{"id":2283,"date":"2014-10-13T18:13:41","date_gmt":"2014-10-14T01:13:41","guid":{"rendered":"http:\/\/www.artsjournal.com\/culturecrash\/?p=2283"},"modified":"2014-10-13T19:27:35","modified_gmt":"2014-10-14T02:27:35","slug":"drummer-brian-blade","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/culturecrash\/2014\/10\/drummer-brian-blade.html","title":{"rendered":"Drummer Brian Blade"},"content":{"rendered":"

[contextly_auto_sidebar id=”dpPxWyWkL9K8V1VG4SfF8hwPukC2yYjM”]<\/p>\n

THE other night I was invited to the Silver Lake home of producer Daniel Lanois, who (best known for his work with Dylan, U2 and Emmylou Harris) has a new record of his own coming. I went partly because of the involvement of Brian Blade, mostly known as a jazz drummer.<\/p>\n

\"Blade:Lanois\"<\/a>

Photo by Steve Hochman<\/p><\/div>\n

Blade played with Wayne Shorter’s group at Disney Hall not long ago and stole the show. Lanois’s playing — piano, electric guitar, various kinds of electronic sounds — was often interesting, especially accompanied by abstract short films projected behind him, but Blade did it again: His understated playing and use of polyrhythms made me forget anyone else was in the room. Musicians: Beware of this guy. He is a dangerous figure who will subtly eclipse you.<\/p>\n

I must admit that Lanois floored me and the rest of the crowd with his eerie and eloquent steel-guitar playing.<\/p>\n

The Lanois record<\/a>\u00a0Flesh and Machine<\/em> — and the man himself came across as a good-natured and sincere guy — comes out later this month on Anti- Records.<\/p>\n","protected":false},"excerpt":{"rendered":"

[contextly_auto_sidebar id=”dpPxWyWkL9K8V1VG4SfF8hwPukC2yYjM”] THE other night I was invited to the Silver Lake home of producer Daniel Lanois, who (best known for his work with Dylan, U2 and Emmylou Harris) has a new record of his own coming. I went partly because of the involvement of Brian Blade, mostly known as a jazz drummer. Blade played […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[40,42,30],"tags":[],"class_list":{"0":"post-2283","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-indie","7":"category-jazz","8":"category-los-angeles","9":"entry","10":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/2283","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/comments?post=2283"}],"version-history":[{"count":5,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/2283\/revisions"}],"predecessor-version":[{"id":2289,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/posts\/2283\/revisions\/2289"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/media?parent=2283"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/categories?post=2283"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/culturecrash\/wp-json\/wp\/v2\/tags?post=2283"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}