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.

The Plugged Nickel

The Plugged Nickel circa late 1960s 
(excuse the glare on my photo).
The Sigmund J. Osty collection - Chicago History Museum 

One of my fellow interns at the Chicago History Museum is working on processing a collection photographs of buildings from across Chicago. As she was working her way through them I spotted this jazz-related gem taken sometime in the late 60s/early 70s - the Plugged Nickel at 1321 N. Wells Street (a short walk from the Museum).

I've been keeping my eye out for the Complete Live at the Plugged Nickel 1965 box set. Used copies are so expensive that sometimes I almost succumbed to getting the digital version, but I managed to hold out until I found it reasonably priced last week (although it has been put aside for a Christmas present). Many consider the recordings Miles' quintet made at the Plugged Nickel to  be classics and an essential part of any jazz collection, and it would be nice to see the box set available again in a physical format (seems more likely it will be as vinyl).

As it appears in September 2016

While hunting online for articles regarding the club, I came across the article below from the Chicago Tribune (May 17, 1981) in which Larry Kart ponders why Columbia haven't reissued the Plugged Nickel LP in the U.S....I know the feeling.

Dana Hall's Black Fire

At this years Straight Ahead Jazz Camp (see my post here) Dana Hall presented an excellent lecture on the music of Andrew Hill. It was during that lecture that he mentioned this gig:

Dana Hall's Black Fire: The Andrew Hill Project 
This concert was part of the Made In Chicago: World Class Jazz Concert Series at Millennium Park.

A smaller version of the group made its debut at the Hyde Park Jazz Festival last  year. Last night the expanded group consisted of:

Dana Hall (d) Orrin Evans (p)  Geof Bradfield (ts) Justin Thomas (vibes) Clark Sommers (b) Nick Mazzarella (as) Russ Johnson (trpt) Jose Davila (trb)

A nice sized ensemble - big enough to allow plenty of variety in the arrangements and small enough to draw on the flexibility of a small group.

The group played one long set (1.5 hrs I think) that contained plenty of variation - uptempo, latin, ballads, collective improvisation, rubato sections, featured soloists.

- Not Sa No Sa (The Day The World Stood Still)
- Dusk (Dusk)
- Artemis - an original by Hall commissioned for the event.
- Dedication (Point of Departure)
- Noontide (Passing Ships)
- Catfish (Invitation) - possibly..... I may have mis-heard him announce it
- Ode To Von (Smokestack)
- Spectrum (Point of Departure)
- Symmetry (Andrew!!!)

Hall has assembled a fine group, with a nice mix of musical personalities to play the challenges of Hill's  material. Hopefully they have more opportunities to get the music out there.

My listenings have been pretty much limited to Point of Departure, Black Fire, Time Lines, Dusk and Joe Henderson's Our Thing. It's been a while since I have listened Hill, perhaps it's time to revisit them?

Great to see a big crowd too - plenty in the seats and on the lawn. Let's hope it encourages people to get out to more live music.

They don't look that pleased but the music hadn't started yet

Brötzmann : Hideout

Wednesday night I got over to The Hideout for Umbrella Music's Immediate Sound Series.

I was expecting a big turnout as the night's two sets were by the trio of Peter Brötzmann (as,ts, clar, táragató) Jason Adasiewicz (vibraphone) Hamid Drake (drums, perc). 

Having missed Brötzmann's last appearance in Chicago (I was out of town) I decided to get there nice and early. I'm glad I did as it didn't take long for the house to fill. Great to see people getting out to hear improvised music - the biggest crowd I have seen at The Hideout. It's a nice venue, plenty of character, some nice beers, good sound and sight lines, and a cozy feel.

The first set had Brötzmann switching between alto sax, clarinet and táragató. For the second he was on tenor sax. While he far from my favorite saxophonist, Brötzmann is someone I have wanted to hear in person. At 72 years of age he is still blows up a sonic storm - an avalanche of sound that must make some want to cower in the corner. The music does ebb and flow but for the most part, energy levels remained high across the two sets. Just when you think he has reached breaking point somehow he pushes through the barrier. At times I felt this got a little predictable - climbing the ladder of high and loud - but fascinating nonetheless. There is an intent to the way he starts and finishes notes/sounds - an intense focus. While there is a definite physicality to his playing, there are times when he appears to be surprisingly relaxed while playing in a manner that would cause many other saxophonists to look as though they are about to explode (perhaps it's hidden by the facial hair?). I wonder if Adolphe Sax envisioned Brötzmann's approach when inventing this wonderfully flexible instrument 167 years ago?

Nice turnout at The Hidout

Adasiewicz's playing - particularly his work accompanying the horn - really stood out. A creative player well worth checking out if you haven't already. I have heard him a number of times around Chicago and he is often the stand out player. Of his recorded work I am only familiar with "Spacer" a fine album with his trio Sun Rooms. Adasiewicz and Drake locked in well together - a duo concert/album from these two would be great to hear.

The funk/soul/disco tracks playing before the set and during the break made quite a contrast to what everyone came to hear.

Brötzmann and Drake return to The Hideout next Wednesday when they will play with Ken Vandermark (reeds) and Chad Taylor (drums).
Brötzmann's latest artworks are in town too. Left / Right opens at Corbett vs Dempsey on Saturday 27 July and runs through to August 17.

Catalytic-Sound is the place to find many of  Brötzmann's recordings.