"Closer" - Paul Bley

I had once seen the 1981 film Imagine the Sound. What I remember most about Paul Bley's appearance is his frustration with the role of the percussionist in free-improvised music. How he wanted to eliminate the drummer from his music because he felt it was too restricting. Well in this ESP-Disk date, you don't get that sense of restriction at all.

Recorded shortly after his album, Barrage, he provided ten trio tracks for us. The liner notes describe the album as a "languid reflection" of sort, and I couldn't agree more. The outcome is a unique sound and solid listening experience. All of the songs are composed by Carla Bley with the exception of Pigfoot by Paul himself, Cartoon by Annette Peacock, and Crossroads by Ornette Coleman (check out the Live at the Hillcrest Club album).

The production really contributes to a lot of the feeling. Some songs appear more free, while others appear more structured. The piano is soft yet vibrant, the drums at times can conflict with piano, and the bass is just in there enough to remain in the background as a support mechanism. Certain songs seem more straight ahead with rhythm, while others offer the downbeat we all love, with a few that appear to be loose and even lacking a rhythm.

The timings are really nice, and these short tracks almost feel like a hit and run assault on the listener -- ten tracks squeezed into less than 30 minutes. The solos are quick, but don't feel rushed or competitive. It all feels like a giant buld up to the closing title, Cartoon. The composition itself is tame, but Bley throws in a lot of dissonance and then the solos are free as can be with an attack on our ears. Seeming like an artillery even though it's a trio.

1965 - ESP Disk'.

Paul Bley - piano; Barry Altschul - percussion; Steve Swallow - bass

AACM on Do the Math

Ethan Iverson of The Bad Plus recently posted on specific AACM recordings on his Do The Math blog. In 11 Canonical AACM Performances he mentions a handful of recordings I'm familiar with which was great to read his expert opinion/description of them. I still need to seek out some of the recordings he did mention, as well as a couple of Artists I'm not familiar with yet.

I particularly admire Iverson's down to earth approach by allowing his topics to be a forum in sense where he encourages readers to post and discuss further about the AACM. It's a great read (as are most of his posts), if you are not familiar with his blog, do yourself a favor and subscribe to its a feed.

When's The Bad Plus returning to Portland?

[UPDATE] Due to a slew of negative comments, the post was revised, and commenting was closed. Most comments were deleted with a handful remaining. The article is still worth checking out as well as the blog.

"Gigantomachia" - The Naked Future

ESP-Disk' brings us a great treat. From my city of Portland, OR, The Naked Future is a powerful quartet with a lot to say. The Naked Future first caught my attention when ESP-Disk' posted a feature on Arrington de Dionyso on their Facebook page. I recognized the photo of him playing bass clarinet from my experience with an exquisite player performing in front of Portland's Schnitzer Concert Hall. This was happening before Ornette Coleman took the stage in 2008. Whaling like Albert Ayler I am 89% sure it was Arrington de Dionyso.

The textured and vibrant compositions could fit right into the 60s. In fact, when the album ended, a record by The New York Art Quartet came up next in my iTunes and I barely noticed the subtle transition. Beautifully and delicately conducted by Arrington de Dionyso (of Old Time Relijun), we're provided with assaulting noise and physically mind blowing movements. The quartet gives the presence of a giant orchestra, and even the movements of the titles evolve much like classical compositions. There's a wonderful structure to all of the cuts, yet you get the sense of something being freely constructed at the same moment.

I'm not exactly sure they are from Portland, but definitely from the Pacific Northwest. The session was recorded here in Portland and I'm proud this sound is coming out of the NW. I get a lot of frustration with the Portland music scene and this record brings me great joy. Information is pretty limited on them on the web, I'd love to see a show though.

2008 - ESP Disk'.

Arrington de Dionyso - bass clarinet, contralto clarinet; Thollem McDonas - piano; John Niekrasz - drums; Greg Skloff - bass.

"Conference of the Birds" - Dave Holland

I can easily feel comfortable saying this is my absolute favorite album released in the early 70s. I discovered Conference of the Birds late winter of this year and I have been consistently listening to it at least three times a week. I really cannot get sick of it. It's perfect that I have gotten addicted to this second release by Holland on the ECM label and now he is coming to Portland for the 2010 PDX Jazz Festival.

Conference of the Birds came from a 12th century Persian poem of the same title, Farid ud-Din Attar. Before I listened, I was thinking maybe that Anthony Braxton's and Same Rivers' individual sounds would compete with one another, but this rare personnel meshed perfectly and I can't think of a better front line for this quartet session.

What stands out for me is the opening tune, Four Winds. I wish every composition could be like this song. Wildly delicious string of notes and chords before exploding into a free ensemble and solos by the band. Q & A is fractured tune of heavy percussion and physical movements, like a Cecil Taylor inspired tune less the piano.

The title cut, which is the third tune, steps back from the rest of the more progressive, avant garde and free tracks. A folkish, contemplative tune, with light percussion and a smooth, catchy melody. Interception is another intense blowing session by Braxton and Rivers before Holland delights in a mind blowing solo. The actual composition itself is simple and just a handful of bars. Throughout all of these track, Barry Altschul performs percussion just ever so delicately to back the band. He really knows when to step back and let them shine, and when to balance their playing with heavier, complex fills and backings. Altschul then closes all of the breaks on Interception with an incredible solo which subliminally mimicked movements of the song.

Now Here (Nowhere) is the perfect name for this tune. At times it reminds me of a band rehearsing and warming up. The production on the track sounds a little different, with a little more reverb on the horns it really feels like the band is right in my apartment. See-Saw concludes the albumand reminds me of something that would be released on a Braxton album. The fast tempo and great rhythmic backing fabricates a playground for Rivers and Braxton to perform over.

Conference of the Birds is the only album including this rare lineup. At times, Braxton, Holland, and Altschul appear together on Braxton's own releases as well, as the Circle band with Chick Corea.

1973 - ECM.

Dave Holland – bass; Sam Rivers – reeds, flute; Anthony Braxton – reeds, flute; Barry Altschul – percussion, marimba

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Check out this high school band killing it with Four Winds!

PDX Jazz Fest 2010 Lineup

Received a notice in my inbox yesterday about the lineup for the Alaskan Airlines/Horizon Air PDX Jazz Festival. WOW! Every year they always get a handful of headliners that blow me away.

I'm looking forward to Pharoah Sanders and the Dave Holland Quintet for the upcoming festivities. Both heavy hitters in the avant-garde scene. I'll try to report more news and updates of the PDX Jazz Festival as they come to me.

Other headliners are the Mingus Big Band under the artistic direction of Sue Mingus, Grammy nominated Dave Douglas' ensemble Brass Ecstasy, as well as a focus or Norwegian artists Trygve Seim & Frode Haltli, the Christian Wallumrod Ensemble, and In The Country. In the theme of British jazz writer Stuart Nichcolson's book, Is Jazz Dead (Or Has It Moved to a New Address)? - New Music from Norway.

"The showcase features three North American premieres that exemplify what Nicholson calls the "Nordic Tone", as a counterpoint to contemporary American jazz masters who push the boundaries of jazz."

Tickets are available on October 27th and are currently available to PDX Jazz Members now.

Béla, Edgar, and Friends

A little off topic here, I had the chance to attend the Oregon Symphony at the Schnitzer Concert Hall on Saturday conducted by Carlos Kalmar. Along with a couple compositions by Dvorák and Suppé, Chris Thile sat with the symphony to perform his Mandolin Concerto. This was followed by Béla Fleck, Edgar Meyer, and Zakir Hussain performing two movements of their The Melody of Rhythm.

Along with jazz, I'm a huge bluegrass fan. I pick the 5-string to the best of my abilities quite often. I believe the two genres have more in common than many would think. So when I had the chance to see Béla pick his banjo in person -- even though this was no bluegrass show -- I was happy to jump right on it. The handful of hours seemed to go by in mere minutes as we were entranced with both the spectacle of these intricate compositions and the technical awe that the symphony, conductor Carlos Kalmar, and these four head lining musicians possess.

Zakir Hussain plays the tabla with ease and pizazz as he is able to mimic and appropriate melodies that Edgar or Béla Fleck throw out. The three if them would often seem like they were competing in a playful way as you could tell the each them were enjoying every moment on stage. The blending of the symphony created an overall sublime experience. The only thing better would be Ornette Coleman playing with the 1972 London Symphony Orchestra.

After the main concert performance the four men rejoined on stage for about 45 minutes of improved tunes. To me that was the best part as I always dig smaller groups. Edgar Meyer is sick on that bass. There's no other way to describe his playing. I wish I could see him sit in on one of Ornette's groups.

A great steak dinner, some of the best live music I've seen all year, a couple signed CDs, a hand shake with Béla Fleck, and a few whiskeys later, I ended the night one happy camper.

More Blue Note on NBC... Again.

Someone over at NBC loves old jazz record covers, especially Blue Note -- with good reason of course. This caught my eye on the Tonight Show last Friday night.

New Releases

Just wanted to go over some newer albums I have taken a liken to and wanted to share.

I received word in my inbox by the great publication, Wax Poetics, of their debut album release as a label of the group 9dw. Self Titled is due to be released 09/09/09 but pre-orders for limited (1,500 pressings), hand numbered, clear color vinyl are now being taken. If you're like me, and obsess over the collectibility of rare, unique vinyl and dig talented musicians and chill backbeats, you may want to snag a copy. I would compare these guys to Tortoise like grooves colliding with the eclecticism of Aphex Twin, but definitely more funky.

Also, I've recently discovered a contemporary jazz group called Jacob Fred Jazz Odyssey. A wonderfully technical yet free flowing ensemble of piano, drums, bass, and slide guitar or lap steel. They often infuse the likes of traditional jazz stylings with modern math or noise rock and even as far as hip hop. You can download their entire current release, Winterwood, for free from their site. Fans of The Bad Plus and technical, progressive, melodic instrumental rock should give these guys a try.

I am going to do write up of Dave Hollands, Conference of the Birds coming soon.

Rashied Ali (1935-2009)

Rashied Ali sadly left us Tuesday the 12th after suffering from a heart attack. As I type this now I am being entranced by his swaying rhythms and dynamic accenting behind Coltrane on the amazing Impulse release of Interstellar Space. You can here him perform on the Coltrane cut, Leo, in the player above.

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So much is being said that I couldn't do justice by repeating. Yesterday and today there have been a number of great posts in memory of Rashied Ali:

Howard Mandel posted an interview he conducted with Ali in 1990 for a Coltrane documentary.

Pianist, Ethan Iverson, of The Bad Plus, despite being on blog posting hiatus, created a quick blurb on his Do The Math blog. He even had the privilege of selling a piano to Rashied Ali 15 years ago. What a trip that must have been.

And if you haven't checked out AccuJazz yet do yourself a favor and got on it. They will be highlighting Coltrane and Ali recordings on their Avant-Garde Channel in the coming future. They wrote a brief post (alongside honoring the great Les Paul) on their blog as well.

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Being a drummer and avant-garde jazz fan alongside Rashied Ali's passing has reminded me how unfortunate I am. I have never, nor will I ever, have the chance to truly experience this generation of outstanding musicians as others before me may have.

"Energy Control Center" - The Lightmen Plus One

I was so happy to see Energy Control Center make it to digital reissue. Thanks to Now-Again Records we can grab this album from iTunes or Amazon. I've been searching for an out of print copy since 2007, but having it in iTunes does a perfect job.

I don't know too much about these guys. The album was original issued in 1972 and has been available as a Japanese import for a quite awhile now. They do an amazing job of meshing sounds that remind us of CTI recordings with the cosmic, funky and free qualities of Sun Ra and Pharoah Sanders. I guess it would be like taking the best stuff from CTI and the best stuff from Impulse and you have Energy Control Center. You can also hear how this stuff could fit in well with hip-hop or acid jazz samples

The first few cuts have more of the repetitive funk and rehearsed qualities. The best of the album is the title track. An out in space, free for all that's bold and fresh, requiring multiple re-listens. I also wonder if Ornette Coleman's Science Fiction album influenced these guys.

Leo has a huge McCoy Tyner styling. You can definitely hear Tyner's Passion Dance from his Blue Note album The Real McCoy as the base of this tune. It's an energetic blast that keeps the album just as exciting through to the final cuts. Jupiter is another cosmic-like tune containing a collective free improvisation. Providing us with heavy percussion and ambient tones before breaking into a swinging funk rhythm and melody.

Besides Bubbha Thomas as the front man, I'm having trouble finding a personnel -- and even the original label that issued this. This is the downside of digital downloads, no liner notes. If anyone has any info to share about these guys please contact me!

1972/2009 - Now-Again Records.