Thursday, March 14, 2024

Jazz | Pint | West Coast Live

Craftwork Brewery
I have bouts of listening to Stan Getz… most recently (late last year) it was the 3 disc set East of the Sun – The West Coast Sessions ….that, and pretty much the rest of his albums I have are from the 1940s - early 60s… and the 2 disc West Coast Live is no exception. Considering it’s a live recording from 1953/1954 the sound is really nice. Getz was subbing on the gig for Mulligan, and the quartet (with Carson Smith on bass and Larry Bunker on drums) stick to standards from the great American songbook and a few bop lines. No complaints there. It’s all about the horns out front really.... and that’s why I grabbed this disc. So no complaints there either. Considering Baker and Getz were known not to get on, there are moments when they really hit it off musically.. ‘Strike Up The Band’ has some wonderful swinging intertwined lines. But they don’t always gel (and I don’t think either are consistently at their best) but that’s one of the things that make this recording interesting and also speaks to the nature of live performance – it is what it is in the moment. Just in this case, we get to have a listen again over 70 years later. Maybe eventually I’ll get around to listening to Stan Meets Chet from later in the 50s and see how they fared in the studio. But I have a feeling that these 2 live discs will fill my Chet with Stan needs.

While listening tonight I’ve been sipping on Scotch Bonnet from Craftwork.

Monday, March 04, 2024

Jazz | Pint | Return From The Stars

 

Peppermint Tea
For whatever reason, Mark Turner was on my mind recently so I picked up a couple of his albums when I was up in Auckland - Year Of The Snake, and tonight’s listening, Return From The Stars. Often the slickness of contemporary jazz from the likes of Turner and his associates isn’t really my thing so I just dip in and out on the odd occasion. As a result, I haven’t really kept up with Turner’s recordings – just keeping an eye what's happening without giving things more than a cursory ear. Looking back, I think part of it had to do with so many tenor players chasing after Turner that it put me off a little, which seems a little stupid as I reflect on it. But maybe that break has been a good thing as I’ve really been enjoying this disc. Jason Palmer (trumpet) is not someone I’m familiar with but he and Turner and work well together and get a nice blend (the unisons/melody on “Bridgetown” and “Nigeria II” leapt out at me), and there’s some nice interaction on “Terminus” too. I like the way the album eases into things as the leader steps aside and the bass of Joe Martin gets the first solo spot. I’ve enjoyed the space that the piano-less quartet brings, especially given so much contemporary jazz can be rather cluttered. Let’s face it, Turner’s a pretty notey player (“It’s Not Alright With Me”) but I’ve noticed on this recorded that he paces himself a bit more than I remember from earlier recordings. Maybe that’s a more recent development in his playing but I have plenty of gaps in his discography... even if it’s something he’s done all along, I noticed it this time and I like it. At times I wanted Jonathan Pinson (drums) to settle down a little too (like at the start of Turner’s solo on “Bridgetown”) and that would have brought that sense of space more to the fore.

I have a feeling there will be more some Mark Turner getting a spin around here. Return From The Stars made me want to check out his previous piano-less quartet album Lathe of Heaven, and earlier in the day I gave the debut FLY album a run for the first time in I can’t remember how long. I picked it up in NYC shortly after it was released, and perhaps it will make an appearance at an upcoming 2000s themed listening session... I’m still wading through some tracks to decide what to play. I’m tempted to hold off listening to Year Of The Snake until I get my hands on Sky & Country so I can run through the FLY albums in order of appearance.

The pint tonight took the form of peppermint tea.

Saturday, February 17, 2024

Jazz | Pint | Rip, Rig and Panic

Craftwork Brewery
Some who know me might find it a little surprising that I enjoy the music of Rahsaan Roland Kirk as much as I do. That said, I’ve only managed to accumulate a few of his albums over the years... ‘The Inflated Tear’, ‘I Talk With The Spirits’, ‘Domino’, and most recently ‘Rip, Rig and Panic’. And it was that album that did the rounds tonight accompanied by Citron Soleil from Craftwork. There’s something about his energy that appeals to me. That things often get a little rough around the edges just seems to work for me when it comes to Kirk. And lets not forget that he one of the very few utilizing the soprano pre-Coltrane too. The album features the stellar threesome of Jaki Byard (is there anything he couldn’t do?... seriously), Richard Davis, and Elvin Jones alongside Rahsaan’s multiple horns. Did he record with a better rhythm section than this? As a guy with only four of his albums it might be a little hard for me to pass judgement. But this is one fine rhythm section and they work well in the Kirkian world – one of swing, blues, some abstraction, plenty of personality, and energy. This disc also includes ‘Now please don’t you cry, beautiful Edith’ but I didn’t get to that tonight, choosing instead to give ‘Rip, Rig and Panic’ a couple of runs. Because why not? Often I feel Kirk is shortchanged. I guess people just don't listen to his recordings. And I just remembered I also have 'Dog Years in the Fourth Ring' - I must pull that out again.

Saturday, January 20, 2024

Jazz | Pint | Dave Brubeck Octet

 

Craftwork Brewery
Earlier in the day I was reading a little on the Gerry Mulligan Quartet over at Point of Departure (here and here), and that may have been on my mind when I pulled the Dave Brubeck Octet recording from the pile tonight. Brubeck is not usually one of my go-to artists but the octet is a pretty fascinating recording from sessions in 1946-1950 that I don’t hear getting mentioned all that often. Not sure why really, I guess it’s not that hip to drop Brubeck’s name, but from a writing/arranging angle it’s worth checking out (more so than the soloists even with the presence of a young Paul Desmond). Dated.... yes, but quite different for it’s time too. Pushing ahead in it’s own way with plenty of signs of what would become known as “Cool Jazz” and/or “West Coast Jazz”. Arranging and composing duties are split amongst about half the group (with saxophonist David Van Kriedt contributing the most... although not all the arrangements are credited). And across the 18 tracks I tend to prefer the standards which all get pretty interesting treatments, although “How High The Moon” suffers a bit as it moves through various styles in conjunction with a corny narration. There’s plenty of counterpoint, colourful harmony, and 5/4 even makes an appearance during “What Is This Thing Called Love”. A number of the octet had studied with composer Darius Milhaud and the classical influences come through across the work as a whole and on the original compositions in particular. The original compositions feel a little more forced than the arrangements of the standards, like they are really trying to do something and it comes off more stilted (there’s a bit of that in the standards too). All that said, listening tonight has made me think it’s a shame that Brubeck didn’t use some of that Time Out money to reform the octet but with all that touring, I guess there wouldn’t have been much time to write material. The listening was washed down with Zest saison from Craftwork.

Thursday, January 18, 2024

Jazz | Pint | Always Let Me Go

 

ECM Records
After bit of an odd day it was nice to take out the evening listening with some music. Tonight’s listening was washed down with “Poodlefaker” from Craftwork.

I picked up this two-disc live recording on a whim fairly recently and this was my first listen. And while I have a few albums from Keith Jarrett’s “Standards Trio”, Always Let Me Go’ is the first from the trio that I have that is comprised of free improvisations – and that was my motivation for buying the album (I remember listening to ‘Changes’ many years ago but that’s all I remember from it).

I was surprised by how quickly the music passed. For me, that’s a good sign, especially when the opening track is 32 minutes (moving from the more abstract through to something more spacious and lyrical, before eventually settling into a satisfying mid-tempo swing). The second piece is a brief, lyrical solo feature for Jarrett which works as a nice link into the sparse opening of the third piece. Are free ballads underrated? I really enjoy hearing them, particularly when played by an ensemble with a rapport such as this. And the piece works so nicely towards the fourth piece which rounds things out with some energetic swing. The first disc is well paced with a nice ebb and flow within and between works. And I guess that’s similar to the second disc... which had to wait until the following evening for its first run (note: I would return to both discs over the next week... sometimes listening to a track or two... or a whole disc... but my comments in this post were all taken during the first listen).

The opening is spacious and some romantic bass work from Peacock emerges. By the time DeJohnette enters the piece has taken on a completely different shape with tension increasing until quite abruptly shifting gears. A fine drum solo opens the second piece opens which at times has the feel of hand drums – dynamic playing, great colours, and groove. In contrast to the third piece which is more pointillistic with quick, stabbing phrases from the piano from which powerful drums emerge which morph into a moody bass solo. Across both discs the trio is not compelled to give it all at once – solos, duos, and trios come and go throughout which adds plenty in terms of texture and form. It’s still early days and I’ve only listened to it a couple of times, but ‘Always Let Me Go’ might be my favourite from this trio (or somewhere near the top). It just goes to show what you can do if you’re able to keep a band together (and you happen to be Keith Jarrett, Gary Peacock, and Jack DeJohnette!). It left me wondering if this trio’s free improvised recordings been a gateway for fans to explore similar forms of jazz?

Saturday, January 06, 2024

Jazz | Pint | a couple from Freddie Hubbard

I thought it was about time I reactivated things (and this series in particular) as I take a listen to a bunch of recordings I have next to my CD player. And while the original plan was to sit down and listen to these accompanied by a beer it ended up being a green tea instead.

I have a handful of Freddie Hubbard’s albums as a leader for Blue Note, but as a general rule prefer his work as a sideman during the same period... Wayne Shorter’s ‘Speak No Evil’, Herbie Hancock’s ‘Maiden Voyage’ and ‘Empyrean Isles’, Eric Dolphy’s ‘Out To Lunch’, and Art Blakey’s ‘Free for All’ come to mind. Maybe it’s not just Hubbard’s playing but these sessions and compositions, seem to full out stronger performances (from all personnel) than on Hubbard's own albums. Or maybe I’m just more familiar with those albums... I don’t know.

Anyway....earlier in the week I was listening to ‘Hub-tones’ but tonight I turned my attention to ‘Here to Stay’ a session from December 1962 (unreleased until 1962) that was new to me. I was drawn to ‘Here to Stay’ by the pairing of Hubbard and Wayne Shorter, but the thing that stood out to me were the standards, “Body and Soul” and “Full Moon and Empty Arms”. Adding “You’re My Everything” from ‘Hub-Tones’ and they’re my favourite tracks from across the two albums. When I gave it a second spin I was getting into it much more than the first time around but then it is hard to beat Hubbard’s combination of tone and time – so full-bodied, expressive, and swinging! Plenty of swagger without going overboard in terms of bravado. Just really strong line playing. To wrap things up I gave a couple of tracks from ‘Hub-Tones’ another spin tonight too... in fact, I gave the entire album another run, I just couldn’t help it. Some things are just unavoidable. And it’s a really solid album, and maybe my favourite of his a leader that I have (I still haven’t managed to check out ‘Breaking Point’... add it to the list). I prefer Herbie Hancock on piano over Cedar Walton, and Clifford Jarvis plays really well on this album making it quite the rhythm section along with Reggie Workman who is on both albums. There’s something to be said about the LP length – it’s nice to be able to give things multiple listens without it taking 160 minutes. All in all it was a fun night of ‘Hub-Tones’ and ‘Here to Stay’, Freddie Hubbard remains one of my favourite trumpeter players (not that that was ever in doubt) and his work as a sideman still holds up as my favourite of his recordings I’ve heard to date but I’m always open to recommendations though.

Monday, January 30, 2023

Mark Lockett: Swings and Roundabouts


An album I’ve been enjoying in recent times is drummer Mark Lockett’s ‘Swings and Roundabouts’, due to be released on 1 February 2023 (Mark hooked me up with a preview copy). The album was recorded in New York City in July 2022, and features the stellar lineup of Matt Penman (bass) Duane Eubanks (trumpet) David Binney (alto saxophone) tearing it up on nine of Mark’s compositions.

I hadn’t listened to alto saxophonist David Binney in quite some time, and it served as a reminder of what serious chops he has at his disposal. It's not my favourite type of playing, but the contrast between Binney and trumpeter Duane Eubanks’ stripped back, less notey approach is something that appeals to me. 

There are some hints at the music of Ornette Coleman (and one tune is dedicated to him). Some of Mark’s compositions have a playfulness akin to Ornette (see "The Crib" and "Rhubarb Crumble"), but ‘Swings and Roundabouts’ isn’t overtly Ornette-y.  “Virtual Reality” with its Witch Hunt-esque phrase had me chuckle as I was anticipating Elvin’s fill that didn’t eventuate.  

Duane Eubanks' ‘bubbly/spluttery’ sound (for lack of better words... but I’m using that descriptor as a positive!) hints a little bit at Don Cherry, and his approach as an improviser really suits the feel of the album. I really haven't listened to much of Eubanks, and this album serves as a reminder that I need to seek out more of his work (the only other album I have featuring Eubanks is Bill McHenry's 'Sonic Pressure', which also has Matt on bass, it's about time I dusted that one off).

Matt’s woody tone and melodicism is a great fit for the album. I particularly have been enjoying his unaccompanied solo on “Rhubarb Crumble”, and “Here’s to Ornette” with Mark on brushes is fine too. Actually all his is playing hits the spot, and as I write I'm digging his up tempo walking lines on "Level 4". Side note on bass tones (disclaimer: I don’t play bass so what do I know): One thing that is a bit too common out here in NZ at times are bass players with ‘ampy’ sounds. It’s a pet peeve of mine. Listen to Matt.... great sound.

In many ways, Mark takes bit of a back seat. I’m not sure I would have picked it was a drummer led session - and that’s kind of refreshing – the focus is on the music and taking care of business rather than showy, bloated drums. More often than not Mark's playing is understated (especially by contemporary jazz standards). And even when he is featured blowing over the vamp on "G T" or the trades on "Happy Go Lucky" things never get carried away. It’s bit of an old school, tasty approach that I appreciate, but don’t always hear that much.

So if you fancy treating yourself, head over to Thick Records and dine out on ‘Swings and Roundabouts’. And to support the release, Mark will be touring in New Zealand during February, so be sure to get and support him. Joining Mark will be Roger Manins  (sax) James Guilford (trpt) and Dan Yeabsley (bass). I'm keen to hear how the different personnel tackle Mark's music.

2 February, New Plymouth, 4th Wall

3 February, Whanganui, Savage Club

4 February, Hamilton, Nivara Lounge

8 February, Auckland, Anthology Lounge

9 February, Wellington, Moon1

10 February, Nelson, Fairfield House

11 February, Picton, Le Cafe

16 February, Christchurch, Space Academy

17 February, Dunedin, Playhouse Theatre