This Shape of Jazz

They Say They Come In Threes

2011-12-31T14:07:00.000-08:00

Fuchsia Swing Song by Sam Rivers on Grooveshark

I am late to the game here but I just wanted to post some words on the passing of Sam Rivers along with visual artists John Chamberlain and Helen Frankenthaler. If you follow Howard Mandel's Jazz Beyond Jazz blog then you probably noticed all of the great content on Sam Rivers he's posted in memoriam (and here).

I have always admired Sam Rivers. He was adaptable as he was individual. Most notable for me was his work on Dave Holland's Conference of the Birds, and his own Impulse release Sizzle. But also his incredible, forward looking records on Blue Note. Particularly notable was Fuchsia Swing Song, which is discussed by Ethan Iverson here.

John Chamberlain and Helen Frankenthaler were both artists in the Abstract Expressionist vein. Post war creatives that were part of the scene that brought Modernism to its apex. I had the great pleasure of spending hours upon hours with Chamberlain's work when I was employed at Dia:Beacon, an intensely large contemporary art space devoted to large scale, conceptual, pop, earth, minimalist Art and beyond.

Chamberlain took the aesthetics of Pollock or De Kooning and gave them substance as three dimensional objects using repurposed metals as his medium. Frankenthaler, an artist I must admit don't know as much about, focused on color field arrangements using organic shapes and elements in her canvas paintings.

Sam Rivers, John Chamberlain ,and Helen Frankenthaler were great individuals among individuals. In a world that ultimately seems more and more collective in the creative realm these three have left an invaluable impact on sculpture, painting, and sound.

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Photo Credits: Photo of Sam Rivers by Francis Wolff / John Chamberlain's The Line Up / Helen Frankenthaler's Southern Exposure.

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Happy New Year. I'll be writing about some new music coming out of Brooklyn at the start of 2012.

Holiday Cheer for Geeky Jazz Enthusiasts

2011-12-14T17:03:00.000-08:00

Greensleeves by John Coltrane on Grooveshark
I thought I'd return with another gift guide intended to those looking to score points as gift givers. If that special Jazz fan in your life is like me, most likely they are super picky. Take a look at 2010's Gift Guide; and here are my 2011 recommendations:

1. The Jazz Experience
I'm fortunate to have an older brother that's into giving experiences rather than material items. This worked out because it often involved live performances. Get tickets to a big headliner strolling through your area, or maybe a night at a local jazz club accompanied by a stellar meal and sociable libations. Not to mention the Portland Jazz Festival is just around the corner for those in the Portland area.

2. Better Headphones
More and more we're enjoying our music on the go. Good headwear is key for grooving to those remastered albums. Siege Audio, Urbanears, and Dre ($$). Check out this Frog Design FrogMob to see what more folks are into.

3. Destination: Out MP3 Store
Had this on my list last year and the D:O store is awesome enough to repeat. These super limited and unique FMP releases are absolute treasures.

4. Sony Music's PopMarket.com Complete Album Collections
Let's face it, if they're into Jazz they're most likely a completist. Record collecting is like Pokemon, you have to have them all. Now available are complete album collections from Columbia and RCA Records spanning from the 1950s to the past decade. From Miles Davis, Dexter Gordon, and Wayne Shorter to Nina Simone, Return to Forever, and Stan Getz. A little something for everyone.

5. Spotify Premium Membership

Spotify is insanely awesome. A premium subscription gives ad-free, high quality, online and offline listening. I've been obsessively digging through many of the rarer Avant-Garde Jazz albums available.

6. Books on Jazz

Here are a few that would be at the top of my list: George Lewis' A Power Stronger Than Itself, Valerie Wilmer's As Serious As Your Life, Fred Kaplan's 1959: The Year That Changed Everything, and Howard Mandel's Miles, Ornette, Cecil: Jazz Beyond Jazz. For a nice survey on Jazz I would recommend Gary Giddin's Visions of Jazz.

That's about all I have for now. Anything else I think of I'll add to the list. Be sure to have a killer Holiday Season!

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I sometimes blog on my iPad using BlogPress. If you see the below signature attached to any post, it pretty much means I'm trying to justify any typos, weird capitalization, or awkward formatting issues.

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Perry Robinson in Portland

2011-12-05T13:45:00.001-08:00

Last night we witnessed the live chops of clarinet great, Perry Robinson. One of my favorite albums I own is William Parker's Clarinet Trio which features Robinson on their release entitled Bob's Pink Cadillac. Along with a solid discography as a leader, Perry Robinson has contributed to many significant recordings as a sideman; Henry Grimes The Call (an album I always tend to leave a copy in my car), Charlie Haden's Liberation Music Orchestra, Archie Shepp's Mama Too Tight, Burton Greenes' Klezmokum band, among other notable recordings.

See a detailed list here.

Perry Robinson was presented in a quartet alongside Portland's premier Avant-Garde drummer Tim DuRoche, stellar bassist Andre St. James, and Seattle's Marc Smason on trombone. We were tucked down in the cozy basement of The Blue Monk. A Jazz club with a speakeasy feel, it's one of the only places in town one can sip a Trappist Ales and tap their feet to some of the best live Jazz around. It's truly an authentic Jazz experience with candlelit round tables and small booth seating offering an intimate climate between musicians and audience. The Blue Monk's Ninkasi Presents Sunday Night Jazz even has a hostess MC, Mary-Sue Tobin, that reminded me of Alfred Lion's wife, Ruth Mason, from her introduction on Donald Byrd's Live at the Half Note.

The piano-less quartet (everyone knows my favorite form of Jazz group) offered a range of Klezmer inspired Jazz tunes to numbers that were amoebic and free in nature. Music that resembled the intricate horn work of Anthony Braxton's compositions, or the artfully crafted work of Roswell Rudd (New York Art Quartet springs to mind). It was some of the best live music I have seen all year. Robinson's tone was out of this world. He seemed in the moment yet he had full control of his clarinet. Andre St. James was powerful on bass, with amazing arco playing alongside a duo performance with Tim DuRoche. Marc Smason appeared to lead the group, directing how each number was arranged.

I feel honored to not only been able to see Perry Robinson perform live, but to see him in such a low key environment. I'm constantly reminded that #jazzlives.

Perry Robinson with Henry Grimes (bass) and Tom Price (drums)

Fish Story by Henry Grimes Trio on Grooveshark

"Nice Guys" - Art Ensemble of Chicago

2011-10-20T09:05:00.000-07:00

Back in August I discovered a new record shop in Northeast Portland called Beacon Sound. It had a small, yet focused, Jazz vinyl selection with a good percentage of avant-garde discs that I would've gladly purchased. I restrained myself by limiting my purchase to one LP, Nice Guys by the Art Ensemble of Chicago. Nothing too rare as it was a cut out, but the price was just right at $6.

I have owned a digital version of this album for some years now. It's not one the Art Ensemble's strongest works, but it sure exemplifies their compositional style and sheer force as they perform in the studio. Like most music on vinyl, I have been listening to it a lot more now. It must be something to do with putting a record on the turntable over and over again that feels right. Rather than using my Click Wheel to access it.

Nice Guys is the first album the AEOC cut for the ECM label, and also the first after a five year break from recording. Probably what is the most satisfying part of the record is the final track, 'Dreaming of the Master'. What is Joseph Jarman's high tribute to Miles Davis, the whole album seems like a culmination that ultimately feels like a spiritual breaking down during this closing tune.

In 1990 'Dreaming of the Master' was reintroduced in a new album entitled, Dreaming of the Masters Suite: Music Inspired by and Dedicated to John Coltrane. Released on the Japanese Label DIW, it's a mixture of Art Ensemble and Coltrane compositions.

1978 - ECM (1126)
Lester Bowie - trumpet, celeste, bass drum; Joseph Jarman - reeds, percussion, vocal; Roscoe Mitchell - reeds, percussion; Malachi Favors - Maghostus bass, percussion, melodica; Famoudou Don Moye - drums, percussion, vocal.

nwFilmCenter's Reel Music Film Fest Is Back!

2011-10-06T14:04:00.000-07:00

The Portland Art Museum's nwFilmCenter brings back their Reel Music Film Festival; now in its 29th rendition. There's usually something for any music fan here, and each installment of RMFF even contains something for us Avant-Garde music geeks.

On October 18th, at 7pm, you're not going to want to miss this triple header of DICK FONTAINE films.

Who's Crazy [1966]

A meditation on freedom of expression with three avant garde musicians, under the leadership of Ornette Coleman, as they make music for a Living Theater project in Paris.

Who is Sonny Rollins? [1968]

A portrait of the great jazz musician during his self-enforced exile from his audience.

Sound??? [1967]
A poetic journey from zoo to echoic chamber in search of the limits of music with Rahsaan Roland Kirk and John Cage.

Who's Crazy is a live music performance of a movie score for the film of the same title. Hardcore Ornette fans probably have heard the audio before as it was originally issued on vinyl in 1966 as a two volume set. I've heard of import reissues being available, but I know digital materials do exist in the far stretches of the internet.

The music is exciting and offers more of an insight into Coleman's post-quartet, post-career hiatus trio that featured David Izenzon (bass) and Charles Moffett (drums). Also heard here are some fresh chops by Coleman on Violin and Trumpet. Who's Crazy is intense, somber, heavily rhythmic (Moffett really utilized his kick pedal) -- but ultimately it's still the melodic, harmolodic, and joyous Ornette that we all love.

There's No Time Like The Present - TBA:11

2011-09-15T12:37:00.000-07:00

A week ago we attended the opening night for PICA's (Portland Institute for Contemporary Art) TBA:11 Festival. Every September PICA brings a unique brand of Time Based Art to Portland in celebration of visual-multimedia installation, performance, and musical artists; from local territories and internationally afar.

This year I had the privilege to edit their trailer. It was an honor since I've been attending the festival each year I've been living in Portland. Which crazy enough has been five years at this point.

The Works take place at Washington High School. A retired SE Portland school that has be retrofitted to accommodate art installations, a beer garden, and performances. Upon entering one classroom I was surprised to see John Niekrasz (of the The Naked Future) performing his 12-hour drum solo. He included a piece with this Altoist (who I don't know his name) (edit: Tim DuRoche notified me that his name is Ben Kates). It was pretty killer.

Here's my tweet from the moment (be sure to click the screen still to watch a clip):

Live music like this is a rarity. Thanks @P_I_C_A! #TBA11 #inpdx #avantjazz - http://yfrog.us/5ksn8tz

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To read more about my infatuation with the connection between Art and Avant-Garde Jazz read this post I wrote in 2008: Outside the New Sound.

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Tonight my wife and I will be attending the Andrew Dinwiddie performance followed by a Dean & Britta show with music adapted for Andy Warhol's Screen Tests. This should be interesting since I spent a lot of time with many of Warhol's Screen Tests back in my Dia:Beacon employment days.

I encourage you Portlanders to get out to TBA:11 and support PICA and these artists. Just like Free Jazz, it's far and few between that we experience these events.

"The Will Come, Is Now" - Ronnie Boykins

2011-08-14T10:21:00.001-07:00

Listening to The Will Come, Is Now on my iPod as I type; I can't help but revisit this ESP-Disk' release at least once a month. Ronnie Boykins' first and only release as a leader has so much replay value and it it leaves me wanting more and more. A bassist that is as versatile to play along with Muddy Waters, Marion Brown, Steve Lacy, Bill Dixon, Sam Rivers, Mary Lou Williams. Rashaan Roland Kirk, at many others, Boykins is mostly famous for his time with the Arkestra. Where we can hear Boykins providing the bass lines for some of the most pivotal Sun Ra LPs.

In an era when Jazz was becoming more and more fusion as well as electric, Boykins rejected the norm and recorded this earthy, acoustic session in 1974. It's very rhythmic, with bass licks that draw from eastern music and polyrhythmic influences from African drumming. Yet his beautiful arco playing on the upright amalgamates classical western sounds with eastern and African influences.

The opening title track exemplifies everything I described in the prior paragraph. However we then make a left turn with the following cut, "Starlight at the Wonder Inn." A buoyant ballad pulling from traditional jazz melodies that even a composer like Strayhorn would write. Although Boykins' technique allows it to be off teetered enough to comprise of its own aesthetic. Fitting perfectly with the rest of the album.

"Demon Dance" is the most Post-Bop in nature, but once the theme is played the whole ensemble wails together as if they were a New Orleans band from the earlier part of the century. It's swinging while offering a change of pace just as the album starts to really grip hold of you.

The closing track, "The Third I," comes in strong similar to Art Ensemble of Chicago recordings. Very heavy rhythms, free form, and demanding on the listener's ears. Requiring your endurance for ten and a half minutes, Boykins then stops everything with a satisfying bass line. Here, the horn sections remind me a lot of Anthony Braxton's composing. This theme is short, creating quite the tease. Leaving me wishing I can hear more Ronnie Boykins. Guess I'll have to go through my Sun Ra records this afternoon.

1974 - ESP-Disk'.
Ronnie Boykins - bass and sousaphone; Joe Ferguson - soprano and tenor saxophones, flute; Monty Walters - alto and soprano saxophones; James Vass - alto and soprano saxophones, flute; Daoud Haroom - trombone; Art Lewis - percussion - George Avaloz: congas.

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"XYX" - The Spanish Donkey

2011-07-17T11:55:00.001-07:00

The good folks over at Northern Spy have been putting an impressive catalog out. They're doing it right by featuring a diverse selection of artists, good stories behind the music, and unique packaging to deliver it all to adventurous listeners (CDs, digi downloads, and cassette tapes).

I was eager to set my eardrums on the new release by The Spanish Donkey, XYX. A trio featuring today's free form guitar hero (video game pun not intended) Joe Morris, dynamic keyboardist Jamie Saft, and the responsive percussionist Mike Pride.

Timeless, yet of it's time. XYX is reminiscent of some of the electrifying, innovative loft era jazz while meshing metal, punk, and noise rock. I easily think of the mathematically timings of Lightning Bolt and Hella, while also glimpsing into the electrical tendencies of George Lewis and imaginative stylings of some of the European Free Improv players.

This was all improvised right in the studio. The liner notes hint at categorizing the album as "avant metal." Yet without a doubt it still swings at times thanks to the help of Mike Pride's cymbal work. If your ears are in a dire need for something new then go get XYX RIGHT NOW! The album definitely sends you on a powerful trip. It feels like I'm in the head of that character from Gaspar Noé's Enter the Void.

2011 - Northern Spy

Joe Morris - guitar; Jamie Saft - MiniMoog, Roland Jupiter 6, Roland SH-01, Korg Lambda, Korg CX3, Yamaha CS-01, bass guitar; Mike Pride - drums, percussion & nose whistle.

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PDX Jazz, 50 Years of Impulse!, ECM On Sale, & What I've Been Listening To

2011-06-16T19:05:00.001-07:00

A lot has been going on in Jazz this year, and I'm having a hard time keeping up with it. For starters I just noticed PDX Jazz Founder and Artistic Director Bill Royston has retired. I'm sure the fest will be in good hands with the board and Don Lucoff. I wish Bill the best. I have gotten to see Ornette Coleman, Lou Donaldson, Bobby Hutcherson, Pharoah Sanders, and The Bad Plus thanks to his curating.

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All ECM albums are on sale at Music Millennium:

Please take advantage of this special offer from Music Millennium - and ECM Records of 20% off all ECM titles from now until the end of June.

The first place I worked when I moved to Portland was Music Millennium in NW Portland (up until it closed). I was a floor supervisor and oversaw the Jazz collection. Let me tell you, they have an impeccable collection of ECM titles. Although this sale could be dwindling their stock fast. Music Millennium is in Portland on East Burnside and 32nd Ave. You can also shop online.

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It has been 50 years of enjoying Impulse! Records. Some nice releases are/will be available to commemorate this milestone.

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I've been enjoying a lot of Destination:Out recently. They have been providing some notable articles on Sun Ra and George Lewis (and here).

I haven't had a whole lot of time to get into some new music. I've been listening to a lot of Braxton Montreux/Berlin Concerts, and an extreme amount of Don Cherry. Particularly his Blue Note sessions and the ESP-Disk' Café Montmartre volumes. Which offer beautiful, low produced clones of segments of his suites from those Blue Note recordings.

As far as Braxton, put him with Dave Holland and Barry Altschul, alongside either Kenny Wheeler or George Lewis and my day instantly gets better.

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I just bought an iPad and will be using BlogPress. If you see the below signature attached to any post, it pretty much means I'm trying to justify any typos, weird capitalization, or awkward formatting issues.

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Recap: Benny Golson Live At Jimmy Maks

2011-05-14T07:46:00.000-07:00

I was on the fence for this show for awhile. I couldn't believe Benny Golson was going to be playing Portland's Jimmy Mak's and I wasn't sure I had the time or monetary expenditure to make it. Before I knew it, Wednesday the 11th came and I said f*** it! If I didn't go I'd regret it.

Glad I did, it was a mere $20 a head at the door to get in. We risked not having advanced tickets and table reservations -- but we got in, and we got a great spot in the upper level just in time as that place filled up. Although we had to uncomfortable stand on our tippy toes to lean over the banister to get a good view, I couldn't help but feel like the main character, Francis, from 'Round Midnight when he was listening to Dexter Gordon from outside the Jazz club at the beginning of the film.

The Jazz Messengers was such a driving force for me when I first started listening to Jazz. I must of listened to Moanin' from start to finish nearly every day for the first few months that I owned it. Golson single handedly shaped the Jazz Messengers as their art and musical director. Bringing in the Philly talent, emphasizing original tunes, and the generating that overall formal aesthetic of the group. In his short year with Art Blakey, he really laid the ground work for the rest of the Jazz Messengers existence.

On Wednesday night, Benny played with Mel Brown's Quartet. Consisting of Brown on drums, Tony Pacini on piano, Dan Balmer on guitar, and Ted Bennet on bass, this is probably one of the most swinging bands in town, and if it weren't for the era we're in today, these four musicians would be world famous stars.

Highlights for the evening were the rich stories Benny told in between numbers -- Stories of how he met Coltrane and the two of them in their teenage years back in Philadelphia; how he came to write the haunting ballad, and heavily recorded I Remember Clifford. And the musical highlights by the collective included I Remember Clifford, Coltrane's Mr. PC, Along Came Betty, and everyone's favorite Strayhorn tune Take The A Trane.

The evening was filled with hard bop standards that were played to near perfection. I've never seen anyone quite like Golson who could improvise and solo with such ease, proficiency, and elegance. He definitely bridges the gap between bebop and simplified melodies focusing on terrific harmonics. Honestly, any words I try to muscle up won't do justice. I'll just leave you with the below photos that I took with my iPhone.

Jazz Messengers With Thelonious Monk

2011-04-11T21:14:00.000-07:00

Forgive my negligence to the blog (a sentence I feel I type far too often here). March was sort of a dud month for me. I've been transitioning into a new job this late winter and have been wedding planning as well. Just exhausting much of my time. Oddly enough, part of me new job is getting paid to blog.

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I was inspired by Ethan Iverson to have spend some time with Thelonious Monk's and the Jazz Messengers' 1957 Atlantic recording, simply titled, Jazz Messengers With Thelonious Monk. A recording that I spent, rightfully so, spinning far too much in my earlier Jazz listening days.

Monk's timing here along with the dissonance in his phrasing pairs so nicely with Blakey's heavy rhythms. And unlike earlier when Blakey had recording with Monk before, he shows his power and leadership. But honestly, the album is a true standout when it comes to Johnny Griffin. He shines as a soloist, playing what I think is some of his best soloing here.

Back to Iverson's recent blog post, he defended Monk as a performer. Now bare in mind that I witnessed Lou Donaldson knock Monk down when Donaldson spoke at the 2009 Portland Jazz Festival. Anyway, Ethan Iverson just saw Martial Solal speak at the Village Vanguard before a gig in which Solal dismissed Monk as a performing pianist:

Solal said he was impressed that Monk wore a hat onstage, but obviously Monk wasn’t a serious pianist. A composer, sure, but not someone who could make it in the Conservatoire.
Solal is not the only virtuoso who has dismissed Monk. Oscar Peterson and Lennie Tristano did as well. Still, I was deeply offended that Solal chose this time and place, the last gig of the Monk series, to air this opinion. When will Thelonious Sphere Monk get the respect he deserves?

I enjoyed this part of Iverson's rebuttal:

Monk's material is always derived from the purest of jazz traditions, but his displaced accents and stark voicings are sometimes thought of as connected to European modernism. Indeed, Monk is a father figure to the avant-garde. But Monk’s own music is not pointillist, Webern-esque, or even particularly abstract. It is hardcore jazz with roots in the blues and Kansas City swing. Getting abstract with Monk can work -- the George Russell/Eric Dolphy "'Round Midnight" comes to mind -- but to do so takes serious consideration.

Monk’s surrealism has been interpreted as clowning around or startling. “Oh, look! I just clanged a minor second! Isn’t that funny!” The Tom Lord discography lists songs called, “Monkin’ Around,” “Monkin’ Business,” “Monk-ing Around,” and “Monking Business.” To the composers of these works I say: Fuck you. Monk nevermonkeyed around or did any monkey business. Sure, some of his renditions of standards like “Remember” or “Just A Gigolo” are among the greatest examples of jazz surrealism ever recorded. But they are still serious. And his clanging minor seconds come straight from boogie-woogie and Harlem stride, not the circus.

Naturally I side with Ethan Iverson here. My ears have always been drawn not only to Monk's compositions but also the way he played them. His timing, phrasing, dissonance, chords, rhythmic backing, you name it. I also particularly enjoyed when Iverson mentioned Steve Lacy's Evidence as one of the greatest Monk interpretations out there. Where, I enjoy his Reflections LP more, I do agree that no one can/could really interpret Monk tunes quite like the great Steve Lacy could.

1957 Recorded / 1958 Released - Atlantic.
Art Blakey - Drums; Thelonious Monk - Piano; Johnny Griffin - Tenor Sax; Bill Hardman - Trumpet; Spanky Debrest - Bass.

Happy 81st Birthday Ornette Coleman!

2011-03-09T07:31:00.000-08:00

WKCR To Play 24 Hour Ornette Coleman Birthday Broadcast

2011-03-07T20:28:00.000-08:00

Photo from All About Jazz

From WCKR.ORG:

Wednesday, March 9, 2011: Ornette Coleman Birthday Broadcast
On Wednesday, March 9th, WKCR 89.9 FM will dedicate a full day of programming to celebrate the birthday of Ornette Coleman.
Ornette Coleman (b. March 9, 1930) is and has been pursuing the untouched horizons in music since the beginning of his career. Emerging from the Texas blues tradition, Coleman took L.A. and then New York City by storm with his visionary quartet in the late 1950s. His revolutionary concept placed melody, not harmony, at the center of improvisation. He played music that left chord changes behind, improvising harmony in real time, opening the way for the free jazz innovators of the next few decades. Coleman continued to play in his piano-less quartet through the early sixties, and then he moved to a trio playing violin and trumpet in addition to his customary saxophone. The seventies and eighties brought even newer sounds with his explorations of electric instrumentation and amplification, as well as compositions for orchestra. Coleman won a Pulitzer Prize for his 2007 record Sound Grammar and he continues to play today.
Tune in to WKCR 89.9 FM and join as we celebrate innovation, relentless individualism, and commitment to artistic freedom. LISTEN!

Northern Spy Releases

2011-02-27T08:26:00.000-08:00

Our good friends over at Northern Spy have been working hard putting out quality, experimental and avant-garde releases. Although they're not in the vein of avant-garde Jazz, they certainly bring contemporary music to that cutting edge Jazz once did and still does.

The first is a minimalist, drone if you will, collection of compositions by trumpeter/guitarist/minimalist Rhys Chatham called Outdoor Spell. The production of this album is certainly textured, and although it drones about, each of the four tracks are beautifully different in their minimalist forms.

Chatham employs layers of guitars, his own voice, and percussion to create these multi-sensory and multi-instinctual sound bites. And the composition, The Magician, contains more of a Free Jazz hat as the drums, electric guitar, and trumpet erupt into a mass of what seems to be an improvised, dissonant demonstration.

Next up, Northern Spy has debuted their Clandestine Series of audio cassette releases. Clandestine Series Cassette # One brings four tracks by the Messages, Tom Carter, Zaïmph, and Loren Connors & Margarida Garcia. Personally, this is worth the purchase just for Tom Carter's piece, August Is All. A minimalist, melodic, lonesome electric guitar piece that has been on repeat all week in my studio.

With a lot of the tracks, think Aphex Twin ambient works, but less electronic.

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Check these out! They are worth the purchase for any fan of experimental music. In Northern Spy's short existence so far, they have been prolific and I think they're going to be an excellent outlet for great, under-appreciated music. Offering chances to Artists that may not otherwise be getting the exposure they need.

"At the 'Golden Circle', Stockholm" - Ornette Coleman

2011-02-18T07:30:00.000-08:00

Last weekend I was invited to record an Object Story (like them on Facebook) at the Portland Art Museum. This is a great project that allows anyone to come in and share something that has a great story (or anything with an interesting personal attachment/history). Naturally when I did mine, improvising for short clips at a time, I left things out I meant to say and said things that weren't necessary. All in all, it was great excuse to talk about my autographed original issued Blue Note of Ornette Coleman's At the 'Golden Circle', Stockholm, Volume 2.

This dual volume Blue Note has to be one of the main reasons that I'm into avant-garde Jazz and why I have looked to Mr. Coleman as my shining light towards more great Jazz and modern concepts. I hadn't obtained these volumes until after a few years of heavy Jazz listening. I remember, when I first started collecting Jazz records I saw both volumes at Rhino Records in upstate New York. That was the first time I became aware of the name Ornette Coleman. The Reid Miles cover design really stood out. Three individuals in the foreground; behind them the desolate, white, stark looking winter woods of Scandinavia. With colorful, contrasting text that wrapped around their bodies. The cover artwork really burned into my mind. I didn't buy the albums, which might of been ok since my novice ears probably weren't ready for this trio's sound.

Fast forward about two to three years, and I'm starting to listen to Ornette's Atlantic sessions. As I'm pulled more into his trance I am able to win an eBay auction obtaining both volumes of At the 'Golden Circle'. Volume 1 a Liberty reissue, and Volume 2 an original pressing. Fast forward another year or so, and I get to meet Ornette Coleman at the 2008 Portland Jazz Festival, resulting in his signature adorning the original issued volume 2.

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Every year Frank Wolff vacationed to Europe, which resulted in many sessions that were captured across the pond. This particular 1965 December brought him to frigid Stockholm. To a small cafe, called the Gyllene Cirkeln where Coleman's Trio was performing on the third and fourth of the month. You'll have to remember that 1965 was Coleman's returning year from his three year hiatus to recording. Returning with new violin and trumpet chops fresh for listeners' ears. David Izenzon and Charles Moffett made the best backdrop for him here. Of course, it's had not to compare them to Charlie Haden and Ed Blackwell, but they swung, they played deep riveting lines, and completely allowed Coleman's melodic alto to shine.

Anyway, doing the Object Story was a great excuse to revisit this duo of albums. And I highly encourage anyone interested in Ornette to get these recordings and listen to them on repeat. It's quite the transitional sound in Coleman's career. Not as boogie-ing and whimsical as his early stuff, a bit more contemplative for a contemplative European audience and just as gripping.

1965 Recorded, 1966 Released - Blue Note.

Ornette Coleman - alto saxophone, violin, trumpet; David Izenzon - bass; Charles Moffett - drums.

European Echos from Volume 1

Portland Jazz Fest Upcoming Acts

2011-02-11T18:23:00.000-08:00

February has always been a month of tons of PDX Jazz posts. The Portland Jazz Festival is stones throw away on the calendar and all shows still have tickets available except for the Esperanza Spalding event.

My recommendations for must see performances would be Don Byron and Joshua Redman -- the son of the great Dewey Redmen. Here's some info about the upcoming performers:

DON BYRON
Thursday, February 24 - 7:30pm - Newmark Theater
He's been to the festival before and now the conservatory trained social critic and activist brings Plays Mickey Katz, the groundbreaking and virtuosic ensemble that spearheaded the Klezmer revival dedicated to the great Mickey Katz, musical pioneer, humorist, and musical director for Spike Jones.

NIK BARTSCH'S RONIN + BLUE CRANES
Friday, February 25 - 8:30pm - Alberta Rose Theater
Swiss/Zen/Funk best describes the highly theatrical, Zurich based Nik Bartsch's Ronin. He will perform with the invigorating Blue Cranes, whose recent release, Observatories, was named as one of the best jazz releases out of Portland this year by local critics.

PONCHO SANCHEZ - LATIN JAZZ DANCE PARTY
Friday, February 25 - 9:30pm - Crystal Ballroom
Poncho Sanchez's music would best be described as a kaleidoscopic swirl of some of the hottest colors to emerge from either side of the border. The Grammy Award winning conquero will perform with his sizzling rhythmic ensemble to get the party started.

THE 3 COHENS + AFRO-SEMITIC EXPERIENCE
Saturday, February 26 - 2:00pm - Crystal Ballroom
The 3 Cohen siblings- Anat (clarinet), Avishai (trumpet), and Yuval (sax), express lyrical tone qualities of the swing era with a post-Coltrane fervor and a flair for Near-East Mediterranean folk, cross-referenced with Afro-Latin rhythms. The Afro-Semitic Experience is an off-shoot of the creative work of African-American pianist Warren Byrd and Jewish-American bassist David Chevan.

SF JAZZ COLLECTIVE
Saturday, February 26 - 7:30pm - Newmark Theater
A Portland Jazz Festival favorite, this will mark their premiere performance of SFJAZZ Collective Plays Stevie Wonder. They will be feted by an elite octet: Miguel Zenon, Robin Eubanks, Avishai Cohen, Edward Simon, Matt Penman, Stefon Harris, Eric Harland, and Mark Turner.

REGINA CARTER
Saturday, February 26 - 9:30pm - Crystal Ballroom
Violinist Regina Carter traveled through Africa to research and record an album of indigenous folk music. Her latest E1 Music release, Reverse Thread, fuses this folk medium juxtaposed with a contemporary feel while remaining true to the past.

JOSHUA REDMAN
Sunday, February 27 - 2:00pm - Newmark Theater
It's been 20 years since Joshua Redman broke through by winning the famed Monk Competition and he has not looked back since. Redman had a remarkable tenure with The SF Jazz Collective and on this occasion, a special quartet comprised of Aaron Goldberg, Matt Penman and Eric Harland.

MACEO PARKER
Sunday, February 27 - 7:30pm - Crystal Ballroom
Who better than Maceo Parker to close the festival! He's synonymous with funky music and best known for his tenure with James Brown. He's the living, breathing pulse which connects the history of Funk in one golden thread.

You can purchase your tickets by calling 503-228-JAZZ (5299) or visiting the PDX Jazz office at 133 SW 2nd Ave., Suite 420.

Rogue Announces Release of Jazz Guy Ale

2011-02-05T09:22:00.000-08:00

Ah, it's nice when my two passions mix together. Although, as a huge beer geek -- like most beer geeks -- I'm not a huge fan of Rogue. I do appreciate their willingness to support PDX Jazz and step up each year. In the eighth year of the festival, Rogue offers their eighth consecutive limited bottling of Jazz Guy Ale, another alias for their American Amber Ale.

It seems like they're ditching the unique bottle designs for each festival. Originally they offered a bottle with a musician, and each year the instrument played changed on the illustration. Starting last year and continuing this year, PDX Jazz Artistic Director, Bill Royston, has been the subject of choice. This makes sense and matches the rest of Rogue's identity. Usually the characters featured on their bottles are actual individuals involved with Rogue, or the story behind the beer contents. So why not continue that tradition with Bill Royston? It's great for Bill, he deserves the credit and is indeed Portland's Jazz Guy.

In any hopes, I will buy a couple bottles of the handsome serigraphed Jazz Guy Ale bottles offering my support to the festival. Look for bottles available at Rogue Pubs and Portland Jazz Festival events.

Also to note, Rogue Ales will be hosting three nights of live Jazz at their Portland Public House & Distillery. Check out PDX Jazz for scheduling and ticket information.

PDX Jazz Fest Receives Two NEA Grants

2011-02-01T19:24:00.000-08:00

Great News! The 2011 Alaska Airlines/Horizon Air Portland Jazz Festival Presented by US Bank has received two grants by the National Endowment of the Arts (NEA). A much prestigious honor, the PDX Jazz fest received the Jazz Masters Live grant and the Challenge America Fast-Track grant.

It's no easy feat to gain grants from the NEA, and I applaud PDX Jazz for showcasing some of the finest International Jazz up in our little pocket here. And I'm glad to see them getting this huge recognition on a national level.

Press Release:

The 2011 Alaska Airlines/Horizon Air Portland Jazz Festival Presented by US Bank has received two NEA grants. PDX Jazz has been awarded a Jazz Masters Live grant and Challenge America Fast-Track grant.

The National Endowment for the Arts (NEA) created the Jazz Masters Live grant to help bring outstanding jazz musicians, writers, producers, and scholars to communities across the nation through NEA Jazz Masters Live. In cooperation with Arts Midwest, these NEA Jazz Masters Live grants support performance and educational activities featuring NEA Jazz Masters, recipients of the nation's highest honor in jazz. The program celebrates these living legends who have made exceptional contributions to the advancement of jazz and offers audiences the unique opportunity to share the artists' expertise in performances, master classes, clinics, lectures, and short term residencies. "Live interactions between musicians and audiences are essential to jazz," said NEA Chairman Rocco Landesman.

NEA Jazz Master and acclaimed pianist, Randy Weston, will open the 2011 Portland Jazz Festival on February 18 at the Winningstad Theatre with an evening of solo jazz piano. He will also lead a workshop for Portland State University students and participate in the festival's "Jazz Conversation" series, hosted by Marty Hughley. Weston will be appearing in support of his most recent album, The Story Teller, available through Motema Music, and his recently released autobiography, African Rhythms, available through Duke University Press.

The Challenge America Fast-Track grant offers support primarily to small and mid-sized organizations for projects that extend the reach of the arts to under-served populations -- those whose opportunities to experience the arts are limited by geography, ethnicity, economics, or disability. This category, as an essential component of the Arts Endowment's goal of providing wide access to artistic excellence, supports local projects that can have significant effects within communities.

Portland Jazz Festival, the first major international jazz festival on the annual global jazz calendar, attracts an audience from a large geographical area, serving a population that does not routinely have access to internationally acclaimed jazz artists without traveling to Seattle or San Francisco. With the Challenge America Fast-Track grant, Portland Jazz Festival will connect more directly to the immediate community it serves, and reach out specifically to minority populations within the greater Portland Metropolitan area. One of the main goals in obtaining these grants is to create a festival that not only showcases today's masters, but also connects the Portland community to jazz as a vibrant, living, changing music that is as relevant today as ever, creating an atmosphere that supports the art form year round.

The National Endowment for the Arts has supported jazz artists and organizations since 1969, providing millions of dollars in grants and awards. In 2004, the NEA significantly expanded its NEA Jazz Masters program and in 2005 created the NEA Jazz Masters Initiative, a comprehensive program of jazz support that includes the NEA Jazz Masters Award; radio programming featuring NEA Jazz Masters; educational resources through the NEA Jazz in the Schools program produced by the Arts Endowment in partnership with Jazz at Lincoln Center; and publications and reports.

For more information on NEA Jazz Masters, please visit neajazzmasters.org

The Jazz Fest is just around the corner (2/18-2/27) so get to www.pdxjazz.com to start planning your itinerary. You can purchase your tickets by calling 503-228-JAZZ (5299) or visiting the PDX Jazz office at 133 SW 2nd Ave., Suite 420.

I'd also like to point out the redesign of their webpage. Looking sharp!

My Name Is Albert Ayler Screening Tonight In NYC

2011-01-20T11:24:00.000-08:00

Just was made aware of this screening. If you're in NYC tonight and able to get up to Harlem, you have the ultra rare opportunity to catch a screening of My Name Is Albert Ayler. "Swedish filmmaker Kasper Collin will be present for a Q&A," according to the email I received.

I saw this once in 2008 and it will forever stick with me. If abled to, I would grab any chance instanly to view this film again.

January 20th at 7.30pm.
Maysles Cinema
343 Lenox Avenue [between 127th & 128th]
(212) 582-6050

"Midnight Blue" - Kenny Burrell

2011-01-18T10:46:00.001-08:00

My vinyl buying habits have taken to the back burner in the last year. I usually frequent Mississippi Records in Portland -- no bushleague to be found there. A lot of vintage/thrift stores in Portland have stacks upon stacks of vinyl, usually not worth fingering through for my refined taste. Over the weekend, in an effort to buy a mid-century coffee table, I stumbled across a Van Gelder Mastering reissue (sporting the blue label with a black "b") of Kenny Burrell's Midnight Blue. The very first record in the front of a large stack of records -- price: $5. The sleeve is higher G lower VG condition (depending on your standards), but the disc plays gloriously.

A digital copy of Midnight Blue exists in my iTunes library and has always gotten modest play. When I arrived home on Sunday afternoon I played this on the turntable right away. With the warm sound, mild crackling, and the vast range of lows and highs from my Bose speakers, I was really taken to a new level for this album.

Along with NPR's Basic Jazz Record Library, Midnight Blue has appeared on numerous best of, must have, definitive lists. On a near nine year post, Murray Horwitz offers a perfect visual assessment:

I know a lot of folks with vinyl copies of this record who wore out the grooves. It's the perfect "late night, neon light flashing outside of the window, cigarette smoke swirling up into nothing" record.

Despite the great music, the typography and cover design by Reid Miles is just world class. The elasticity of the text "blue" is symbolic of the notes contained inside the packing. Touted by many others that this is one of the most memorable Blue Note cover designs. One that has had vast influence on modern design.

While wearing a hard bop hat, the blues couldn't be played any better than this crew here. Every note played, every conga and drum head hit, all in near flawlessness. The rhythm is rich and straight ahead showing that often times less can be more with subtle conga accents from Ray Barretto. The lack of a piano on this date simplifies the 12 bars blue format. And the fat, ever stretching tones of Stanley Turrentine act as the perfect complement to Burrell's liquid smooth guitar chops.
1963 - Blue Note.
Kenny Burrell - guitar; Stanley Turrentine - Tenor Saxophone; Major Holley - Bass; Billy Gene English - Drums; Ray Barretto - Conga.

Jazz Makes It To iTunes LP

2011-01-10T10:55:00.000-08:00

I'm ok with the digital age of music that's upon us. I haven't yet fully gravitated to it for Jazz yet. I still rip all my CDs and digitize LPs for use on the ole' iPod, but I still need the artifact, liner notes, pictures, a physical sense to go along with the album. In Fall 2009, Apple launched a new digital concept called iTunes LP. The idea is to bring a more interactive, multi-sensory experience for customers. Offering images, videos, and other bonus materials.

In comes Nu Jazz Entertainment. An audio and video content producer specializing in Jazz in this new digital age. On January 4th, NJE released Ellis Marsalis: An Open Letter To Thelonious as the first iTunes LP in the Jazz genre. Promo video here. Press info below:

The iTunes “LP” Ellis Marsalis: An Open Letter To Thelonious (Platinum Edition) will retail for $15.98 and features the (11) eleven original tracks on the album, (3) bonus audio tracks, and (4) bonus high-definition video tracks, bonus photographs from the Milton J. Hinton Photographic Collection™ and the Marsalis Family Archives™,Thelonious Monk: The Life and Times of An American Original by Robin D.G. Kelley. bonus liner notes, and bonus literary content from the award-winning book

Included as the bonus video tracks are: Marsalis Family: First Family of Jazz ( a discussion by Ellis of how his family got their start playing music); Musings On Monk: The Inspiration Behind An Open Letter To Thelonious (A discussion by Jason Marsalis & Ellis Marsalis of what lead them to pursue the current project); and Ellis Marsalis: My Life In My Words (a video autobiography of Ellis’ life in jazz). Interlaced in the videos are intimate family photographs of the Marsalis‘ throughout the years – Ellis as a young musician and educator, Branford Marsalis & Wynton Marsalis -- from toddlers through high school, Delfeayo Marsalis on stage, and Jason perfecting his skills as an up & coming drummer.

The interactive experience brought to you through the new “LP” format offers a different approach to enjoying the music. You can watch as a master educator shares his insights, read the liner notes or hear them read by the author, view the never before seen photographs, learn the etymology and history of the songs performed or enjoy the stories that give insight into the creation of a living legend in jazz.

My guess is this content will seem pretty straight ahead, any fan of the Ken Burns Series will probably dig on this. I feel the idea of the iTunes LP has been a missed opportunity for Jazz labels. I'd like to see some serious content by Prestige, Impulse, Blue Note, Columbia, Atlantic in the iTunes LP format. To younger generations, the idea of owning a CD or Record is becoming more foreign and if this modern "LP" format is used properly, it could offer some serious historic content that's worth paying for and consuming hard drive space. I know there could be many road blocks -- rights and reproduction issues, paying someone to produce all this, etc. etc. -- but I still like to gripe.

Thoughts on the iTunes LP format?

________________________________

Happy New Year... I have received some great albums recently and hope to post about them soon.

Ornette Coleman’s Monumental "Free Jazz" Turns 50

2010-12-21T07:10:00.000-08:00

Today marks the 50th anniversary of Ornette Coleman’s infamous double quartet date. A historical recording that not only coined the term, “Free Jazz”, describing the music which was to come throughout the following decades, but also the first ensemble of it’s kind. Eight musicians in a free for all spiral that culminated into a web of beauty. A monumental, extended, free improvisation that was unlike anything heard during it's era, Free Jazz revolutionized music then, and still does today.

Free Jazz was probably the third Coleman album I had ever heard. I loved it instantly. I was hooked to this “new sound” from then on out. Musicians playing off each other, inspiring each other in the moment, reacting to each other, supporting and challenging each other at the same time. With written areas arranged and conducted by Coleman that offered an anchor for the listener and the collective.

Think about the large ensemble pieces this has inspired. Coltrane’s Ascension, for one, an offspring that brought yet another revelation to the Avant-Garde. However, it still borrowed from the past -- down to Jazz’s roots. Similar to Dixieland and New Orleans ensembles that exhibited a similar nature. However, Coleman’s more modern approach eliminated chord changes and allowed orchestrated harmony to be unnecessary.

Coleman’s melodic playing keeps a listener engaged for the most part, and Eric Dolphy moans on the bass clarinet like a bird. Dolphy clearly leads his three other improvisers. Ed Blackwell, a double time wizard, offers a quadratic, sporadic approach to the rhythm, while Billy Higgins stays constant on the back beat. Acting as the spinal chord to this group. Don Cherry is of course his usual self on the pocket trumpet, and Freddie Hubbard sculpts his brassier tone, emulating the licks and lines of hard bop. Hubbard’s contrast is interesting compared to the slurring and emotional slabs of the other horn-men.

Free Jazz further involved another conceptual layer. Rather than a slew of eight players on mixed stereo, Coleman allowed each quartet [reed/brass/bass/drums] to exist on it’s own left or right specific channel. This interaction allows us to experience three recordings on one piece of vinyl. The left channel, the right, and the both mixed. Move back and forth between the two, spend time with each individually. It promotes one to pay attention to details that might otherwise be over heard.

Jazz, right now, is in an era of Renaissance. From the acoustic revolution that started in the 80s, to where we are now constantly honoring pivotal recordings on significant anniversaries. In 2009 we reembarked on sessions that produced Kind of Blue and The Shape of Jazz to Come. in 2010 we continue this new tradition with Free Jazz, A Collective Improvisation By The Ornette Coleman Double Quartet at 50 years.

Recorded 1960, Originally Issued 1961 - Atlantic.
Ornette Coleman - alto saxophone; Eric Dolphy - bass clarinet; Don Cherry - pocket trumpet; Freddie Hubbard -trumpet; Charlie Haden - bass; Scott LaFaro - bass; Billy Higgins - drums; Ed Blackwell - drums.

Free N-SPY Trax for the Holidays

2010-12-16T20:00:00.000-08:00

I've been following closely and keeping in touch with the folks over at Northern-Spy. If you missed my prior press release post earlier this fall, Northern-Spy is a new indie label out of Brooklyn. The label was created by a few gents that were part of the ESP-Disk' team. Things look promising, and even though the bands represented are not strictly jazz, a lot of the music falls into the far reaching limbs of the Avant-Garde.

Why I bring all of this up, you ask? Free N-SPY Trax for the Holidays. Sample a few cuts and enjoy. Northern-Spy kindly explains below:

Brooklyn’s youngest indie label, Northern-Spy Records, has been following its star for only a short while, but already it’s shining brightly. We (and our fine artists) would like to thank you for coming along the journey with some fine holiday gifts fit for a king. No, we’ve left the myrrh behind, instead we’re offering a little bundle of web-only bonus tracks to download and delight to. Search high and low, you won’t find them on any album — but they’re sure to show up on your next mix tape.
From the team at Northern-Spy and our fine artists, we hope your holidays are filled with joy and send best wishes for a happy and prosperous new year!
Follow N-Spy on Twitter and Facebook.

Seven Holiday Picks for the Inner Jazz Geek

2010-12-08T08:15:00.000-08:00

I know, I know... Lump me in with the rest of the gimmicky Holiday Pick List pages. There's just so much good stuff floating around in the Jazz world I just had to list some awesome products.

1. Bitches Brew 40th Anniversary

This is a stellar package for any Miles Davis head. "A four-disc set, comprising of two CDs that contain the original 94-plus minutes of music, remixed from the original 8-track master tapes in 1988 by Mark Wilder, plus several bonus cuts,a previously unissued performance by the new septet lineup at Tanglewood in the Berkshires, August 1970; and a DVD that contains a previously unissued concert performance by the Miles Davis Quintet filmed in Copenhagen, November 1969; alongside a 48-page color booklet and a 180-gram vinyl double-LP gatefold replication of the original album"

For the complete package, throw in a 750ml bottle (or two: one for now and one for aging) of Dogfish Head Bitches Brew which was co-released with the box set. This Imperial Stout and Tej blend is the perfect companion for the colder months.

2. Destination: OUT MP3 Store

An outstanding selection of mostly out of print material. My personal pick would be Noah Howard's, Schizophrenic Blues.

3. ESP-Disk' Online Store

Has to be one of my favorite, complete discographies under a single label. Box sets, CDs, Vinyl, and Digital Download galore.

4. Mosaic Box Sets and Select Collections

These are exclusive, limited run editions that are truly for the uber jazz nerd. My favorites would be Andrew Hill Mosaic Select, Anthony Braxton The Complete Arista Recordings, and the newly issued Henry Threadgill Novus & Columbia Recordings. Also, the writings enclosed are true revelations of Jazz history and knowledge.

5. North Coast Brother Thelonious Ale

I have an affinity for all things craft beer. Available in 12oz four packs or 750ml bottles, this tasty brew is dedicated to one of the best Jazz composers of all time and is perfect for sharing with house guests over Christmas. Glassware and wearables available too. Purchases help support the Thelonious Monk Institute of Jazz.

6. 2010 Jazz Releases

The Bad Plus, Jacob Fred Jazz Odyssey, Dave King, Mary Halvorson, Albert Beger -- just a few artists that spring to mind.

7. Gift Certificates to Local Record Shops

Face it -- independent shops have the deep collections most Jazz fans desire. More so than any Target, Best Buy, etc. etc.. Plus it feels good to support local business.

Happy Birthday Don Cherry!

2010-11-18T13:51:00.000-08:00

All About Jazz on Don Cherry

"Soapsuds, Soapsuds" - Ornette Coleman

2010-11-05T11:43:00.000-07:00

The ideal jazz group for me would probably be a piano-less quartet or quintet. Think of the Art Ensemble or Ornette Coleman's classic quartet, and even a lot of Anthony Braxton's recordings. I don't have any stance against the piano. Give me Monk, Bley, Taylor, Abrams, Silver any moment in time. Some free jazz enthusiasts even enjoy to go further beyond, rejecting the skeletal structure that say a drummer employs. However, I traditionally enjoy the pulsating, repetitive texture that the drums impart on a band. However! Take for example, Soapsuds, Soapsuds. In this case, eliminating both the pianist and the drummer really creates an intimate scenario.

This truly unique, duet presentation by Coleman and Charlie Haden was originally put out on Artist's House. In 1996 it was reissued by Verve, but I believe is now currently out of print. If you're patient enough, the This Shape of Jazz Pandora station does offer some tracks from this album.

What's served up here is three Coleman compositions, one by Haden, and a theme to a TV show called, "Mary Hartman, Mary Hartman." One of the rare instances Coleman performs a non-original tune. I'd also like to point out the lack of alto on this session as well. Which I think the tenor works quite successfully along with the warm, rich, woodiness of the fiddle bass.

New Music reBlog has some info on the TV series:

Louise Lasser starred as the pigtailed and depressed housewife 'Mary Hartman' in Norman Lear's 'controversial' soap opera spoof. It was on every weekday right before the evening news. The gloopy title music is a parody of standard telenovela schmaltz and has been lodged in my head now for more than three decades.

Coleman is also taking a break from his newly developed electric sounds -- this is acoustic, airy, border-less, elastic, and amoebic. And this is highly approachable for those just getting into the "newer" sounds. Soapsuds, Soapsuds, is a far step to the side compared to his Prime Time efforts. As we head deeper into these, chilly, wetter months, Soapsuds, Soapsuds becomes the perfect fireside companion.
1977 - Artist's House.
Ornette Coleman - Tenor Saxophone, Trumpet - Charlie Haden - Bass.

Coltrane's "My Favorite Things" Turns 50

2010-10-21T08:31:00.001-07:00

I just want to point out that today is the 50th anniversary of the recording date that John Coltrane laid down My Favorite Things. Put out on Atlantic Records, this date is also the first time we're hearing McCoy Tyner and Elvin Jones alongside Coltrane in the form of his remarkable Quartet (sans Mr. Garrison). Portland's (and my local) jazz radio station KMHD will be airing some highlight recordings of Coltrane during that era from 12:30 to 1:00pm today. Tune in, let the music transcend you, and I do hope you revisit Coltrane's music throughout the rest of your day.

Marion Brown Tribute Post

2010-10-20T09:42:00.001-07:00

Marion Brown left us recently. At age 79, he passed away Monday, October 18th in Hollywood, Florida.

I was exposed to Marion Brown early in my Jazz listening-hood. When I was first getting beyond Coltrane, Coleman, and Ayler, into the second wave of avant-garde players from the 60s, Brown was the first that I dove into. As a leader, he seemed to have a knack for commencing wonderful improvising sessions, and despite having many successes, Brown always seemed to fall under the radar of main stream Jazz. This is a sax-man that played along Archie Shepp and Pharoah Sanders in Coltrane's Ascension, has had recordings put out on Impulse, ESP-Disk', ECM, and many other boutique labels.

From the first time I heard Brown, I was instantly hooked. WKCR just wrote that this is "one of the most radical but romantic of free improvisers." That's it! That's all you need to know about Marion Brown to understand his music's existence. A statement that can only apply to so few Jazz artists, and Brown belongs at the epicenter.

Please experience his music. Whether it's on vinyl, iTunes, streamed from Rhapsody or Pandora -- but don't just listen, be part of it, mentally and physically. It is beautiful music, it's not just Jazz, but Great Black Music that America and the world is lucky to have.

__________________________________________

Image Credit: Original painting by Martel Chapman.

Northern-Spy Entertainment

2010-10-20T09:35:00.000-07:00

“The team that brought back ESP moves on to form new company: Northern-Spy Entertainment”

I guess my main question is... What is happening with ESP-Disk'?

The staff responsible for resurrecting the iconic record label ESP-Disk’ in recent years -- Tom Abbs (General Manager), Douglas McGregor (Chief Financial Officer), Adam Downey (Director of Promotions) and Robert Keefe (Publishing Administrator) -- have all resigned their positions and struck out on their own to launch a new partnership, Northern-Spy Entertainment, LLC.

In the team’s last three years at ESP, they oversaw an unprecedented expansion of the label’s activities, with over sixty CD and vinyl releases produced in their tenure, including the first new recordings for the label in 35 years. The business was also expanded to include a distribution company, a retail store and a live music series, which culminated in this summer’s Albert Ayler Festival on Roosevelt Island. Recent articles in Jazz Times and The Wall Street Journal, “ESP-Disk’ - Back in Business” and “The Artists Alone Decide - In a New Era”, hailed the team as bringing the label back to its original 60’s glory and at the same time rectifying years of mismanagement. But underneath this success, a series of longstanding labor disputes got in the way, and after months of failed negotiations the staff made the fateful decision to move on and start their own company.

Beginning right where they left off, the Northern-Spy team aims to position themselves as a major force on the Brooklyn music scene. The new venture will bring forth a 360° approach to music business, offering artists a wide array of production, distribution, promotions, licensing, publishing administration, and booking services. With an aggressive release schedule catering to the independent music scene and its strong industry ties, Northern-Spy is positioned to make waves in the coming months. Like the multitude of artist run-labels that came before it, Northern-Spy is buoyed by the team’s diverse experience on the music scene. Abbs is an accomplished recording artist with records out on Delmark, AUM Fidelity, 482 Music and even ESP, and has run a non-for-profit arts organization in New York for the last decade. McGregor is an accomplished guitarist, vocalist and recording engineer who runs his own studio in Williamsburg, Brooklyn. Downey is a working DJ and bassist on the Brooklyn scene and Keefe is a sought after DJ, a film buff and writer.

The label's first artist signings include Colin Langenus from USAISAMONSTER, Arrington de Dionyso from Old Time Relijun, and the Italian fire-music team, Jooklo Duo. Releases will be in stores Tuesday, November 16th.

Visit our website at:

www.northern-spy.com

Jacob Fred Jazz Odyssey in Portland tonight.

2010-10-16T11:16:00.000-07:00

From Jacob Fred Jazz Odyssey:

Sat. Oct 16, 2010
JFJO in PDX w/Dead Kenny G's!
Doors: 8:30 PM | Show: 8:30 PM

JFJO returns to Portland to celebrate the new album Stay Gold at Mt. Tabor Theater with good friends the Dead Kenny G's as well as an opening set from Trio Subtonic
Mt Tabor Pub
4811 SE Hawthorne
Portland, OR 97215

Read Ethan Iverson's Blog

2010-10-07T10:00:00.000-07:00

Amen...

"...jazz is far closer to a folk music than the academy. You can't write it all down -- and maybe by trying to do so, you lose something
significant." - Ethan Iverson

New Grounds

2010-09-30T11:58:00.000-07:00

First Twitter, now Facebook.

Please feel free to join the new Facebook page. I'll try and do something more with it, rather than just linking to blog posts.

Thanks for reading!

The Marzette Watts Ensemble

2010-09-30T08:20:00.000-07:00

This is quite a notable recording. One that has received praise from both Destination: Out, as well as in Thurston Moore's top ten (14) Free Jazz Underground Recordings. But to be honest, why isn't Marzette Watts more popular. This is a man who had creativity flowing all over his body. A man who wrote film scores, created his own films, painted in the vein of the Abstract Expressionists, and created truly unique music.

The Marzette Watts Ensemble is a meditative, artistic vision. Not a wall of sounds assaulting the listener, but a metaphysical journey. Free, in the moment, and inspiring visuals of shapes and colors. The Ornette Coleman standard, Lonely Woman, hits the spot. Mostly because of the vocals provided by Patty Waters adds even more of a haunted quality to the song. And after the first verse, Marty Cook and Marzette Watts duo like it's the last piece of music they'll ever create. Maybe, that's what making music was like back then.

1969 - Savoy.

Marzette Watts - tenor sax; Marty Cook - trombone; Tom Berge & J. C. Moses - drums; Juny Booth, Steve Tintweiss, Cevera Jehers - basses; Frank Kipers - violin; Robert Fews - piano; George Turner - cornet; Patty Waters, Amy Schaeffer - voices

Happy Birthday Coltrane

2010-09-23T10:17:00.000-07:00

Today marks the 84th anniversary of John Coltrane's birth. Please feel free to indulge in his recordings for the day, which I can help but do almost everyday.

Tune into Portland's listener supported KMHD Jazz Radio to hear highlights of his recordings throughout the day.

____________________________________

Photo Credit: Lee Friedlander, 1960

When It Rains It Pours

2010-09-23T08:10:00.000-07:00

Portland has been quite the melting pot for great live jazz this month. Local icon Devin Phillips performed John Coltrane's A Love Supreme last Saturday night. Chick Corea alongside legends Roy Haynes, Christian McBride, and Kenney Garrett played last weekend at the Schnitz. Trombone virtuoso Curtis Fuller played just this week at Jimmy Maks. Did I get to see any of it? NOPE. Having two jobs starts to wain on personal endeavors, but that's ok because PDX Jazz just announced the theme and acts for the 2011 Alaska Airlines/Horizon Air Portland Jazz Festival presented by U.S. Bank. You heard that right.

More posts to follow about events, what I'm interested in, and must sees of the festival. It's that time when Portland jazz nerds can get all gitty again!

Press release below:

BRIDGES AND BOUNDARIES:
JEWISH & AFRICAN AMERICANS PLAYING JAZZ TOGETHER

Past, present and future collaboration between African Americans and Jewish Americans is the message behind Bridges and Boundaries:Jewish & African Americans Playing Jazz Together, the theme of the 2011 Alaska Airlines/Horizon Air Portland Jazz Festival presented by US Bank. The festival, which annually selects a compelling musical and programming theme, will be held Friday, February 18 through Sunday, February 27 at venues throughout Portland. The complete festival lineup will be announced on October 13 when single show and special package tickets go on sale exclusively to PDX Jazz members. Tickets will become available to the general public on October 23.

A select few of this year's culturally diverse headliners include Avishai Cohen, the Israeli trumpeter, one of the leading players in the new all-star performing the work of African American pop icon Stevie Wonder. Cohen will also be joined by his siblings Anat Cohen and Yuval Cohen for a special performance of SFJAZZ Collective,The 3 Cohens. Famed African American violinist Regina Carter will return to Portland, presenting her newest project, Reverse Threads, which traces the musical history of African cultures, including tribes of Ugandan Jews. And, Joshua Redman, son of African American saxophonist Dewey Redman and Jewish American dancer Renee Shedroff, leading his new James Farm Quartet that includes both African American and Jewish American musicians.

African and Jewish American community leaders, Portland Jazz Festival's new Artistic & Community Ambassador Esperanza Spalding (who will lead her new Chamber Music Society in an exclusive Portland area engagement), and many other artists will participate and interact in panel discussions and "Jazz Conversations" focusing on artistic and social perspectives. National jazz journalists, writers, and critics-including Nat Hentoff-will also participate in these events.

"The original idea for this festival came from Nat Henoff's writings about jazz as a meeting place for African and Jewish Americans." said Bill Royston, Artistic Director of the Portland Jazz Festival. "His writings of Steven Bernstein's 'Diaspora Blues' to the odyssey of Willie 'The Lion' Smith were of primary influence. Historically, the music drew people together, and today there is a new wave of Israeli musicians who have moved to New York and elsewhere across the United States."

For more than 100 years, jazz has been the timekeeper of change in America's moods, lifestyles and overall social awareness. Jazz has historically broken down racial color lines and cultural differences. Its stage has been a magnet for African Americans, Asians, Hispanics, and Western Europeans; all playing together in jam sessions long before the Civil Rights movement existed. Truly, jazz is America's classical music, and its only indigenous art form.

In his acclaimed history of Portland jazz, Jumptown, Robert Dietsche documents how communities were divided and destroyed by urban development. As I-5 segmented the Black community and signaled the death of the N Williams cultural scene, I-405 shattered the Jewish neighborhoods. In many cities, the Black community evolved from what had originally been a Jewish neighborhood. These physical boundaries, however, only enhanced cultural divisions and misunderstandings, which remain prevalent today.

Movements in contemporary jazz are again leading the way in creating bridges between African Americans and Jewish Americans. This merger of new directions in Jewish music with African American jazz improvisation has brought together the theme of the 2011 Portland Jazz Festival (February 18-27).

What is PDX Jazz?
PDX Jazz is Portland's jazz organization, producing the annual Alaska Airlines/Horizon Air Portland Jazz Festival presented by U.S. Bank. PDX Jazz offers an array of distinguished programs throughout the year in a variety of indoor and outdoor settings boasting internationally recognized artists while supporting regional fan favorites from the Northwest, often times presented in newly configured formats. PDX Jazz in partnership with Oregon Music News recently initiated a monthly jazz series at PDX Jazz @ Tony Starlight's, an intimate music venue, located in northeast Portland.

For a complete schedule of events, please visit:

www.pdxjazz.com

Portlanders: Add this to your Calendar

2010-09-15T09:09:00.000-07:00

PDX Jazz, the presenting organization of the Alaska Airlines/Horizon Air Portland Jazz Festival presented by U.S. Bank, has set up a new monthly series which will be kicked off this Saturday, September 18, with a special performance by Devin Phillips. Happening at Tony Starlight's Supper Club & Lounge, the audience will be treated with a full performance of John Coltrane's, A Love Supreme suite. Start time is 8pm, cover is $15.

I've seen Phillips a few times, he is a terrific player, and to see him pay tribute to one of the godfather's of jazz will be an extraordinary performance for sure (it'll be in honor of Coltrane's birthday -- 9/23, and the birth of Phillip's newborn son).

"While we were at the hospital during the birthing process, I had A Love Supreme played repeatedly," states Phillips. "John's music has and will always have a special place within my own music and family."

I will be doing my best to make it there, but wanted make sure other Portlanders were aware of this show. If you do make it out, be sure to tweet about it with the #jazzlives tag so others in the world know that jazz is thriving in Portland.

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Photo Credit: Andrew Lepley

Tomorrow Night In The Big Apple

2010-09-09T08:40:00.000-07:00

Destination: Out, one of the leading blogs for jazz out in cyber space, recently announced their new monthly live jazz series, Loft/Lab. Hosted by The SALT Space, on 27th Street and Broadway; this new multimedia art space may be reminiscent of the 70s loft scene in NY. The admission costs are designed to be low, offering extreme accessibility for seekers of live, avant-garde jazz. First up on the bill will be soprano saxophone player Joe Giardullo, with drummer Harvey Sorgen. Details below:

Our Loft/Lab jazz series aims to recreate the feel and excitement of the great jazz lofts of the 1970s. It’ll be a lab where adventurous musicians can try out new ideas, configurations, and compositions. It’ll serve up live music without a net. We’re keeping the prices low and only featuring our favorite acts. It’ll be curated with the same hand-picked care as the site.
CONCERT DETAILS:
Destination OUT’s Loft/Lab jazz series presents:
Joe Giardullo and Harvey Sorgen
Friday, September 10th at 8 pm.
SALT SPACE
1158 Broadway, 5th Floor
Entrance is on 27th Street
$7.00 admission.
The SALT Space is a brand new arts space on 28th Street and Broadway, in the former Tin Pan Alley district. It’s a beautiful loft on the top floor of the building that’s built for performances. Think the Jazz Gallery, but larger and with a bit more polish. SALT Space has already hosted events by DJ Spooky and Miho Hatori, and we’re honored to join their roster.

"The Empty Foxhole" - Ornette Coleman

2010-08-27T17:39:00.000-07:00

A lot of Coleman's Blue Note period gets overlooked. I find it just as strong as his 70s output and just a notch below the golden Atlantic years. It's a different sound, something else, and in true Ornette fashion, always exploring. The Empty Foxhole is an ever moving spiral of colors and shapes. The album cover -- a painting done by Coleman himself -- offers the very same warmth as done so by this recording date.

Featured here is Denardo Coleman on drums. Just ten years young and displaying the very same intuition as adult contemporaries. Denardo's ideas, just like his father's, are ever flowing, free, rhythmic yet chaotic, and vibrantly animated.

Here's an excerpt from a previous post where I talked about the title cut The Empty Foxhole:

...young Denardo was playing single rhythmic snare hits, while Haden was walking high on the bass' neck, and Ornette was playing so melodically with such beautiful lyricism. Then, completely randomly, Denardo would unleash these chaotic blast beats, but only for a few moments before returning to his single snare.

This is the perfect, intimate set giving you a unique look into Coleman and Haden, and a peak into the beginning of the musical future of Denardo Coleman.

1967 - Blue Note.

Ornette Coleman - Alto Sax, Trumpet, Violen; Denardo Coleman - Drums; Charlie Haden - Bass.

ESP-Disk' 12 Day Summer Sale

2010-07-29T08:04:00.000-07:00

Fresh in my inbox this morning I received news that ESP-Disk' is hoping to clear some shelf space. A special Summer Sale is in place to move some inventory and make room for upcoming fall releases. There's newer CD releases priced at a very reasonable $9.00, as well as great reissues going for $6.50. Even box sets get low price tags -- nine CDs of rare Albert Ayler cuts for $40.00!!!

And for those non-budget buyers, early vinyl pressings and rare imports are available as well. With price tags ranging from $25.00 to $90.00.

Take a look, these deals last until Monday, August 9th.

"New And Old Gospel" - Jackie McLean

2010-07-26T12:19:00.000-07:00

Wow!.. Is the expression I would choose if asked to describe this album in one word. McLean is my favorite hard bop/post bop alto saxman, and to hear him along side Ornette Coleman is just insane.

Jackie McLean always sited Coleman as a huge influence, and even though he never fully crossed into Free Jazz, listeners could definitely her a unique tone, aesthetic, and building concepts that were unlike other Bop saxophonists. What makes this Blue Note session brilliant is that Ornette stays away from his own alto. Other critics have cited that this date failed due to this missed opportunity to pair the two on alto, but I disagree. Staying on trumpet allowed McLean to shine on the reeds, and he deserved it. And although, the record doesn't stray far from Post Bop, Coleman adds his own shapes and colors allowing this quintet to dab into uncharted terrain.

Lifeline is suite in it's own right. Time signature changes, and different themes coming and going, the cut offers four separate variations from the whole performance. It's probably the most ruminate of the three tracks here. Higgins swings as expected, and Lament Johnson's rhythm accompaniment is perfect for for the up and down moments of the record. The swinging really takes off on Old Gospel, which points towards, as you might guess, heavy Gospel themes. Scott Holt's bass playing jives and rolls with the rest of the group here too. And what happens when you add Ornette's free trumpet playing over a mid tempo, Hard Bop balled, you get Strange As It Seems, which showcases Lament Johnson's heavy chord soloing.

1967 - Blue Note.

Jackie McLean, alto saxophone; Ornette Coleman - trumpet; Lamont Johnson - piano; Scott Holt - bass; Billy Higgins - drums.

More on Anderson and Dixon, and Pekar is the third.

2010-07-16T11:17:00.000-07:00

AccuJazz proprietor, Lucas Gillan, pays wonderful accolades to the recently passed Bill Dixon, and Fred Anderson. He states the Avant channel will be heavily dominated by Anderson and Dixon recordings. He really nails it for both of these extremely different individuals. I particularly like his personal experience with Fred Anderson described below. Please check out the AccuJazz blog for the full read.

I personally am extremely grateful for Anderson's dedication to running the Velvet: I have frequented the club's longstanding Sunday night jam sessions for years, and my band played our debut gig there in April. Fred presided all night, and even agreed to show up 2 hours early so we could sneak in a last-minute rehearsal before the gig. At the end of the night, after everyone had cleared out, it was just me and Fred left as I was packing up my drums. He told me a story about how Lester Young used to be a drummer, but decided to switch to sax when he got tired of missing opportunities to go home with girls because he was busy tearing down his drums. Clearly, he felt for me. He was always so kind and gracious, and never seemed outwardly phased by the daunting economic realities of running an avant-garde jazz club in a run-down neighborhood.

In a prior post, maybe I shouldn't of said they come in threes. Harvey Pekar passed this prior Monday at the age of 70. My knowledge on Pekar is limited to the Giamatti flick, but I do appreciate his love for jazz music. I found this interview from the Atlantic containing his thoughts on Jazz, and JazzTimes posted some links to his reviews here.

Beer & Album Pairings

2010-07-09T09:30:00.000-07:00

It seems this blog is becoming more libation friendly. I'll work on a new album write-up soon for this month. I just want to direct attention to a Beer and Album pairing piece I did for Brewpublic.com. The site's host, Angelo De Ieso II, wrote a wonderful forward to my entries. Keep following Brewpublic as there will be more contributions from other beer and music nerds. Below is one sample I did, but please check out Brewpublic for the full read.

Cheers!

Don Cherry, Where is Brooklyn? / Brooklyn Black Chocolate Stout

Where is Brooklyn? Well, Brooklyn Brewery pumps out some of the best brews in the Northeast and their Black Chocolate Stout is fitting for this adventurous album by Don Cherry on Blue Note. Recorded in 1966, we hear a piano-less quartet that’s similar to Ornette Coleman’s classic Quartet earlier in the decade but oh how different it is. Pharoah Sanders’ more haunting, spiritual tone completely contrasts the melodic blues and boogie aesthetic of Coleman’s. It’s a jarring album of collective improvisation and connectivity. With Brooklyn’s Black Chocolate Stout we’re offered a robust, sweet, chocolaty brew. Enjoy it slowly along Cherry’s slurring and vivacious cornet playing. Black Chocolate Stout is thick yet has a smooth texture on the palate much like Ed Blackwell (drums) and Henry Grimes (bass) as they back up the two horn players.

Monday Nights at the Produce Row Cafe

2010-06-29T08:07:00.000-07:00

Last night, on an impulse, we stopped at the newly revamped Produce Row Cafe located on SE Oak and 2nd in Portland. Unfortunately I wasn't equipped with my camera, but I can offer shots from the press preview we attended along with our Brewpublic.com colleagues a couple of weeks ago. Now, I knew they used to do live jazz on Monday nights, and I wasn't sure if this was going to continue with the newly dressed up space. After staying for just one set, we know now this must be a more common activity for us. Sipping beer and whiskey pairings, enjoying great food, and tapping to some bop standards is a pretty decent night.

Our barkeep was talkative, alert, on top of everything, and had a great sense of humor. And even though he didn't know much about the brews offered (one feature Produce Row prides itself on), he made up for it with friendly conversations and quick wit. We got the sense that he was new, and for someone starting off, he didn't get overwhelmed or flustered and was able to be a great support for the rest of the serving staff. He's definitely a keeper there and we'll look forward to having him deliver libations to us on future Monday nights. My only major gripe about Produce Row, no imperial pint glasses. Instead they use cheater, English looking imperial-like shaped glasses. With a decent head on a brew, you're lucky to get 14 ounces. Please Produce Row, do the honest thing here.

Their food was amazing. Last night I had a pulled pork sandwich that stacked up with some of the best BBQ places in town. Also, at the press preview in the beginning of June, they offered treats like beet salads, nachos, reuben sandwiches, pork sliders. All made with exceptional quality, unique ingredients, and extremely tasty.

We also enjoyed a pour of the new Pro Row Pale Ale. This collaborative effort was brewed especially for Produce Row by Laurelwood, Walking Man, and Double Mountain. An above average brew that offered clean, floral and citrus hop flavors, with biscuity sweet malts for balance. I hope this gets brewed repetitively, because it's worth the trip to Produce Row alone.

This maybe a sincere replacement for the Blue Monk (SE Belmont), which caved into the dart and billiards crowd and no longer offers live jazz on a regular basis. The house band started off, a piano trio. The highlight was when they played Bemsha Swing with a straight ahead, sort of hip hop drum rhythm. After about 45 minutes and four or five tunes, other players were welcomed to sit in. This allowed for a guitarist to be added and a new drummer with a totally different, a little more free flowing style, where as the other gentleman was very technical and precise.

The crowd at Produce Row was really mixed. Working class folk, hipsters, older couples, youngsters just stopping by for a burger. It was quite the collage of personalities. The best and most important thing though, was that everybody was enjoying the sounds. Stop by Monday nights, imbibe all evening while tunes begin at 9pm.

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Photo Credits: All photos by Matthew DiTullo

Fred Anderson, 1929 - 2010

2010-06-25T09:49:00.000-07:00

They say they come in threes. Well, let's hope I don't have to do a third post though. I like Fred Anderson a lot. I must confess, I don't own many of his recordings, but thanks to the beauty of the internet I've been able to sample his sounds through radio streams. His tone is beautiful. It's warm, it fills the air with positive notions of bop, the avant-garde, and even an east meets west vibe at times.

Writing obituaries is not my stronghold. I like to pay my respect and feel it's best for the professional, expert historians to express tribute.

Fred was never less than totally involved in what he was doing, which was forcing air through a bent tube to shake the earth we walked on and the culture we breathed. ~ Howard Mandel

First Annual Albert Ayler Festival

2010-06-22T13:39:00.000-07:00

New Yorkers have it made! With the addition of the Vision Festival going on now, the lucky bastards are also able to attend the First Annual Albert Ayler Festival in celebration of his 74th birthday anniversary. The likes of Giuseppi Logan, Charles Gayle, the Flow Trio, and notable others will be performing. The happening will take place July 10 at the Riverwalk Commons, Roosevelt Island, New York and AMAZINGLY, IT'S ALL FREE!!!

In celebration of the life and music of legendary free-jazz tenor-saxophonist Albert Ayler, ESP-Disk’ and Issue Project Room, in conjunction with Roosevelt L!ve have curated a day-long free concert, Saturday July 10th from 2-10pm, in honor of the groundbreaking musician’s 74th birthday. With performances by some of the most prolific artists dedicated to pushing the boundaries in the avant-jazz world the same way Ayler did over 40 years ago, this festival will feature sets from The New Atlantis Sextet with Marshall Allen, William Hooker, Charles Gayle, Gunter Hampel, Giuseppi Logan, and more all taking place at RiverWalk Commons on picturesque Roosevelt Island: NYC’s Best Kept Secret.

The outdoor festival will also feature a record fair with a variety of new and used vinyl vendors hosted by ESP-Disk’s own in-house retail operation, ESP Records. Great live music, a great selection of vinyl & CDs, great food from the local Roosevelt Island restaurants and a view of Manhattan that can’t be beat. What more could a music lover want on a summer day?
www.albertaylerfestival.com
www.esprecordstore.com

Bill Dixon, 1925 - 2010

2010-06-17T11:26:00.000-07:00

I saw sad news on the Bill Dixon Facebook page of his passing. The legendary Jazz empire has lost another great. TRULY, TRULY A GREAT.

From the Bill Dixon Facebook page:

Dear friends,

Bill passed away early this morning at his home. He died peacefully in his sleep with loved ones close by.

The rapidity with which the news of Bill's death has traveled, even before any official announcement, is a testament to how many lives Bill and his work have touched. Take comfort in knowing that he went out in the same manner that he lived his life - working on/thinking about his current work, the recording of our orchestra concert at FIMAV, and planning the materials that will soon accompany the release to market.

Bill spent every waking moment of his life thinking about and creating things of beauty and sharing openly what he knew and loved, through his art and his teaching, with everyone that he came into contact with and everyone anywhere who was paying attention.

We will be sharing stories and images and will bring news regarding his memorial service in the coming days.

-Stephen Haynes

Hi-Fi

2010-06-15T18:32:00.000-07:00

Caught this from the Facebook update feed of KMHD [the local Portland Jazz radio station]. It's incredible! Blue Note album covers, even the earlier or later ones outside the Reid Miles regime, are just gorgeous. Absolutely the best typography and graphic design out there. And even though jazz albums have always had a knack for being modern and hip, Blue Note went farther out then just adding text over a Surrealist or Expressionistic painting. For that reason, Blue Note record sleeve designs still influence and effect musicians, listeners, designers, and artists all over the world.

I know nothing about the creators of this video. Or what it's advertising. It's just great to take in the effort and skill, and the appreciation of beautiful design.

Hi-Fi from bante on Vimeo.

music video for the upcoming concert season @ Bellavista Social Pub.
Director: Bante
DOP: L.Semplici
Hero: Moussa Kaba
producer: frisca
dog: ultimo
Produced by Filmatindustriali

"Love Cry" - Albert Ayler

2010-05-20T09:31:00.000-07:00

I love this record. It's significant in a number of ways. Here, we observe Don and Albert recording together for the last time. Shortly afterward, Don Ayler was fired from the group. According to a review by Al Campbell, this was under the insistence of the Impulse label. However, the documentary film, My Name Is Albert Ayler, portrayed an awkward relationship brewing between Don, Albert, and Mary Maria Parks; Ayler's girlfriend at the time and up until his death.

This recording session also represents the transition period in which Ayler began a more commercial aesthetic, which was also urged by the label. By no means, did his music ever seem totally commercial, or poppy for that matter, but to an Albert Ayler purest, it's a difference between black and white, night and day, sweet and salty -- you get the point.

For Albert Ayler virgins, it's a great entry point into his music. Sort of a step outside of his normal (or abnormal) ventures. Focusing on the melody of the compositions rather than the intense, volcanic eruptions that spew from his collective improvisations. There's still that feeling of free exploration and in the moment decision making. Really though, we hear how powerful, and beautiful these melodies are. The version of Ghosts really exemplifies this, and is one of my favorite Albert Ayler tracks in my iTunes. Alan Silva and Milford Graves back nicely, offering waves of percussion for Don and Albert to float on, and still maintaining a sophisticated, yet primal marching tone.

The harpsichord performed by Call Cobbs Jr. is hit or miss. I don't mind it myself, but I can understand why others may be put off by it. The harpsichord gives an added texture, but perhaps a piano or an organ would be best suited here. If the harpsichord isn't your bag, no worries, it's only heard on four of the tracks.
1967 - Impulse.
Albert Ayler - vocals, alto & tenor saxophones; Donald Ayler - trumpet; Call Cobbs - harpsichord; Alan Silva - bass; Milford Graves - drums.

"Judgment!" - Andrew Hill

2010-05-14T21:05:00.000-07:00

Whenever Andrew Hill's hands touched the piano, pure gold was created. His compositions and arrangements hit right on the money -- illustrating modernity, intellect, and strong emotions. Probably the forefather of the semi-avant garde/post bop academy, Hill weaves harmonies and chromatic scales to offer us Judgment!. The beauty with Hill, is that his playing and songwriting fits so perfectly in so many forms. Whether it's with the vast polyrhythms and dynamical drumming of Elvin Jones, or the melodic, modulated, & cymbal accentuated drumming of Tony Williams. Whether it has a strong horn ensemble, or a smaller group like in Judgment!, which is backed by Richard Davis, Elvin Jones, and Bobby Hutcherson.

Judgment! exhibits textured, extended and thoughtful solos that really mess with the ideas of harmony and melody. A lot of colors show through with this group. Especially in Yokada Yokada, a whimsical take on a blues using the chromatic scale to form the melody while also offering tidbits of modern aspects. For example, instead of playing the Five-to-Four-to-One turnaround ending the verse, Elvin Jones fills in with a quick solo before the group enters in on the One chord to finish the break. This reminds me of Sol LeWitt's Incomplete Cube Series. Where the artist removes sides of the objects, playing on the notion of how viewers can perceive a shape while parts are lacking. And like in Yokada Yokada, the listener still perceives that bluesy lick to finish the bar even though it's absent.

1964 - Blue Note.

Andrew Hill - Piano; Richard Davis - Bass; Bobby Hutcherson - Vibes; Elvin Jones - Drums.

Beer & Jazz

2010-05-11T09:21:00.001-07:00

Besides being a huge jazz geek, I am a (dare I say even bigger) beer geek. Sometimes it can be a struggle -- at least for my wallet -- to divide my attention between the two. But often times I can successfully combine these passions. I wrote a guest post for Brewpublic.com. A great Portland/Northwest beer blog, beer news, and event update website. I have contributed to the site here and there in the past and I am great friends with Angelo and Margaret, who are the geniuses behind the site. It's a great pleasure to be part of the Brewpublic crew.

Check out my featured post, Beer & Jazz.

One Down One Up

2010-04-30T08:39:00.000-07:00

On my commute the other day, I was listening to the Impulse release, One Down, One Up: Live At The Half Note. On disc two, host, Alan Grant, described the John Coltrane Quartet as, "one of the finest jazz groups around; today or any other day."

45 years later, how true and relevant is that?

"Sizzle" - Sam Rivers

2010-03-29T16:23:00.000-07:00

Found a copy of this on vinyl for just $8 at Jackpot Records. Not really known for their jazz collection (mostly shiny, new reissues), but occasionally gems like this surface. On instances I have found Anthony Braxton's The Montreux/Berling Concerts on Arista, AEOC's Bap-Tizum, and even Coltrane Time, a recording originally slated as a Cecil Taylor date, but for marketing purposes was later reissued under United with Coltrane as the leader.

Sizzle is a unique album for my ears. A premonition to 80s Ornette Coleman and his Prime Time band. From my research online, this album has generated mixed reviews. Some claiming it to be the bottom of the barrel for Sam Rivers recordings. I have to admit, most of the Sam Rivers I have in my collection are his late 60s Blue Note releases and a couple of other albums where he appears as a sideman. So I don't have any ground to argue that it isn't, but that doesn't mean I didn't absolutely love this record. I know what your thinking, "this here is a free jazz cat and he doesn't have some of the essential Sam Rivers recordings from the 70s." Well... No excuses... You're right.

What we're provided here is the powerhouse rhythms of Dave Holland and Barry Altschul, major driving forces in the avant-garde during that decade. The session also includes the guitar chops of Ted Dunbar, and Warren Smith laying down vibes & percussion. Sam delivers on flute (Dawn), soprano (Flare), piano (Flame), and tenor (Scud). Holland plays cello for the opening track, Dawn, which creates a juxtaposing perspective over the supplied sounds.

Smith really shines on Flame with his outstanding vibe playing. He keeps right up there with Holland, while Dunbar really accentuates it all with his funky riffs. And Rivers on piano adds a strong, heavy weight to hold down the group from sounding like they're going to take off. Finally, on Scud, you hear Sam's great tenor playing. Showcasing a style he has perfected, relentlessly appearing free and unique.

An explosion of rhythm on top of rhythm, and even on top of rhythm. It's an interesting experiment with the amalgamation of soul, funk, avant-garde, and heavy polyrhythms. This album exemplifies what the title implies... it SIZZLES.

1976 - Impulse.

Sam Rivers - tenor & soprano sax, flute, piano; Ted Dunbar - guitar; Dave Holland - bass, cello; Barry Altschul - drums; Warren Smith - drums, vibes, tympani.

Happy Birthday Ornette Coleman

2010-03-09T12:09:00.000-08:00

Celebrate Ornette Coleman's 80th Birthday With All Day Programming On WKCR

2010-03-04T12:53:00.000-08:00

Oh boy, just one day off from sharing a birthday with my favorite jazz icon. Mine will be this Monday the eighth, while Mr. Coleman's will be Tuesday the ninth. Now turning 80 and just as prolific as he ever was. I have both the 8th and 9th off from work, and you bet I will be spending the 9th tuning into all day programming of Ornette Coleman on New York's WKCR 89.9 FM.

According to Howard Mandel, WKCR will most likely be playing recordings in chronological order. What a great way to hear the shape of Ornette's music evolve as he always continued to push boundaries and expressions of melody, improvisation, and "harmolodics."

Join as we celebrate innovation, relentless individualism, and commitment to artistic freedom.

Amen to that!

*I haven't done an album write up in awhile, so plan on a post soon. A real classic this time around.

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Image Credit: Original painting by Martel Chapman.

Recap: Pharoah Sanders & The Portland Jazz Festival

2010-03-01T18:56:00.000-08:00

What a fest. This year was stellar on all fronts. Despite the economy, several sold out shows proved Portland's dedication to jazz and PDX Jazz.

I attended a conversation hosted by Barry Johnson with Pharoah Sanders at PCPA's Art Bar. Sound was a little rough. The bar area was filled with rowdy, Saturday-going quaffers, and the volume was very timid on the PA. So my notes from that are a little scattered but as you can see from my previous post of pictures, it was still exciting. Walking away with an autograph on my 1971 LP of Village of the Pharoahs left me with a giant grin for the rest of the evening. I did hear Pharoah talking about his days in Oakland, meeting Nancy King, originaly wanting to be a painter and deciding to become a tenor player at the end of high school, and even how he hitched a ride across country while his sax at the time was held together by rubber bands. Little stories like that may not make it into the jazz history books, so thank you Portland Jazz Festival for allowing these educational programs to be available. It's just one of many reasons why this fest is so unique from others.

Pharoah talked a bit about Sun Ra, mainly what I heard most was when he worked in a kitchen in New York. Sun Ra would play above the little coffee shop and John Gilmore invited Pharoah to accept admissions for shows. This grew into a relationship with Sun Ra and the rest is history. Of course he talked a great deal about Coltrane, what it was like in the group, recording, and Coltrane as a leader. Of course he talked about "The Creator Has A Master Plan" -- and of course those were the two key discussions I couldn't hear well. What I did hear him say was that Coltrane wanted to go down two paths at once, and Pharoah was that other path.

Leaving the performance at Newmark Theater left me with an even bigger grin. Pharoah was in great spirits, happy to be in Portland and happy to to be performing. You could tell he was there for the joy of playing and not just for the paycheck. I intended on taking some notes at the show, just some feelings that popped into mind, but I was just so overwhelmed and hyptnotized with glory that I couldn't remove my eyes from the bandstand. Portland's Devin Phillips introduced the band and shared some feelings about his idol. He expressed that Pharoah Sanders wasn't just about technical playing, nor cerebral, but ultimately about spirituality. And the rich, expressionistic tone that separates him from any other tenor player. Then history was made when Phillips expanded his (already impressive) resume by sharing the bandstand with Pharoah. Soloing on almost half the compositions from the set.

Pharoah's band was top notch. Most exciting was his drummer, Justin Faulkner. An amalgamation of rhythm over a four piece set. Not unlike Elvin Jones, often sounding like two or three percussionists as the audience was surrounded with polyrhythms and uptempos. With solos that were melodic as they were explosive.

Ultimately, this was an utmost spiritual event. In fact, at the end of the opening composition of "My Favorite Things," which lasted for nearly a half hour, my girlfriend was left in tears. This was then followed by "Say It (Over And Over Again)," a classic, and one of my favorite ballads. I can't help but think this may have been what it was like to see Coltrane's classic quartet in the 60s -- and I think this is as close as anyone in my generation is going to get. Thank you Pharaoh Sanders for playing music, and thank you Portland Jazz Festival for bringing musicians like Pharoah to Portland.

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Photo Credits: All images by Fran Kaufman [with the exception of the PCPA marquee taken by myself]. Check out the PDX Jazz Fest's own Photostream.

Photos from Pharoah Sanders Conversation

2010-02-27T22:25:00.001-08:00

"Trane was the Father, Pharoah was the Son, I am the Holy Ghost," Albert Ayler

...enough said.

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Photo Credit: All images by Matthew DiTullo & Katie Burns.

Devin Phillips at Rogue Distillery & Public House

2010-02-26T12:56:00.000-08:00

Part of the Portland Jazz Festival, Rogue Ales is hosting three shows this week at their NW Portland location. Kicking off the three nights of live jazz, Portlanders were treated with a great show by Devin Phillips last night. If you are from Portland and do not know who Mr. Phillips is shame on you. Unfortunately, this pub is very unfriendly for live performances. Most of the guests who sat close to the bandstand could care less if there was a live jazz act or not -- not to mention barely any standing room. But there were a few of ecstatic individuals (I being one of them) who were happy to be there, squeezing into awkward spots to see the drummer nail some killer grooves, or the bassist perform some crazy licks. Here's a couple of photos, pretty much the only two out of many worth showing. I wish I had my SLR, these low light environments are awful for point shoots -- at least mine.

Devin Phillips will be performing at Jimmy Maks on March 26th for those who'd like to see Portland's best local jazz performer.

Below are some photos by Fran Kaufman. Check out the PDX Jazz Fest's own Photostream.

ESP-Disk' Opens Brooklyn Retail Store

2010-02-26T11:00:00.000-08:00

From ESP-Disk':

ESP-Disk', after 45 years of presenting sounds like you've never heard before, now has a storefront to offer them directly to you. Our dedicated store staff started by sawing shelves and painting the front of our offices. Then they dug through collections to find the finest in rare ESP vinyls, obscure avant-jazz and the best in new music. All laid out lovingly for you to drool, dream and buy and own.
ESP Records
990 Bedford Avenue
Brooklyn, NY 11205
G Train to Bedford/Nostrand
New Expanded Store Hours:
Starting tomorrow Sat Feb 27th!
Saturday 12:00 PM - 8:00 PM
Sunday 12:00 PM - 6:00 PM
Monday 11:00 AM - 6:00 PM
Tuesday 11:00 AM - 6:00 PM
Wednesday 11:00 AM - 6:00 PM
Thursday 11:00 AM - 9:00 PM
Friday 11:00 AM - 9:00 PM

Recap: Jacob Fred Jazz Odyssey Live

2010-02-21T18:50:00.000-08:00

On Friday, Portland was treated with a great performance by JFJO. I was busy, out an about all day and arrived unprepared. No notebook, no camera. The group sounded great. They played two sets (I was only able to stay for the first), which consisted of three songs from "One Day In Brooklyn," a few brand new songs for upcoming releases, and a couple of tunes from prior releases.

They sounded even better in person then on record. Fierce improvised solos, amazing technicality -- while still not seeming like a robot, and a wonderful tightness with timing and flow of compositions. Overall, lots of energy and just fantastic musicianship. I'll look forward to future shows, hopefully they'll pop through Portland again during the summer after their June release. And I'll try to be more prepared to document it. They also mentioned a new 7" coming out in April for National Record Store day. Look for that as well.

If anyone who happens to pass by this post, and knows of/has any photo documentation of the show on 2/19 /10 at Mississippi Studios, I'd love to see if willing to share.

Portland Jazz Festival Itinerary

2010-02-19T08:15:00.000-08:00

I love doing this each year. Planning the few events in advance to partake in. And then I get all anxious about it. Here's my list of events to attend. Related Post.

1. Rogue Ales Public House is hosting a handful of

local acts this year. I can't remember if they've done

this in the past, but I know they are a good sponsor and support the fest with their Jazz Guy Ale each year -- this year showcasing PDX Jazz's Artistic Director, Bill Royston. I'll be catching Devin Phillips there on Thursday, 2/25 at 9pm. I had seen him almost three years ago at the Bite Festival. He was playing with a vocalist (which I don't remember her name -- and that was the second time I had seen her). Needless to say, Phillips was exciting, the vocalist not so much.

2. Next up, I'm going to run home after work, get changed, grab one of my Impulse Pharoah Sanders LPs (in hopes of a handshake and signature) and bask in the wonderful conversation going on at the Art Bar. That's Saturday, 2/27 at 6:30pm.

3. And Closing out the Fest on Sunday, 2/28 at 3pm, I will be there to see Mr. Sanders perform with his quartet. Which features Justin Faulkner on drums, Hans Glawischnig on bass, and William Henderson on piano. As far as I know, tickets are still available, but this is the last leg here.

Check out the full PDX Jazz Fest Schedule on their website. The festival kicks off this Sunday the 21st.

Jacob Fred Jazz Odyssey Live Friday Night

2010-02-18T08:06:00.000-08:00

For those of you here in Portland who are able to check out this blog, I'd like to remind you that JFJO will be performing tomorrow night at Mississippi Studios. Doors open at 8pm. It should be a solid performance, and if you are aching to see some live jazz and need a little teaser before the epic Portland Jazz Festival, maybe this is the show for you.

Yesterday, to get myself pumped up, I spent a great deal of time watching some videos available on their site. Particularly, one that stood out was of the group playing Fables of Faubus -- and playing it really good.

"Ohnedaruth" - Art Ensemble of Chicago

2010-02-16T10:43:00.001-08:00

I just had to share this video. It really gets the heart rate up. Nothing quite beats this AEOC composition for me. Any punk rocker has nothing on these guys, this is real rock and roll!

Saturday	12:00 PM - 8:00 PM
Sunday	12:00 PM - 6:00 PM
Monday	11:00 AM - 6:00 PM
Tuesday	11:00 AM - 6:00 PM
Wednesday	11:00 AM - 6:00 PM
Thursday	11:00 AM - 9:00 PM
Friday	11:00 AM - 9:00 PM