[JPL] bopndicks 10 picks August 2007

[Dick Crockett]

Bopndicks 10 picks August 2007
JAKI BYARD     SUNSHINE OF MY SOUL- live at the
Keystone Korner  High Note Records
Jaki Byard has been called one of the most versatile
and unsung piano players in jazz. That means he was
great but never enough exposure to be credited as
such.  
The best way to  appreciate Jaki Byard is to imagine
you're in the right place at the right time with this 
capacity for express yourself through jazz, still a
very young capricious art form, now a hundred some
years old or so compared to Methuselah.  Born in 1922
when jazz was probably in it's  terrible twos and
learning to walk the walk and loved by everybody as a
brand new baby. Now, more legitimized as an art form
and best enjoyed in a more intimate gathering, after
all, what large standing room only crowd would watch
Jackson Pollack drip paint all over the place?  
If so,  there should an auction for the drop cloth, a
bidding in the millions!
This performance recorded at the Keystone Corner in
San Francisco in 1977 and released this year answers
all our questions of self doubt. This man was one of
the greats, an example of an artist whose exceeded his
reputation to iconic status. What you hear in the
universal mind  is a full body jazz of historical
knowledge, for Jaki Byard was an engaging story
teller. The whole history of the jazz piano, the
anecdotal and humorous, comes through his hands. 
This solo performance at the Keystone Corners, as his
others was a joyful noise  blend of stride, ragtime,
boogie woogie, bebop to free jazz, humor,
classical...flawlessly!  A joy of international
cooking.
>From “Tribute To The Ticklers,” listening to a
soundtrack while watching a sped up version of a
Charlie Chaplin film.  A Mingus medley, interactive
Faubus, an interesting version of David Clayton Thomas
“Spinning Wheel,”a smoky high octane  after hours
“Boogie Woogie In And Out,” with references of Art
Tatum and James P Johnson.  It may have been phenomena
that Byard channeled these masters while telling his
story. Then the beautiful “Emil” from Byard's “Family
Suite” will \ lift your horizons and bring tears to
your eyes. Jaki Byrad's a Giant among jazz artists as
his students at the New England Conservatory would
wholeheartedly attest.
And this cd is addition to your collection to share
with others, who're  unfamiliar with his contribution
and are from a similar mental zip code.
ENRICO PIERANUNZI/MARC JOHNSON/JOEY BARON   LIVE IN
JAPAN
Cam Jazz
This trio has the accoutrement and essence-soul of a
prominent jazz band. Is it the Japanese, who
understand and know what we want in automobiles and
seem to know what we want, jazz, as the now?  Enrico
Pieranunzi has evolved as one of the world's most
prominent on jazz piano.  Listen to  what Brad Mehldau
and Keith Jarrett have accomplished, consistent
excellent performances over a long period of time,
what other great jazz players have achieved,  a status
to excellence-some gray hairs for the distinguished.
It's where Enrico Pieranunzi has evolved as a seasoned
jazz artist with Marc Johnson and Joey Baron.
Consistent  excellence. Ever since Enrico Pieranunzi
played with Chet Baker, there's been an American
interest in his work. This is a trio mainstay as
relevant as other aforementioned post modernists. This
is the evocative sense of Enrico who's committed to
his roots, his school, experience and yet highly
inventive and modern to his evolving artistry.  
If you're like me and listen as most programmer's due
for the hook, then this Enrico Pieranunzi may not be
for you.
However, if you're like me and fed up with the whole
hyperbole- let's be real here- then you'll dig this cd
many times over in the quiet of your articulate
consciousness, then this cd is meant for you. 
There's original material with Morricone's “Mia Caro
Dottor Grasler.”  Don't ask what it means because I
don't know.  The music is captivating. “Improleaves”
is almost impromptu, long introspective bluesy Marc
Johnson bass high lyrical runs in an appropriate form
in the middle. Could it be improvisation with Joey
Baron, drummer, starting things off, then Pieranunzi 
chiming in, creating on the metaphor, kicking Asimov. 
This is essential to the others who know and
anticipate each other's form and nuance.  It happens
with musicians who each other well as these do.  This
is the Keith Jarretts and Brad Mehldaus bones of the
jazz world. This trio of expert musicianship and
camaraderie achieve a similar popular level.
This is a 2 cd set, recorded live in  in Tokyo and
Yokohama in 2004. All tunes are very original and
personal, written by Pieranunzi, Morricone and Baron,
others collectively by the trio. In many ways the
'feel' of this performance, reminds one of Dave
Brubeck's “Jazz Impressions Of Japan.” Pieranunzi is
able to project a very similar simple straight ahead
sound as Brubeck. Hence the core of the many inspiring
moments in  this 'live' cd.
BOBBY SANABRIA    BIG BAND URBAN FOLKTALES   
Jazzheads Records
Percussionist Bobby Sanabria keeps the post modern
bop/ afro Cuban in all it's sangria roots/ traditions
moving forward with a lush Latin big brass band sound
that's so down on a Sunday in the Bronx. It starts
with “57th Street Mambo.”  The first thing that hits
right upside the inside is the overall orchestrations
that remind you so much of the power of  Kenton 
mixing with traditional/modern-straight ahead Dizzy
Gillespie, Tito Puente and Chico O Farrell.   It's all
really  NYC Latin jazz inspired by
Dizzy/Tito/Chico/Eddie and others in the hot bed of
Latin jazz talent. “Blues For Booty Shakers” will
provide a drive through many jazz intersections and
insurgencies.   Sanabria will make it all work out in
unison for you. This cd is so free and open, drawing
upon all influences, from Kenton, Mingus to The Wizard
Of Oz, whose cool with Latin and Fort Apache Band.
“The Grand Wazoo” is all very brass, percussion,
picture Xavier Cugat practicing...Now Bobby Sanabria
will use the discordant licks.”Obrigado Maestre” is
very lush and Kenton-esque.  It's like a bunch from
the South Bronx: “El Hefi, lets go  to Lexington Ave
and do the  mambo, I know a place where we can play
some stuff!” And that's what it is, great Latin 
stuff!  Tito Puente's legacy and commitment falls on
the mantle of Bobby Sanabria and this new cd will
solidify that.  As Sanabria proclaims upon conclusion
of “57th Street Mambo,” slick and cool as it should
be, from one whose soul embraces, “That's It
Gentlemen!” 
THE MULGREW MILLER TRIO   LIVE AT THE KENNEDY CENTER
VOLUME TWO      MAXJAZZ
Mulgrew Miller emotes, combines Oscar Peterson
intensity, (you hear it in his chord progressions) and
Wynton Kelly Laissez Faire soul. Smile, relax and
groove old style as in “Grew's Tune.” This should be a
classic.  A text on how it should and does sound from
a master and that's the current sound of Mulgrew
Miller, an articulate muscular pianist as on“Farewell
To Dogma,”starting with an intimate solo, then
expanding to a more soluble mainstream portion.
Mulgrew Miller takes you on a sophisticated, yet funky
trek through his music.  You feel comfortable with his
transgressions.   I could be on Jefferson avenue in
Grosse Pointe Farms, fifty years ago, listening to
Tommy Flanigan and receive the same vibe.
That's what I like about Mulgrew Miller. The jazz
comfort level as in his rendition of “Old Folks.”
Comfort level is what we all say yes about and  what
jazz does so well' gain a positive consensus.  
Mulgrew Miller learned to play by ear as a child,
meaning he has a tremendous capacity to absorb not
only the music, but the atmosphere. This kinetic
energy from birth to the moment may be demonstrated in
“Eleventh Hour,” a straight ahead blues with Miller
locked in to the groove, the essence as Jelly Roll
would attest.
There's nothing I like better than a good solo and
you'll so much innately about this artist. And when
the rest of the band kicks in, fasten your safety
belts, it's when Mulgrew Miller, Derrick Hodge and
Rodney Green party with the speed and precision
reserved for un-limiteds on a quarter mile. 
Therefore, you're up to speed  on the latest Mulgrew
Miller.
PS: Happy Birthday Mulgrew Miller.  August 13. Yours
is the same as George Shearing and mine!
DAVID MURRAY BLACK SAINT QUARTET with Cassandra Wilson
    SACRED GROUND    Justin Time Records
David Murray is the most progressive post modern voice
on saxophone in jazz world.  There's no one with the
chops and imagination who come close.  A tone equal to
Coleman Hawkins as in “Believe In Love,”as free as
Archie Schepp and  edgy as Albert Ayler, as determined
as John Coltrane within a melodic compass as in
“Family Reunion” “Transitions”  and “Pierce City,” a
ballad with a similar ferocity as a John Coltrane.
“Sacred Ground,” the title of this cd  begins  with
Cassandra Wilson, singing the lyrics' almost native
American is it's honesty and  tone.   There's truth
here, so apparent in the message and plight of the
slaves to this land, two centuries ago. A sad irony to
current terms and yet we press on with the music. 
Obviously, David Murray is more interested in honest
pure expression than lead horn on Saturday Night Live.
He should be celebrated of that.   
“Banished” is very metamorphic and personal with David
Murray. His bass clarinet intonations attest as
much.”Believe In Love” will bring back Coleman Hawkins
memories. When a jazz musician is able to conjure a
message, portray an artistry and history in a breath,
then we know the significance of the person and the
contribution. “Prophet Of Doom”  is a nostalgic take
with Cassandra, the daughter of Hecuba, priestess of
Athena,  singing the lyrics of Greek blues mythology.
Now Cassandra was a sear who was blind and no one
believed her to their own trevail. 
Now that's the blues!  
So it goes with David Murray able to arouse the best
stable yet on his new, “Sacred Ground” with it's
artistic multitude, uniqueness and iconic power!
JOHN ABERCROMBIE    THE THIRD QUARTET       ECM
Jazz is a personal medium for musicians,. I wonder
what significance latent knowledge, pre birth chops to
a person's existential/life has to do with his
expression.
Jazz guitarist John Abercrombie's life might be
blessed with the depth of the Scots/Irish music
tradition, especially with fiddle/ guitar work as this
cd demonstrates with Abercrombie on guitar and Mark
Feldman on violin.
It doesn't matter if you think you've heard enough,
because you haven't. There's an authenticity, so
simple and profound in it's performance. What's
profound is simple. What's truthful is a slip of the
tongue at first and justifiable later. This music is
so immersing.   John Abercrombie has appointed what
almost all giants in jazz do, give it up  to the other
players, a personal life-long impression. 
You think I'm overly sardonic, pierian and 'blow fish'
bombastic. This is full immersion.
John Abercrombie relays his youth, vulnerability and
stamina in his music evolution, wondering in brief
moments, 'Is This My Journey?' 
'Whether you simmer than or you aft to be...'  
I have a different acclimate-a glimmer-but it's not
apt to be. Fore or aft? There's always mystery and
anticipation in jazz. And this new John Abercrombie
disk with Marc Feldman, Marc Johnson and Joey Baron is
a love-some thing.
You must remember that John Abercrombie is joyous and
down to serious business with this new cd. All songs
are written by Abercrombie, except Ornette Coleman's
“Round Trip.”  The “Elvin”brings it back home and Joey
Baron lets it happen as a Ginger Baker rock, strong
arc and on cue, Elvin Jones imagined, with John
Abercrombie so down, nice and funky as always and most
proportionately.  
MANUEL VALERA        VIENTOS        ANZIC RECORDS
Manuel Valera, a young musical genius, will no longer
be relegated to Holiday Inn piano bars! A figure of
speech, of course, for the disengaged 'we' may not 
even know the difference. The genius that walk among
us, selling newspapers, serving coffee, busing our
tables. We'll never know when the next  Mozart will
appear! 
Don't think this is an aspersion to real-hyperbole for
the endless to the incorruptable. Cross your tees and
dot your eyes. It's not about that. This Valera's new
and endless music is all important. May not buy you a
farm on Malibu. This could be the perfect endless
journey. It's real about what's in you and you go
forward from there.   You go forward from here, as we
go forward from here.  A twist, excursion  as in 'A La
Interperie,” to add to a list of other consummate of
songs on “Vientos.” Then a scattering in “So You
Say,”with Joel Frahm at his best with a quintet and
Valera smoking down to and past Memphis in a post
modernity open closure. 
Manuel Valera was born in Cuba in 1980, studied
classical saxophone there and emigrated here and only
started playing the piano in 1994. 
He now resides  in New York City.
This new Manuel Valera is expansive, yet in mindful of
his traditions.  Valera's imprint  is a fusion of
modern jazz with various Latin music styles. 
His first and highly acclaimed “Forma Nueva” was a
remarkable debute for this young artist. His second
and most regarded “Melancolia' merges jazz with
classical romance, Rachmaninoff and Silvio Rodriquez. 

“Vientos” will establish Valera as a fine creative
composer. His early training on saxophone at Havana
Conservatory could the  establishing touch. His feel
for jazz is almost intrinsic Bill Evans with soaring 
melodic lines,  tones & themes and his feel for
orchestrations is innate/ mysterioso., elevating his
status, setting him apart. This is only the beginning.

DAVID WITHAM     SPINNING THE CIRCLE   Crypto
gramophone Records
“Allow me to introduce myself. My name is David Witham
and I am a musician. A pianist primarily, but I also
use synthesizers, samplers and various other noise
makers in my music...”
Witham also studied  with Jaki Byard at the New
England Conservatory of Music and Alan Broadbent and
has collaborated with Ernie Watts, bassist/ composer
Jay Anderson and the  Jeff Gauthier Quintet.  He has
been music director for George Benson since 1990 and
produced cds for Tom Scott and Grover Washington.
By now you may form a fairly accurate picture. David
Witham is also experimental, combining understated pop
with new world progressive jazz in his new cd,
“Spinning The Circle.”
Sounds like a mouthful. Welcome to the 21st Century.
The jazz musical spores are invading us.
In case you're not aware, Cryptogramophone, a very
progressive label from Venus Beach welcomes this sort
of thing, sparkling, pop, inter continental music-
digestible and different, most acceptable from inner
galactic disco to a cold  brisk clear evening under
the stars in rural Norway. You're a world traveler.
The music is composed by Witham and performed with a
stellar band, as in “Con Quiem” with Greg Leisz on
steel petal, Witham's special effects in “The Neon,”
wondrous acoustic piano open to a minimalist train
ride through Nebraska by Witham on “Who Knows,” a
requiem, yet freeing post bop unfolding in “N.O.
Rising” with a scintillating symposium on soprano sax
by Jon Crosse and  a great slide guitar solo by Greg
Leisz.  Scott Amendola concludes with the signature
N.O. marching strut on drums. Then “Momentuum” takes
on a different slow discordant, yet heroic phrasing as
Witham's accordion physiology takes on the mantra of
discordant and mundane with a noble agenda.  “The
Circle” is as such, an evolving anxious rondo with
Latin accents and Jon Crosse soprano exploring the
inner Latin depth too the blues. “Light And Life”
features a glistening captivating acoustic interact
with bassist Jay Anderson and drummer Scott Amendola.
David Witham's new cd “Spinning The Circle” will
ultimately answer the question: Is modern jazz the
real  answer or is it language we muddle with the
mundane in all it's forms.
ALVIN QUEEN     I AIN'T LOOKING AT YOU     
Enja/Justin Time Records
Alvin Queen, drummer, is a mean machine on this one.  
“I Ain't Looking At You” will bring back those funk
and groove days, when Art Blakey, Jimmy Smith, Lee
Morgan and Tina Brooks showed on the same date, by all
means, when this sort of groove was common place. This
new Alvin Queen is straight ahead, center stage, full
blown from L.A. to Vegas funk!
And does he have some grade A players, Terell
Stafford, today's best on trumpet, Jesse Davis, an
Grecian god-like amorphous one on alto, a smokin Mike
LeDonne whose the bones of the Hammond B-3 on this one
and guitarist Peter Bernstein, who plays like a
************ also! There's certain very expressive
word we can't use on TV, let alone radio, the passive
step child. This kind of music is raucous and
aggressive, testifyin as in “I Ain't Looking At You.”
It doesn't denigrate, or take away any of the power to
impose that fact I'll turn into Ed Love on WDET to
hear the real score on this music. 
This Alvin McQueen band is all on down to the basics.
Be sure. This is the only way it is done, friends.
Mike LeDonne's tribute to Shirley Scott with
“Shirley's Song” is especially poignant on this cd
with solos by Peter Bernstein and Jesse Davis. 
Mike LeDonne is right on with this thing. He has Scott
's roll embellishing style down cold!  
Horace Silver's “ Nutville,” Miles, “Seven Steps To
Heaven” and McCoy Tyner's “Contemplation” seed these
hard bop anthems  to  all  that's  good  and  nasty
about jazz. And with Alvin Mc Queen's “I Ain't Looking
At You,”it's all good!
THE FRED HERSCH TRIO    NIGHT & THE MUSIC    Palmetto
Records
Fred Hersch always dislays his best jazz side first,
perfect for any occasion. That's what good musicians
do, let their music speak for themselves This trio
context displays the classic jazz side of his
personality.  This cd will bring back ethers of great
jazz ghosts , Tommy Flanigan, Bill Evans, Hank
Garland. Those great others who let their music speak
for themselves.  This trio recording has that
emotional impact. 
This is how a great post modern jazz trio sounds and
Fred Hersch is  one of the great ones.  He's witty
engaging, commanding, playful and special.  His
writing is full  of nostalgia and spirit on display,
“Rhythm Spirit” “Heartland” and the surreal, effusive,
“Galaxy  Fragment/You And The Night And The Music.” 
In fact this romantic piece could be the underlying
theme of this cd. “You And The Night and the Music”
has many meanings. When a jazz musician of Fred
Hersch's quality takes on this theme, it rises to a
spiritual level. As a Monk interpreter with “Boo's
Boo's Birthday” and  “Misterioso,” Hersch is unequal
in the mainstream. Hersch has that special
sophistication. He also does exceptionally well with
Strayhorn and Ellington.
On this recording he interprets Berlin's “Change
Partners” and “:How Deep Is The Ocean.” This is what a
great jazz player will do, remember how it sounded and
feed it back to the 'now' of his personal way.
That's what we like about this music. It's an inner
music excursion jotting our memories.
And your endorphins will simmer with this new Fred
Hersch cd.
For a kid from Cincinnati, whose advance studies were
at the New England Conservatory Of Music, it's the
perfect measure.
The connection, no doubt,  Fred Hersch is six degrees
of Jaki Byard. 
ONES TO WATCH:
VASSILIS TSABOPOULIS & ANJA LECHNER    CHANTS, HYMNS
AND DANCES      ECM
Vassilis Tsabropoulis is an engaging Greek jazz
pianist and Anja Lechner, a most expressive
violoncellist. This duet interprets the music of
Giurdjieff, a Greek Armenian mystic teacher who
wandered throughout Europe and the far East in the
early part of the 20th century. “A high initiate of
the esoteric school, who took it upon himself to show
the Western World that mankind was asleep, that there
are higher levels of being and there are somewhere,
people who know.
In the fifties, jazz musicians knew of Gurdjieff, his
Institute for the harmonious development of man, his
music, his dances, the whirling dervishes, etc.. 
The merging of Mid Eastern with Western music is the
essence and symbiosis of Gurdjieff and Tsabropoulis, a
magical romance of the art of letting go.
KAHIL EL'ZABAR'S INFINITY ORCHESTRA  TRANSMIGRATION 
Delmark Records 
A huge band with tons of saxophones, brass,  12 rhythm
players and volcano of special effects. The Infinity
Orchestra is experimental yet rooted in the hard bop
tradition, based in the city of Bordeaux, the south of
France. “Speaking In Tongues.” Along with
percussionist, teacher and articulator Kahil El'
Zabar, Robert Irving III, for his writing, most
certainly has a hand in this.
Reminds me of a cool evening in Monterey, sipping some
two buck chuck and listening to an extended Charles
Lloyd.  
THE ROCCO JOHN GROUP    DON'T WAIT TOO LONG   COCA
Productions
It took a little time. Thank goodness I didn't wait
too long. This real underground radio deeply rooted in
Loft expressionism and experimentation. There's
nothing like the spontaneity. Rocco John worked with
Sam Rivers whose always experiential and spent some
time with Lee Konitz.  
It seems you're listening to a Samuel Becket
soundtrack, but it's so hard bop. “Gentilesse” will
tell the story.
CHARLES MINGUS  IN PARIS-1970  Sunnyside Records  
A wonderful collectors piece with Jaki Byard, this
month's belated six degrees of separation.  Charles
Mingus was one the true modern innovators in
progressive jazz.
SAM YAHEL TRIO    TRUTH AND BEAUTY   Origin Records
Brad Mehldau writes in the liner notes.
“We're the first generation in jazz that has no
distinguishing playing style to speak of.” That's a
profound statement. A break away from the post modern.
Sam Yahel and Brad Mehldau made it on the scene in NYC
in the earl nineties. This new cd, features popular
reed player Dewey Redman and the extraordinary
drummer, Brian Blade. This has to the 'Cream' band in
Jazz.
LISA MARKLEY is a natural.  THE SKY IS BLUE AND
SOMETIMES CRIES  is a natural inclination from a new
artist. How and what do you sing on your new cd?
“Spring Can Hang You Up The Most,” and  Markley's
phrasing comes upright naturally.
And “Someone Exactly Like You,” isd a straight ahead
blues written and performed, J. Paul Stevens, piano
accompanist. “Elements” written by guitarist Bruce
Balmer reveals another talent of Lisa Markley. A
remarkable ability to interpret new songs, an adroit
rarity. There's great raw talent here. You woulfd hope
that Austin City Limits would pick up on Lisa Markley.
She wrote and performed  “Eve Take The Fall” with such
casual enunciation. Then it struck me when listening
to listening to 'The  Dry Cleaner From Des Moines”
that Lisa Markley's reflections are Joni Mitchell and
remembered her performances in a small cafe on
Woodward Ave in 1963 with her husband folk
guitarist/singer Chuck Mitchell. Back to Lisa Markley
in focus. She is definitely the next best of
guitarist/writer since Joni Mitchell, pop
expressionist, the early one. 
Then the song that struck was “Lullaby Of The
Wandering Moon,” an existential love in the moment as
it is...
PS: I'm awe struck and teary eyed.
Dick Crockett
“The Voice” 88.7fm
4623 T Street, Suite A
Sacramento, Ca  95819-4743
audio streaming
accesssacramento.org




       
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