Jazz | Pint | Amok Amor

Tonight I planned to listen to selections from discs relating to an up coming session. The theme for November is "Jazz & Place" - which I'm leaning towards music that I have connection the place and the music. maybe something from Chicago which I've nailed down to a couple of options - Miles Davis 'Live at the Plugged Nickel 1965' (I lived a short walk from where the club once stood and it's one of my favourite recordings from Miles) or Ken Vandermark's 'The Midwest School' (I heard this group, Audio One, at the Green Mill in 2013 and this was recorded in 2014 at the same venue). And then there's NYC, and The Stone in particular - Connie Crothers and Bill Payne ('The Stone Set'), Richard Tabnik ('Symphony for Jazz Trio') or Connie Crothers Quartet with Mark Weber.... a tough choice! Plus there's Will Holhauser/Michael Moore/Han Bennink 'Live in NYC' not only a souvenir from that gig at Drom where I happened to run into Bastian Duncker (it's a reminder of the time I spent in Greece where I'd been a couple of months before playing music alongside Bastian). It all feels a little nostalgic tonight... maybe it's the chamomile tea?

But in the end, I went off script and ended up listening to Amok Amor - Petter Eldh (bass) Christian Lillinger (drums) Wanja Slavin (alto sax) and Peter Evans (trumpet) - and their high energy playing almost crushed any nostalgic feelings that were kicking about! Seriously though, this is a recent bandcamp purchase that I bumped into will looking into Lillinger. He's quite the drummer and worth price of admission alone, but everyone plays well, and it's a really cohesive quartet. Maybe not music I will return to a lot but when the moment strikes me it can hit the spot.

Jazz | Pint | Bley

Tonight I’m listening to the most recent addition to my Paul Bley stash. Another recent reissue from HatHut on their Ezzthetics imprint – ‘Paul Bley Trios Play Annette Peacock Revisited’ comprised of two sessions from 1966 and 1968 featuring Mark Levinson (b) and Barry Altschul (d) and Gary Peacock (b) and Billy Elgart (d) respectively. It combines tracks from ‘Ramblin’, ‘Blood’, and ‘Mr Joy’ – all albums I don’t have so I thought, “why not?” (maybe eventually I’ll pick them up individually but this incomplete compilation will do for now). The compositions and approach from the trio – spacious, introspective, stark - is a departure from the norm at the time. Occasionally things get ramped up (“Blood”, "Kid Dynamite") but there’s a focused, quiet intensity in this music that appeals to me. Bley is never far off the rotation, so I'll no doubt "Revisited" will be revisited. Bley really set the standard for that type of approach at the piano and I’ve wondered how I could bring some of this to my saxophone playing – it’s in there somewhere, but more of than not, notes have a habit of getting in the way.

I first heard Bley on recordings by the Jimmy Giuffre trio (one of my favourite groups) and shortly after on 'Sonny Meets Hawk' courtesy of Norman Meehan, whose book ‘Time Will Tell’ I’ve been dipping in and out of over the last week or so too. It’s an entertaining read and Bley is not afraid of sharing his thoughts. I’d like to re-read Bley’s autobiography ‘Stopping Time’ (which I first read not long after hearing my introduction to his recordings) but it looks to be out of print and I haven’t managed to find a nicely priced copy.

I managed to hear Bley live once, squeezing in last minute at the Blue Note to hear him in duo with Charlie Haden (the only him I heard him too). Wasn’t the greatest seat in the house.. crammed into the bar, I could barely see either of them and it was kind of noisy (I questioned why these people even bothered going). But, I did get to hear them even if in somewhat non-ideal settings.

Accompanied on this cool spring evening by Three Boys Oyster Stout (I thought the stoneware was appropriate for the season).

Jazz | Pint | It’s Time!.....!

For an up coming listening session I’m thinking of playing a track from Jackie McLean’s Dynasty. So that has been getting a spin as I try to decide on what to play - and I definitely recommend it to McLean fans if they haven’t checked it out yet (a strong outing from a period during which he didn’t record much). And as a result of that listening I’ve had bit more Jackie McLean on too. The recordings I have of McLean lean heavily on his work from the 1960s, and tonight I have on the album I’ve probably listened to the least - It’s Time! From 1964 with Jackie McLean (alto sax) Charles Tolliver (trumpet) Herbie Hancock (piano) Cecil McBee (bass) and Roy Haynes (drums).

Not surprising to say it’s hard driving and swinging, even if it’s a little less adventurous than some of his other albums from that period. The opening track, Tolliver’s “Cancellation”, makes you think it could be a wild ride but things settle down a bit after that. Which I’ll admit... is bit of a shame. There’s quite contrast between “Cancellation” and the second track “Das’ Dat”. But, while I’m not going to complain about a swinging blues, it does change the tone of the album immediately.

Herbie Hancock’s solo on the opener shows he’s an excellent addition to the McLean sound and it’s a shame they didn’t record together more (I don’t have Vertigo from a couple of years earlier). He provides plenty of probing energy and interest, the album would sound very different without him. He sounds great paired up with Roy Haynes – did they record together much? I haven’t heard it if they did.

I really don’t have much of at all of Charles Tolliver’s work.... off the top of my head it’s only this recording. It’s Time! Was his recording debut and he slots in really well and split the composing duties with McLean providing three of the six pieces.

McLean comes and goes in fits and starts for me. I like how distinctive he is. Destination Out and Swing Swang Swinging were the first albums of his I picked up - almost 25 years ago now - and as a result they are the albums I’m most familiar with. I managed to hear him live once. In NYC during 2004. It was a reunion of sorts with Grachan Moncur III and Bobby Hutcherson sharing the front line. Maybe the music didn’t live up to my expectations but I’m glad I got to hear him live and the vibe in the room (Iridium) was great! In fact, that’s one of the things I remember the most from that gig - along with the pianist arriving late as the taxi he was in crashed, and Hutcherson taking care of “Old Folks”. I think I'll leave it there tonight. But while you’re here, the video of the Dynasty recording session is on YouTube.

North End's Pit Boss seemed fitting tonight.

Jazz | Pint | Music for people, birds, butterflies & mosquitoes

One of the newer acquisitions is the recent reissue of the Jimmy Giuffre 3 album ‘Music for people, birds, butterflies & mosquitoes’ recorded in 1972 for Candid. Those who know me know one of my favourite groups is Giuffre’s trio from the 1960s with Paul Bley and Steve Swallow (although the 1980s version of that trio just didn’t grasp me), so I keep an eye out for other recordings of outside of that trio that might be on interest. I jumped at the ‘New Concerts’ 2 disc album that came out a while ago now (I just checked... 2014... rust never sleeps) and likewise, this reissue leapt out at me – a nice surprise find at Slowboat Records. It appealed for a few reasons... I don’t have any Giuffre from this era, the trio format is a favourite of mine, and I wasn’t familiar with the rhythm section of Kiyoshi Tokunaga (bass) and Randy Kaye (drums). It’s a nice sounding recording too – plenty of clarity from all three instrumentalists - and I’ve really been enjoying it. The 12 pieces are quite concise with pretty much everything under five minutes which keeps things moving along and with Giuffre shifting between tenor sax, clarinet, and flute there’s some nice timbral variety. The folk music tinge that is often part of Giuffre’s vibe is present and this time round it hints a bit at the Middle East and Asia. I don’t much at all about what Giuffre was up to during this time and whether this was a working group or something he threw together for the recording – but I’m leaning towards to former as there is a band sound in place. No one is overplaying or filling gaps unnecessarily. There is room to breathe. I like that. Overall, I’d say the album is fairly introspective, but I don’t mind that at all.

Sipping on an Ardnamuchan throughout.

Jazz | Pint | Quartets Live at the Village Vanguard

A little more Lovano revision has been on the cards of late - this time around it is the double album Quartets: Live at the Village Vanguard, and like Trio Fascination Vol 1, it has been a while since I had heard this album. Of Lovano’s work as a leader, I think it is this era that is my preference (the likes of Sounds of Joy, Rush Hour, Trio Fascination), over his more recent offerings (with the Trio Tapestry recordings being an exception to that rule). If you add in dates with Paul Motian and John Scofield during that time, the 90s were very fertile for Lovano. Perhaps it’s just because I’ve listened to more of his work from that period.

The Ornette Coleman influence is more present in Lovano’s playing than many of his post-Coltrane saxophonic peers – both as a composer and as an improviser  - with “Fort Worth” and “Uprising” being nice examples on the first disc. I’ve heard people say at times he’s like a watered down Dewey Redman (which seems a little harsh to me), but being a fan of Ornette I enjoy hearing that influence through Lovano’s filters. And I know people criticise his tone too, but he’s distinctly Joe Lovano and isn’t that the idea?

I prefer Lovano on tenor but the other horns (soprano and c-melody) bring some different colours to a few tracks on the first disc. On the second disc he sticks to the tenor exclusively which seems a better fit for the approach with that quartet and the more straight ahead approach. And it’s much more of a “soloist with rhythm section vibe” with Lovano as the lone horn. The contrast in approaches of the drummers is noticeable with both slotting in to their respective quartets nicely - Billy Hart changes direction more abruptly, while Lewis Nash has a smooth flow of swing. Both are a solid lock with bassists Anthony Cox (Hart) and Christian McBride (Nash). It would have been fascinating to hear the two quartets playing some of the same repertoire (a la Ornette’s In All Languages). Nerds like me enjoy that kind of thing, but it’s probably has less appeal to the general audience who want bang for their buck – two different bands playing different tunes.

From the second disc, this time around I’ve enjoyed the slower swing of “This Is All I Ask” and “Duke Ellington’s Sound of Love” – a welcome change of pace from the more up tempo numbers. And the closing track “Sounds of Joy” made me want to go back to the album of the same name from 1991. Of all the pieces this on the second disc, this one seems the most out of place. Maybe it’s just that the earlier trio version was my first exposure to the tune and that’s stuck in my mind. I does pick up when Lovano starts soloing, but I feel this piece would have worked better with the quartet on the first disc. But after a couple of spins it started to grow on me.

Each disc stands alone but together they offer a nice contrast, the first being a bit more open and the second more straight ahead, and I think that makes it a stronger release. And both discs showcase Lovano in fine form so it’s been an enjoyable revisiting.

This afternoon’s listening was accompanied by a pot of Zealong Fire and Ice.

Jazz | Pint | Joe Lovano Trio Fascination

I’m pretty sure the last time I listened to this Trio Fascination Vol 1 was over 20 years ago. I borrowed it from a friend at music school I think... or it may have been at the university library. Either way, it has been a while. I picked up this copy late last year and I’m finally giving it a spin

Sometimes I find Lovano’s playing a little exaggerated (I get that with Dave Liebman too) but it’s a distinctive sound and stands out as Lovano... and that’s not a bad thing at all. And for a while there he was pretty influential but I don’t hear that much at all these days. But I still think that players could benefit from his blend of influences or explore those influences in addition to the usual fare.

As much as I love Elvin’s playing, I really don’t have much from later in his career.... plenty from the 60s but it’s only a scattering from then on. And that was probably one of the drivers for me picking up this disc last year... or maybe it was the completist(ish) side of me. I’ve had Vol 2 for a number of years now and the lack of Vol 1 was probably nagging away at me! Whether I’ll getting to around checking out more from this later period.. I don’t know, but it’s nice to hear Elvin in fine form here and I can see myself returning to this album just to focus on Elvin’s work.

And then as I’m wrapping up I realise I haven’t even mentioned Dave Holland. Tonight, I almost put on Triplicate.... so maybe that will make it’s way to the blog sometime soon and he’ll get more than just a passing mention.

So, it may have had it’s first spin in a long time, but I see myself returning to Trio Fascination a little more often in the future - solid playing from all three, and definitely one for Lovano fans.

Jazz | Pint | Braxton minus Braxton

 I’m still undecided as to what to play at next week’s listening session. So I’ve been working through the pile of albums. There’s been quite a bit from ECM – Mette Henriette’s debut album had a spin last night (I still haven’t got to her follow up Drifting), Tim Berne’s Snakeoil has seen some action too. But tonight it is Anthony Braxton.... Well kind of – it’s Braxton minus Braxton. Thumbscrew’s Anthony Braxton Project and Marilyn Crispell/Mark Dresser/Gerry Hemingway Play Braxton. I started with the latter – three quarters of Braxton’s quartet from the mid-80s-mid-90s. And this album is much more approachable than I remembered (it has been a while between listens) but still will be pushing the limits of the listening group which leans far more mainstream. But maybe throwing in one of the shorter pieces could work. It’s definitely an album I will keep up my sleeve for next week (I’ll likely make my decision on the night). The Thumbscrew album has an advantage in that a number of tracks clock in at 3 minutes or under which could allow me to play a track from another album too. Typically the group prefer to share shorter tracks – even 8 minutes can be pushing your luck – and that can make it hard to select tracks. So, will the friends be listening to people playing Anthony Braxton next week? I’m not sure just yet, but sometimes I see it as my role take things in a different direction from their usual fare – and both of these albums check that box.

Tonight’s listening was accompanied by a Sin Eater from North End... in a chalice.... because why not?

Jazz | Pint | A Night of Variety

Usually I just sit back and listen to a single album when I write one of these posts, but tonight I changed it up. The theme for next month’s listening session we’ll be sharing recordings from 2010-present (we’ve been working our way through the decades). So, tonight I’ve been playing selections from a bunch of albums to try and narrow down a track or two to play to the group. Usually I take along a few recordings so I have a couple of things up my sleeve based on what others bring along.  It won’t necessarily be something I like (it might be though!), but it might be related to another recording played that night or something that adds variety to the evening or a stimulant for discussion – maybe all of the above. Sometimes my selection might on the fringe of the tastes of others in the group, but I figure the idea is to introduce them to artists and recordings they otherwise may not have listened to without a prompt. Of course there was no chance I’d get through this pile of albums tonight, but I’ve made a start. There are plenty of names that the crew up the coast won’t be that familiar with James Brandon Lewis, Masabumi Kikuchi, Tomeka Reid, Michael Formanek, so it’s tempting to take that route. I played a Fieldwork track last month so they’ve had a very brief intro to Vijay Iyer and Steve Lehman... it didn’t go down well, but I’m tempted to play something from Iyer’s sextet album 'Far From Over' as perhaps that is a bit more approachable. But Thumbscrew’s Anthony Braxton Project is nagging away at me too as is Trio Tapestry. And after a bit of listening tonight, other names keep popping into my mind....Mette Henriette is another that I’ve marked down as another possibility....Tim Berne's 'Snakeoil' is another. If I was going down the ‘favourites’ path, Evan Parker’s 'As The Wind' would be right up there... so who knows where I’ll end up at this stage. Anyway, I have a few weeks before I need to have an idea of what to play. There’s a very real chance that on the train ride out I’ll still have no idea – but that’s part of the fun I guess.

It was all washed down with a bottle of Craftwork and another round was accompanied by some ooloong tea. 

Jazz | Pint | West Coast Live

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.

Jazz | Pint | Return From The Stars

 

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.

Jazz | Pint | Rip, Rig and Panic

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.

Jazz | Pint | Dave Brubeck Octet

 

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.

Jazz | Pint | Always Let Me Go

 

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?

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.

Jazz | Pint | Warne Marsh

I thought of this set of recordings last night when I was playing on the street (accompanied by the sounds of fireworks and New Years revelers). Back in the day I used the money gained from playing on the street to feed my CD habit. One such purchase was the Mosaic Records set of Atlantic recordings by Tristano, Konitz, and Marsh. It took some saving up as I never made much money (mostly I was just practicing) and I remember the exchange rate really wasn't in my favour either! In fact, it way have been the first thing I purchased online.

When I got the set, it was the solo Tristano and Warne's albums that excited me the most. And that's probably still the case, although now I appreciate the contribution of the rhythm sections far more. I think that back then I was so taken by Warne - especially his tone - that the others just faded into the background. Tonight, I spent a bit of time just digging the lines laid down by Paul Chambers and I was still able to marvel at Marsh. There are other albums I was really into back then, that when I hear them these days just don't resonate with me nearly as much. Whereas Warne's self-titled Atlantic album has got better with time. It's funny, as what were favourite tracks over 20 years ago are still my favourites today (well they are tonight anyway!) - "Yardbird Suite" and "Excerpt". "My Melancholy Baby" is great too as is "Just Squeeze Me" and makes me wonder why I'm playing favourites tonight. It always pains me to look in the liner notes and see listings for other tracks from these two sessions... "unissued, master no longer exists". We can only imagine. The upside is that we do have six tracks, and if you haven't heard them, please set aside 35 minutes and give it a spin (or you could just put it on loop like I did tonight).

While I may not listen to this music as much as I once did (for a long time it was a daily occurrence), this music still travels with me. A great way to kick of what was otherwise a quiet start to 2021.

Jazz | Pint | One Down One Up

I'll happily admit that John Coltrane isn't my favourite saxophone player. Unless I'm looking at something specific, I need to pick the right moment to kick back and dig it. And tonight was the night, with One Down, One Up - Live at the Half Note taking care of the Coltrane fix. It's not really music that I strive to emulate, but I get why people love it so much. Intensity is the first word that comes mind. An outward intensity. Maybe if I binged on it and really spent time working it, some of that may bleed into my playing. Who knows. It's not really where I am at the moment, but you never know.

The hook up with Elvin Jones is something else, and there are long periods of Trane and Elvin in duo. The only downside to this is the lack of Jimmy Garrison! (never fear, he's always present during McCoy Tyner's solos). The more I listen to him, the more I enjoy his playing. Is he underrated? Underappreciated? Maybe - I don't know. Not in my book. In the accompanying notes (he barely gets a mention!) there's a great photo of him on the bandstand at the Half Note. The lucky few in the front row could have reached out and touched his bass. I can only image being so close to that sound and feeling. Physically that would have been an interesting experience.

Usually when I tune it to Coltrane I'm focused on his soprano work. And considering it's a live recording, his soprano tone is pretty well captured here. I know a lot of people rave about My Favorite Things, but I prefer his soprano from a bit later on. One Down, One Up is a fine example (on "Afro Blue" and "My Favorite Things") as is The John Coltrane Quartet Plays (check out "Chim Chim Cheree"). Both were recorded in 1965, once he'd spent more time on the straight horn.

So my spur of the moment pick worked out well tonight, and two discs of live Trane made for a nice Christmas Eve Eve. In the words of Alan Grant, the announcer on these broadcasts, "Stay beautiful".

Jazz | Pint | Monk Plays Ellington

I was listening to Pablo Held's interview with Ben Street earlier today (be sure check out Held's other interview too - great series), and had bass players on my mind when it came to tonight's listening. I didn't have anything in mind, but when I spotted the Monk set in the pile, the Oscar Pettiford/Kenny Clarke pairing was the first thing that came to mind. And here were are. Of Monk's discs on Riverside, it was be a toss up between Monk Plays Ellington and Brilliant Corners as to the album I've listened to the most. It just so happens that Pettiford is on both. (Thelonious Himself would more than likely be third if you're wondering). Pettiford and Clarke have such a great flow - it sounds effortless. As the bass was on my mind, I tended to focus in that direction tonight. Such clarity in his lines and his tone. Tonight, the brief moments when his walking lines moved into the higher register seemed to pop out at me. And the buoyancy of "I Got It Bad and That Ain't Good" really appeals to me. And the 3.57-4.10 mark during O.P's solo on "Caravan" always sticks out to me. Kenny Clarke is very understated throughout - in the best way possible. Economy of swing at its finest. Fantastic brush playing. Actually, he spends the vast majority of the album on brushes. The sticks aren't missed at all (they make a brief appearance on "Caravan"). Super tasty. Of course it's not just O.P and Klook grooving - Monk plays his part too!

The Houblon is not by favourite of the Chouffe beers, but it made a change and I hadn't had one in ages (actually it was my first Chouffe since moving home). Maybe not a great match with the music, but it really didn't matter.

Jazz | Pint | Tethered Moon

Another weekend comes to a close, so it's time to kick back and relax with music and a beer. Early on in 2020 I "discovered" Masabumi Kikuchi. I'm pretty sure I had heard him previously on a Paul Motian recording, but for whatever reason, it didn't stick with me. I'm not sure what led me to him this year, but I picked up Black Orpheus (solo), Sunrise (trio), and a few of the Tethered Moon albums. And I'm glad I did. Actually, the Tethered Moon recordings led me listening to a lot of Gary Peacock this year - with Jarrett, some other sideman work, and as a leader too - a rediscovery of sorts. 

Tonight, I gave First Meeting another spin. The trio's first recording... but not their first to be released. The music is unhurried, with opening track slowly unfolding and setting the mood for things to come. I enjoy the sense of space throughout the album. The sense of balance between the trio is also particularly notable. The last month or so I've been playing in a trio (albeit with different instrumentation) and balance is something that is becoming more and more apparent to me. How are the three of us interaction? Not to overplay. When to contribute sound and when to contribute silence. Can the use of silence turn the trio into a quartet? It playing a part as vital as the sounds we make. Just a few of the thoughts that popped into mind during tonight's listen. And how about the groove of Motian and Peacock on the title track? I'm also enjoying the recorded sound. Of the three Tethered Moon albums in my collection, I've listened to First Meeting the most. Does that mean it's my favourite? I don't know, it's early days yet. Still, it's a very nice album.

There is a slightly dark quality to Tethered Moon (and Kikuchi in general) - but I like that in their music, and it seemed that Morte Subite would be an appropriate accompaniment - in name mostly, but it's mix of sweet and sour (more of the former than the latter), and effervescence seems to tie in with the sounds bouncing around the apartment.

Jazz | Pint | Transitioning Alpha Theta

A quiet Sunday evening at home called for a beer and some listening. The album that has lulled me off to sleep the last couple of nights is Hayden Chisholm's Transitioning Alpha Theta from his box set Cusp of Oblivion. If you hadn't picked up on it, I'm definitely a fan of Hayden's work, and I particularly enjoy his saxophone ensemble recordings. Whereas Kaum Quartet and Auto Poetica feature four and eight alto players respectively, Transitioning Alpha Theta, features Hayden alone, multi-tracked.

Nothing is abrupt. Dynamics are at the quieter end with subtle variations as particular notes are emphasized and the sounds ease in and out with breath. Ebb and flow. Sublime saxophone playing. The Breath. Space. A sense of calm prevails. After 42 minutes the piece ends but feels like it could just keep going. Infinity. 

The breath. Calm. Space. Areas that warrant further exploration in my own work and a record such as this (and others from Hayden), are a handy resource.... and an enjoyable listening experience. This past week or so I've been consciously trying to slow down while practicing. Leaving more space etc. Putting the horn down helps - you can't play if it's not in your hands.

One of my regrets is not getting back to Greece for another of his workshops. Maybe in the future it will happen. For now, I can relax, listen, get lost in the sound, and slow down.

Straight Horning: Evan Parker & Spontaneous Music Ensemble

Spontaneous Music Ensemble: Summer 1967 (Emanem)

I’ve been meaning to write about this album for a while now. Some months ago I wrote some notes but who knows where they ended up, so I’m starting from scratch today.

Some of you may know I’m a fan of checking out early recordings by players who interest me. There are earlier recordings of Parker on Withdrawal, but on those recordings he has a pretty minor role in proceedings. Summer 1967 is a different story, as here he shares the front line with drummer John Stevens (drums/perc) and bassist Peter Kowald (on the two longer tracks). Even at this early stage it sounds like Evan Parker to me. The tone is not as full (the fidelity of the recording may not help) and there is not much in the way extended techniques but the playing still points to Evan Parker. I think it’s the series of short bursts and a staccato/jagged approach to his phrasing

The album comes from three separate sessions in August and September 1967:

- 5 improvised duets (4 on soprano and 1 tenor) that are, at times, quite minimal and in which space is well utilized.

- 2 longer improvised trio pieces (1 each on soprano and tenor) Clocking in at 14 and 11 minutes, I liked the pacing of these longer works - the phrases have space to breathe.

- 3 improvised duets (all soprano) the title “Echo Chamber Music” is apt and the echo on the recording adds a bit of fullness to the sax sound (but it’s still a bit over the top). These don’t seem as jagged as the first 5 duets (but maybe it’s just the echo mellowing things out a little).

Even as the density rises the music tends to stay on the quiet side (reflecting John Stevens’ ethos at the time), and I find this quiet intensity appealing. At times the music is quietly urgent and off the top of my head I can’t think of many similar examples that come to mind. In some ways there is bit of sameness throughout each of the three sessions, but I actually don’t mind it all that much.

This is Evan Parker's first major statement on record, and as such, if you're a fan of his work you'll want to pick this up.

For those interested in the pint…. it’s Dame Errant from Pipeworks, an English style IPA that had bit of a shake up on the way home but still tasted good.