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 | At Birdland 1950 Revisited

One of the first CDs I bought was Audio Archives Collectors Edition – Charlie Parker - 18 Reflective Recording. It was a super cheap disc I found at Tower Music not long after I started playing the saxophone that was comprised of studio and live recordings featuring Charlie Parker. Aside from the track listing, that was it... no other information. I later found out that some of the tracks that had really stood out to me we’re live recordings that Columbia had released as One Night at Birdland. The mystery musicians alongside Bird were Fats Navarro, Bud Powell, Curley Russell and Art Blakey – quite the line up. I eventually got that LP while I was in New York City studying with Richard Tabnik... and it just happened to be one of his favourites and we listened to examples from it during my lessons on more than one occasion (Hi Richard!). That LP got plenty of air time when I got home until my turntable packed up shortly before I moved back to the US and the LPs were left in a box at the folks place until my return. I eventually found it on CD and ordered it only to discover two copies of disc 1 and the Birdland session was on the missing disc 2 (or the other way round... I forget). I still haven’t replaced my turntable (I know, it will happen ), so I’ve resorted to listening to online ever since. Recently Hatology/Ezz-Thetics reissued it and last month and Charlie Parker At Birdland 1950 Revisited arrived in the mail. So it’s been getting a spin or two. It’s a must for fans of Bird, Fats, and Bud - great live energy and simply some of the very best on record from all three. I think I’ll leave it there. Just do yourself a favour and check it out. I washed it down with a Riggwelter.

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?