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Rifftides

Doug Ramsey on Jazz and other matters...

Other Places: Barkan To The Rescue

Jimmy Heath recently said Thumbnail image for Barkan.jpghe’s been hearing since he was a youngster that jazz is dying. The saxophonist and composer/arranger will be 84 in October. Joining him in discounting death rumors is a younger man, the veteran entrepreneur Todd Barkan, who runs the oddly named but vital Dizzy’s Club Coca-Cola, a bastion of jazz in New York City. Barkan is preparing a fall festival designed to help insure the music’s vitality by bringing together some of its wise elders with promising younger musicians. Pia Catton writes about the project in today’s Wall Street Journal.

“We are reaching a critical stage in jazz music because we’ve lost a lot of people in the last few years,” Mr. Barkan said. “Older artists teach a lot by example and the practice of jazz.”

To learn of Barkan’s plans for the festival and read all of the article, which includes an embedded video, go here.

Weekend Extra: Fun With Chet And Paul

Someone who identifies himself on YouTube as “liveacid” went to painstaking trouble to manufacture a video of Chet Baker and Paul Desmond playingBaker Too good.jpg “Autumn Leaves.” The music track is from Baker’s 1974 album She Was Too Good To Me. It was later reissued on the compilation Chet Baker & Paul Desmond Together. From disparate sources, the editor rounded up shots of Baker, Desmond, pianist Bob James, bassist Ron Carter and drummer Steve Gadd. You’ll hear Hubert Laws’ flute, but “liveacid” did not include shots of Laws.
Baker Desmond Together.jpgThe breaths Desmond and Baker take don’t match those in the music, although they often come uncannily close. Pay attention to what fingers and drumsticks are doing in relation to the notes and you’ll see the misses and near-misses. You never see the players together. The editor repeatedly recycles the same shots. Still, despite its flaws it’s a clever job of digital cut and paste. It is reason enough to listen again to players who, as the liner notes of that compilation remind us, were wonderful together.

Have a good weekend.

Recent Listening: These Pianists Are From Venus

The Japanese have a longstanding love affair with jazz piano. Albums by jazz pianists sell consistently well in Japan. Leading pianists from around the world perform there in concerts and clubs. Indeed, the country has produced its own crops of world-class pianists, among them Toshiko Akiyoshi, Makoto Ozone, Kei Akagi, Junko Onishi and the current phenomenon Hiromi Uehara. A Japanese promoter organizes an annual tour called 100 Gold Fingers that features 10 prominent pianists in concert. The tour has included at one time or another Hank Jones, Roger Kellaway, Eddie Higgins, Jessica Williams, Junior Mance, Bill Charlap, Renee Rosnes, Cedar Walton and Ray Bryant, among many others.
No one in Japan is more committed to jazz piano than Tetsuo Hara. He records horn players and singers, too, but his Venus Records catalog is packed with CDs by some of the music’s most prominent keyboard artists. Hara records many of them in New YorkThumbnail image for Venus Logo.jpg under his supervision and that of the veteran producer Todd Barkan. His recordings have superior sound by first-rate engineers like Jim Anderson, David Darlington and Katherine Miller. For years, it was difficult and expensive for people outside Japan to acquire Venus records. Now, most of them are available in the US and elsewhere; at import prices, it’s true, but bargain offers show up on some web sites. Although original compositions occasionally materialize on Venus albums, Mr. Hara’s inclination is to have his artists record familiar music. In general, the results confirm that the song form offers endless possibilities, as even the famously iconoclastic saxophonist Archie Shepp demonstrates in his four Venus CDs.
Today’s topic, however, is pianists.
Roland Hanna, Après Un Reve (Venus). In this exquisite little recital, the pianist bases his improvisations on music by Schubert, Fauré, Borodin, Chopin, Mozart, Dvořák, Mahler Thumbnail image for Hanna Apres.jpgand Anton Rubenstein. He recorded it less than two months before he died in November, 2002. Ron Carter’s bass lines and Grady Tate’s all-but-weightless drumming are perfect complements to Hanna, who reaches deep into the harmonic opportunites in pieces generations have loved for their melodies. Hanna’s clarity of conception and lightness of touch are beautifully captured in this flawlessly engineered recording. Among the pleasures here are his chord substitutions as he makes his stately way through Mozart’s indelible “Elvira Madigan” theme from the Op. 21 C Major Piano Concerto, the gravity of the trio’s treatment of the second movement of Mahler’s Symphony No 5 and—between those mostly solemn reflections—a Dvořák backbeat boogaloo on “Going Home” from The New World Symphony. This is a gem in Roland Hanna’s discography.
Eddie Higgins, If Dreams Come True (Venus). It is an indication of Higgins’s (1932-2009) popularity in Japan that the Venus catalog has 29 CDs under his name. Several of them, including this one from 2004, are trio or small band albums with bassist Jay Leonhart and drummer JoeThumbnail image for Higgins If Dreams.jpg Ascione. In accordance with the Hara dictum, all of the pieces but one are standards. That one, “Shinjuku Twilight,” is an attractive A-minor theme that stimulates Higgins and Leonhart to some of their best soloing in an album in which both are at the tops of their games. “Standards” doesn’t necessarily mean warhorses. “A Weekend in Havana” and “Into the Memory” are hardly overdone, and Higgins does them to a turn. It’s good to hear Higgins caress Xavier Cugat’s rarely performed ‘Nightingale,” convert “Days of Wine and Roses” into a “Killer Joe” soundalike and recall Django Reinhardt with a jaunty revival of “Minor Swing.” Alec Wilder’s “Moon and Sand” becomes a modified samba. The piece de resistance is “St. Louis Blues,” with a boogie woogie component that may not have been intended as tribute to Earl Hines but would surely have generated one of Hines’ thousand-watt smiles if he had heard it.
Stanley Cowell, Dancers In Love (Venus). Cowell recorded this in 1999 with bassist Tarus Mateen and drummer Nasheet Waits, young lions beginning to make their names. He had already established his own reputation among musicians but to this day remains unfamiliar even to many dedicated jazz listeners. In part, that is because Cowell has dedicated much of the latter part of his career to jazz education, most recently with tenure at Rutgers Thumbnail image for Cowell Dancers.jpgUniversity. He is a complete pianist, capable not only of demonstrating the formidable technical aspects of Art Tatum but also of capturing the elusive subtleties and eccentricities of Thelonious Monk. In this album he employs his absolute command of the keyboard not in the service of display but of musical expression. Over the years, Charlie Parker’s “Confirmation” has become a vehicle for speedsters. Cowell takes it at the pace of a leisurely walk, disclosing the lyricism concealed in its intriguing harmonies. In a brief exposition of Duke Ellington’s “Dancers in Love,” he gets inside Ellington’s whimsy. He laces the cowboy song “Ole Texas” and a South African folk song with musical values and plays the whey out of Eubie Blake’s “Charleston Rag,” complete with bebop moments that make perfect sense. Cowell includes two originals, a bittersweet ballad called “I Never Dreamed” and “St. Croix,” which sparkles with calypso verve. His inventiveness in Gershwin’s “But Not For Me” is dazzling. This rarity of an album, like Cowell himself, should be better known.

Other Places: Manfred Eicher And ECM

Manfred Eicher has been successful with his ECM label not by constantly taking the pulse of the public and the record industry but by recording music he likes. That is an oversimplification, but not much of one. In the British newspaper The Guardian, Richard Williams has a piece about Eicher and his 40 years at the helm of the company he founded. Near the top of the article, he writes:

To its many admirers, ECM stands for a certain meditative, introspective Manfred-Eicher-at-the-pia-005.jpgapproach to playing and listening. Its albums – about a thousand of them to date – are recorded and packaged with a deliberate refinement, once upsetting to those who concluded that Eicher had somehow squeezed the vitality from the jazz he professed to love, contaminating it by an association with his north European sensibility.
That argument seems to have been won.

Williams goes on to make the case, in part with quotes like this from Eicher:

“For me it’s very good to bring the demands of written music – phrasing, intonation, dynamics – to improvisational recording, where the approach is looser and more spontaneous. And vice versa, to bring some of the spirit of an improvised music session into a recording of written music, to get some empathy into it, so that it doesn’t become an academic-circle record. I’m trying to make an exchange, to bring one to the other.”

To read the whole thing, go here.

From The Archive: Separated At Birth?

This was first a Rifftides post on March 24, 2006.
Stravinsky, Monk.jpg
Thanks to Bill Reed and David Ehrenstein for calling this to our attention.

Compatible Quotes: On Freedom

The more constraints one imposes, the more one frees oneself. And the arbitrariness of the constraint serves only to obtain precision of execution. —Igor Stravinsky

At this time the fashion is to bring something to jazz that I reject. They speak of freedom. But one has no right, under pretext of freeing yourself, to be illogical and incoherent by getting rid of structure and simply piling a lot of notes one on top of the other. —Thelonious Monk

Recent Listening: Kamuca and Konitz

Richie Kamuca & Lee Konitz, Live at Donte’s 1974 (Cellar Door)
It’s a hoot to hear the saxophonists channel their hero Lester Young in this recently discovered session recorded at the lamented Los Angeles club. “Lester Leaps In” begins and ends as a unison duet, complete with stop-time breaks, Kamuca Konitz.jpgreproducing Young’s 1939 solo on the master take of the piece with Count Basie’s Kansas City Seven. In their own solos, Kamuca and Konitz leave no doubt about where they came from. Kamuca, the tenor player, is clearest in his fealty to Young. Konitz, on alto, is more abstract in his Prezcience, but it has always been a major element in his work. The other tunes are standards in the gig books of musicians of Kamuca’s (1930-1977) and Konitz’s (1927- ) generation—”Just Friends,” “Star Eyes,” “All The Things You Are” and Bobby Troup’s “Baby, Baby All The Time.” Solos are long and exploratory; the shortest track is 7:41. The set has the exhilaration, rough edges, chance-taking and surprises that make for satisfying live performance.
Support for the two Ks is by the solid L.A. rhythm section of pianist Dolo Coker, bassist Leroy Vinnegar and drummer Jake Hanna, all of whom solo to great effect. Vinnegar goes beyond his customary walking bass for a couple of bowed solos and a bit of unexpected wildness in his “Lester Leaps In” solo, to the evident amusement of his colleagues and the audience. Coker, an under-recognized high achiever among Bud Powell admirers, has impressive moments throughout. Hanna cooks along, fueling the swing. Toward the end of the last track, “Lester,” he finally takes a solo. What he saved up is worth the wait. The sound of this session, exhumed from reel-to-reel tapes, won’t turn Rudy Van Gelder green with envy, but it’s perfectly acceptable; you can plainly hear what everyone is doing. Unearthing and releasing it is a feather in the cap of Cellar Door’s Bill Reed. On the CD box, it says, “Limited Edition.” The 300 copies probably won’t last long because there is nothing limited about the music.

Recent Listening: Whitted, Manricks, Saluzzi, O’Brien

Here is the new batch of short reviews —micro-reviews, perhaps—in which the Rifftides staff acknowledges some of the CDs that have attracted our attention lately. It would be impossible to hear all of every album that shows up. Even sampling a majority of them is a challenge. Evidence: these are some, only some, of the fairly recent arrivals. Whoever said jazz is dying hasn’t talked to my FedEx, UPS and USPS deliverymen.
Recent CDS 71610.jpg
Pharez Whitted, Transient Journey (Owl). In his liner notes, Neil Tesser writes of trumpeter Whitted’s playing, “the spirit of Freddie Hubbard hovers nearby.” It certainly does. With his facilityWhitted.jpg and fat, even sound, Whitted does hard bop a la Hubbard to a turn. His own spirit seems to materialize most clearly in his slower pieces, notably the title tune and “Sunset on the Gaza”. On flugelhorn, he is reflective in “Until Tomorrow Comes,” with its samba inflection. Whitted’s sextet includes a rhythm section of fellow Chicagoans. In the front line he has the masterly guitarist Bobby Broom and saxophonist Eddie Bayard, who is from Jamaica by way of Ohio and fits nicely into Chicago’s tough tenor tradition.
Jacám Manricks, Trigonometry (Posi-Tone). A year after his stimulating Labyrinth (see the Rifftides review here), the young Australian based in New York divests himself of the chamber orchestra and pares down to a quartet, adding guest horns Manricks Trig.jpgon three pieces. The writing skills he displayed on the previous album are in evidence in the smaller context. Using trompe l’oreille harmonies, Manricks voices his alto saxophone, Scott Wendholt’s trumpet and Alan Ferber’s trombone to sound like a larger ensemble. “Cluster Funk,” as audacious as its title, is a prime case in point. It has a beautifully shaped Wendholt solo. As for Manricks’ own playing, it ranges from heart-on-the-sleeve lyricism in “Mood Swing” to a sort of post-Konitz earnestness in “Slippery” to bounds and leaps reminiscent of Eric Dolphy in, among other pieces, Dolphy’s “Miss Ann.” Pianist Gary Versace, bassist Joe Martin and drummer Obed Calvaire are the well-matched rhythm section.
Dino Saluzzi, El Encuentro (ECM). The venerable bandoneónista combines with the strings of the Metropole Orchestra in a suite that alternates languor and drama.Saluzzi.jpg Saluzzi marinates four long tracks in the sadness and passion that characterize the Argentine tango tradition, accenting them with contrasting bursts of dance-like joy from his bandoneon. His saxophonist brother Feliz and cellist Anja Lechner—each with a rich, roomy tone—also solo in this beautifully recorded concert performance in the Netherlands. Any piece called “Miserere” obligates itself to carry the emotional weight the title implies. Saluzzi’s “Miserere,” with the profundity of his bandoneon solo section, meets the obligation. Like all lasting music, Saluzzi’s work discloses new facets with each hearing.
Trisha O’Brien, Out Of A Dream (Azica). Ms. O’Brien sings in tune, swings lightly with a good time feel, understands the meaning of lyrics, chooses fine songs and doesn’t scat. She and Trisha O'Brien.jpgproducer Elaine Martone know how to put a band together. Lewis Nash is the drummer, Peter Washington the bassist. On piano is the sensitive accompanist Shelly Berg, who also did the arrangements. Ken Peplowski plays tenor saxophone on three tracks and has a peach of a solo on “Taking a Chance on Love.” The songs are from what reviewers are required to call The Great American Songbook (anyone with a better name is welcome to submit it). That means we get Porter, Loesser, Berlin, and Burke and Van Heusen, among others. There are latterday entries by Joni Mitchell and Alan and Marilyn Bergman. In “Everybody Loves My Baby,” Ms. O’Brien manages to be both sinuous and saucy, with Peplowski commenting on tenor sax and Washington in a walking solo right out of the Leroy Vinnegar playbook.
More reviews to come. Soon, I hope.

Things To Come

In a doomed attempt to stay abreast of the torrent of new releases flooding into Rifftides world headquarters, the staff is feverishly preparing a series of briefListening.jpg reviews; perhaps “alerts” would be a better word. It is our intention to begin posting them tomorrow or the next day. Even in the digital age, however, listening is a linear proposition, so bear with us. We can’t just inhale the music, you know (no substance gags, please).
Oh, that was a substance gag.
Watch this space.

Brubeck & Company In Belgium, Part 5

Ending this Rifftides mini-series of videos from the Dave Brubeck Quartet’s 1964 appearance on Belgian television is—what else?—the number that became a popular hit in a best-selling album and for Desmond, its composer, an annuity that by terms of his will is still funneling large amounts of money to the Red Cross. The quartet included it in all of their concerts around the world, lest there be disappointed audiences. This version has a brief solo from Desmond, an elegiac one from Brubeck, and Morello more subdued and thoughtful than he sometimes was in this show piece. There are cast and crew credits at the end of this beautifully produced television episode.

Dear Old Ystad

A new three-day jazz event joins the roster of festivals that enliven Europe each summer. A musician heads this one. The Swedish pianist Jan Lundgren is organizing an early August festival in his hometown, the historic seaside village of Ystad.
Ystad.jpgIn addition to Lundgren’s trio, the headliners include Benny Golson, Toots Thielemans, Richard Galliano, Jacob Fischer and Paolo Fresu. To see the program schedule and other information, go here.

Other Matters: Keyboard Brothers

Inspired by the new Bill Charlap-Renee Rosnes CD (see the review), I sent the Rifftides staff in search of other piano duos. They found this.

The clip is from The Big Store (1941). They don’t make ’em like that anymore&#151 movies or brothers.

Correspondence: On Harvey Pekar

Rifftides reader Allen Mezquida writes:

It seems that Pekar had a greater perception about jazz than many
musicians I know. He listened with a rich open mind and a big heart.
I created this animation for him. It was finished about a week before
he died.

Allen Mezquida animates films and plays alto saxophone in Los Angeles.

Harvey Pekar, Jazz Critic

Harvey Pekar died this week at the age of 70. He will, inevitably, be more widelyharvey-pekar.jpg remembered for his seriously adult American Splendor comics and the movie they inspired than for his jazz criticism. As a writer about music he was—no surprise—eccentric and uneven but at his best wrote with precision and frankness about what he heard in his careful listening. Here is the conclusion of his Austin Chronicle review of the reissue of the Miles Davis Cellar Door Sessions.

Maybe Miles was thinking of himself more as the lead voice of a collectively improvising ensemble than a soloist. He plays in fits and starts, screaming, improvising complex but sloppily executed runs, not making good use of wah-wah effects. His efforts don’t hold together well. The loose group concept might be prime suspect in Davis’ cliché-filled performance, but there’s (Keith) Jarrett, member of the same group, playing so well. Jazz fans tend to think of and evaluate Davis’ fusion recordings as a whole, but actually there’s a wide variation in their quality, and that should be kept in mind when purchasing them.

To read the whole review, go here.
Pekar was infatuated with some of the least tethered free jazz. Writing about his avant garde heroes he sometimes went as far out as they did. Yet, he was capable of an open mind and an even keel, as in this observation from a review of the box set reissue that includes Ghosts, saxophonist Albert Ayler’s 1964 collaboration with Sonny Murray, Don Cherry and Gary Peacock.

Here we have characteristic and mature performances by Ayler. In evidence are his honks, above-the-normal-upper-register screams and squeals, lines played so fast they seem to be a blur of notes and a huge vibrato. His original compositions are also unique, so archaic sounding that they seem modern. The influence of both church and martial music is apparent in them.

Unlike some critics of his avant leanings who categorically rejected music of the so-called West Coast movement, Pekar learned to understand Chet Baker.

When I was exposed to jazz in the mid-Fifties, it was as a fan of robust hard bop, musicians like Sonny Rollins and Clifford Brown. The popular West Coast jazz of that time seemed to lack vigor and as a whole was less progressive. Baker was suspect because his trumpet playing was so quiet and introverted; it seemed to lack strength. But after listening to him for years I had to admit that he had a rich melodic imagination, putting his solos together smoothly and swinging gracefully. I grew to like his small, velvety tone, and eventually came to the conclusion that he was an original and admirable performer.

Readers will miss Pekar most of all for the penetrating honesty and sardonic humor of his social observations as a comics writer. They should not overlook his value as a jazz critic. Of the Pekar obituaries I have seen, by far the most comprehensive is the one by William Grimes in The New York Times.

Brubeck & Company In Belgium, Part 4

More or less from the beginning of their association, Dave Brubeck and Paul Desmond had an affinity for blues in minor keys. Three that achieved success to the point of indelible identification with them were “Balcony Rock,” first recorded in Jazz Goes To College (1954), the same theme recycled as “Audrey” for Brubeck Time (1956), and “Koto Song” from Jazz Impressions Of Japan (1964). “Koto Song” was a new entry in the quartet’s repertoire when they played it on television in Belgium in ’64. This is the group usually referred to as the classic Dave Brubeck Quartet, with Eugene Wright, bass, and Joe Morello, drums.

Next time: the final installment of this series of DBQ pieces from Belgium.

Listening Tip: Gene Lees

Bill Kirchner writes:

Recently, I taped my next one-hour show for the “Jazz From The Archives”
series. Presented by the Institute of Jazz Studies, the series runs every
Sunday on WBGO-FM (88.3).
Thumbnail image for Gene Lees 2.jpgGene Lees (1928-2010) was one of jazz’s foremost essayists and biographers. And he wrote liner notes for a number of classic jazz albums: John Coltrane’s Ballads, Bill Evans’ Conversations With Myself and At The Montreux Jazz Festival, The Individualism of Gil Evans, and Getz/Gilberto, among others.
Lees also wrote memorable lyrics to music by Antonio Carlos Jobim, Bill Evans, Milton Nascimento, Lalo Schifrin, Roger Kellaway, Charles Aznavour, Manuel DeSica, and others. We’ll hear performances of some of those songs–some well-known, others obscure–by Frank Sinatra, Tony Bennett, Jackie Cain, Rita Reys, Nancy Wilson, and Lees himself.
The show will air this Sunday, July 18, from 11 p.m. to midnight, Eastern Daylight Time. If you live outside the New York City metropolitan area, WBGO also broadcasts on the Internet at www.wbgo.org.

To see Rifftides on Gene Lees, and readers’ comments, go here.

Brubeck & Company In Belgium, Part 3

From a DBQ television appearance in Europe, we have the piece that served as the quartet’s concert opener for more than a decade. First, a couple of observations, one from me, one from Eugene Wright:
From me: Whoever decreed that white men can’t play the blues never really listened to Desmond and Brubeck personalize the idiom as they do in their solos here.
Gene’s observation is a quotation in a book about Desmond. The first part of it applies to his relationship with Morello from the beginning of their time together, when Wright joined Brubeck in early 1958.

Right away, Joe and I were as one. It was like Jo Jones and Walter Page with Count Basie. It was right from the beginning. Joe Morello and I locked up immediately. Joe’s out of New York and he had that thing–Ben Webster and all those guys loved him because he had that little extra thing you need. When musicians used to ask me how I could play with that band, I told them they weren’t listening. I told them I was the bottom, the foundation; Joe was the master of time; Dave handled the polytonality and polyrhythms; we all freed Paul to be lyrical. Everybody was listening to everybody. It was beautiful. Those people who couldn’t accept it were looking, not listening.

That was the major blues for this mini-series. Tomorrow, the minor blues.

Recent Listening: Dr. Lonnie Smith

Dr. Lonnie Smith, Spiral (Palmetto). Smith is a doctor in the same way that Captain Beefheart is a captain, but I’m willing to concede him the title because he knows how to make you feel good. Of the Dr. Lonnie S. Spiral.jpggeneration of post-bop organists who followed Jimmy Smith, he survived his near-namesake Lonnie Liston Smith, Don Patterson, Jimmy McGriff, Richard “Groove” Holmes, Shirley Scott, Jack McDuff and Jimmy Smith himself. At 68, he carries on the tradition employing the Hammond B-3 not only as a blues dynamo—although he is capable of that—but also caressing melodies, as in his title composition and an unlikely choice, the 1963 international pop hit “Sukiyaki,” which he somehow manages to divest of its corn.
Smith exemplifies his tasteful treatment of song book standards in a medium-tempo stroll through Frank Loesser’s “I’ve Never Been in Love Before,” making thoughtful use of space to let the organ and the listener breathe. With Jamire Williams’s drums roiling and guitarist Jonathan Kreisbserg playing ostinato patterns, Smith makes Rodgers and Hart’s “I Didn’t Know What Time it Was” an exercise in compelling forward motion. He flirts with ¾ time in “Sweet and Lovely” without fully committing to it. The resulting rhythmic tension develops a push that energizes his and Kreisberg’s solos. “Beehive,” with its buzzing air of menace, would be perfect for the opening credits in a Stanley Kubrick movie starring Jack Nicholson. Smith takes Slide Hampton’s “Frame for the Blues” at a metronome pace of about 56 that would seem glacial if he and his sidemen didn’t invest it with powerhouse oomph and blues feeling that make it, to these ears, the album’s stealth piece de resistance.

Brubeck & Company In Belgium, Part 2

This time, Dave Brubeck, Paul Desmond, Gene Wright and Joe Morello play “In Your Own Sweet Way.” Because of the quality of the song, the quartet’s popularity and the Miles Davis seal of approval, by the time of this performance in 1964 it was a jazz standard. Attention, tune detectives: Brubeck’s Matt Dennis quote suggests that he might have been thinking of disbanding, but the quartet’s dissolution was five years away.

For the first part of this mini-series, see the July 10 entry below. There is more to come.

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Doug Ramsey

Doug is a recipient of the lifetime achievement award of the Jazz Journalists Association. He lives in the Pacific Northwest, where he settled following a career in print and broadcast journalism in cities including New York, New Orleans, San Francisco, Los Angeles, Seattle, Portland, San Antonio, … [MORE]

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