[JPL] bopndicks 10 picks August 2007
Marilyn Duncan
info at soonasongs.com
Thu Aug 2 13:07:03 EDT 2007
Dear Jazz Programmers,
If you would like a promo copy of "The Sky Is Blue and Sometimes Cries"
by Lisa Markley, based on Dick Crockett's recommendation, let me know
and I will send one right away.
Samples can be heard at: http://soonasongs.com/store_lm2.php
Thanks for your time.
Sincerely,
Marilyn Duncan
Owner, Soona Songs
Independent Record Label
www.soonasongs.com
Dick Crockett wrote:
> This Week's JPL Sponsor: 2008 JazzWeek Summit
>
> June 19-21, 2008 -- Clarion Riverside Hotel, Rochester, N.Y. -- Registration opens in August
>
> +++++++++++++++++++++++++++++++
>
> 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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