Thoughts from lockdown etc (aka The torture never stops)

Okay, the title is a bit heavy, Zappa’s Zoot Allures popped up on my YouTube feed the other night and I couldn’t resist adding that little ditty to the title. A little black humour to lift my mood. But I guess it could be torture for someone reading these disjointed ramblings I scribbled down during the lockdown period.

In many ways lockdown hasn’t been that much of a change for me since returning home (and the few months leading up to my return to NZ). At times it’s a lonely existence. The last couple of years has been a blur as the dust settles. Living in the countryside and having a social life don’t always sync up. It takes more effort than I have been willing to put in at times. And clearly, it’s an effort for people to come to me (and I’m talking pre-covid here), but that’s nothing new. Probably time for a change.

There’s been plenty of time for reflection. What I like about my life. What I don’t like. What can I change? I’m lucky to be able to spend this amount of time in close quarters with the folks and not drive each other up the wall completely. I enjoy helping them around the property and would like to do more than I do. Often, I struggle getting the balance right – work/horn/social activities/helping the folks etc. That’s something I need to work on.

I haven’t felt compelled to get hell bent on being super productive during lockdown. Hence me taking forever to move my computer speakers into my workspace (and then not liking the set up and moving them straight back). And I could have sorted through the remaining stuff I want to get rid sell/donate. But I haven’t yet. However, I did finally get some better lighting in my bedroom (there’s bit more of a mellow vibe now). And it wasn’t until I was back at work that I switched the room around to fit in my desk. Some new recipes were tested; flourless cake with pinto beans was interesting, needs a tweak but I’ll make it again. And a couple of older ones were resurrected - Hayden’s Fibonacci split pea soup hit the spot, and it was nice to bust out chicken liver curry again.... I left the recipe in the US and made this one up.

I was fun resurrecting the blog after a break of a few months. I’ve still got some posts I need to finish and publish (they’re well and truly overdue now). Posts will become less frequent as things kick back into gear but I’ll try and make the effort to get something up here and there.

The radio show is a lot of fun to put together (self-promotion isn’t my strong suit; hence this is the first mention of the radio show... 6 months in). Although I miss heading into the studio as it’s such a nice scene, recording programmes at home as been fun - even it can send me down a rabbit hole. Maybe the playlists will be posted here at some stage. I need to get some guests into the studio too. In these “on demand” times in which we live, radio puts the choice in someone else’s hands, and that’s refreshing. Let’s hope this lockdown period makes people realize that the “anything you want, any time you want” thing, isn’t the be all and end all. Maybe we can realize how meaningless some priorities are.

Some nice videos popped up along the way too. Arts for Art posted a great interview with Connie Crothers from 2015 and Hayden Chisholm made a presentation of some of his musical research. Another pleasant upshot of the global pandemic was Tom Bukovac’s Homeskoolin’. It’s a breath of fresh air in the world of youtube/online lessons. The only downside is that there’s no saxophone equivalent out there doing this. No frills production, high quality content, and not the same old same old (Tom’s vids did prompt me to have another browse around the online lesson scene and nothing really popped out….but I’ve got enough on my plate as it is).

Working from home has been pretty good and something I would like to do more, and I don’t miss commuting. It has been great having music on at work. It was possible at my previous job, but it’s a little tricky at the current one. Sometimes it’s a distraction, but I can see it being a useful means of subconscious absorption. More please.

I miss getting out to hear music - even if I don’t do it as much as I once did (nor as much as I could). I’m just far enough away that I don’t really feel part of the Wellington scene. Putting together a trio is on the cards. I have a small set of tunes in a working state and it’s time to play them with people. I need to make that happen once things cool down (on the lookout of for keen bass players and drummers in the coming weeks/months). That might bring me closer to feeling part the scene. And I’m looking forward to getting to a Swagman gig once things open up, it will likely be quite a party. But I think the return to the live scene under current social distancing practices will be an odd experience.

Sometimes I feel like jazz music and the saxophone is just escapism for me. And it has been that way for a while now. I want to continue to simplify my approach to the horn and music making. Keep developing the connection. Let the escapism evolve. I enjoy it. It made me think, how do you do less without slacking effort? Actually; doing less likely requires more intense focus. While I’ve been keeping my lip in, I don’t feel like I’m getting work done the way I would like. Again, it comes down to balancing life. As always, it’s a work in progress.

“There are many levels of mastery, the practice of the art is valuable all the way along” (some zen thing I heard along the way somewhere).

From Lacy’s notes of Monkisms.... “Don’t play everything (or every time); let some things go by. Some music just imagined. What you don’t play can be more important that what you do.”

Was it Jim Hall who said, “Don’t just do something, stand there!”?

“It’s easy to be enlightened in a remote cave”

Over the last few months teaching has been popping into my mind on occasions. I would need to find a teaching space in Wellington and if I can get a few people back-to-back maybe it would be viable. I’m not sure about the online thing, I spend enough time looking at a computer as it is. But face-to-face is a commitment I would make under the right circumstances.

This probably isn’t the time to make any drastic decisions and I think I’ll just chip away at a few smaller things and see how it pans out. I’m definitely due a holiday (the pandemic put a stop to trips I was planning to NYC and Europe). Not sure where I’ll go just yet. Maybe a road trip to somewhere out of the way.

Full points to all those who made through to the end.

COVID-19 Level 3: Day 16

I might have one more day of Billie accompanying me at work before the commute kicks back in. Disc 7 marks the start of the alternate takes and the air-checks. These are super valuable for anyone undertaking study of these works. When I work with these, if multiple takes available, they get plenty of attention too. It can be interesting to compare recordings from different eras too. “All of Me” was the first piece I worked on during my studies with Richard Tabnik. At the same time I was also working with the Frank Sinatra version from the 1940s. Whenever I hear them I can’t help being taken back to that space and time. It wasn’t until I picked up this set and got back home that I worked on the alternate takes of “All of Me” (and others). For many years it was a regular part, and a large focus, of my practice, but these days I’m more likely to check back in with a particular recording or two here and there. Perhaps it’s time to ramp things but up again. 

I forget how young Billie was one the first couple of discs (the recordings start in 1933, aged 18). Quite remarkable. I was pretty lucky to have stumbled upon some of these recordings early on in my exploration of jazz. I’ve been listening to many of these recordings for 25 years (some closer to 30). I haven’t tired of them yet, and I doubt I will as I still get so much from them. They’re always there to turn to when you need them.

COVID-19 Level 3: Day 15

It doesn’t look like I’ll be able to get through the entire set before heading back to work. We’ll see I guess. In the meanwhile, disc 6 had a spin today, moving us into sessions from 1940 and 1941. Plenty of favourites here “Swing Brother Swing”, “Body and Soul”, “Laughing at Life”, “Time on My Hands”, “Practice Makes Perfect”. There was a time when I’d sing 3 versions of “Them There Eyes” back to back; Louis Armstrong’s version from 193, the Kansas City Session version with Freddie Green singing, and Billie’s version. Wild stuff and highly recommended. I’ll have to have a think about commuting music in the coming days. I’ll probably use the Dizzy stuff as a starting point. I have some piano albums I want to give some time as well (Elmo Hope, Wynton Kelly, Red Garland, Horace Silver).

COVID-19 Level 3: Day 14

Today it was recordings featuring the larger 10 or 11 piece groups from late 1938 - early 1939. I haven’t spent as much time listening to these as I have the smaller groups. In general when it comes to jazz, I prefer the looseness of the smaller groups – and that’s true this set too. It was nice to hear a couple of soprano features by Tab Smith on “Everything Happens for the Best” and “Long Gone Blues”. Anyone with some spare time wish to collate a list of non-Bechet soprano saxophone solos pre-1950s? I should start noting them down each time I cross paths with one. I can’t remember much about the background of these sessions – who was the arranger etc. I do remember reading (somewhere) that Teddy Wilson and Billie would get together in the days before a session to select tunes. Teddy would have a big stack of sheet music and they’d run through them and make selections. This mornings listening had me imaging just how many arrangements from this era exist only on recordings. And then there are all the pieces that were never recorded. Somewhere along the line I heard that the number of surviving original Ellington charts (from any era) is shockingly low. Another project could be to create a list of recordings of stock arrangements – it would be interesting to hear different bands playing the arrangements. I’ll leave it there for today, Dizzy made a brief appearance, but I wasn’t in the mood for it today and I tuned out (sorry Diz!).

COVID-19 Level 3: Day 11

I do wish Billie would have sung two choruses (or more) a little more often (we do have the alternate takes though). It’s an awfully minor complaint. There are some great bass and drum pairings across the set. Of course there’s the classic combo of Walter Page and Jo Jones, but I’ve also been enjoying John Kirby and Cozy Cole take care of business together. I have to throw some love in the direction of Buck Clayton too. In the history books he’s a little overshadowed by others. But how about that cup mute tone? And his melodic solos and blend with Prez is top notch. While we’re on the subject, Prez plays a little clarinet on Disc 4 (“The Very Thought of You”, “I Got a Date with a Dream”) - always a treat. If you’re after more clarinet from Prez, check out the Kansas City Sessions (with Buck and the Basie rhythm section) recorded about a week apart from this session with Billie in September, 1938.

Although some of these Dizzy discs are revisits, today’s outing was a new one for me. It’s nice hearing Dizzy revisiting pieces from the 40s and setting them next to slightly more contemporary pieces of the time (1963), hence Something Old, Something New. I can’t say I’ve ever been much of a fan of James Moody. He fits in well here, and the flute is a nice touch and today I preferred it over the sax playing, but he just doesn’t do it for me. I think horn blend and intonation was bugging me. It’s not always a factor, but today it was catching a nerve. I just seemed a bit inconsistent. But as a soloist Dizzy was pretty well on form throughout and that’s why these discs are getting a spin (although it’s always nice when someone else catches your ear).

COVID-19 Level 3: Day 10

And I’m onto disc 3. Cloudy, cool day here and the music did pretty well to warm me up. Old favourites a-plenty... “Sun Showers”, “I’ll Get By”, “Mean to Me”, “I’ll Never Be The Same”, “Foolin’ Myself”, “Without Your Love”, “Sailboat In The Moonlight”, “Me, Myself and I”.... studies in feel, balance, weight, colour. I love the mystery.

People always mention the pairing Billie Holiday and Lester Young – and it really is one of my favourites. But I don’t hear as much about the Teddy Wilson and Billie Holiday match up. Teddy’s touch is all over these sides – as a leader and sideman - and the magic would sound a lot different without him.

I’m definitely getting my fill of rhythm guitar with these discs. There’s a lot of Allan Reuss, Dick McDonough has some nice moments, and of course there’s Freddie Green. I’ve never had the chance, but I’d like to work with someone on acoustic archtop some time - I think it would be really interesting in a contemporary setting.

Then it was onto the after Dizzy session with Roy and Diz #2 – a recording I hadn’t heard for probably 15 years, maybe more.. It’s very much in the jam-session mold with the out-and-out pyrotechnics of “Limehouse Blues”, but I prefer when they tone things down a bit on “Sometimes I’m Happy” (with Diz double timing while Roy just chills out) and “Blue Moon” (but once they pulls the mutes out they crank it up again). The ballad medley isn’t something you encounter all too often these days but back then it was pretty common on those Norman Granz dates. He needed to place it after the high wire acts for some release though! The budget reissue is definitely not the highest quality sound-wise (regardless of what the cover says!). Might be the way it was recorded but it’s pretty muddy and the rhythm section is well down in the mix. I'll survive.

COVID-19 Level 3: Day 8

It’s funny how a lot my favourite music doesn’t get much room on the blog. Often I just don’t feel the need to write about it... or that I can’t really express what it means to me in a way that does it justice. The Complete Billie Holiday on Columbia 1933-1944 is one of my all-time favourites – a desert island pick for sure.

Some of favourite memories from my lessons with Richard and Connie is working with recordings from this box set. Her unparalleled phrasing and swing - she makes it sound effortless. Some critique her tone and range. But she worked with those supposed limitations and did things that have been seldom matched before or since.

It's not just Billie though, so many greats were assembled for these sessions - Teddy Wilson, Roy Eldridge, Freddie Green, Chu Berry, Jo Jones, Walter Page, Lester Young, John Kirby, Cozy Cole, Buck Clayton, Johnny Hodges, Ben Webster, Benny Goodman and so on! - yet they never fall into the trap of many “all-star” outings. 

The concise nature of the records appeal to me and the endings always put a smile on my face. It’s hard to play favourites, but some standouts include “What A Little Moonlight Can Do”, “Miss Brown to You”. How about that swinging opening ensemble work on “What a Night, What a Moon, What a Boy”? Another that stood out this morning was “No Regrets” - I was digging the ensemble interplay and breaks, including the one for the opening vocal line (I think the lyric hit a personal note with me this time around).

Sometimes there’s no option but to reach for the classics, and that’s how I was feeling this morning.

Then it was onto some post-lunch Dizzy with Dizzy Gillespie at Newport. Keeping things upbeat and high energy, even if the exuberant big band isn’t my favourite setting to listen to people improvise, it’s great listening to Dizzy swinging and the band is on form. The downside to budget reissues is they don’t contain the bonus tracks, but I’ll survive. I’ve got a bunch of 1950s Dizzy to lend an ear to over the coming days.

COVID-19 Level 3: Day 4

I forgot to publish this on Friday so I have combined Day 4 and Day 7 (sometimes the days just blend together) – plus what I was working on today didn't lend itself to listening to music.

When I put Perceptions back on the shelf last night I grabbed The Modern Jazz Society Presents A Concert of Contemporary Music. Like Perceptions, is an album purchased during a somewhat brief look at the third stream offerings of the 1950s and 60s – a curious sidebar in jazz. I’ve never been much of a fan of John Lewis. I’m not sure why, but his music has never really grabbed me and as a result I never really explored what he had to offer. I’m open to recommendations though.

I was feeling the need for something a little more high energy – Dizzy Gillespie & Charlie Parker: Town Hall, NYC June 22 1945 – provided just that. Bird sounds so great on this gig, as does Dizzy, and it sounds like they’re having fun. It’s a great archival find, recorded not long after the Guild sessions. And aside from the opening track, “Bebop” (where they’re sorting out the levels), the sound is really good too. The M.C work of Symphony Sid is pretty corny and cringe worthy but it’s great they left him in as it adds to the vibe of the evening. It’s funny how dated the announcements sound but the music remains vital. If you ever needed an example of a drummer dropping bombs, Max Roach’s bass here is loud and clear. It’s also interesting hearing Max and then having Sid Catlett sit in with the same band. Anyway, this is such a great find and we’re lucky to have it so it got another run on Monday morning too.

COVID-19 Level 3: Day 2

There have been many live streamed concerts since the lockdown began, but the first I’ve tuned into was this morning’s duo concert by Frank Gratkowski (alto sax) and Simon Seidl (piano) at The Loft in Cologne. The concert was titled “Mainstream & Beyond: in memoriam Lee Konitz”, and while the tribute concert is not really my thing, I wasn’t going to pass by a chance to hear Frank playing on the Konitz and Tristano lines and standard tunes (a rarity). 

Of course the wifi decided to cut out right as they were about to start! I got back online during “Stella by Starlight” - other tunes included the likes of “Subconscious-Lee”, “Body & Soul”, “Dreams”, Albert Mangelsdorf’s “Hot Hut”, “Ice Cream Konitz”, “Prelude to a Kiss”, “Just Friends” and “Ablution”. I noticed the audience peaked around 95... 85 was about average (based on the comments it was largely a German audience). Really nicely recorded too. The Loft is streaming Frank live again tomorrow – 7am NZ time – solo and duo.

Last week I mentioned that I need to address my lack of James Wylie recordings, so until I do, Benjamin Schaefer’s Quiet Fire will fill the void. As the name suggests it may be a little on the quiet side, but it doesn’t lack spark. It has a certain warmth, even during some of the more abstract moments, that I find very appealing. It’s not an album that’s going to smack you over the head, and I like that. The quintet has a different weight to it - the drums have a (mostly) textural role and the presence of harp brings a lightness. If you’re looking for deep swing, look elsewhere. But I wasn’t, so I didn’t.

COVID-19 Lockdown: what day is it?

Is it Day 34 of lockdown or day 1 at level 3?..... Either way, much remains the same for me at least. However, there was the sad news over the weekend that Phil Broadhurst lost his battle with cancer. Phil was an integral part of the New Zealand jazz scene as a pianist, composer, educator and broadcaster. Personally, I have limited knowledge of his recorded output (and I think I only heard him live once or twice), so I spent the morning listening to his 2015 recording Panacea. I was feeling a bit jaded this morning, not sure exactly why, but starting off the work day with frustrating errors, doesn’t help the mood. And it didn’t help set the tone to listen to some contemporary jazz, most of which just floated by.... in one ear out the other. I’ll hit it again later once I’ve perked up a bit.

Over the weekend I got a hankering to listen to some Dizzy Gillespie. Who knows why, but here we are. There was a time when I listened to a lot of Diz. It has been a while and most of the Diz I’ve listened to since has been with recordings of Charlie Parker. That’s where I kicked off today... Bird and Diz – not my favourite session of the pairing but somewhere to start nonetheless. It always raises the question... why Buddy Rich and not Max Roach? Anyway, I feel more Diz is on the cards – with and without Bird - and I’m looking forward to it.

COVID-19 Lockdown: Day 27

This morning had me listening the self-titled, and as far as I’m aware.. only, release from Boat – Steve Cournane (drums/keys/voice), Simon Bowden (guitar) and Nils Olsen (saxes/clarinets/voice). Although I heard each of the members of the trio many times in a variety of settings, I never heard Boat live. The last time I heard this album was about 20 years ago when my friend John lent it to me. Not sure why I didn’t buy it from the guys back then, and I’ve never seen the physical disc for sale since. but thanks to Bandcamp we’re back in action. 

The album is comprised of live and studio (I’ll use that term loosely) recordings dating from 1996-1998. Only a couple of the 14 pieces clock in at over 5 minutes... which is pretty refreshing. I like the vibe and it’s still sounding pretty fresh. I’m probably digging it more now than I did back then (not that I have much memory my feelings of it back then). It’s kind of a little like C.L.Bob if half the band didn’t show up - from wild improvisations to quirky fun, it’s a 48 minute ride of eclectic mix of jazz and music that knows about jazz. Fairly recently Simon and Steve have resurrected Boat as a duo and they were booked to play at CubaDupa but alas, the pandemic put a stop to that. But hopefully they'll be back when this is all said and done. Until then, Boat will be getting a few spins.

COVID-19 Lockdown: Day 22

After another early morning round of Steve Cournane’s Dancing Queen kicked off week 3 of the pandemic lockdown. Then it was onto disc 3 of Too Marvelous For Words – Sal Mosca at Utrecht, 21 June, 1981. How about the chord solos on “Prelude to a Kiss” and “There Will Never Be Another You”? Sal had a sense of harmony second to none. He can be quite the romantic too, perhaps more so than others associated with Lennie Tristano. On studying with Sal Mosca, Larry Bluth wrote in the liner notes “The most basic material began to take on aspects I never knew existed.” I had a similar experience during my studies with Richard Tabnik and Connie Crothers. If fact, when people asked me what I worked on in my lessons, they often gave a puzzled look when I answered.... a kind of, “is that it?” look. Yeah, that’s it.

Then came the sad news of Lee Konitz’ passing. I clearly remember hearing Lee for the first time. It was Birth of the Cool. A pivotal moment in my life. Things would be very different had I not heard that when I did. I'll leave it there for now while I listen to Birth of the Cool.

COVID-19 Lockdown: Day 21

The morning kicked off with Steve Cournane’s Dancing Queen. The album is comprised of three trio sessions from September 2006, with Cournane joined by Roger Manins (ts) & Tom Callwood (b), Jonathan Crayford (keys) & Patrick Bleakly (b), and Joe Callwood (g) & Tom Callwood. Plenty of variety helped the morning cruise along - reggae grooves (“Plesmograph”), standards (“Alone Together”, “Evidence”) some calypso-type tunes of Steve’s (“There Will Always Be Rain”, “Toot & Repollo”), dark ballad (“John Karaitiana”) and even some ABBA (“Dancing Queen”.... and it actually works). Looking forward to giving this more air time.

Then it was onto disc 2 of Too Marvelous for Words – Sal at Concertgebouw, Amsterdam 21 June, 1981. I like that Sal’s friends/associates write the liner notes - Dick Hyman, Jimmy Halperin, Connie Crothers, Larry Bluth and Kazzrie Jaxen take one disc each. And Don Messina’s passion for the project comes through in the introduction (great work putting this together Don – thanks!). As usual, I listen to the disc at least once before reading the notes. At lunch I read Kazzrie’s notes and the first thing she mentions is Sal’s opening line on “I Never Knew” (which opens the disc) – something that leapt out at me too (and I'm sure it would grab anyone's attention). Of course there’s the influence of Tristano and the Sal’s early influence, Art Tatum, but I also hear some of the quirky, surprising twists and turners of Earl Hines’ solo work. That said, Sal is his own man and Too Marvelous for Words is distinctly Sal Mosca.

COVID-19 Lockdown: Day 16

I’m making the most of waking up early by getting stuck into work straight away and last week I found it nice having a bit of kick musically to get me going (Root 70 fit the bill). The last few work mornings I’ve been listening to the latest offering from Mike Nock – This World - a co-led group with drummer Hamish Stuart, saxophonist Julien Wilson and bassist Jonathan Zwartz. 

While it didn’t grab me right from beat one, it is growing on me. But I think it’s when I’ve been listening to it more than anything. Moody, dark, sombre - but there’s also a warmth too....relevant to the current scene, but it’s not exactly “caffeine music” (an exception is the gospel-shuffle “Riverside”). 

It can be quite chilled out (“Home”) and at this time, that’s not a bad thing at all. But there seems to be something holding back pieces that you’d expect to ramp up. Like on “The Dirge”....I kept waiting to hear this take off with some straight up swing. But maybe it’s a hangover from listening to the energy of Root 70 lately. Wilson uses the electronics sparingly. Necessary... no, but he uses them tastefully, and on “Any Heart” they add a nice texture and colour. The opening of “We Shall Rise Again” really shows the influence Mike has had on Norman Meehan’s playing.

I feel I’m going to dig This World more once some semblance of normality returns and fancy listening something to mellow out with – sunny afternoon or late at night might be better than early morning.

COVID-19 Lockdown: Day 12

This afternoon I wrapped up the tour of Root 70’s discography with the self-titled debut album released in 2000. Plenty of youthful exuberance here. Will the lads don the drag if the 20^th Anniversary Tour takes place later in the year once this shitshow is over? A couple or three quick takeaways from the discography tour. The albums are nicely recorded. Jochen and Matt are one of my favourite rhythm section pairings. The blend – in separate sections (the horns and rhythm) and together as a whole. The overall ensemble sound is one of balance. They bring some old-school sensibilities (group sound, recording techniques) into a contemporary setting. 

A keen eye would have noticed that I skipped the vinyl version of Fahvergnugen (with Wolff Parkinson White remixes and an alternate take) as I still don’t have a turntable.... maybe I’ll take it off the shelf and stare at for a bit. Meanwhile, I wait for the box to arrive and throw the "Root 70 Plays Root 70" idea out there once again.

COVID-19 Lockdown: Day 9

A frustrating day of work was alleviated by some very enjoyable sounds. Kicking off the day was the new disc featuring unreleased recordings by Lennie Tristano - The Duo Sessions. It features Tristano is duo with Lenny Popkin, Connie Crothers, and Roger Mancuso. I’m a huge fan of all involved so this is going to get a lot more listening time. Due to the pandemic Dot Time Records were unable to post the physical disc but gladly sent me a digital copy.

Then I continued with my tour of the Root 70 discography with Getting Rooted. I hadn’t listened to this one for a while and was a little surprised how well I remembered it. Then I recalled just how much I used to listen to this album and I was somewhat less surprised. In turn, I started recalling the time I first heard this album - New York City, 2004 (ahh nostalgia). And realized that these two albums are linked, as NYC 2004 also happened to be when I met Connie. Time Flies. Kind of. In some respects in seems like yesterday, and then suddenly it feels like another lifetime.

COVID-19 Lockdown: Day 8

This morning kicked off with the latest from The Melancholy Babes – The Rat of the Riot. While the music is intense, it’s not all just crash and bash... as I don’t think I could handle that so early in the morning (it’s a very “room-sounding” recording and I think that takes a little of the edge off too). I don’t have all of their recordings, but it would be worth while working through the trio’s discography at some stage.

And now for something completely different... later in the day it was Root 70’s Heaps Dub getting a spin. This album marked a departure for them, the previous outings (I can never remember if this was their 3^rd or 4^th release... out around the time of Fahvergnugen) featured all original compositions, but on Heaps Dub they tackle the work of Burnt Friedman. Surely then, this must be considered the first of the conceptual series that followed? Something to mellow out to.

COVID-19 Lockdown: Day 7

Last the couple of mornings have seen early starts, and this time round I had Kim Paterson’s The Duende giving me a hand (along with a cuppa oolong). And the opening track, Coltrane’s “5^th House” was a great wake up call. I enjoy hearing Mike Nock and Kim Paterson together, and it made wonder why that hasn’t been a more regular occurrence. A duo album or something with a lot of percussion would be interesting....but I would happily settle for a regular ol’ quartet outing.

Later in the day it was Root 70’s Fahvergnugen to keep me company. I’m a fan of the alto saxophone/trombone front line. We hear a lot of tenor/trumpet combos but it makes a nice change.

The album title translates to something along the lines of “The pleasure of driving”, but for today I’ll pretend it’s the “pleasure of not driving” - it’s made a nice change not having to hit the road each day.

COVID-19 Lockdown: Day 6

Root 70 On 52^nd 1/4 Street got the day rolling. The 1^st of the conceptual series, features original lines written over the harmonies of classics from the American Songbook. It has been fun revisiting the Root 70 catalogue at a time when the pandemic shut down their 20^th Anniversary Tour. Only a few more albums to go.

Then the afternoon saw some more overdue listening, and it made for a definite change of pace from the morning as we moved into the realm of free improvisation. This time it was Wet Robots by Fay Victor’s SoundNoiseFunk. This one has been my radar for a while due to a couple of reasons. 1) The couple of times I heard Fay live I was really impressed but I’m not at all familiar with her recorded work. 2) Sam Newsome. I’ve spent quite a bit of time with his solo recordings, and increasingly want to hear him in ensemble settings. Wet Robots checks both boxes (and much more!). Fay recently posted that the follow-up album is in the can. I won’t wait so long this time.

COVID-19 Lockdown: Day 5

The tour through the Root 70 catalogue continued today with the 2010 release, Listen to Your Woman – an all-blues outing and part 2 of the conceptual works. When I studied with Hayden in Greece during 2009 he mentioned this up coming recording and played me a little bit of the boogie piece he was writing (the albums opener, “Rusty Bagpipe Boogie”). This is the first , and only, Root 70 album to contain compositions from each of the members.

It had been a while since I had listened to Bernie McGann, and 1966 had been on my list for a while now. Bernie is so distinctive and Kim Paterson is under-recorded (or at least I’m missing out on albums I don’t know about!) and it’s the earliest recording I have heard from all involved

The fidelity isn’t the greatest – totally listenable though - and the music and historical importance more than makes up for it. Great energy throughout.