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.

Chicago Reed Quartet at The Hideout

I was at The Hideout on Wednesday evening for the Immediate Sound Series. This week they were presenting the Chicago Reed Quartet - Mars Williams (tenor/alto/soprano/sopranino saxes) Ken Vandermark (baritone/tenor saxes, clarinet/bass clarinet) Dave Rempis (baritone/tenor/alto saxes) and Nick Mazzarella (alto sax). Earlier this year the quartet had a weekly spot at Elastic which, due to school, I was unable to attend so I was keen to check them out this time around.

The two sets were comprised of about a dozen original compositions evenly spread between the quartet's members. The pieces sounded well rehearsed with nice tight ensemble passages and the countless combinations of instrumentation provided plenty of colour and textural variety. There was plenty of rapport during improvised sections too as evidenced in the solo trading section of Mars Williams' "Inner Circle" (I tried scribbling down the song titles but missed a few… apologies if I got them wrong) with brief solos getting "passed" around the quartet. I also noted the smooth transitions between the written and improvised sections and the overall balance of composition and improvisation.

I was a little surprised that the audience wasn't larger (at a quick glance it looked to be between 20-30). Perhaps late nights mid-week put off those that need to rise early for work (I live relatively close and I usually don't get home until around 1am). For those that would like to catch them a bit earlier, The Chicago Reed Quartet will be playing at the Museum of Contemporary Art on Tuesday evening (August 12) from 5.30-8pm.

During the set break I hit the merchandise table and picked up a copy of Vandermark's recent release from his group Audio One - The Midwest School. This group will be playing at Constellation on August 22 & 23. I heard them at the Green Mill last year and it's a group worth checking out.

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. 

Surround Sound: Prairie and Beyond

Well.... after a week away I have some catching up to do.  

A couple of weeks back Roscoe Mitchell was in town.  Having been introduced to his work a couple of years back via the Art Ensemble of Chicago - in recent months I have been listening to a few of his works as a leader - "Sound" (Delmark 1966)... his classic sextet recording as well as the solo albums "The Solo Concert" (AECO 1974) "Live at the Muhle Hunziken (Cecma 1986) and "Solo [3]" (Mutable 2003).

L-R: Roelstraete, Decker, Vandermark, Jennings, Mitchell

Mitchell was one of the panelists for a discussion titles "Surround Sound: Prairie and Beyond" held at the Chicago Cultural Center.  The rest of the panel were:
Dieter Roelstraete (Moderator) - Curator at Museum of Contemporary Art in Chicago.
Pamela L. Jennings - has the long-winded title of... "Program Director for the Human Centered Computing Cluster programs and Cyberlearning Transforming Education programs in the Information and Intelligent Systems Division of the Computer Information Science and Engineering Directorate at the National Science Foundation."
Shawn Decker - Sound Artist. His work is currently on display at the Cultural Center.
Ken Vandermark - reed player/improvisor/composer etc etc

I was quite keen to hear what Vandermark and Mitchell had to say on the topics of Improvisation, Sound, and Space.... here are some of the scribbles from my notebook.

Roscoe Mitchell:
*** Silence is already perfect - what are you going to do when you interrupt it?***

Study of opposites - how things work at one end vs the other to gain a better understanding of the middle.

We don't learn from each other if we are all the same.

Keep your mind open.

Take a small part of music and really study it and get underneath it.

Playing with nature - excellent practice for musicians.

AACM
- like minds with a shared vision
- more control over your own destiny
- control of your music
- training programs for young musicians
- exchange programs with other cities... Black Artists Group (BAG) in St. Louis
- taking music out of the clubs and into the concert hall

Ken Vandermark - on his relationship with his instruments
- It all starts there
- The struggle between myself and the horn. Finding out what I can & can't do leads to new things

 All in all there was some interesting discussion and I'm glad I got along. The notes above give me plenty to think about.

James Falzone's Renga Ensemble

L-R Vandermark, Stein, Rothenber, Goldberg, Jackson, Falzone

The Renga Ensemble made its debut last week. An all reed group conceived and led by clarinetist James Falzone. I got to two of the three performances - Wednesday night at The Hideout and Thursday at the Chicago Cultural Center (later that night they played at Elastic but as much as I wanted to go I thought it was better for me to stay at home and fight off the cold I had picked up).
All of the pieces were written by Falzone and each member had a feature piece. Alongside some of Chicago's finest, Falzone also drew on talents from San Francisco (Goldberg) & NYC (Rothenberg)...

James Falzone

Anyway, the full line up was:
James Falzone (Clarinet, Eb Clarinet)
Keefe Jackson (Tenor Sax, Bass Clarinet, Contrabass Clarinet)
Ben Goldberg (Clarinet, Contraalto clarinet)
Ned Rothenberg (Alto Sax, Clarinet)
Jason Stein (Bass Clarinet)
Ken Vandermark (Bari Sax, Bass Clarinet, Clarinet)

The instrumentation ranged from 6 clarinets through to 3 clarinets & 3 saxes with pretty much every combination in between. A very enjoyable couple of performances -  dynamic with sustained interest throughout. Hopefully it's not a one-off and they are able to get together and develop their group sound. Also, it would be interesting to hear compositions from the rest of the ensemble. The group spent Friday in the studio so keep your ears peeled for a future release.

Chicago Cultural Center April 11 2013

Vandermark & Gustafsson Duo

The Corbett vs Dempsey gallery was the scene for the duo of Mats Gustafsson and Ken Vandermark.
The half a dozen improvisations - Mats on alto/tenor/baritone saxes and Ken on tenor sax/clarinet/bass clarinet - was the duo's debut though their association dates back to 1994.
Nice to see a sizable crowd too!

The set was recorded, so keep an ear out for it at Catalytic-Sound.

This was my second time hearing Gustafsson in person - the 1st was when The Thing toured New Zealand in 2011. Unfortunately I couldn't get to the gig(s). However I did make it to the trio's improvisation workshop -  one of the best workshops from touring artists that I have attended.

Free Jazz Project

I'm currently working on a project to send back home to John & the rest of the 'Friends of Jazz' gang - a jazz appreciation group on the Kapiti Coast.

The plan is to write a series of emails under the subject heading "Free Jazz: An Introduction" with the hopes to open the ears to some new sounds.
Making brief notes on key artists and recordings is leading to an ever expanding list as I think of things along the way.

Lots and lots of listening to get to in the coming weeks. Lately there's been plenty of Ornette Coleman, Cecil Taylor, and Sam Rivers resonating throughout the apartment.

Tonight I'm off to hear Ken Vandermark's "The Midwest School" at the Green Mill.