujiwara (drums)

[Ian Thumwood]

I thought thata Jeremiah Obadiah was an 18th Century writer????

(The freed slave who served in the British Army and wrote a biography)

[Serial_Apologist]

I thought thata Jeremiah Obadiah was an 18th Century writer????

(The freed slave who served in the British Army and wrote a biography)

Freed slaves get reincarnated.

[Ian Thumwood]

I was getting confused with this book:-

http://www.amazon.co.uk/Interesting-Narrative-Writings-Penguin-Classics/dp/0142437166/ref=sr_1_1?s=books&ie=UTF8&qid=1333726937&sr=1-1

[handsomefortune]

I was getting confused with this book:-

you've just sussed the apt name that he's possibly adopted perhaps... reflecting the context of robert's music....?

rather than being 'confused' ian!

according to the 'listen again' notes, (next to the 'play' button) - 'jazz library' runs for just 'one minute', (superficially, quite a cut back there then, roger wright must be very proud of how his 'achievement' looks).

thanks calum da jazbo - shall listen to the scottish jazz tonight, and return to the theme of 'slavery' come monday.

[aka Calum Da Jazbo]

Who knows what jazz will sound like in 10 years' time? But we can reasonably expect that the epic project we've got on this week's programme will only just be nearing its conclusion. And if it's still as good then as it is now, pencil it in for one of the highlights of 2022.
Back to the present, and tonight's performance – the second instalment of Chicagoan saxophonist Matana Roberts' odyssey through African-American history – Coin Coin. Talking (and singing) to me in the studio, she describes the music as having its roots in a 'backwater, Mississippi-sounding church' style. There's over an hour of unbroken music to immerse yourselves in, and from the earliest moments, blending gospel melodies, collective free improvisation and an operatic preacher figure, it's clear we're in for something out of the ordinary. Ideas cut in and out, rarely settling for long, but the sextet moves seamlessly between heavy, New Orleans-style blues and freer sections more reminiscent of Roberts' home city. And as we go, recurring themes begin to emerge, weaving the tapestry together.
Before all that, I've got my latest pick from the BBC Introducing uploader, the suitably nocturnal Olivia's Owls. It's a good time to mention that we'll be selecting musicians who have uploaded music to this site for a BBC Introducing stage at this year's Manchester Jazz Festival – so if you think you or someone you know might fit the bill, please do send me your music!
Join me for all this on Monday 9 April from 11pm, or listen online for seven days after broadcast.

jez's newsletter for tonite

rootsie huh

[aka Calum Da Jazbo]

could not endure Matana Roberts ... the singing by wassisname was more than i could bear worse for me than Britten ... no matter the inspiration or cause being espoused that kind of singing is more than i can stomach ...

[aka Calum Da Jazbo]

well that is me sold on Get The Blessing

[aka Calum Da Jazbo]

Konrad Wiszniewski is one of the mainstays on Scottish Jazz

not at all surprising what a melodic group .... not schmoozy just melodically gifted ... great set

er rocks off to this set ... sounds safe but it isn't, an assertion of serious style and accomplishment

[Byas'd Opinion]

I've always greatly enjoyed Konrad's playing: he's got the chops to do all the post-Coltrane high-speed stuff when he wants to, but never forgets to, as Lester Young would put it, sing you a song.

[charles t]

cALUm: yes indeed! (BritSpeak)

So how did you 'discover' Get The Blessing, btw?

Did clicking on some offering by Acoustic Ladyland Get [you] The BLEsSiNg?

Anyway thanks...I've Spotified a couple of their offerings.

[aka Calum Da Jazbo]

they were on Jazz Line Up chas .... cool dudes eh

[aka Calum Da Jazbo]

yet more on the Get The Blessing overlapping personnel with pop etc

[handsomefortune]

could not endure Matana Roberts ... the singing by wassisname was more than i could bear worse for me than Britten ... no matter the inspiration or cause being espoused that kind of singing is more than i can stomach ...

i enjoyed all of robert's set, and will listen again between now and monday probably. she's a natural successor to abbey lincoln perhaps?

the only part of 'jez on 3' that i didn't like was the choice of music apparently sent in by 'unknown's, which for me signaled a bad omen as far as producers/jez's choice....... especially when you remember how much talent and innovation there is in most cities up and down the uk. early days, but this spot will be cheap for the beeb, yet possibly dreary for listeners, and disappointing for those who've sent more interesting music to 'jez on 3' to get some radio play.

another huge bonus was that robert's set took up most of the programme, so there wasn't too much jez-style interviewing. though personally speaking this currently grates, especially in view of the loss of shypton's library, and the many fabulous musicians, as well as guest critics, given a proper opportunity to discuss music in detail, under no rush, and in the context of jazz culture and history.

[Quarky]

could not endure Matana Roberts ... the singing by wassisname was more than i could bear worse for me than Britten ... no matter the inspiration or cause being espoused that kind of singing is more than i can stomach ...

Sorry Calum - can't follow you on this one. While I don't like scat singing in general, this was not scat. And I don't like many of the things that modernist composers have done with the human voice, e.g. Ligeti - Nouvelle Aventure.

But this is an operatic type voice, so it does not turn me away.

But what mainly influences my view is that I recently read Schuller's analysis of Duke's Black Brown and Beige. His strongly held view was that the Jazz critics were completely wrong in their panning of this work, and that further that they probably harmed Duke's work on extended forms of Jazz, in that he never attempted such an ambitious work again.

So works like this should be given the benefit of doubt in my view.