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.

Matthew Shipp: To Duke

Matthew Ship Trio: To Duke (Rogue Art)
Shipp (piano) Michael Bisio (bass) Whit Dickey (drums) recorded June 2014

I admit that I'm usually a bit suspicious of tribute albums, but the little I have heard from Matthew Shipp gave me the feeling that this album would be worth picking up.

The album features four pieces from Shipp alongside seven works by Ellington and his associates. The trio takes these songs to places they haven't been before and the album is full of interesting, unexpected twists and turns as melodic fragments or rhythms are seized upon and developed or cast aside. It's a very collective and interactive approach to playing as an ensemble (rather than head/solos with accompaniment/head). At times Shipp's melodic reconstructions, Dickey's rhythmic coloration and Bisio's counterpoint leave the impression that they are taking three different routes to the same destination.

The surging, runaway "Take the A Train" feels like it is not going to make any stops until finally winding down in the final minute. In between moments of dense chordal movements, uptempo swing and even a section that I could hear as part of a video game soundtrack, there are times when "Satin Doll" comes off as sounding relatively conventional. Bisio tackles "I Got it Bad and That Ain't Good" solo and as the piece opens there's a nice little salute to Charles Mingus. Dickey is featured throughout Shipp's "Dickey Duke" (I couldn't help but think of Frank Zappa's "America Drinks and Goes Home".... "Caravan with a drum solo? Right...yeah, we'll do that").

It's a testament to the compositions that they can withstand such flexible approaches. The improvisers deserve credit too as they approached these pieces in a fresh way - exploring the pieces without having to rely of gimmicks, such as elaborate arrangements or odd-time signature workouts (unless you consider the free approach with which they tackle the pieces itself a gimmick).

While Shipp has his own distinctive approach, he is coming from the Ellington lineage (I'll include pianists such as Thelonious Monk, Herbie Nichols, Andrew Hill, Cecil Taylor, Misha Mengelberg as part of that tradition.... who else am I missing?). This left me thinking, what are characteristics of the lineage?.... density, space, attack/articulation, a bittersweet quality, and personality - something to ponder. This album demonstrates a quality that Matthew Shipp shares with the likes on Monk, Nichols and Taylor: the ability to refer to tradition without rehashing it. Also, I hear some reminders of Connie Crothers too (check out the brief album-opening "Prelude to Duke").

Steve Dalachinsky contributes some nice liner notes too. His inclusion of some Bob Kaufman was particularly apt..... "the revisited soul is wrapped in the aura of familiarity."

Although I purchased this album on a whim, To Duke did not disappoint.

Recently Listening: A bunch of Mike Nock

There was plenty of Mike Nock on the apartment airways during 2015 and I’m only just starting to catch up on things now. It was exciting to stumble upon reissues of The 3 Out at Dusty Groove a couple of months ago (they are available on vinyl too). 
Move was recorded in 1960 shortly after Mike Nock (p) Freddy Logan (b) Chris Karan (d) formed The 3 Out. The focus here is on standard tunes (there are 3 originals – 2 from Logan and a slow blues credited to the trio).

The trio’s follow up, Sittin’ In, is split in two. The first side features the trio and the second half of the album is augmented with Erroll Buddle (ts) Don Burrows (as/bs) Ron Falson and Colin Jones (trpt) and features four original tunes (one each from Burrows, Nock, Falson and Logan).

I remember hearing Mike mention that this is the group people ask him about the most. Perhaps now that Move and Sittin’ In are more easily available the questions will ease up. These two albums are essential listening for Nock fans and those interested in the rise of modern jazz in Australasia. Now we just need reissues of The Fourth Way.

Another nice surprise from Dusty Groove was a Japanese reissue of Piano Solos (Timeless). Recorded in NYC in September 1978, this solo outing provides plenty of variety in tempo and mood.

Recorded during a fertile period for Nock - In Out and Around, Talisman, The Opal Heart, Climbing and Ondas are all from this era - Piano Solos has been on regular rotation of late. “Break Time” stood out on my first couple of listens and there will be some interesting follow-up listening. “Break Time” and “Jacanori” appear other Nock albums, and “Fallen Angel” alludes to “Forgotten Love” - from In Out and Around (recorded a couple of months earlier) and Ondas. Back-to-back listens of these tracks is on the cards sometime soon. Then I'll need to give Talisman another spin too, as both solo albums were recorded in 1978. 

Two-Out (FWM Records) pairs Nock with saxophonist Roger Manins for a set of eleven standards. Taking a quick look at the Nock discography, this album appears to be the first time he has recorded an album entirely devoted to standard tunes. The cover photo really captures the essence of the album - a relaxed, fun and warm meeting of friends. I can't recall hearing Manins sound so relaxed and, at times, vocal (a new dimension seems to have appeared in his tone) and it leaves me wanting to hear more..... how about a follow-up featuring Mike's tunes spanning his career?! I'm adding Two-Out to the list of his fine duo outings including The Waiting Game (with Marty Ehrlich), Duologue (with David Liebman), Open Door (with Frank Gibson Jr.), Kindred (with Laurenz Pike)... more on the latter, later.

Mike's albums on FWM Records are available via Bandcamp.