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?

Jazz | Pint | A Night of Variety

Usually I just sit back and listen to a single album when I write one of these posts, but tonight I changed it up. The theme for next month’s listening session we’ll be sharing recordings from 2010-present (we’ve been working our way through the decades). So, tonight I’ve been playing selections from a bunch of albums to try and narrow down a track or two to play to the group. Usually I take along a few recordings so I have a couple of things up my sleeve based on what others bring along.  It won’t necessarily be something I like (it might be though!), but it might be related to another recording played that night or something that adds variety to the evening or a stimulant for discussion – maybe all of the above. Sometimes my selection might on the fringe of the tastes of others in the group, but I figure the idea is to introduce them to artists and recordings they otherwise may not have listened to without a prompt. Of course there was no chance I’d get through this pile of albums tonight, but I’ve made a start. There are plenty of names that the crew up the coast won’t be that familiar with James Brandon Lewis, Masabumi Kikuchi, Tomeka Reid, Michael Formanek, so it’s tempting to take that route. I played a Fieldwork track last month so they’ve had a very brief intro to Vijay Iyer and Steve Lehman... it didn’t go down well, but I’m tempted to play something from Iyer’s sextet album 'Far From Over' as perhaps that is a bit more approachable. But Thumbscrew’s Anthony Braxton Project is nagging away at me too as is Trio Tapestry. And after a bit of listening tonight, other names keep popping into my mind....Mette Henriette is another that I’ve marked down as another possibility....Tim Berne's 'Snakeoil' is another. If I was going down the ‘favourites’ path, Evan Parker’s 'As The Wind' would be right up there... so who knows where I’ll end up at this stage. Anyway, I have a few weeks before I need to have an idea of what to play. There’s a very real chance that on the train ride out I’ll still have no idea – but that’s part of the fun I guess.

It was all washed down with a bottle of Craftwork and another round was accompanied by some ooloong tea. 

Jazz | Pint | West Coast Live

I have bouts of listening to Stan Getz… most recently (late last year) it was the 3 disc set East of the Sun – The West Coast Sessions ….that, and pretty much the rest of his albums I have are from the 1940s - early 60s… and the 2 disc West Coast Live is no exception. Considering it’s a live recording from 1953/1954 the sound is really nice. Getz was subbing on the gig for Mulligan, and the quartet (with Carson Smith on bass and Larry Bunker on drums) stick to standards from the great American songbook and a few bop lines. No complaints there. It’s all about the horns out front really.... and that’s why I grabbed this disc. So no complaints there either. Considering Baker and Getz were known not to get on, there are moments when they really hit it off musically.. ‘Strike Up The Band’ has some wonderful swinging intertwined lines. But they don’t always gel (and I don’t think either are consistently at their best) but that’s one of the things that make this recording interesting and also speaks to the nature of live performance – it is what it is in the moment. Just in this case, we get to have a listen again over 70 years later. Maybe eventually I’ll get around to listening to Stan Meets Chet from later in the 50s and see how they fared in the studio. But I have a feeling that these 2 live discs will fill my Chet with Stan needs.

While listening tonight I’ve been sipping on Scotch Bonnet from Craftwork.

Jazz | Pint | Return From The Stars

 

For whatever reason, Mark Turner was on my mind recently so I picked up a couple of his albums when I was up in Auckland - Year Of The Snake, and tonight’s listening, Return From The Stars. Often the slickness of contemporary jazz from the likes of Turner and his associates isn’t really my thing so I just dip in and out on the odd occasion. As a result, I haven’t really kept up with Turner’s recordings – just keeping an eye what's happening without giving things more than a cursory ear. Looking back, I think part of it had to do with so many tenor players chasing after Turner that it put me off a little, which seems a little stupid as I reflect on it. But maybe that break has been a good thing as I’ve really been enjoying this disc. Jason Palmer (trumpet) is not someone I’m familiar with but he and Turner and work well together and get a nice blend (the unisons/melody on “Bridgetown” and “Nigeria II” leapt out at me), and there’s some nice interaction on “Terminus” too. I like the way the album eases into things as the leader steps aside and the bass of Joe Martin gets the first solo spot. I’ve enjoyed the space that the piano-less quartet brings, especially given so much contemporary jazz can be rather cluttered. Let’s face it, Turner’s a pretty notey player (“It’s Not Alright With Me”) but I’ve noticed on this recorded that he paces himself a bit more than I remember from earlier recordings. Maybe that’s a more recent development in his playing but I have plenty of gaps in his discography... even if it’s something he’s done all along, I noticed it this time and I like it. At times I wanted Jonathan Pinson (drums) to settle down a little too (like at the start of Turner’s solo on “Bridgetown”) and that would have brought that sense of space more to the fore.

I have a feeling there will be more some Mark Turner getting a spin around here. Return From The Stars made me want to check out his previous piano-less quartet album Lathe of Heaven, and earlier in the day I gave the debut FLY album a run for the first time in I can’t remember how long. I picked it up in NYC shortly after it was released, and perhaps it will make an appearance at an upcoming 2000s themed listening session... I’m still wading through some tracks to decide what to play. I’m tempted to hold off listening to Year Of The Snake until I get my hands on Sky & Country so I can run through the FLY albums in order of appearance.

The pint tonight took the form of peppermint tea.

Jazz | Pint | Rip, Rig and Panic

Some who know me might find it a little surprising that I enjoy the music of Rahsaan Roland Kirk as much as I do. That said, I’ve only managed to accumulate a few of his albums over the years... ‘The Inflated Tear’, ‘I Talk With The Spirits’, ‘Domino’, and most recently ‘Rip, Rig and Panic’. And it was that album that did the rounds tonight accompanied by Citron Soleil from Craftwork. There’s something about his energy that appeals to me. That things often get a little rough around the edges just seems to work for me when it comes to Kirk. And lets not forget that he one of the very few utilizing the soprano pre-Coltrane too. The album features the stellar threesome of Jaki Byard (is there anything he couldn’t do?... seriously), Richard Davis, and Elvin Jones alongside Rahsaan’s multiple horns. Did he record with a better rhythm section than this? As a guy with only four of his albums it might be a little hard for me to pass judgement. But this is one fine rhythm section and they work well in the Kirkian world – one of swing, blues, some abstraction, plenty of personality, and energy. This disc also includes ‘Now please don’t you cry, beautiful Edith’ but I didn’t get to that tonight, choosing instead to give ‘Rip, Rig and Panic’ a couple of runs. Because why not? Often I feel Kirk is shortchanged. I guess people just don't listen to his recordings. And I just remembered I also have 'Dog Years in the Fourth Ring' - I must pull that out again.