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.

Jazz | Pint | Dave Brubeck Octet

 

Earlier in the day I was reading a little on the Gerry Mulligan Quartet over at Point of Departure (here and here), and that may have been on my mind when I pulled the Dave Brubeck Octet recording from the pile tonight. Brubeck is not usually one of my go-to artists but the octet is a pretty fascinating recording from sessions in 1946-1950 that I don’t hear getting mentioned all that often. Not sure why really, I guess it’s not that hip to drop Brubeck’s name, but from a writing/arranging angle it’s worth checking out (more so than the soloists even with the presence of a young Paul Desmond). Dated.... yes, but quite different for it’s time too. Pushing ahead in it’s own way with plenty of signs of what would become known as “Cool Jazz” and/or “West Coast Jazz”. Arranging and composing duties are split amongst about half the group (with saxophonist David Van Kriedt contributing the most... although not all the arrangements are credited). And across the 18 tracks I tend to prefer the standards which all get pretty interesting treatments, although “How High The Moon” suffers a bit as it moves through various styles in conjunction with a corny narration. There’s plenty of counterpoint, colourful harmony, and 5/4 even makes an appearance during “What Is This Thing Called Love”. A number of the octet had studied with composer Darius Milhaud and the classical influences come through across the work as a whole and on the original compositions in particular. The original compositions feel a little more forced than the arrangements of the standards, like they are really trying to do something and it comes off more stilted (there’s a bit of that in the standards too). All that said, listening tonight has made me think it’s a shame that Brubeck didn’t use some of that Time Out money to reform the octet but with all that touring, I guess there wouldn’t have been much time to write material. The listening was washed down with Zest saison from Craftwork.

Jazz | Pint | Always Let Me Go

 

After bit of an odd day it was nice to take out the evening listening with some music. Tonight’s listening was washed down with “Poodlefaker” from Craftwork.

I picked up this two-disc live recording on a whim fairly recently and this was my first listen. And while I have a few albums from Keith Jarrett’s “Standards Trio”, ‘Always Let Me Go’ is the first from the trio that I have that is comprised of free improvisations – and that was my motivation for buying the album (I remember listening to ‘Changes’ many years ago but that’s all I remember from it).

I was surprised by how quickly the music passed. For me, that’s a good sign, especially when the opening track is 32 minutes (moving from the more abstract through to something more spacious and lyrical, before eventually settling into a satisfying mid-tempo swing). The second piece is a brief, lyrical solo feature for Jarrett which works as a nice link into the sparse opening of the third piece. Are free ballads underrated? I really enjoy hearing them, particularly when played by an ensemble with a rapport such as this. And the piece works so nicely towards the fourth piece which rounds things out with some energetic swing. The first disc is well paced with a nice ebb and flow within and between works. And I guess that’s similar to the second disc... which had to wait until the following evening for its first run (note: I would return to both discs over the next week... sometimes listening to a track or two... or a whole disc... but my comments in this post were all taken during the first listen).

The opening is spacious and some romantic bass work from Peacock emerges. By the time DeJohnette enters the piece has taken on a completely different shape with tension increasing until quite abruptly shifting gears. A fine drum solo opens the second piece opens which at times has the feel of hand drums – dynamic playing, great colours, and groove. In contrast to the third piece which is more pointillistic with quick, stabbing phrases from the piano from which powerful drums emerge which morph into a moody bass solo. Across both discs the trio is not compelled to give it all at once – solos, duos, and trios come and go throughout which adds plenty in terms of texture and form. It’s still early days and I’ve only listened to it a couple of times, but ‘Always Let Me Go’ might be my favourite from this trio (or somewhere near the top). It just goes to show what you can do if you’re able to keep a band together (and you happen to be Keith Jarrett, Gary Peacock, and Jack DeJohnette!). It left me wondering if this trio’s free improvised recordings been a gateway for fans to explore similar forms of jazz?

Jazz | Pint | a couple from Freddie Hubbard

I thought it was about time I reactivated things (and this series in particular) as I take a listen to a bunch of recordings I have next to my CD player. And while the original plan was to sit down and listen to these accompanied by a beer it ended up being a green tea instead.

I have a handful of Freddie Hubbard’s albums as a leader for Blue Note, but as a general rule prefer his work as a sideman during the same period... Wayne Shorter’s ‘Speak No Evil’, Herbie Hancock’s ‘Maiden Voyage’ and ‘Empyrean Isles’, Eric Dolphy’s ‘Out To Lunch’, and Art Blakey’s ‘Free for All’ come to mind. Maybe it’s not just Hubbard’s playing but these sessions and compositions, seem to full out stronger performances (from all personnel) than on Hubbard's own albums. Or maybe I’m just more familiar with those albums... I don’t know.

Anyway....earlier in the week I was listening to ‘Hub-tones’ but tonight I turned my attention to ‘Here to Stay’ a session from December 1962 (unreleased until 1962) that was new to me. I was drawn to ‘Here to Stay’ by the pairing of Hubbard and Wayne Shorter, but the thing that stood out to me were the standards, “Body and Soul” and “Full Moon and Empty Arms”. Adding “You’re My Everything” from ‘Hub-Tones’ and they’re my favourite tracks from across the two albums. When I gave it a second spin I was getting into it much more than the first time around but then it is hard to beat Hubbard’s combination of tone and time – so full-bodied, expressive, and swinging! Plenty of swagger without going overboard in terms of bravado. Just really strong line playing. To wrap things up I gave a couple of tracks from ‘Hub-Tones’ another spin tonight too... in fact, I gave the entire album another run, I just couldn’t help it. Some things are just unavoidable. And it’s a really solid album, and maybe my favourite of his a leader that I have (I still haven’t managed to check out ‘Breaking Point’... add it to the list). I prefer Herbie Hancock on piano over Cedar Walton, and Clifford Jarvis plays really well on this album making it quite the rhythm section along with Reggie Workman who is on both albums. There’s something to be said about the LP length – it’s nice to be able to give things multiple listens without it taking 160 minutes. All in all it was a fun night of ‘Hub-Tones’ and ‘Here to Stay’, Freddie Hubbard remains one of my favourite trumpeter players (not that that was ever in doubt) and his work as a sideman still holds up as my favourite of his recordings I’ve heard to date but I’m always open to recommendations though.

Mark Lockett: Swings and Roundabouts

An album I’ve been enjoying in recent times is drummer Mark Lockett’s ‘Swings and Roundabouts’, due to be released on 1 February 2023 (Mark hooked me up with a preview copy). The album was recorded in New York City in July 2022, and features the stellar lineup of Matt Penman (bass) Duane Eubanks (trumpet) David Binney (alto saxophone) tearing it up on nine of Mark’s compositions.

I hadn’t listened to alto saxophonist David Binney in quite some time, and it served as a reminder of what serious chops he has at his disposal. It's not my favourite type of playing, but the contrast between Binney and trumpeter Duane Eubanks’ stripped back, less notey approach is something that appeals to me. 

There are some hints at the music of Ornette Coleman (and one tune is dedicated to him). Some of Mark’s compositions have a playfulness akin to Ornette (see "The Crib" and "Rhubarb Crumble"), but ‘Swings and Roundabouts’ isn’t overtly Ornette-y.  “Virtual Reality” with its Witch Hunt-esque phrase had me chuckle as I was anticipating Elvin’s fill that didn’t eventuate.  

Duane Eubanks' ‘bubbly/spluttery’ sound (for lack of better words... but I’m using that descriptor as a positive!) hints a little bit at Don Cherry, and his approach as an improviser really suits the feel of the album. I really haven't listened to much of Eubanks, and this album serves as a reminder that I need to seek out more of his work (the only other album I have featuring Eubanks is Bill McHenry's 'Sonic Pressure', which also has Matt on bass, it's about time I dusted that one off).

Matt’s woody tone and melodicism is a great fit for the album. I particularly have been enjoying his unaccompanied solo on “Rhubarb Crumble”, and “Here’s to Ornette” with Mark on brushes is fine too. Actually all his is playing hits the spot, and as I write I'm digging his up tempo walking lines on "Level 4". Side note on bass tones (disclaimer: I don’t play bass so what do I know): One thing that is a bit too common out here in NZ at times are bass players with ‘ampy’ sounds. It’s a pet peeve of mine. Listen to Matt.... great sound.

In many ways, Mark takes bit of a back seat. I’m not sure I would have picked it was a drummer led session - and that’s kind of refreshing – the focus is on the music and taking care of business rather than showy, bloated drums. More often than not Mark's playing is understated (especially by contemporary jazz standards). And even when he is featured blowing over the vamp on "G T" or the trades on "Happy Go Lucky" things never get carried away. It’s bit of an old school, tasty approach that I appreciate, but don’t always hear that much.

So if you fancy treating yourself, head over to Thick Records and dine out on ‘Swings and Roundabouts’. And to support the release, Mark will be touring in New Zealand during February, so be sure to get and support him. Joining Mark will be Roger Manins  (sax) James Guilford (trpt) and Dan Yeabsley (bass). I'm keen to hear how the different personnel tackle Mark's music.

2 February, New Plymouth, 4^th Wall

3 February, Whanganui, Savage Club

4 February, Hamilton, Nivara Lounge

8 February, Auckland, Anthology Lounge

9 February, Wellington, Moon1

10 February, Nelson, Fairfield House

11 February, Picton, Le Cafe

16 February, Christchurch, Space Academy

17 February, Dunedin, Playhouse Theatre

Joe Lovano: Trio Tapestry

I used to keep listening journals and on a raining Sunday afternoon I resurrected it. And while the blog has been asleep for a while, I decided to post it here.

Joe Lovano: Trio Tapestry & Garden of Expression (ECM)
Joe Lovano (tenor sax/soprano sax/taragato/gongs) Marilyn Crispell (piano) Carmine Castaldi (drums/percussion)

I've kept an ear on Joe Lovano over years and I usually check out his work when the other personnel are of interest. And it was the presence of Marilyn Crispell that drew my attention to Trio Tapestry as over the last few years I have been increasingly enjoying her music.

Recorded in 2019 and released this year, Garden of Expression is the second album from Trio Tapestry. I was excited when the first (Trio Tapestry) was released but it didn’t strike me at the time… something must have stuck with me though, as I didn’t hesitate grabbing the second release.

The album touches on some areas that have been of interest to me for a while that I want to explore in my music - especially space, and silence - these are some of the same qualities that struck me when hearing Evan Parker’s 2016 release As The Wind (PSI) as well as some of Hayden Chisholm's work.

“Chapel Song” opens the album with a light, crystal, brightness that becomes increasingly warm while retaining the lightness. A delicate piano intro sets the tone for “Night Creatures”. It is interesting to hear what a prominent role the cymbals have on the sound and feel of both of these albums. Overall the drum texture really works for me. Often understated and unafraid of space or backing off. The piano gets busy under some melodic tenor....it works though. Ending is somewhat abrupt. The tracks are longer on this album than the first - not overly so (between 3- 7 1.2 mins with one sitting at almost 11), although there are 3 fewer pieces. “West of the Moon” has a nice flow to it – gentle swells. I like the change in “Garden of Expression” following the opening as it shifts into being momentary more rhythmically unsettled before returning to the warm melody. The piano and drums really lock in through the piano “solo”... really more of a piano/drum dialogue (with some nicely time gong hits from Lovano). The piece moves through many moods before returning home. My ears immediately pricked up as Lovano entered “Treasured Moments”, the vibrato and intonation bring a strangely wonderful tension – settled and unsettled at the same time. Economy is key here. It leads wonderfully into “Sacred Chant” which has a relaxed, joyous sound. The piece ends and feels unfinished. Piano and drums lead off on “Dream on That”, before the piano makes way for the tenor, and then then trio all together. Although this tune features a couple of duets, there’s more of everyone playing together on this album. Something I enjoyed with Trio Tapestry is the way the trio is broken up - solos, duos and trio. On Garden of Expression the sound of the trio is more present. Whereas Trio Tapestry ends with one of the more outwardly intense pieces, Garden of Expression comes back to space with “Zen Like”. It’s my favourite track on the album. Unhurried. Space. A weightless quality. Dig it.

Listening to Garden of Expression led me to revisit Trio Tapestry, and I’m enjoying it a lot more this time around. It still doesn’t quite hit the spot the way Garden of Expression does, but it has grown on me a lot since my last listen (although I'm still not sure what ECM were thinking with that cover art!).

Opening with gongs and cymbals before the tenor enters - I’m struck by the blend between the gongs and the tenor. “One Time In” acts as a spacious prelude. The trio are there from beat one of “Seeds of Change”. Unsurprisingly the sound is denser. The playing remains economical but the sense of space has changed. The piece feels longer. It is, but remains concise. “Razzle Dazzle” opens with solo piano with both hands in unison as drums creep in. The difference in space between one, two, and three active players is evident. Crispell’s piano lines behind the tenor bring to mind the opening phrase. “Sparkle Lights” opens with tenor and piano together before giving way to traded phrases that merge in places while the drums remains sparse. The longest track is “Mystic” (pieces range between 2 and 8 1/2 mins). A quiet rumble of drums is greeted by Lovano on tarogato. Space is at the fore. The rumbling swells but the space and sparse tarogato lines remain, eventually replaced by gong sounds. Eventually the piece builds into a more tradition duo between drums and tarogato. This may be my favourite piece on the album (which is mildly amusing as Crispell lays out). “Piano/Drum Episode” is as it suggests. Piano notes ring out and decay. The drumming is subtle with a warm cushioning quality that is perhaps interrupted by the bass drum. The cymbal hit at the end is all about timing and finding just the right spot. “Gong Episode” is just that – two minutes of gongs. It is well placed in the album flow. “Rare Beauty” opens with full trio, the dynamics are raised and there is a sense of urgency – perhaps heightened following the nature of the gong piece. Lovely interplay between the lines in each hand of the piano. Some of the busier playing on the album... but everyone else drops out to maintain balance. Lovano enters on tenor with Castaldi swinging quietly mid-tempo. The return of piano to take the tune out feels a bit abrupt. “Spirit Lake” opens with drums and tenor. I’m enjoying Castaldi’s stick work at low volume. The piano entry here works much better than the previous track. More dense playing than previously hear - rippling piano, tenor flurries with some growls and altissimo, and busier playing from the drums. “Tarrassa” opens with solo piano. The tenor enters with the drums – and the drum phrasing is standing out to me during this three-way dialogue. Creative playing without overdoing it. The album had been building in density and I was expected the closing piece - “The Smiling Dog” - might see a return to the quiet spaces present in the first half of the album. But it doesn’t and it leaves things feeling somewhat unresolved.

So these two albums have been getting a decent amount of airtime and I feel listening to Garden of Expression opened up Trio Tapestry for me. Lovano has selected the personnel wisely and I hope this group stays together.

Jasmine Lovell-Smith Quintet at Rogue and Vagabond

Jasmine Lovell-Smith (ss) Jake Baxendale (as/b.cl) Daniel Hayles (p) Emma Hattaway (b) Cory Champion (d) 

It seemed like it had been quite a while since I had heard Jasmine play (Noveltones aside), I think the last time was a quartet gig during the festival last year... or maybe a gig at the Southern Cross. I forget, but it had been a while. I wasn't too sure if Jake would be the right fit, but the more notey contrast grew on me. He’s more melodic/lyrical on bass clarinet (less chops!) and that made for a change in pace too. Sonically, I find the pairing of bass clarinet and soprano really works (Jasmine used this on her album Yellow Red Blue). It's not a line up you encounter often, and I'd be happy to hear more (recommendations welcome!). I was looking forward to hearing Cory with this group as I hadn't heard him playing Jasmine’s music before - he was a great fit. Should I be surprised?.... not really, as Cory always brings something to the music. The live sound was more amplified than when Chris is on the desk, but the balance was pretty good if a bit bright sounding (especially piano and bass clarinet). 

The volume got louder in the second set and I wasn’t digging the sound as much. Then I noticed he had moved from nearer the stage back to the desk.  Surprise surprise... it was much better near the desk. And then when he moved nearer the front the levels dropped a bit. The downside of a sound guy roaming with an iPad (set them and leave them!). I minor complaint. On the upside, there was a decent crowd in and they were listening.