The Jazz Message

"If nobody has anything to say about the departed, I'd like to say a few words about Jazz!" - Art Blakey*

The 2013 Portland Jazz Festival is in full swing with the closing headliners this weekend.  If you've been following PDX Jazz on Facebook then you've seen the excellent coverage of events.  Each show having significant turnouts. Tickets still remain for tomorrow night's The Jazz Message; Tribute to Art Blakey featuring Musical Director Javon Jackson (ts), Bobby Watson (as), Curtis Fuller (tb), Eddie Henderson (tr), George Cables (p), Buster Williams (b), Lewis Nash (d).  Which can be purchased here.

Immediately I wanted to jump on this show.  Art Blakey and his Jazz Messengers we're the third tier that really had me taking Jazz seriously.  First it was Mingus, then Monk, and third was the Messengers.  In fact, the very first book on Jazz I read cover to cover was Hard Bop Academy: The Sidemen of Art Blakey And The Jazz Messengers by Alan Goldsher.  This book is a journey that profiles the greats that went in and out of The Jazz Messengers.  Containing stories and anecdotes that brought enlightenment to many of their recordings or performances through nearly a half century on the scene.
That's what I have going on tomorrow night and if you haven't gotten out to any Portland Jazz Festival events then this is the one for you.  Following the Jazz Message I'll be continuing my Jazz journey with a nightcap at The Blue Monk to catch Battle Hymns and Gardens.

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*Quoted from Visions of Jazz by Gary Giddens.  p. 368, c. 40, Art Blakey (Jazz Messenger).  Which further sited the quote from Jazz Anecdotes by Bill Crow. 

2013 Portland Jazz Fest

It's almost that time...  Almost that time where the city of Portland dedicates nearly half a month to Jazz music.  The 2013 U.S. Bank Portland Jazz Festival Presented by Alaska Airlines kicks off in one week.  You can take part in a city wide celebration of America's great musical art form.  There are plenty of free events along with ticketed ones, as well as educational and outreach programs.  You can view a full schedule here.

Now in its tenth year, the Portland Jazz Festival has continued to bring worthy headliners and local musicians together in the name of Jazz.  An eclectic showcase of Jazz happenings around Portland keep it exciting year after year.   You can find many events taking place in restaurants or pubs, smaller venues, and larger concert halls. 

Also take note that Battle Hymns and Gardens will be performing February 22 at The Blue Monk.  I'll be there for a nightcap after The Jazz Message event (Curtis Fuller, Bobby Watson, Eddie Henderson, George Cables, Buster Williams, Lewis Nash, and Javon Jackson) at the Newmark Theater.  And it's worth noting that you can sample a handful of unmastered takes for BHaG's upcoming debut album on their website. 

The Sight of Sound

Anthony Braxton Composition Figures

I've been spinning a lot of Anthony Braxton lately.  To me his music is quite physical to the point that it can be visual.  I have a background in art which lends me to be a visual person for the most part.  I originally gravitated to Jazz because it seemed to contain a visual aesthetic to me.  Which makes sense because one of the first Jazz albums I ever listened to was Charles Mingus' The Clown.  It contained "these greens and yellows, and all of these oranges."

It's not just in The Clown, but I have always connected Avant-Garde Jazz with Post War / Post Modern Art.  Conceptually and metaphysically this makes sense.  Musicians like Steve Lacy and Ornette Coleman have always made a big visual presence in my imagination.  Lacy, for example, seems to construct shapes with every lick he plays on the Soprano.  And obviously the name of this blog is derived from Coleman's The Shape of Jazz to Come, but along with musical notes I hear shapes too.  

Can sound be seen?  Can sight be heard?

Here are a few Jazz pieces that create colors, lines, and shapes in my mind.  Some are mathematical and controlled, while some are chaotic and organic.  You can decided for yourself.

Tri-Centric Foundation comes through for a last minute gift idea.

The last two years I created a couple of gift guides for Jazz Geeks like myself (and here).  In anticipation of all the 2012 top of, worst of, best of lists we'll be seeing I decided not to bother.  However, an email in my inbox from Tuesday prompted me to spread the news.

The Tri-Centric Foundation is pivotal in the archiving and releasing of Anthony Braxton material.  For a limited time, members can download a rare solo bootleg entitled, "Solo (Carnegie Hall)1972,"  for free, and non-members can purchase it for a mere $6.99 for a limited time.  It would make an ideal last minute gift for that Avant-Garde fan in your life. So jump on it. 

An example of the recording equipment used.  Photo by Kyoko Kitamura

From Tri-Centric Foundation:

Recorded when Anthony was 27 years old, this bootleg which was discovered earlier this year is the only available audio of the event that we know of...

...We can only offer this recording to you because of your generous support. As manyof you know, TCF was revived in 2009 by a dedicated group of volunteers. We are proud to have accomplished much in three short years but we need your help to keep going. Here is an appeal from the Tri-Centric Foundation president Taylor Ho Bynum. 

I am writing to you in the hope that you share my conviction that the music of Anthony Braxton can have a transformative effect on artists and audiences alike. Personally, Braxton’s artistic innovations have not just changed the way I listen to and make music, but have taught me profound lessons about community, creativity and idealism. If Braxton’s work has been similarly important to you in your life, I ask you to consider donating to the Tri-Centric Foundation.

Best regards, 

TCF Team 

"On This Night" / "New Thing At Newport" - Archie Shepp

 I spent Thanksgiving in the MCM wonderland known as Palm Springs, California. Modernity stretched to every corner of this world.  Driving back to San Diego to catch our flight I tuned into their local Jazz station. The drive was soothed by a broadcast Archie Shepp's On This Night.... Man this was good. And I haven't heard it before (shame on me!).  Shepp is a master at having balance in his music.  He fuses delicate arrangements with strong willed playing.  This, along with his arrangements and raspy tonality are an ideal equation for the New Thing style.

Since I do not own this record, I am reluctant to write about it. However, this recording immediately brought to mind the Split LP he did with John Coltrane entitled New Thing At Newport.  Which makes sense because NTAT was released right after On This Night.  For me, Archie Shepp always seemed to bridge the gap between Post Bop and Free Jazz.  A reason why I put him on such a high pedestal.  I completely admire his recordings, personally, and thoughts regarding the history and continuation of Jazz Black Art Music.

Leaning on the freer side, New Thing At Newport offers a rare glimpse at a quartet that featured Bobby Hutcherson on vibes, Barre Phillips on fiddle bass, and Joe Chambers on drums.  I mentioned Shepp's raspy tonality above. A sound that is created by substantial drive on the reed of his saxophone, this aesthetic also reminds me of older Rock/R&B music.  Shepp's tonality allows him to stand out from a sea of tenor players.

Shepp is typically rooted in the blues.  A nice anchor to have when traversing abroad to the freer side of music.  No matter how rare or obtainable it is, early Shepp recordings are a gem.  Whether he is playing far out or far in, I always sense that feeling of the Blues.  Another reason why I applaud Archie Shepp.
1965 - Impulse.
Archie Shepp - Tenor Sax, Vocals; Bobby Hutcherson - Vibes; Barre Phillips - Bass; Joe Chambers - drums.
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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.

- Posted using BlogPress from my iPad

Post-Matthew Shipp Trio Performance / Pre-Portland Jazz Fest

The Matthew Shipp Trio performed Monday night at Portland's Jimmy Mak's.  Sponsored by PDX Jazz, the lineup announcement for the 2013 Portland Jazz Festival coincided with the show.  

Three unique individuals in Matthew Shipp's trio, himself along with Michael Bisio (b) and Whit Dickey (dr), provided both a physical and metaphysical journey throughout the night.  An organic blend of familiar and unfamiliar themes pulling from Classical, Jazz, Rock, and Folklore.  I know I use the phrase Controlled Chaos a lot on this blog, but this was the perfect example of that concept. The music was free and continued to lift higher and higher.  Yet it was all weighted by a sense of connectivity these three had with one another.  
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...So without further ado here is the 2013 U.S. Bank Portland Jazz Festival Presented by Alaska Airlines roster.  Now in their tenth year of bringing stellar Jazz music to our fine Metropolis.

Friday, Feb. 15, 7:30pm @ Aladdin Theater - Afro Cuban All-Stars & Alfredo Rodríguez

Friday, Feb. 15, 7 & 9:30pm @ Jimmy Mak's - NEA Jazz Master Barry Harris with Chuck Israels & Todd Strait in partnership w/ Soul Patch Music

Saturday, Feb. 16, 7:30pm @ Scottish Rite Auditorium - Art Abrams Swing Machine Big Band featuring Rebecca Kilgore in Tribute to Stan Kenton with Shanghai Woolies

Saturday, Feb. 16, 9:30pm @ The Mission Theater - Blue Cranes in partnership with Creative Music Guild

Sunday, Feb. 17, 3:00pm @ Classic Piano - Alfredo Rodriguez, solo piano

Monday, Feb. 18, 7:00pm @ Jimmy Mak's - PDX Jazz All-Star Student Big Band under the direction of Gerald Wilson

Monday, Feb. 18, 9:30pm @ Jimmy Mak's - PDX Jazz All-Star Educators Ensemble under the direction of Darrell Grant Play the Music of Gerald Wilson

Tuesday, Feb. 19  7 & 9:30pm @ Jimmy Mak's - Scott Hamilton Quartet

Tuesday, Feb. 19, 7:30pm @ Evans Auditorium - Kurt Rosenwinkel Quartet in partnership with Lewis & Clark College

Wednesday, Feb. 20, 7 & 9:30pm, Jimmy Mak's - Matt Wilson's Arts & Crafts

Thursday, Feb. 21, 7:00pm @ Winningstad Theatre - Patricia Barber Quartet

Thursday, Feb. 21, 9:30pm @ Winningstad Theatre - Kenny Garrett Quartet

Friday, Feb. 22, 7:00pm @ Newmark Theatre - The Jazz Message; Celebrating Art Blakey

Friday, Feb. 22, 9:30pm, Winningstad Theatre - Steve Kuhn Trio w/ special guest Devin Phillips

Saturday, Feb. 23, 7:00pm @ Newmark Theatre - NEA Jazz Master Jack DeJohnette featuring Ravi Coltrane, Matt Garrison & George Colligan

Saturday, Feb. 23, 9:30pm @ Winningstad Theatre - Sexmob Plays Fellini  

Sunday, Feb. 24, 3:00pm @ Winningstad Theatre - Portland Jazz Master Nancy King with Glen Moore and Steve Christofferson

Sunday, Feb. 24, 7:00pm @ Newmark Theatre - ACS: Geri Allen, Terri Lyne Carrington, Esperanza Spalding

I know! Right?...  The shows that stand out to me are Jack DeJohnette and his For Portland Only special quartet configuration, The Jazz Message Celebrating Art Blakey in a world premiere featuring Javon Jackson, Bobby Watson, Eddie Henderson, Curtis Fuller, George Cables, Buster Williams and Lewis Nash, the Kenny Garrett Quartet, and the Steve Kuhn Trio featuring special guest Devin Phillips.  

Tickets are on sale now to PDX Jazz Members and will be on sale to the public starting October 27.  For ticketing information and a complete schedule of events visit www.pdxjazz.com. 

PDX Jazz brings Matthew Shipp Trio to Portland

Photo credit: andynew

Thanks to PDX Jazz Matthew Shipp and his Trio will be performing two sets at Jimmy Mak's (8pm and 9:30pm) on Monday, October 15th.  I will be there and so should you.  Shipp is pivotal in Modern Jazz and allows Free and Avant-Garde Jazz to maintain relevance in new music.  I can talk and talk about how important he is to contemporary Jazz, but if you're reading this blog chances are you already know.

From PDX Jazz:

PDX Jazz and Jimmy Mak’s present the Matthew Shipp Trio on Monday, October 15th @ 8 and 9:30pm. The 2013 U.S. Bank Portland Jazz Festival Presented by Alaska Airlines lineup will be announced. Shipp, an influential godfather figure in the New York Knitting Factory scene, will be making his first Portland area appearance in nearly 20 years.

Earlier this year Shipp released a studio album entitled Elastic Aspects with Michael Bisio on bass, and Whit Dickey on drums.  This recording follows the lineup's first release, a live album called Art of the Improvisor.  Shipp's style has a wide range under the Free Jazz umbrella.  This Trio date should offer an intimate glance into the pianist/composer's technique and concepts. 

You can also wet your whistle with this...

The Matthew Shipp Trio

Monday - October 15th

Set Times - 8 & 9:30pm
Advance Tickets

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PDX Jazz is also presenting a film screening during the NW Film Center's 2012 Reel Music Festival.  If seeing the Matthew Shipp Trio live on Monday isn't enough Jazz for you, be sure to visit the Mission Theater that Wednesday, the 17th, for a special double feature of Sonny Rollins: Behind the Notes, and Ornette: Made in America.  

I had the opportunity to see Ornette:Made in America at the 2008 edition of the Reel Music Fest.  It's worth noting that seeing this in its entirety is a special treat, and I wouldn't miss this chance to see it on the big screen. 

Music of the Cosmos, meet headphones of the Spaceways

[Full Discloser: my brother works for the company that makes Polk Audio products.  He sent these headphones to me.]

UltraFocus 8000 Headphones

A few things have prompted me to write about Sun Ra.  One: last week Portland's KMHD Jazz Radio featured Sun Ra's music all week long as part of their Artist Spotlight series.  Two: this summer I took up reading more Sci-Fi novels, and I feel this has reconnected me with Sun Ra's intergalactic themes.  And three: these new Polk Audio headphones sound fucking great.

"Sun Ra and his band from outer space will entertain you now"

What I am listening to here is Sun Ra's College Tour: The Complete Nothing Is.  The original ESP-Disk' LP contained 39 minutes of audio from a live set at St. Lawrence University in Potsdam, NY.  This two disc CD version contains the full 70 minute set along with a "partial second set from the same evening."  We can thank Sun Ra archivist Michael D. Anderson for all this new material.  Overall, the Nothing Is... is a feast to the ears.  Total ear candy in the highest Avant-Garde sense.  Great arrangements, great sound, great solos, and just plain-great Jazz music.

CD cover left, original LP cover right

Audio engineer David B. Jones captured a wonderful performance here, and this remastered version fills the role using my UltraFocus 8000 headphones.  The 8000's drivers provide a sound quality that allows the highs and lows to come through individually without conflicting with one another.  Along with the natural sounding mid-range tones, the highs, mids, and lows create a true harmonious listening experience.  For example, Ronnie Boykins bass slapping sounds killer on It Is Eternal.  There's a lot of room for the audio to breath, yet picking up little noise from the outside world thanks to the noise cancellation; which cleared out the hum from my window A/C and Mac Pro Fans.
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Ok.  So listening to 320kbs MP3 files is one thing... But the proper question is, how do these sound with Vinyl?

Keeping with the intergalactic themes, I tethered myself to the receiver with the company of Ornette Coleman's Science Fiction.  Particularly to the cuts Civilization Day and Street Woman.  The two tracks containing the [original] original Quartet line up.  

Agnes Martin scoping the UltraFocus 8000 Headphones

There was once a time when young folks wanted the loudest stereos.  Now, we keep the music to ourselves thanks to iPods and Smartphones.  However, I can't remember the last time I sat with headphones while listening to an actual piece of Wax.  For one, I sit and what else is there to do but read the liner notes?  I just said to my wife the other day, "people don't read liner notes these days."  Which I followed up with, "do people even write liner notes for new music?"

To answer my question, Howard Mandel has work doing so, but I don't know the answer in the "Pop" music sense.  However, my original point is that I am thankful these new headphones gave me the chance to read some liner notes oppose to just having music in the background.  And boy, does Ornette's Quartet sound good on these puppies.  Of course I still hear the snap, crackle, and pop of the LP, but I don't think I have ever heard Billy Higgins sound so good.  I mean, I can really differentiate between each drum head and cymbal.  And along with Charlie Haden's chromatic use of his finger board on Street Woman, the Quartet appeared more unstoppable than ever before.
The Complete Nothing Is... 1966 - ESP-Disk'
Sun Ra - piano; John Gilmore - tenor sax; Marshall Allen - alto sax; Pat Patrick - baritone sax; Robert Cummings - baritone clarinet; Teddy Nance - trombone; Ali Hassan - trombone; Clifford Jarvis - drums; Ronnie Boykins - bass, tuba; James Jackson - log drum, flute; Carl Nimrod: sun horn, gong. 

Science Fiction, Civilization Day & Street Woman. 1972 - Columbia
Ornette Coleman - alto sax; Don Cherry - pocket trumpet; Billy Higgins - drums; Charlie Haden - bass.

"Man On The Moon" - Ornette Coleman

Yesterday (8/25/12) Neil Armstrong left us.  Not to travel to the moon and back again, but instead he is forever a part of the Cosmos that exists beyond our tiny Spaceship we call Earth. 

In 1969, Ornette Coleman released a 7" single to celebrate the Moon Landing.  This rare, out of print gem was issued by Impulse and was only available in France.  It's no surprise that Ornette would create music in response to Space travel.   His music looked to the future (and still does) in time that was stepping into the future.

Ornette Coleman - alto sax; Don Cherry - trumpet; Dewey Redman - tenor sax; Charlie Haden - bass; Ed Blackwell - drums; Emmanuel Ghent - electronic devices on "Man on the Moon."

"Weight" - Yoni Kretzmer 2Bass Quartet

This is another ambitious record from the Brooklyn based label, OutNow Recordings; which is their second that features Yoni Kretzmer as a leader.  In OutNows' eighth release, Weight provides a solid example of how the Avant-Garde remains fresh in today's music scene.

Weight contains a double bass quartet.  OutNow states that "this quartet's sound is obvious yet unfamiliar simultaneously."  I couldn't agree more with that testament.  While Kretzmer is drawing on the similar platform to his standard trio, these eight cuts were composed with the double bass quartet specifically in mind.  With extended amounts of double bass (quadruple bass? jk) we're left with warm, low tones that interact well with one another.  Sort of like a mega bass player in the personnel, everything is anchored but there is still a significant unbalance that lends to a unique listening experience.

The jagged percussion by Mike Pride, and the accompaniment of bassists Sean Conly and Reuben Redding provide the perfect atmosphere for Kretzmer to display his craft.  In my humble opinion, Kretzmer is one of the finest contemporary saxophonists of the genre.  He knows how to create wonderful melodies and licks that are surrounded by, what seems to be, a controlled chaos.  Which allows breathing room for each player to have their moment under the sun.  

2012 - OutNow Recordings

Yoni Kretzmer - tenor saxophone; Sean Conly - bass; Reuben Redding - bass; Mike Pride - drums.