Doug Ramsey on Jazz and other matters...
I cannot recall having previously posted a promotional video, and I may never post one again. But the video about the Branford Marsalis CD recommended in the new batch of Doug’s Picks has helpful insights into the philosophy of the band’s approach to its work. In addition, it is a nice little piece of documentary film-making.
Ron Miles: Quiver (enja yellow bird)
Miles’s playing on “There Ain’t No Sweet Man Worth the Salt of My Tears” draws 21st century Denver and 1928 Chicago close. Some of his flurries of wildness on this album are as daring as the work of any modern trumpeter, but the Bix Beiderbecke lyricism in Miles’s soul extends into everything he plays. With just Bill Frisell’s guitar and Brian Blade’s drums, Miles may seem to be operating lean. No, there is richness in their harmonic inventiveness and rhythmic compatibility. The nine pieces are not officially a suite, but unity of conception runs through the performances. This is a satisfying album.
Heather Masse And Dick Hyman: Lock My Heart (Red House)
With The Wailin’ Jennys and the Wayfaring Strangers and appearances on radio’s Prairie Home Companion, Heather Masse has attracted a following among folk and bluegrass fans. This album of duets with master pianist Dick Hyman discloses the jazz foundation that has long been evident in her singing. Their treatments of Strayhorn’s “A Flower is a Lovesome Thing” and Buddy Johnson’s “Since I Fell For You” are ballad perfection. In their delightful “I’m Gonna Lock My Heart and Throw Away the Key,” she manages to combine Billie Holiday and Marilyn Monroe. Hyman’s accompaniments and solos are reminders that this 86-year-old wonder is one of the most interesting pianists alive.
Miles Davis Quintet Live In Europe 1969: The Bootleg Series Vol. 2 (Columbia/Legacy)
This three-CD, one-DVD set finds the trumpeter fomenting even more dramatic change than usual. The first volume in the so-called bootleg series of Davis concert recordings found his primarily acoustic 1967 quintet already tending toward electronic music and rock. Saxophonist Wayne Shorter remains from that band. Here, the transition intensifies. Electric pianist Chick Corea, bassist Dave Holland and drummer Jack DeJohnette accelerate the shift Davis initiated with In A Silent Way. The repertoire is redolent of Davis’s Bitches Brew period. We hear the headiness, excitement and—sometimes—the aimlessness of newfound freedom. The DVD’s superb sound and picture bring the band alive.
Bill Frisell, The Disfarmer Project (La Huit)
Belgian filmmaker Guillame Dero captures the eclectic guitarist Frisell, violinist Carrie Rodriguez, guitarist Greg Leisz and bassist Viktor Krauss in a live performance set to portraits by the 1950s Arkansas photographer Mike Disfarmer. Some of the music was on a 2009 CD mentioned in this Rifftides post. Hearing it in new versions with Disfarmer’s eccentric and vaguely disturbing photos looming over the band is an adventure. Watching interaction and reaction among the quartet increases the fascination. Frisell salts his original compositions with songs by Hank Williams, Arthur Crudup and Cliff Friend.
Paul de Barros, Shall We Play That One Together? The Life and Art of Jazz Piano Legend Marian McPartland (St. Martin’s Press)
The nonagenarian pianist presented de Barros with every biographer’s hope, unrestricted access to his subject’s personal papers and nearly unrestricted access to her private thoughts. He made the most of it, turning exhaustive research and hundreds of hours of interviews into a true story with the sweep of a novel. From the early discovery of McPartland’s musical gift through her wartime service, her ecstatic and stormy marriage to Jimmy McPartland, her growth as a pianist, her deep affair with Joe Morello, and the radio show that made her a national figure, she has had a fascinating life. It makes a splendid read.
Gerry Mulligan and the Concert Jazz Band, Santa Monica 1960 (Fresh Sound)
Mulligan’s Concert Jazz Band had three fewer musicians than most big jazz outfits. Its size permitted precision, flexibility and subtlety, yet the band had the power of sprung steel. In this concert from a half century ago, the CJB is as fresh as yesterday. Arrangements by Mulligan, Bob Brookmeyer, Al Cohn and Johnny Mandel set standards to which big band writers still aspire. Bassist Buddy Clark and drummer Mel Lewis inspired Mulligan, Brookmeyer, Conte Candoli, Gene Quill and Zoot Sims to some of the best soloing of their careers. This beautifully produced issue of the complete concert is a basic repertoire item.
Thanks for sharing, Doug. For those of us who only write about music and don’t play, it’s fun to see a band at work. Mr. Marsalis has never been accused of being humble but he (and the band) speak through the music. Like the best creative music, what they do is not about fashion or fads but allows the listener to find common emotional ground in the band’s sonic conversations ( and, if it does not touch you, so be it – this music does not bend to fit your tastes.)
Intensity, Intensity, Intensity—Blakey would be proud of this group. I had the good fortune of seiing Branford & Calderazzo at Monterey a few years back and it was Intense. They drive it out of each other. Incredible intensity there, no matter what content they play.
I like Mr. Kamins’ comments, as well, from a fellow non-musician. Well said.
While here, I want to commend the crack Rifftides staff for recommending Brent Jensen’s The Sound of a Dry Martini. Loved every tune and with Mr. Ramsey’s liner notes, an added plus as well! Desmond Lives!
Great film! Thanks for posting, Doug.
Branford is the man on soprano!
Fine Sound of a Dry Martini CD, Brent—Kudos & thanks!
Can a fan see ya outside of the Northwest, namely in Va/Carolina region?
In the video, they seem to be bidding goodbye to this Hayti place (apparently an ex-church). Is it disappearing, going the way of many spaces to become condo buildings or such? And it’s in Raleigh, NC I note. Must be a story how it has become a recording centre…
Apparently, the former St. Josephs AME Church is going full-blast in Durham, NC, as a cultural and community center. The Hayti website mentions nothing about recording activity. Marsalis seems to have rented or borrowed it as a studio more than once.
For those who are interested, a Paris Review blog post on Marsalis, Hayti and the recording of this CD. According to the author, Marsalis has used Hayti as a recording studio six times because there is no reverb at low decibel levels–it grows gradually with the sound.
“Don’t play that, that sounds like jazz radio…” I laughed out loud.
Branford’s coming to Seattle for a special concert with SRJO in November, and I can’t wait.
Nice film!
It helps to appreciate Ms. Lloyd’s comment if you know that she works in jazz radio.
MF’s ?
Could you spell that out for us please?
I will forward the question to Marsalis Music.