The Convergence Quartet - Owl Jacket on NoBusiness Records with Taylor Ho Bynum on cornet, Alexander Hawkins on piano, Dominic Lash on bass, and Harris Eisenstadt on drums. This is a wonderful new release!
Henry Threadgill & Zooid - In for a Penny, In for a Pound - new 2-cd release on Pi Recordings. Henry Threadgill on alto and flutes, Jose Davila on trombone and tuba, Liberty Ellman on guitar, Christopher Hoffman on cello, and Elliot Humberto Kavee on drums and percussion. A December 2014 recording in which Threadgill gives his thanks and respect to Sonny Rollins and Ornette Coleman. The music we love is a continuum.
Last album before bed: 1965 - with Wayne Shorter and Sam Rivers, Herbie Hancock (on 3 tracks), and Gary Peacock. Terribly underrated 'out' Blue Note. The first time I heard the (unaccompanied) climax of Sam Rivers's solo on the first track, "Extras," in 2009, it came as an almost physical shock. At that point I was already a pretty seasoned listener of New Thing-type saxophone music, so I thought I was pretty hard to unsettle. That brief awesome outburst unsettled me. Every track is excellent, including the surprisingly subtle drum solo "Echo."
i couldn't agree more. however, hold your sadness. i was fortunate to be at his 75th birthday concert in stüttgart in january and he was looking pretty good, considering.
I can't get enough of this album. This version of "All the things you are" is amazing but the whole album is stunning. I can't recommend this album hughly enough for anyone who likes jazz guitar or any kind of jazz. Possibly the best music I've bought this year.
This really is an excellent session, as is the other Williams Blue Note. What a young talent Williams was then, and a very good leader for these sessions. I wish there were dozens more like this one.
One of the remarkable things about the Tony Williams Blue Note albums is that you go into them expecting an updated version of the noisy drum showcases of Art Blakey and the like. But he deliberately underplays throughout, sticks mostly to brushes, and, on Life Time, even lays out on a key track. A lot of drummers go into sessions they lead with the intent to prove their power, but Tony -- at the age of 18/19 -- wanted to prove his subtlety.
He was a master, he had a great teacher. . . and it showed. Alfred Lion should get a kudo too for the opportunity and the production.
Jazz Is Where You Find It, 1924-1930 [Timeless Historical] "The Extremely Rare and Unknown Bands." Aaah, the raucous Jazz Age.
Oh yeah.... fantastic box. Playing it now. This set is all aces. The booklet is massively thick. Malcolm Addey's restoration/mastering is again, stellar. This set didn't last long on Mosaic's site IIRC.
WP - Jean Thielmans - Man Bites Harmonica (Riverside) DG, blue mono pressing NP - Lou Donaldson - Blues Walk ((Blue Note) 47W.63rd, DG mono pressing.
This is just me exercising the Pedantic Imperative, but there's no such thing as a kudo -- kudos is from the Greek for "glory" or "fame" and is itself a singular noun. But I agree that Lion deserves kudos for recognizing Tony Williams' talents!
I know, lots of great music happening, wish I could take it all in. When I was on the East coast we would get to Chicago regularly for music at The Empty Bottle, The Green Mill, Velvet Lounge etc. Unfortunaeley it's a much bigger commitment from the West coast. To make matters worse, while Portland has a decent scene, it's still pretty lean on that end of the Jazz spectrum and musicians often avoid these parts due to the economics of it all. Since most of these guys are doing major amounts of "windshield-time", and it can be a day's drive between gigs we're not often part of the circuit. Are you going to catch anything in Chicago?
Okay, I'm surrounded by old school ma'arms! Whatever. I usually try to contain my need to correct others. No jazz at the moment, I'm on a Dylan "Tell Tale Signs" kick, all three discs.
I really can't see why that one wasn't included in the recent Original Album Classics and Canned Funk left off - would have made sense to have his first five for CTI together.
Very cool. I was actually hoping to start a small series here utilizing an indie bookstore that's within walking distance from my house. It has a small stage, wood ceiling and rafters and 15' walls of old books. Not only great ambiance (they sell used vinyl too) but it has, without even trying, probably some of the best acoustics in town. The acoustics for un-amplified, or lightly reinforced, sound is excellent. Nice wooden stage, no bar but there is a small natural foods market next door with a great craft beer selection so you can BYOB, yayda. Went to discuss using the space with the owner about 2 months ago and, while he was cool with it he dropped the bombshell; the place is up for sale. I'm sure the new owner will wipe it in lieu of something else more commercially viable. There's an opportunity because musicians play Portland, then have to trek all the way to San Francisco for the next gig, and they could stop here on the way, catch the vibe, and cover their expenses. The search continues. Speaking of Mitchell and Sorey, one of my top picks for that year: http://forums.stevehoffman.tv/threads/jazz-beat-pt-23.353190/page-16#post-10477642