May 2009

  • Ronnie Foster: Jazz, Funk and Junk

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    Freap vs the CatFreap vs the CatHave you ever waited to hear a disc for so long that in your mind the album's attained some majestical perfection that only lets you down once you play it? Yup. It happens on occasion. But very rarely have I been so utterly let down by a funky jazzbo as I recently was by Ronnie Foster. The keyboardist - and moog player, organist, etc. - was responsible for some huge grooves during the '70s - but apparently only a part of that decade yielded any sort of palatable music from this player. Read more

  • Eddie 'Lockjaw' Davis Plays Minton's

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    Prestige 7357Prestige 7357Finding a new record store is akin to discovering a long lost relative. And if the clerk (aka record geek) behind the counter is a helpful and interesting individual, all the better. Upon arriving at Mod Lang in El Cerrito, California, the first thing I noticed was that there was as much vinyl as anything else. That's always a good sign. I struck up a conversation with the clerk, who had just tossed on the new Iron and Wine compilation as I arrived. As per usual, I was necessitated to leave my bag at the front of the store, but that only allowed my scrawny arms more freedom as I traipsed through the jazz and rock sections of the store. Read more

  • Junior On Keys: Walter Bishop, Jr.

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    SoloSoloPlaying with three of the most inventive performers in jazz - Charlie Parker, Miles Davis and John Coltrane - hasn't afforded pianist Walter Bishop, Jr. the acclaim that it should. Having been active in the genre from the better part of the 20th century found this player in every setting, utilizing any means of expression possible to get across some historic perspective on not just jazz, but life. And while he spent some of his time in academia, Bishop never stopped backing up players or touring. And if his book on theory hasn't impacted a generation of players, some folks still hold it in rather high regards. Read more

  • J.C. Davis: The Lost and Found New Day!

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    New DayNew DayThere is and always will be some allure around the myth of James Brown. His wild side obviously sparked some stories - real or not. Over time, as he slowly devolved into a troubled man, his talent didn't dissipate and neither did his ability to pick out talent and mold individuals into something incredible. The stories involving Brown's strict policies regarding his band - which probably match any trumped up Zappa tale - culminated in fines and the like. But to his credit, it worked. There aren't too many other musical bodies of work that are universally revered in the way that the Brown catalog is - Bob Marley, maybe. But that's about it Read more

  • Cannonball Adderly: Experience in 'E'

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    Experience CompositionExperience CompositionBeing immersed in education through half of the fifties in Florida, Julian 'Cannonball' Adderly probably wouldn't have met with the same success he knew if the sax player decided against moving to New York City. At the time that he moved there - 1955 - jazz was in a transitional period, trying to work out what to do with be bop and all of it's associated trappings. Cannonball's blustery blues would play a part in its next evolution, though. Read more

  • Stanton Moore: On Parenthesis

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    GrooveGrooveAs a drummer in not just Galactic, but Garae-a-Trois amongst countless other well known funky, groove based outfits, Stanton Moore doesn't get an enormous amount of the attention in any of these ensembles. It's true that his style of drumming - extracted as much from his New Orleans upbringing as from straight funk bangers from the '60s and '70s - isn't the most overtly imbued with flair. But he's still recognized as one of the finest musicians of his epoch sitting on a drum thrown.

    First making a name for himself in the early '90s with Galactic, the band quickly endeared themselves to the jam band crowd, playing festivals with sets engorged with instrumentals and all too danceable breaks. But even in this approach to NOLA based musics, there was and remains a pretty enormous debt to jazz in all of its forms. The playing of not just Moore, but everyone that he surrounds himself with - from George Porter, Jr. to Skerik - have a very specific, playful and exploratory bent to their playing. Read more

  • Weldon Irvine: Juggah Buggah

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    Irvine and the FunkIrvine and the FunkThe connections between hip hop and jazz are obviously pretty intense. There's a sort of incestual relationship there most voracious expressed through the Jazzmatazz recordings from Guru during the latter half of the '90s and into the new millennium. But while those discs sought to fully integrate the two genres - like the Roots, but not as adept - some players and musicians kept to their own genre while being able to influence both.

    With that dichotomy, there's also the fact that the white portion of hip hop's audience wasn't (for the most part) privy to hearing the random assortment of smooth jazz and fusion coming from parent's stereos during the '70s. So the ability for a segment of the rap buying/listening audience, while able to appreciate sampled musics, might not be able to identify or even appreciate the source material as a whole. That's not good or bad, it just is. Read more

  • Duke's Moods and Indigos

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    Duke Ellington is responsible for some of the most well known and memorable melodic figures in jazz, if not in American music. His compositions have been adapted in every land, for every purpose imaginable. And while, he counted an enormous cast of supporting players, Duke sought to work with their individual talents as opposed to forcing each man into some mold that he wasn't fit for.

    Perhaps the songs that Duke is most associated with, "Caravan" for example, weren't even his compositions. But because of his inclusive attitude towards creating music, he never begrudged an underling some opportunity to feature a talent, composition or solo. And for that, Duke can have said to have maintained a well endowed big band for almost fifty years, some players remaining in his employ for decades. Read more

  • McCoy Tyner: Sahara

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    Tyner TunesTyner TunesThere are only a few gentlemen that remain on this earth that counted John Coltrane as not only a musical companion, but boss. Pharoah Sanders is one of them. And as important as Sanders was and is to jazz, in comparison to McCoy Tyner, in the context of Coltrane's ensembles, the pianist is easily found to be more of an indispensible figure.

    As a long time collaborator and one of the most consistent parts of Coltrane's various groups, Tyner was charged with creating a backing that was somehow meant to compliment the bleating shards of glass that flew from the bell of Coltrane's sax. And in doing so, the pianist acquired some chops that not too many others are privy to Read more

  • Sex Mob x John Medeski

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    LiveLiveThere's nothing traditional about today's entertaining jazz players. If anyone new jazzbo sets out to begin some ensemble - and not be completely ignored - it's pretty much a necessity to incorporate a modicum of out moments. Figuring that, it still seems that there are a few too many jazz groups working in a traditional mold. And while those tropes are, obviously, still important repeating them again, doesn't seem like a good use of time - the players' or the listeners'.

    But Steven Bernstein understands all of this. His music, while incorporating enough New Orleans' style decadence, brings in disparate elements as to not allow listeners to guess at what's about to happen. So, while there are those countless disposable jazz groups, Bernstein's Sex Mob is not one of them. Read more