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Swings & Roundabouts ~ Mark Lockett
Mark Lockett has released his seventh album Swings & Roundabouts, arguably his finest. The project had been in gestation for a while but like many projects, it was delayed by the pandemic. Still, once the travel restrictions were lifted he headed for New York, engaged some of New York’s finest Jazz musicians and set up the session in the Samurai Hotel Recording Studio, Queens—a studio versed in…
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#Chordless quartet#Dave Binney#Duane Eubanks#Mark Lockett#Matt Penman#New York Jazz#Review#Swings & Roundabouts#Thick Records#Wellington
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March 9, 1959
Ornette Coleman started the final session for his sophomore album, Tomorrow Is The Question!, alongside Don Cherry, Percy Heath and Shelley Manne on March 9, 1959. On the 9th and 10th, the chordless quartet recorded all the songs on side one of the album at Contemporary Records’ Los Angeles studio. The album would eventually be released in November 1959 (timed conveniently with Coleman’s now-storied arrival in New York).
Don Cherry and Ornette Coleman at the Lenox School of Jazz, 1959 (Clemens Kalscher)
Coleman was still a fairly niche act — as Nat Hentoff’s liner notes explain, he had been working day jobs up until he recorded his first album Something Else!, and didn’t see much change in his fortunes after that. He was quickly gaining A-list fans though, including Hentoff and John Lewis, who mentored him at the Lenox School of Jazz in August 1959. “It’s not like any ensemble I’ve heard,” Lewis told Hentoff for the liner notes. “I feel like he’s an extension of Charlie Parker, but I mean a real extension. He doesn’t copy Parker’s licks or style. He’s something more, deeper than that. I just hope he and Don Cherry have a long — and healthy — artistic life.”
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Christian McBride | Christian McBride’s New Jawn
Let me get this off of my chest to start - I... don’t like that album art. It IS, though, probably the first use of the word ‘bruh’ on any jazz album art ever, so... I guess there’s that.
Christian McBride’s New Jawn is a chordless quartet featuring Josh Evans on trumpet, Marcus Strickland on sax and bass clarinet, and Nasheet Waits on drums. Their set is original tunes composed by different members of the band, with the exception of Wayne Shorter’s Sightseeing. Stylistically, it reminds me the most of like, Ornette Coleman’s quartet recordings. It’s maybe not QUITE as out as some of those were, but it’s definitely more out than I was expecting.
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[온스테이지2.0] 서수진 - Equality(Feat. Chordless Quartet) https://youtu.be/2rCYS_mAwFc [아티스트 정보] ARTIST: 서수진 TITLE: Equality(Feat. Chordless Quartet) 참여 세션: 이수정(알토 색소폰), 이선재(태너 색소폰), 김영후(더블 베이스), 강재훈(피아노), 황진아(거문고), 김보림(판소리/보컬) [ONSTAGE2.0] 무한의 자유, 서수진 [제작] NAVER 문화재단 온스테이지 인스타그램(ONSTAGE INSTAGRAM) www.instagram.com/official.onstage 온스테이지 페이스북(ONSTAGE FACEBOOK) www.facebook.com/naveronstage 뮤지션 공식 채널(MUSICIAN OFFICIAL CHANNEL) https://www.instagram.com/soodrums/ 온스테이지ONSTAGE
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In The Cellar. Live!! The Ciel Chordless Quartet Tonight 1/20/19 @ 8pm Claudens F. Louis sax Jose Romero trumpet Senagal Senegal Leon Apostolo Victor Sanchez drums Don't miss $5 Cover https://www.instagram.com/p/Bs350vWH9T2/?utm_source=ig_tumblr_share&igshid=riepg386lbtp
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Morten Haxholm Chordless Quartet - Featuring Melissa Aldana: "Twister"
From the 10 track album: Morten Haxholm Chordless Quartet: "Tesseract" released June 29th 2017 on the Gateway Label. This was a little video session done in between doing tracks in the studio. Hence, this video is an original take of the song "Twister", and not the same track as the album track. Line up: Melissa Aldana - Sax Mads La Cour - Flugelhorn Morten Hæsum - Drums Morten Haxholm - Doublebass & Composition Recorded at "The Village" studio by Bjørn Gjessing. Mix by John Fomsgaard. Video filmed and edited by Daniel Buchwald.
#Morten Haxholm Chordless Quartet#Melissa Aldana#Twister#Tesseract#Gateway#Mads La Cour#Morten Hæsum#Morten Haxholm#The Village#Bjørn Gjessing#John Fomsgaard#Daniel Buchwald#videos#youtube
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12 Pop, Rock and Jazz Concerts to Check Out in N.Y.C. This Weekend
NATHALIE JOACHIM at National Sawdust (Feb. 10, 7 p.m.). A flutist, vocalist and composer with big creative ideas, Joachim blends mediums and genres on “Fanm d’Ayiti (Women of Haiti),” her debut album, as she investigates the historical female figures who helped shape her own sense of Haitian heritage. The record incorporates electronics and a string quartet, as well as her voice and flute playing. At this concert, Joachim will be accompanied by the Kaufman Music Center’s teenage new-music ensemble, Face the Music. The program will also include performances by the violist Trevor New and the double bassist Peter Askim.
646-779-8455, nationalsawdust.org
ADAM O’FARRILL’S STRANGER DAYS at Seeds Brooklyn (Feb. 11, 8:30 p.m.). O’Farrill is the scion of musical royalty (his grandfather Chico was, and his father, Arturo, still is, a major Latin-jazz bandleader), but in the last few years he has thoroughly outrun their shadow. He has released two albums with his chordless quartet, Stranger Days, both head-turningly good distillations of his scrappy approach to contemporary jazz. O’Farrill appears here with a slightly modified version of the band: Xavier Del Castillo on tenor saxophone, Walter Stinson on bass and Zack O’Farrill on drums.
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PARKS + BREWER + WEINRIB at the Jazz Gallery (Feb. 7-8, 7:30 and 9:30 p.m.). Here are three of the finest practitioners of the kind of jazz that grows thick on the ground at the Gallery: adroit, harmonically buoyant, loaded with multiple ideas per moment. The pianist Aaron Parks and the bassist Matt Brewer are two of the most revered improvisers among the youngest generation of rising jazz musicians; the drummer Craig Weinrib, a few years their junior, is quietly moving into a similar position.
646-494-3625, jazzgallery.nyc
MARC RIBOT at the Stone (Feb. 11-15, 8:30 p.m.). Ribot’s all-around aesthetic is one of raucous disruption — whether he’s clawing a distorted wail out of his guitar in a caustic rendition of a jazz standard, assembling a crew of musicians to record classic protest anthems, or participating directly in activism on behalf of 21st-century artists’ rights. In the coming week at the Stone he will perform in a different musical setting each night. Highlights will include his collaboration with a large ensemble of Haitian musicians on Tuesday night and his solo-guitar show on Thursday.
thestonenyc.com
BOBBY WATSON AND HORIZON at Dizzy’s Club (Feb. 12-13, 7:30 and 9:30 p.m.). Since Watson’s extended stint in Art Blakey’s Jazz Messengers that began over 40 years ago, he has been known as one of the more dexterous and affecting alto saxophonists in straight-ahead jazz. Here he leads an all-star band, with the estimable drummer Victor Lewis as a special guest. The ensemble also includes the trumpeter Terell Stafford, the pianist Edward Simon and the bassist Carroll V. Dashiell.
212-258-9595, jazz.org/dizzys
VANGUARD JAZZ ORCHESTRA at the Village Vanguard (Feb. 11-16, 8:30 and 10:30 p.m.). When the Vanguard Jazz Orchestra plays a classic tune like “The Groove Merchant” or “Kids Are Pretty People,” it’s not really doing a cover. That’s because this 16-piece big band dates back 54 years, when it got its start as the Thad Jones/Mel Lewis Orchestra. Even if it does someday run out of steam, it will remain one of the immortal large ensembles in jazz history. The band still holds down its traditional Monday-night residency at the Vanguard, but once a year it takes over for a full week in recognition of the group’s anniversary. This year’s celebration begins on Tuesday.
212-255-4037, villagevanguard.com
GIOVANNI RUSSONELLO
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USA: #jazz #bass VETERAN BASSIST JAY ANDERSON LEADS AN ALL-STAR GROUP THROUGH AN INTRIGUING SET OF POST-BOP JAZZ
VETERAN BASSIST JAY ANDERSON
LEADS AN ALL-STAR GROUP
THROUGH AN INTRIGUING SET OF POST-BOP JAZZ
In diverse settings ranging from chordless quartets and quintets to a bass-harmonium duet, Anderson performs inspired versions of various pieces including gems by Keith Jarrett, Billy Joel, Gil Evans and Morton Feldman.
Track Listing:
1. Deepscape (Jay Anderson) 2:09
2. Shades Of Jazz (Keith Jarrett) 5:08
3. Rothko Chapel (5th movement) (Morton Feldman) 7:13
4. Southern Smiles (Keith Jarrett) 6:10
5. And So It Goes (Billy Joel) 4:27
6. Time Of The Barracudas (Gil Evans) 4:58
7. Sweet And Lovely (Gus Arnheim, Harry Tobias, Charles N. Daniels) 7:31
8. Momentum (Jay Anderson) 6:23
9. Witchi-Tai-To (Jim Pepper) 6:49
10. The Mighty Sword (Branford Marsalis) 6:40
11. Tennessee Waltz (Pee Wee King, Redd Stewart) 3:28
Musicians:
Jay Anderson, bass
Billy Drewes, alto, soprano, bass clarinet (2, 3, 4, 6, 8, 9, 10)
Kirk Knuffke, cornet (2, 4, 6, 7, 8, 10)
Matt Wilson, drums (2, 3, 4, 6, 7, 8, 9, 10)
Frank Kimbrough, harmonium (3, 9, 11)
Rogério Boccato, percussion (3, 6, 7, 9)
Throughout his prolific career, bassist Jay Anderson has uplifted the performances and recordings of many from the who’s who of jazz. Long overdue to lead his own recording again (his other albums as a leader were made in the early 1990s), Anderson brings together a flexible group of inventive improvisers to perform an eclectic set of colorful and thoughtful music for Deepscape.
Five of the selections have the bassist leading a chordless quartet/quintet that features Billy Drewes on alto and soprano, cornetist Kirk Knufke, drummer Matt Wilson and percussionist Rogério Boccato (on four songs). Among the project’s highpoints, “Shades Of Jazz” and “Southern Smiles” were originally recorded by Keith Jarrett’s legendary American Quartet of the early/mid 70’s, a group that included tenor-saxophonist Dewey Redman, bassist Charlie Haden and drummer Paul Motian. These new and joyful performances feature interaction by the two horns and are free bop at its best. The quintet also performs Gil Evans’ “Time Of The Barracudas,” Anderson’s original “Momentum” (which utilizes a tone row that expands exponentially and features passionate playing by Drewes on soprano), and Branford Marsalis’ “The Mighty Sword.”
Anderson’s bass is in the spotlight for the brief title cut which sets the tone, and has him making a quiet but powerful statement over a drone. Later, Anderson’s bass takes center stage once again, in a thoughtful folk song-like treatment of Billy Joel’s “And So It Goes.” Deepscape also includes the 5th movement of composer Morton Feldman’s meditative piece “Rothko Chapel,” a reworking of the standard “Sweet And Lovely,” Jim Pepper’s haunting “Witchi-Tai-To,” and a unique bass-harmonium duet with Frank Kimbrough on “Tennessee Waltz.”
Jay Anderson, who was born in Southern California, began playing the bass at the age of 12. He won several awards in both jazz and classical music while attending school. One week after graduating from California State University at Long Beach he joined the Woody Herman Orchestra. The bassist’s career has not slowed down since.
Anderson was with the Woody Herman Big Band for a year, spent two years accompanying singer Carmen McRae, and in 1982 moved to New York. Since then he has been on over 400 recordings (including nearly 100 for the Steeplechase label) and worked with such luminaries as Red Rodney, Ira Sullivan, Michael Brecker, Toots Thielemans, the Maria Schneider Orchestra, Eliane Elias, Bennie Wallace, Bob Mintzer, Lynne Arriale, Stanley Cowell, Joe Sample, Paul Bley, Randy Brecker, John Scofield, John Abercrombie, Joe Lovano, Dave Liebman, Lee Konitz, Jay Clayton, Kenny Wheeler, Ryan Truesdell’s Gil Evans Project among countless others, not to mention, David Bowie, Frank Zappa, Tom Waits, Chaka Khan, Michel Legrand, Van Cliburn, (poet) Allen Ginsberg and even Celine Dion.
No matter the setting, from duo to a large ensemble, Jay Anderson is a proven asset to every musical situation in which he finds himself. Now on Deepscape, he steps out as a leader, performing creative music that contains many unexpected moments while fulfilling his own musical vision.
Jay Anderson “Deepscape”
SteepleChase SCCD 31870) Street Date: April 15, 2019
Jay Anderson, bass, Billy Drewes, alto, soprano, bass clarinet (2, 3, 4, 6, 8, 9, 10), Kirk Knuffke, cornet (2, 4, 6, 7, 8, 10), Matt Wilson, drums (2, 3, 4, 6, 7, 8, 9, 10), Frank Kimbrough, harmonium (3, 9, 11), Rogério Boccato, percussion (3, 6, 7, 9)
UPC Code: 716043187027
http://www.jayandersonbass.com
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SteepleChase is distributed by Stateside (US)
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Jim Eigo Jazz Promo Services
272 Ste Route 94 S #1 Warwick, NY 10990
T: 845-986-1677 / F: 845-986-1699
E-Mail: [email protected]
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Priests: Early Recordings
A mere week after forming, the Washington D.C. band Priests sought physical proof of their existence. The group was a trio then—drummer Daniele Daniele, vocalist Katie Alice Greer, guitarist G.L. Jaguar—and they headed to a basement in Maryland to record their first four songs, which would become 2011’s Tape 1. “I was very eager to have evidence of the band exist for myself, because I didn’t know how long it would last, and I wanted to make music more than anything,” Greer explained. Six years later, now a quartet, Priests have come a long way. Following 2014’s overtly political Bodies and Control and Money and Power EP, they released their debut LP earlier this year and it was a huge achievement, exploring new sounds (R&B, glam pop, classical) as well as personal vulnerability. The road has been rocky, but Priests have survived.
Their sound has expanded, but the newly-released Early Recordings, compiling their first two cassettes, shows that Priests’ sense of purpose was intact from the start. Their proximity to their influences cannot be overlooked. Jaguar grew up embedded in the D.C. scene where he saw influential punk bands like Fugazi, Black Eyes, and Quix*o*tic and attended political actions against the Bush presidency. Greer has played in the legendary Ian Svenonius’ Chain and the Gang, who insert a kitschy playfulness onto a punk philosophy. All of these elements come into play as Priests infuse the hardcore pummel and DIY ethics of their city with new life.
Priests’ first ever song was “Diet Coke,” a shrieking satirization of product placement. Greer sounds like an over-caffeinated cheerleader as she chants the names of products, while Jaguar coins his soon-to-be signature chordless rockabilly riff and Daniele threatens to splinter the floor with her drumming. The venomous guitar in “Cobra” sounds ready to bite your head off, as does Greer’s spiteful sneer. “Talking,” on the other hand, resembles Nothing Feels Natural’s contemplative title track thanks to its pensive beginning. But when Daniele’s sticks count off and Greer’s vocals kick in, the song suddenly evokes a wistful Beat Happening track. “Let’s talk about the nature of a classroom/Let’s talk about rewarding complicity,” Greer wails, weaving together conceptual and visceral collaboration; “The world is not so black and white,” she sings later on “The World.”
In 2012, while Greer was on tour with Chain and the Gang, Daniele and Jaguar befriended Taylor Mulitz, who became the band’s bassist. That same year, the members of Priests formed a label called Sister Polygon to put out their own records and those of their extended network (Snail Mail, Downtown Boys, and Sneaks among them). 2013’s Tape Two was the fourth of these releases. After two years of touring and the addition of Mulitz, Priests’ ideas coalesced. Jaguar made an effort to distance his playing from that of the bands he had grown up seeing—on Tape Two, he avoids traditional chords in exchange for minimal, single notes that sounds angular, twangy, and surfy.
Tape Two opens with the fiery “Leave Me Alone,” a callout track inspired by Bush Tetras’ “Too Many Creeps.” “You wanna know what I think? I think you look like a creep!” Greer barks, the scratch in her voice revealing just the slightest trace of fatigue. The bouncy Daniele-led “Say No” exudes sensuality, punctuated by shouts and groans. In the penultimate track “Twelve,” chants of “talking protesting demonstrating” turns a subdued meditation into a one liner: “But then someone said ‘We can’t have a revolution that responds to any of these things.’” The spoken-word piece “USA (Incantations)” exposes an inherent inequality in the U.S. that goes all the way back to the signing of the Constitution. “Unless you are a rich, land-owning, cisgender, heterosexual white man-man-man through and through, things were always bad for you here,” Greer chirps.
Greer speaks often on the use of pop culture as a weapon, as a means of subversion, and as a pervasive form of communication. The brilliant “Lana” uses the Born to Die singer as a means of examining the perception of female celebrity, beauty, and performativity. “Women who are beautiful by societal standards in a place of power often elicit that kind of backlash,” Greer said, referring to the constant criticism of Del Rey’s relationship with the male gaze. The Daniele-penned and sung “Watch You (Alternate Mix)” further continues to explore gender and objectification. We tend to consider scopophilia, or the pleasure gained from the gaze, in terms of the subject; “Watch You” explores the spectator or performer’s pleasure in looking at the audience. “I’m a pervert, I’ve got the gaze,” Daniele taunts, all exaggerated braggadocio. The song sounds purposefully creepy thanks to slick strings, a greasy riff, and drums that sound metallic.
Although they waited six years to release a full-length, Early Recordings illustrates that even in their earliest days, Priests were pushing themselves and the audience they earned. It was only with Nothing Feels Natural that Priests found emotional harmony in their discord, but on tapes 1 and Two, they were beginning to examine and searingly critique the social and political systems around them. “Time waits for no one,” playwright and intellectual Lillian Hellman is quoted as saying in a Tape Two song named for her. Early Recordings proves that Priests took the sentiment to heart.
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Ned Goold | 2016
The newest album by jazz saxophonist Ned Goold finds him in a quartet with guitarist Andrew Renfroe, bassist Reid Taylor, and his son, drummer Charles Goold. The set is, as far as I can tell, all Ned originals. They all have his distinctive, mathematical approach to composition, with melody lines bouncing around at odd but measured intervals and inverting themselves in interesting and arresting ways. Charles Goold also adds a degree of funk to Ned’s sound on tracks like Car Alarm, Whatness Of Allhorse, and Fat Cat Freak. Ned takes on the blues on Headbugs as well. While I think Ned still sounds like a close relative of Thelonious Monk in his compositional style, I can tell the difference now. They’re easy to compare because each have a very unique, often slightly grating personal style, but where Monk’s music was based so heavily in the immediate dissonance of the piano, playing chords that rubbed against each other the wrong way, Goold’s music is frequently chordless (as on Gooold) or, in this case, relies more on the relation between different notes on a single-note melody line, or on the overall geometric shape of a melody line. The diagram on the album art is actually, in my mind, a very good visual representation of what is going on in Goold’s compositions. It’s something that is totally unique and a lot of fun once you can start to wrap your head around it.
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CANADA: Explosive Quartet Earprint celebrates debut CD Sat. January 21 at Café Resonance, Montreal
Explosive Quartet Earprint celebrates debut CD
Sat. January 21 at Café Resonance, Montreal
Saxophonist Kevin Sun, trumpeter Tree Palmedo, bassist Simón Willson, and drummer Dor Herskovits bring "aggressively melodic, shamelessly youthful approach" to their music
"Earprint is a joy to listen to. Really great music and playing by everyone, with lots of highlights. Will definitely be on my playlist for a while." - saxophonist/composer Miguel Zenón
"[Kevin] Sun is... clearly a player who sees the big picture and his evolving place within it." -David R. Adler, The New York City Jazz Record
"[Simón] Willson is a serious bassist with all the right influences." - Ethan Iverson
4-stars - DownBeat
#1 Debut of the Year 2016 NPR Jazz Critics Poll
Fired by a shared passion for challenging but engaging music, Earprint has quickly forged a sound with what its members refer to as an "aggressively melodic, shamelessly youthful approach." The explosive quartet's self-titled debut, due out October 21 on Endectomorph Music, displays creative invention, intricate composition, and raw combustibility in equal measure.
The band celebrates the CD at 9 p.m. on Saturday, January 21 at Café Resonance, 5175A Av du Parc, Montréal. No cover.
The chordless collective brings together four musicians from diverse backgrounds: saxophonist Kevin Sun comes from picturesque New Jersey and trumpeter Tree Palmedo from the grayer Pacific Northwest. Bassist Simón Willson hails from Santiago, Chile, while drummer Dor Herskovits was born and raised in Israel. Despite their far-flung histories, the quartet established an immediate rapport while studying together at Boston's New England Conservatory, and Sun encouraged them to work together - and to challenge one another.
"I wanted to put something together where I could really work on writing difficult music," Sun explains, a desire prompted by such inspirations as Steve Coleman, Vijay Iyer, John Hollenbeck, and Sun's mentor, saxophonist-composer Miguel Zenón. "One thing about being in school is that you can rehearse an insane amount; I could write music that was as hard as I wanted it to be and, eventually, we could make it happen."
Perhaps most impressive about the group's music is that, despite the level of virtuosity demanded to play it, listening to it is anything but an abstruse experience. All four members of Earprint contribute memorable tunes, whose hairpin twists and turns inspire spirited improvisations. The lack of a chordal instrument provides ample space and freedom, which the quartet seizes with bravado.
"We're all players that like to take chances and feel free to venture out to different places in the music, and that's really allowed when there's that space between us," says Herskovits. "After a while, it felt like we could play anything. Eventually it didn't matter if the music was complex or simple - it was all something that we could hear naturally and that felt amazing to play."
The darting horn lines of Sun's "Nonsense" open the album. Written years ago while the saxophonist was participating in the Banff International Workshop in Jazz and Creative Music in the scenic mountains of Alberta, Canada, the piece is a densely layered miniature that serves as a jaunty and odd-angled introduction to the quartet. It's followed by Herskovits's Ornette Coleman-inspired "Happy," where the punchy, speech-inspired melodies and whiplash shifts capture the titular mood, however idiosyncratically.
The title of Willson's "School Days" acknowledges Earprint's beginnings in the halls of NEC, but shares its name with a painting by the late Boston-based, African-American artist Allan Rohan Crite. The color and sense of movement in that piece was a direct model for Willson's taut, supple composition. Sun wrote "Boardroom" from a less obviously inspirational source: after playing a background music gig for a corporate function (hey, those student loans aren't gonna pay themselves), he found himself stuck listening to a litany of quarterly earnings and projected revenues, so he turned those droning numbers into a far more interesting musical equivalent.
Sun's meditative "The Holy Quiet" was inspired by the tragic shootings in Charleston; the piece captures the sorrow and anger invoked by the terrible incident with a percussive clamor featuring both Sun and Palmedo joining Herskovits, while Willson intones a harrowing bowed howl. A driving rock beat fuels Palmedo's more light-hearted tune "The Golden Girder Strikes Again," a fanfare for the "brutish elegance" of an imaginary supervillain whose body has been replaced by a mass of gold-plated support beams.
Sun's "Malingerer" is the album's most spacious piece, featuring a slowly accumulating melody and a languorous air but ending with an unexpectedly vigorous conclusion. The alternately methodical and frenetic "Clock Gears" is Herskovits's sonic portrait of the intermeshed workings of a clock mechanism, while the aptly named "Anthem" is the result of a task that Sun set for himself, scrawled in an old notebook and later rediscovered: to write an "anthemic, two-horn song." Voilà.
Sun's sprightly "Colonel" is named after his family's beloved Yorkshire Terrier, and greets the ear with the hopping, yipping brio of an excited Yorkie. Finally, Herskovits's "Six Nine" is indicative of the evolutionary paths that many of the band's tunes take, starting as a simple groove and growing in emotional and musical complexity to its current form.
In some ways, the members agree, the band itself is following a similar path, with the depth and profundity coming from the players rather than the page. "It's a little bit more balanced between things that are more challenging and things that are more free to play on, with a mixture of styles: free music, jazz, neo-classical, rock and roll, all kinds of stuff," Herskovits says. Sun adds, "In the beginning, I would write a 7-page score for a song that would be six minutes long. Gradually I ended up writing less and less, so by the time we got to the album I could just write one sheet and there would be enough material."
Maybe some of these discoveries have been made by composers before, but with each passing generation inspiration and urgency are found anew. Earprint declares the arrival of a band that's harnessed state-of-the-art composition and earthy tunefulness, with no sign of slowing down.
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