Rogue Announces Release of Jazz Guy Ale

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

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

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

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

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

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

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

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!

All About Jazz on Don Cherry

"Soapsuds, Soapsuds" - Ornette Coleman

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.