2012 August 06

Hallberg And Lundgren Back To Back Again

August 6, 2012 by Doug Ramsey

One of the premier events of this festival was the appearance of a pair of world-class Swedish pianists separated in age by 34 years. One is a cultural hero of his nation. The other is reaching that status. 46-year-old Jan Lundgren, artistic director of the festival and a resident of Ystad, greeted Bengt Hallberg, 79, onstage for a concert back to back on 9-foot grand pianos. Hallberg was the pianist on the legendary 1953 record sessions that this festival’s honorary guest, Quincy Jones, … [Read more...]

Martin And Rosenwinkel In Ystad

August 6, 2012 by Doug Ramsey

Compact and organized, the Ystad Jazz Festival is nonetheless too loaded with music for anyone to be able to hear more than a generous sampling. Here are a few samples. CLAIRE MARTIN Ystad artistic director Jan Lundgren introduced the group as The Claire Martin Band. Whether or not that is their official name, it makes sense. Martin is the leader, but it is apparent that pianist Gareth Williams, bassist Laurence Cottle and drummer Kristian Leith regard her as more than—you should … [Read more...]

Don Budzinski on Just Because: Dizzy Gillespie, 1987
And a year later he was in Chicago being honored by the Jazz Institute of Chicago at Wells High School as part of the JIC's...
Posted Mar 03, 2015
Terence Smith on Monday Recommendation: Terry, Keepnews & Monk
May I second this recommendation that no one should miss. The In Orbit LP (now CD ) certainly proves that Clark Terry and Thelonious Monk were made...
Posted Mar 02, 2015
Rob D on Orrin Keepnews, RIP
Very sad..but what a life he experienced! I can't imagine my world without Riverside and Milestone. Bill Evans, Cannonball, Monk, Wes, Rollins ...just an awesome...
Posted Mar 02, 2015
Stuart Goodall on Weekend Extra: That Swinging Eighth Note Illustrated
Love the video. Great ensemble, and good to see expansive choruses from Stitt, McGhee and Walter Bishop Jnr - quite a rare privilege. Kenny Clarke's...
Posted Mar 02, 2015
Wayne Tucker on Orrin Keepnews, RIP
Keepnews seemed as much a fan as a record business man. His books, of which I have at least one, and liner notes show a...
Posted Mar 01, 2015

Monday Recommendation: Terry, Keepnews & Monk

Clark Terry, In Orbit (Riverside)

The coincidence of trumpeter Clark Terry and producer Orrin Keepnews passing within a few days of one another brings to mind a timeless album on Keepnews’s Riverside label. Terry’s 1958 In Orbit featured a special sideman. He asked for Thelonious Monk on piano. For a reissue of the album the producer wrote that, to his surprise, “…Monk agreed without hesitation, did not ask for a heavy fee (I believe he was paid no more than twice the union-scale maximum) and turned in the most relaxed, happiest and funkiest Monk performances I have ever witnessed. One reason may have been that Clark made no special fuss over him–and included only one Monk tune on the album.” The result remains an essential item in both Terry’s and Monk’s discographies, and a feather in Keepnews’s cap.

Monday Recommendation: Pullman On Powell

Peter Pullman, Wail: The Life of Bud Powell (Pullman)

Pullman’s research, detail and zeal override flaws of style in this indispensible study of the architect and spirit of modern jazz piano. The author is illuminating in his treatment of Powell’s early years as a child prodigy. He is chilling in his documentation of the mature pianist’s tribulations in the hands of police, mental institutions, lawyers, the courts, and some of his women companions. He paints a bleaker picture than the conventional wisdom that Powell’s European exile was a happy period. Concocted racial euphemisms like “afram” and “euram” are distractions, as is banishment of “the” in the names of things. Descriptions of Powell’s music making are likely to send the reader to the CD shelves or YouTube to hear the brilliance of the pianist’s inventions. Pullman delivers invaluable information about a great artist. Flaws, eccentricities and all, this is an essential book.

Monday Recommendation: Vijay Iyer Trio

Vijay Iyer, Break Stuff (ECM)

It would be safe to say that the pianist Vijay Iyer is the only jazz musician who constructs his music on the Fibonacci sequence of numbers introduced by the Medieval Italian mathematician. Safe that is, if Iyer didn’t credit saxophonist Steve Coleman with giving him the idea years ago. Maybe Coleman got it from Bartók (e.g., “Music For Strings, Percussion and Celesta”). Whether Iyer’s ascendency in jazz can be credited to his mathematical expertise and intellectual romance with numbers is beside the point. What counts is the effectiveness of the music. On some of the pieces here, Iyer, bassist Stephan Crump and drummer Marcus Gilmore avoid the boredom of repetition by overlaying sheer lyricism. In Thelonious Monk’s “Work,” Coltrane’s “Countdown,” Iyer’s own “Wrens” and “Break Stuff,” and his langorous unaccompanied solo on Billy Strayhorn’s “Blood Count,” boredom is unlikely.

Monday Recommendation: Lisa Parrott

Lisa Parrott, Round Tripper (Serious Niceness Records)

There is muscle and grit in the sound of Ms. Parrott’s baritone saxophone on Ornette Coleman’s “Round Trip.” Playing alto, she comes closer to essence of Coleman in “Rosa Takes a Stand” and “D. Day.” Her work on both horns is inflected with a kind of Coleman chanciness, but it would be a mistake to categorize this Australian who moved to New York in the 1990s. In a song written with her bassist sister Nikki, “Do You Think That I Do Not Know,” and a moody adaptation of “Waltzing Matilda,” her lyricism can be reminiscent of mainstream saxophonists like Harry Carney and Willie Smith. She turns Brazilian in Pixinguinha’s classic “Um a Zero.” Ms. Parrott has exquisite dialogues with fellow Australians Nadje Noordhuis, trumpet, and Carl Dewhurst, guitar. Drummer Matt Wilson and bassist Chris Lightcap complete a flawless rhythm section

Monday Recommendation: Bley, Sheppard, Swallow

Carla Bley, Andy Sheppard, Steve Swallow, CBTrios (ECM)

Trios concentrates the essence of understanding that Bley, Sheppard and Swallow have developed over two decades of collaboration. She recorded the album’s five pieces in various configurations on earlier albums, but the spare instrumentation of her piano, Sheppard’s saxophones and Swallow’s bass creates space for leisurely exploration of the deep harmonic possibilities in her compositions. Most of all, though, melody is what dominates these performances—intriguing melodies like those of “Utviklingssang,” “Vashkar” and others written by Bley—but also those invented by Sheppard, a great tenor saxophonist. Swallow long since, in effect, remade the electric bass. He solos with the facility of a guitarist and, as in the first movement of “Les Trois Lagons (d’après Henri Matisse),” can create walking bass lines that make you want to dance. This album has become a habit around here.

Monday Recommendation: Art Tatum

Art Tatum, God Is In The House (High Note)

The title comes from what Fats Waller said when he saw Art Tatum walk into a club where Waller was playing. Dan Morgenstern tells the story in his notes for this essential collection, “…he stopped the music and announced: ‘Ladies and gentlemen, I play the piano, but God is in the house tonight.’” Tatum was Waller’s primary inspiration. The master had no hesitation about paying obeisance to the student. Using a disc recorder, Jerry Newman captured the incredible pianist in Harlem clubs in 1940 and ‘41. The music on this album is not a recent discovery. Don Schlitten released it as an LP on his Onyx label in 1973. The High Note CD has been available since 1998. I’m recommending it now it out of concern that some of you may have deprived yourselves of these indispensible snapshots of Tatum’s genius.

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