HTF Jazz Club (1 Viewer)

[PaulHeroy]

Looking forward to seeing your response, Mike. What did you order?

 

[PaulHeroy]

New topic: World Jazz!
One area of jazz I've been digging lately is jazz with influences from musics around the world. I especially like the combination of jazz and Middle Eastern percussion and sounds. Of course there's a long tradition of jazz having a cosmopolitan spirit and global awareness; it goes all the way back to Jelly Roll Morton who was fond of saying "Jazz has to have that Spanish tinge". Ellington incorporated different elements over his long career and contributed one of the most absolutely amazing records ever, The Far East Suite. There's an enormous amount of material with the Afro-Cuban-Latin influence, but over the last decade the mixing of jazz with other musics has increased at a rapid rate.
Here are a few recordings I can recommend if anyone is interested in exploring jazz with influences beyond the Latin Jazz arena:
Randy Weston (African): Spirits of our Ancestors, Saga
Abdullah Ibrahim (African): Water From An Ancient Well
Masada (Klezmer): Gimel (3), Hei(5), Live in Middleheim
Rabih Abou Khalil (Lebanese/Middle East): Al Jadida
Roy Campbell (Asian/African): Ethnic Stew & Brew
Pierre Dorge (African, Asian): Music From the Danish Jungle, China Jungle
Fred Ho (Asian): The Underground Railroad To My Heart
Yusef Lateef (Asian, African, Middle East... truly a student of music from the world): Eastern Sounds, Live at Pep's
Don Cherry (various): Brown Rice

 

[Mike Broadman]

Paul, I don't remember what I ordered, so it will be a surprise for both of us when I get it.

Of the artists you just listed, I've only heard one: Masada. I don't think it's correct to say it has a real influence from Klezmer, though. Not all traditional Jewish music is Klezmer. However, I'm just guessing here. Zorn's Masada stuff is like 90% avant-garde weird jazz and 10% misc.

I'll keep an eye out for some of the other stuff.

NP: Miles Davis, Tribute to Jack Johnson, CD

 

[PaulHeroy]

Mike: you're of course right that not all traditional Jewish music is klezmer; I was oversimplifying in noting Masada that way, but klezmer is definitely part of what Masada does. They do incorporate a broad array of influences: primarily klezmer and other Jewish music, plus a heavy Ornette Coleman influence, and some other things I can't really identify. See
http://members.tripod.com/~JFGraves/Masada/masada.html for a more knowledgeable overview.
Speaking of klezmer, there's a number of younger bands playing "new klezmer" with jazz, avant jazz, rock and other influences. New Orleans Klezmer All Stars, Hasidic New Wave and Klezmatics.

 

[Mike Broadman]

An amusing side note: while I was visiting my folks and family one weekend, my mom suggested I put on some music (I always have a bunch of CDs with me wherever I go). I told her I had some nice Jewish music. She eagerly agreed. Poor mom- she had no idea how to handle Masada. Oh, the cries of agony that followed...

NP: Miles Davis, Relaxin' with the Miles Davis Quintest, CD, the 20 bit fancy version.

 

[Mike Broadman]

Jazz CDs recommended by PaulHeroy review

1. The Vandermark 5- Acoustic Machine

This album features a mix of longer jams which are designed to act as tributes towards older jazz musicians (a couple of which I didn't recognize), and shorter tracks that play as sonic experiments and intervals. The shorter ones, all called Hbf followed by a number (in no particular order that I can make any sense of), are just really weird, and maybe I just don't get them. The first long track is a tribute to Archie Schepp and is very noisy, with lots of squeaks and sqealing. This is usually not my kind of thing. Quite frankly, I can't distinguish between one guy sqeaking and anothe guy squeaking, so I can't really judge it. However, the next track, "Fall to Grace," goes in another direction completely. It features a killer bass riff and some very nicely spaced, tasty playing. This is my favorite track on the album as of now by far. The next one, "License Complete"is a 70s style funky thing without getting too cheesy with the groove. The rest of the album goes on to display a self-consciously varied set of music, with everything from ballad melodies to bop to weird avant stuff. It's as if Vandermark is saying, "Here's where I came from, and here's where I'm going with it." The trombone player is very cool- low and warbly, as opposed to playing trumpet lines like so many other 'boners do (giggle, boners).

Overall, a fun album and great playing by the band, even if their tastes often conflict with mine.

2. Marty Ehrlich's Traveler's Tales- Malinke's Dance

This is a wonderful gem of an album. Ehrlich leads a quartet of musicians (drums, bass, two saxes) through a healthy set of mostly original music with two covers.

"The Cry Of" is one of the most beautifully written and arranged jazz composition I've heard outside of Duke or Monk. Wonderful- kind of Eastern sounding.

"Pigskin" is a groovy tune by Julius Hemphill, who I've never heard of. The liner notes of both CDs reviewed mention him, and I like both songs written by/for him. He is on my ridiculously long list of artists to check out. This tune is followed by Bod Dylan's "Tears of Rage," and played as a nice little balad.

I'm really glad I got this one.

Thanks for the recs, Paul, and I'll be checking out some of the other stuff you were talking about, too. I recommend others do the same.

 

[PaulHeroy]

Mike, glad you enjoyed those 2 discs. The title track on the Ehrlich CD is really one of my favorites, a great combination of good tune, passionate playing, interesting interaction in the interweaving lines between the 2 saxes, and a really cool rhythm section thing happening. Until a couple of months ago I used to do a weekly radio show and that cut almost always drew a phone call or two.
Another recording I'd like to mention that was possibly my favorite of 2001, is William Parker's O'Neal's Porch. Parker is a bass player who's been associated with a virtual who's who of avant jazz, and is a nexus on the NYC scene. He's one of the primary movers behind the fabulous Vision Festival. His playing ranges from soulful, in the pocket grooves to the most abstract experimental stuff. O'Neal's Porch, while avant, is also very soulful, melodic, grooving and one of the most incredibly gorgeous records I've heard in a while. O'Neal is Parker's uncle in South Carolina with whom he spent some summers. I also have to mention Hamid Drake, the drummer who plays with Parker on this record and several other recordings, because the two have a fantastic musical affinity. The other musicians are Rob Brown on alto sax and Lewis Barnes on trumpet. I didn't mention this record earlier mainly because it was originally a limited edition release, but it's more available now as an AUM Fidelity label release. I ordered extra 3 copies from CD Universe last week just so I can give a couple away! (One to the radio station. BTW another selection in that order was the Crimson ProjeKcts box. )

 

[PaulHeroy]

Oh yeah, I meant to reply to this part too:

You should start by looking for CDs from the World Saxophone Quartet which features Hemphill with David Murry, Oliver Lake and Hamiet Bluiett. Hemphill was a primary founder of that ensemble, which is much more recognized than his own name. He does have some releases under his own name, some of which are fairly legendary in the avant jazz world but not that accessible for a lot of people (and not in print, though recently that's improved). Hemphill died in 1995 but the WSQ has gone on with a new lineup (and recorded some really fine stuff without Hemphill, in a little different direction such as adding African drums).
For WSQ recordings I'd suggest trying Plays Duke Ellington as a good starting point. The material is more familiar so you can get an idea of what the WSQ itself does. Much of WSQ's material seems to mix straight melody/harmony/rhythm with more abstract and improvised sounds, and they aren't afraid to dive into "pop" music and play R&B tunes from Marvin Gaye, in addition to jazz standards and their own compositions.
There's also the Julius Hemphill Sextet, which is more or less an expansion of the WSQ, but Hemphill had to stop playing by the time they made recordings. Fat Man and the Hard Blues is a good start, and Marty Ehrlich is on that.
Under Hemphill's own name, Coon Bidness and Dogon A.D. are legendary but I'm not familiar with them... they're on my long list of things to check out!

 

[Mike Broadman]

I ordered two more of your recs, Paul, from the "world music" post. As long as this thread is alive, I'll keep referring to it for new music to get, and I hope others will do the same.

another selection in that order was the Crimson ProjeKcts box

You and I are going to get along just fine.
NP: California Guitar Trio with Tony Levin and Pat Mastelotto, Live At The Key Club, CD

 

[Mark_Ke]

I was just wondering if I could pick the brains of the forum members here, who know and understand Jazz.

I've only got into Jazz (of sorts) over the last few weeks. I've tried some of the artists on here... some I have enjoyed, some not.

However, whenever I go to a Music shop to pick up more stuff, I find it differcult to describe the stuff I like.

Last night however, I was listening to the soundtrack from the Ipcress Files. Now I know this is by John Barry, but there was one track on it in particular, that would best describe the type of Jazz I like.

So if anyone has the album and can listen to Track 4, called Jazz Along Alone. Then I would be greatful for some suggestions of similar stuff.

Cheers

Mark

 

[Mike Broadman]

I've tried some of the artists on here... some I have enjoyed, some not.

Mark, let us know which you liked and which you didn't. We could then recommend some more music that is similar.

Folks, that's exactly what I would like to do with this thread. I know everyone's not going to like everything. We'll just throw out a bunch of different things, and you can take that as a basis to explore the music you like further.

Let me know if people are still interested in more selections for next week.

NP: Robert Fripp & The League of Crafty Guitarists, International Boogie Express, CD

 

[TonyButler]

Please forgive me for breathing life back into this thread. As a new member (my very first post) and lover of jazz, hence, I couldn't help myself.

My jazz evolution began with fusion, Return to Forever, VERY early Jeff Lorber Fusion, early Jean Luc Ponty, Weather Report, etc. I have since evolved back to the giants and am always looking for new discoveries, which is way I was pleased to see this thread.

 

[PaulHeroy]

My jazz evolution began with fusion, Return to Forever, VERY early Jeff Lorber Fusion, early Jean Luc Ponty, Weather Report, etc. I have since evolved back to the giants and am always looking for new discoveries, which is way I was pleased to see this thread.

I did somewhat the same thing, and I think a lot of other people have. Or you can replace "Fusion" with other things; today it might be "jam bands" that lead to Medeski Martin & Wood, which then lead to something that leads to Mingus, Trane, Bird, etc. There are many paths on the mountain of music, grasshopper! (Notice how that metaphor conveniently places jazz at the peak, hee hee!)
That reminds me, I should post some comments about the first 2 days of the New Orleans Jazz Fest, which I saw last weekend and is starting up again today.

 

[Jeff Keene]

So, Mike, where's the May list? I'm seeing this thread for the first time, and am drooling.

NP: Alice in Chains - Unplugged

 

[Mike Broadman]

Jeff,
Welcome, and make yourself comfortable.
I forgot about this thread myself, even though it's my baby. I'm a bad father.
So, for May we have: Duke Ellington.
That's right, possibly the single most important composer/arranger/band leaser/ instrumentalist in American history.
A little background: Duke Ellington got famous leading New York big bands in the 20s. His shorter dance tunes were huge hits. He was also developing his "jungle sound," which involved growling horn lines and low swing.
As swing exploded, Duke stayed on top by constantly touring and being a great stage personality. But most importantly, his compositions made his band stand out. They weren't just dance music. Duke was no less a composer than Beethoven, he just made it more fun. He wrote everything from pop vocal tunes to spirituals to lowdown swing instrumentals to thematic suites.
Like other big band leaders, his career fell by the wayside when bop became the main from of jazz in the 40s and 50s. In 1957, his band's performance at Newport gave his band a jolt and reminded the world why Duke's music is not to be lumped in a style or era.
I personally do not particularly care for swing or big band all that much. But Duke is another story. He is one of those rare musicians who created an entire musical language on his own, integrating the processes of performance, composition, and band leadership into one seamless thing. For example, when writing music, he would often take into account the style of the soloist or performers, providing a framework but leaving room for the individual musicians to determine the final outcome. He would often re-write pieces when band members changed. This unique style of musical creation was the main inspiration for my #1 musical hero, Charles Mingus (who also played for Duke).
This month's recommendation:
Duke Ellington- The Essential Collection 1927-1962, Columbia
CDNOW link
This a three disc set, so it's the only thing I'm recommending this month.
The liner notes are very good, too. IIRC, it says a lot about the role of Billy Strayhorn, who co-wrote a lot of great music with Duke.
Some highlights:
East St. Louis Toodle-Oo: Steely Dan fans should recognize this melody and title from the Pretzel Logic album. Here it is in its original glory, sounding really raunchy. One of the great qualities of Duke's music was the integration of high-class and low-class.
Caravan- great rhythmic stuff on this would-be standard
Black & Tan Fantasy- this piece has a whole story behind it that I don't remember. Anyways, it's just great.
And, of course, great renditions of classic Duke tunes, like In A Sentimental Mood, Mood Indigo, It Don't Mean A Thing..., A Train, Jeep's Blues, Sophisticated Lady, and so on and so more.
A few tracks sound dated, involving monologues or gospel singing. They're cute to hear once, but I skip these tracks now. When vocals enter into it, the "timelessness" of the music gets lost, IMO.
No one can call themselves a jazz fan without some serious knowledge and appreciation of Duke Ellington. It's like being a rock fan without ever having heard the Beatles. So, listen up, and enjoy!

 

[Jeff Keene]

Ordered!

NP: Tool - Lateralus

 

[Bob Turnbull]

That reminds me, I should post some comments about the first 2 days of the New Orleans Jazz Fest, which I saw last weekend and is starting up again today.

Aargh! I'm dying of jealousy Paul...Spare no detail. Make it feel like I'm back there gobbling up the Jambalaya. OK, you can skip the wet rat feeling we had that day Babtunde Olatunji played...

The coolest thing about the N.O. Jazzfest (and others like the Montreal Jazzfest) is that they stretch the boundaries of what Jazz is and have musicians from all genres. It's bordering on pleasure overload.

Getting back to Ellington, I've listened to the whole Blanton-Webster set before, but I think I need to revisit. It struck me as being more "of its time" as opposed to the timeless quality of which Mike spoke. Unfortunately, I can't remember if it's attributable to vocals or not (I have the same reaction to vocals in Jazz, particularly from the earlier eras).

 

[Mike Witko]

Mike,

I just found this thread and I can't wait to start listening. Thanks for creating the club.

 

[Mike Broadman]

I really would love to read what people have to say about Ellington. His work is something I've been meaning to devote more time to.

And, of course, CD recommendations are always welcome.

NP: Bill Bruford's Earthworks, The Sound of Surprise, CD

 

[Mike Witko]

I just ordered Wes Montogomer, John Coltrane, Mahavishnu Orchestra (really looking forward to this one), Charlie Hunter (I love Primus so can't wait). I found all these on half.com. I am trying to catch up so hopefully I can give all these a listen and not fall to far behind. Once I finish with these I will pick up Duke Ellington. I am curious to hear the dicussions of "The Duke".