Between Waking and Sleeping: Lacy and Waldron - Hot House

Lacy and Waldron make a great pairing and with this album I've been revisiting an old favourite of mine - drifting off to sleep accompanied by some soothing sounds. I was something I did for a long time and then it faded and stopped. That's life, I guess. But now it's back and it's hitting the spot. The 1990 duo recording, Hot House, is one of my most recent additions to the Steve Lacy collection. It's a nice mix of tunes by the likes of Herbie Nichols, Monk, Bud Powell, Duke (the usual suspects) and a few pieces from Lacy and Waldron (including each having a solo feature). It hasn't quite hit me like their other duo works Sempre Amore or, especially, Live at Dreher (maybe that will be next for the lullaby listenings), but I'm still digging it. But lets face it... I'm probably going to enjoy the vast majority of Lacy's output. Some favourites from Hot House so far include "Snake Out" and "Retreat" (Lacy solo). Anyway, it's been keeping me company most nights for the last week or two (I need to give it some time in the waking hours too). Some nights I only last a tune or two and then I'm down for the count. Who knows if it does anything (neither Steve nor Mal have appeared in any dreams that I can recall), but it's better than just lying here and staring at the ceiling (waiting for a sleepy feeling).

NZ Jazz: Mike Nock - Beginning and End of Knowing

Mike Nock: Beginning and End of Knowing (Fourth Way Records)

Nock (piano) Laurence Pike (drums/sampler) 2015

I started this series last September with Nock's Vicissitudes, so it seems rather appropriate to feature another from Mike one year on....plus it was his birthday a couple of days ago. While I did give Beginning and End of Knowing a listen when I first picked it up last year, it is well overdue for some quality time (in fact, Vicissitudes bumped it from opening the series, solely because it was his most recent album). As with last months selection, we have another slightly ominous title – yet fitting for this stage in my life. A follow-up to the duo's 2012 recording, Kindred, Beginning and End of Knowing features 12 wonderfully recorded free improvisations, none of which extend beyond six minutes, keeping things nice and concise. The album art and booklet nods in the direction of ECM and, as the duo recorded the album in Norway at the same studio and piano as on Ondas, it seems appropriate (and once again makes me wonder why Ondas was his sole outing for ECM).

Mike's playing here (or anywhere really) is not about hip licks and chops, but in this case, more focussed on texture and colour. Even on pieces in which single-line playing is featured those lines still seem to serve as mean of creating different textures and colors. Pike doesn't play much in the way of “ding ding ga ding”/“spang spang ah lang” (or the phonetic swing of your choosing), but he still generates a sense of forward motion and while the groove may reveal itself in an unexpected way, it's there. His playing is pretty understated but it really suits the feeling of the album. And across the album there is a nice balance between piano and drums. 

The title track sets the tone of album superbly. At times the piano is dramatic (without being overly so) while the drums remain constantly on the move. The bass drum popped out at me on “Cloudless”, while the sense of space and openness in Mike's voicings and approach contain quality that I can't really describe - “realization” comes to mind. “Akerslva” seems dark a first but a playfulness emerges and a hint of the blues is present throughout the tinkles and splashes. “1000 Colours” features more line playing by Nock than on the preceding tracks. Space is aptly filled by Pike, who plays with a subtle groove that really works. You could be mistaken in thinking that the opening of “The Mirror” is composed, such is the clarity. That clarity remains as a left hand ostinato takes hold and directs the piece. Mike's playing is melodic with a tenderness at times. “Hydrangea” features a Pike groove of relaxed propulsion while rich piano chords sit on top, and as the piece progress the piano and percussion become increasingly interlocked. The electronics are more obvious on “Glittering Age” than on some of the other tracks but they slot in seamlessly nevertheless. The piano repeats, varies and develops phrases throughout and Pike's use of the samples at the end of Mike's lines is very effective. Again, Pike's groove is unexpected yet highly effective (and the electronics fit into that groove well too) - he's a creative player. “Zerospeak” is more up-tempo than most of the album with its single line piano runs over the top of rumbling toms. Mike's lines had me thinking of some of his late 70s works such as “Casablanca” & “Break Time” or even later on with “Ozboppin'” (and I did take those tracks for a spin too), but here the feel is a bit different.. perhaps more introspective and rhythmically softer. Mike's single line melody over the drums and samples on “Ocean Back to Sky” (particularly during the opening of the piece) is a lesson in economy. He extracts a lot from a little and that is something that appeals to me more and more. The stacatto percussion and the wide spread between the two hands at the piano on “Prospero” grabbed my attention. It brings a welcome textural addition to the album. “Southerly” features some more contrasts – the fluttering cymbals paired with bass drum pulses, with strong, slow moving chordal melodies over the faster moving drums. I dig the way Mike's chordal phrases early on have a breathing quality to them. The album rounds out with “In Closing,” another improvisation with composition-like clarity.

While overall the album is quite introspective, there is still plenty of variety in terms of feel, mood and colour. There is a meditative quality that draws me in (and in that sense it reminded my of Evan Parker's As the Wind and the work of Hayden Chisholm). This could be the ideal music to calm the mind during the busy time in which we live. The album's strength lies in the collective approach to the duo - very much a case of “everybody solos and nobody solos.” The dialogue between the two is warm, unhurried, not afraid of space, and projects clarity and an openness (the only word I could think of) that really hits the spot. Beginning and End of Knowing served as the perfect welcome home. Tu meke!

Music for Commuting: Mike Nock Duos with Pike and Liebman

Accompanying the drive today: Beginning and End of Knowing and Duologue. I'll write more on the former later this month. And eventually I'll probably get around to writing something on the Liebman disc too. Both are highly recommended.

Solid Fun: Gunter Hampel & Christian Weidner

I started listening to Christian Weidner shortly before meeting him in Greece during my 2009 travels. As I picked up his albums over the years since, I ran into a mention of Solid Fun - a duo with vibraphonist/bass clarinetist Gunter Hampel. I added it a few watch lists and kept an eye out for it in record stores (when I remembered). I finally ran across it (along with a couple more Lacy albums) in early June while browsing the Jazz Record Center. I was particularly curious about this release as it was recorded when he was about 19 years old, with 7 of the 8 tracks coming from a single concert in 1995 and the last piece is from a live performance the following year. There's almost ten years between this recording and his first date as a leader, the 2004 trio album Choral. 

Early Bird, Coltrane in the navy, Konitz with Claude Thornhill, Warne with the Canteen Kids etc....it's always fascinating hearing recordings of players earlier on in their development. What's similar, what's different, and would I pick them if I didn't know?

Although I consider myself pretty familiar with Weidner's recordings and quite confident in picking his playing, Solid Fun would have had me stumped. The tone is full but brighter, more conventional with a buoyant touch. The playing is busier - put it down to youthful energy - without the sense of space and pacing that I enjoy in his playing. There's an exuberant blues element that maybe somewhat overdone and I don't really hear in his playing these days.

There are a couple of spots that hint at his more mature sound - the way that he plays some notes, the phrasing and with that the tone I associate with him became more present (if just for a fleeting moment) - but even with repeated listening it is pretty well buried.

And I almost forgot to mention that in addition to alto, he plays tenor on a couple of tracks. It's not a horn I associate with him and although I had seen some live videos of Weidner on tenor with Kurt Rosenwinkel (I think), I do not remember them well enough to make any comparisons. I'm not sure if it's because I'm used to him on alto, but I feel that the smaller horn is a more natural voice for him.

While I don't place Solid Fun up there with his more mature works as a leader (or sideman), its been an enjoyable and fascinating listen. If there are other recordings between this and Choral I would be keen to give them a listen too.

Lambic Jazz Vol.7

No class last week, but there was tonight so I'm back for the Wednesday night post-class hang.

A couple of days ago two discs arrived via CD Baby. On Monday and Tuesday I listened to Virgo Dzurinko (p) & Ryan Messina (trpt) Undertow (New Artists) and tonight Carol Liebowitz (p) & Nick Lyons (as) First Set (Line Art Records) is getting it's first spin. Nick was the first person Connie Crothers introduced me to when I came to NYC to study with her and a couple of days later I met Carol at a session with Nick (at which they played duo). Over the years it's been great to hear them play together and now a moment of that relationship (in concert during 2012) has now been captured.

I've heard Carol and Nick improvise - freely and on standard forms -  many, many times and there are always surprises. The bonus here is that they play two lines written by Connie ("Carol's Dream" and "Roy's Joy"). Of interest to me is the final track - "Another Time." Even though it was recorded five years earlier (2007) and the energy is a bit different (studio vs live perhaps?) it doesn't distract from the flow of the album. This was recorded before I had met Carol and Nick (although I did have a couple of Carol's albums) and I'm curious to see if I pick up on anything I hadn't noticed before. Duos are a favorite format of mine so I expect these two albums will be getting plenty more airtime. Tonight's music was accompanied by De Troch Oude Gueuze.

I'm looking forward to hearing them play (Virg & Ryan too) as part of the Connie Crothers celebration concert on November 13th. If you're in the NYC area get on down to Roulette and check it out. The full line-up is here.

Yesterday Norman Meehan's Serious Fun: The life and music of Mike Nock came off the shelf and I started re-reading it this afternoon. This will be the third (I think) time reading it in full, although I do read a few pages or a chapter on a semi-regular basis. Norman has another book due out in December - New Zealand Jazz Life (Victoria University Press). I'm looking forward to it.

Now I'm going to keep an eye on the first few hours of the first test between Australia and South Africa (looks like I've already missed a bunch of the action!) as game 7 in the World Series goes right down to the wire.

Konitz/Haden - Sweet and Lovely

Not long after discovering the music Lee Konitz, I picked up Alone Together (Blue Note) featuring Konitz alongside Charlie Haden and Brad Mehldau. It was placed on heavy rotation and quickly became one of my favourite albums and by the end of the year (1999) the follow up - Another Shade of Blue - also was getting plenty of airtime.
In the liner notes of Alone Together Konitz mentions that the gig was originally intended to be a sax/bass duo recording for King Records. A couple of years later I found the duo recording listed in an online discography but I was unable to track it down. Over the years it would pop into my mind and I would have a search, hoping it would eventually show up on eBay, and then forget about it again.

In December, while browsing Dusty Groove for Charlie Haden recordings, there it was - Lee Konitz & Charlie Haden Sweet and Lovely - the missing piece of the December 1996 recordings at the Jazz Bakery in Los Angeles. Although I placed my order immediately, someone bet me to it and it was out of stock. It came back in stock while I was somewhere over the Pacific Ocean, and by the time I found out, the elusive duo had sold out once again. The new year rolled around and the album appeared on eBay and this time around it didn't escape.

The first spin reminded me of catching up with old friends you haven't seen for many years and things just slot right back in place. That's not to say there weren't surprises - there were, and as I continue to listen, the album keeps delivering the goods. The sparseness of the sax and bass on the trio albums always appealed to me and it really comes to the fore in these seven duo performances. Sweet and Lovely has been getting regular airtime over the past month and I feel it's the kind of album that will keep on giving. I had been waiting a long time to hear this and it didn't disappoint. Konitz and Haden have added a little weight to the decision that if push came to shove, duos would be placed at the top of my favourite line-ups. Highly recommended for fans of Konitz, Haden, bass accompaniment, duos and melodic playing.

Ran Blake & Jeanne Lee: Newest Sound Around & Down Beat Feature

Last year, Ran Blake & Jeanne Lee's Free Standards - Stockholm 1966 (see this post) grabbed my attention so kept I my eyes peeled for their first album together - The Newest Sound Around. I finally picked it up, and it's been getting some airtime around the apartment.

Recorded in 1961, the CD reissue (Phoenix Records) adds four tracks to the 11 on the original LP release. It was a very strong debut album and has held up well over the decades.

Aside from a track recorded at the Lenox School of Jazz in 1959, this is the earliest recording I have heard from Blake, and his personal style is already well in place. Although he doesn't really have that much solo space, the album showcases Blake's creative accompaniment. His harmonic sense and tasty use of dissonance and space blends well with Lee's deep, rich vocals. At times, Blake creates a dense sound (his accompaniment on "Love Isn't Everything"). At other times, his approach is more minimal (his first solo chorus on "Evil Blues").

There is a solo piano feature along with two solo vocal works. On two tracks the duo is joined by George Duvivier - who's solid bass playing adds some colour to the overall dark, brooding character of the album.

The album expresses a feeling that removes the need for any pyrotechnics, and leaves the impression that Jeanne Lee is very much underrated.

I consider this album essential listening for those interested in jazz vocals.

To finish things off, I thought I would share a couple of articles featuring the duo. The first is from Down Beat in 1962 (I lost my notes regarding what month it is from). The second are notes from a European tour (Down Beat May 7, 1964).

More vintage magazine articles can be found here.

Ran Blake & Jeanne Lee

Ran Blake & Jeanne Lee – Free Standards: Stockholm 1966 (Fresh Sound)

Earlier this year I picked up Ran Blake Plays Solo Piano and soon after, Free Standards. My introduction to Blake’s work came via recordings from the 1980s and 90s.

Clocking in at 73 minutes, the album is comprised of 25 previously unreleased tracks including Blake originals (“Vanguard,” “Galziation”), standards (“Take the ‘A’ Train,” “Ja-Da,” “I’ll Remember April”), bossa-nova (“Corcovado,” “Desafinado”), a couple from The Beatles (“Ticket To Ride” & “A Hard Day’s Night”) and originals from the session’s producer, Kjell Samuelson (all of which Blake plays solo). Lee is present on 10 of the tracks with Blake taking the rest on solo.

Even early on Blake’s sound is quite striking, percussive, dark and brooding, crystal-like clarity, utilizing a wide range of dynamics and the entire span of the keyboard. I enjoy the blend he and Lee achieve and the duo presents plenty of surprises for the listeners. I haven’t heard much from Lee (Carla Bley’s Escalator Over The Hill being the only thing I can recall). I found her inventive approach to the melodies along with her tone very listenable. For those interested in hearing a piano/vocal duo take tunes to a different place, this pairing could be you your alley. I must check out their first album together.