Music Week ::posted Mon, 21 Jul 2014 15:55:42 +0000:: ift.tt/1nOZXPO Music: Current count 23527 [23501] rated (+26), 548 [534] unrated (+14). When I got back from my aunts funeral, there was a surprisingly large pile of new records waiting. I didnt get around to listing them last week, so this weeks haul looks more robust than usual. I do, however, get the sense that Ive fallen well out of the realm of being a mainstream jazz critic. This weeks unpacking list doesnt quite prove my point -- there are a number of reputable artists there I recognize and welcome (Todd Bishop, Bobby Broom, Wayne Horvitz, Ryan Keberle, Greg Reitan, Steve Swallow, Ohad Talmor, Adam Nussbaum, Matt Ulery) most of the records I get these days are from unknowns, with the occasional cult favorite slipping in. (Two of the latter wound up with A- grades, and I doubt that youll be reading much about either elsewhere.) Part of this is my fault, of course: formerly reliable publicists at labels like High Note and Sunnyside took my hint and stopped sending, and Ive done a poor job following up on available downloads from labels like ECM -- Im not even sure what I do or dont have there, but havent had time (or curiosity) to sort that out. When I got back, I didnt feel like facing the queue, so I took a look at my Penguin Guide list and started playing some old jazz from Rhapsody. First three records were high B+, which seems like par for the course. Then Charlie Haden died so I looked up his duet album with Chris Anderson, and the more I played it the more I was entranced. I then moved on to Earl Hines and Art Tatum -- one of the biggest chunks on the Penguin list was Tatums Solo Masterpieces, which Morton & Cook love indiscriminately. I had long ago picked up Volume Four and Volume Five (both B+), plus I had a 2003 release, The Best of the Complete Pablo Solo Masterpieces (A). So I spent a big chunk of time going through the other six volumes, then for good measure I gave the whole box a spin. Much of it is indeed remarkable, none of it without interest, and I didnt mind the time. I think the reason I graded the box over its constituent volumes is that when grading the latter the question arises as to which discs are relatively better investments, and the way they are organized makes it impossible to say -- I gave Volume Six an edge mostly because of two or three especially striking songs as opposed to the dozen or so run-of-the-mill Tatums. On the other hand, the box does make sense as a whole, and it is a remarkable accomplishment both within Tatums career and over the entire history of jazz. Given all that, my nitpicking wasnt enough to drop it below A-. Still, I much prefer The Standard Sessions, which offers livelier performances and concentrates more great songs. Only minor sonic issues, plus my general reserve about solo piano, held it below an A. I didnt do The Art Tatum Pablo Group Masterpieces because I own and have long graded every one of them. Tatum mostly recorded solo, so the 1954-56 Granz sessions just added to an already huge legacy, but the group sessions are almost the only time Tatum ever appeared in groups -- at least with horns. They vary more in quality, but the best are really extraordinary, both as group efforts and by freeing Tatum from having to carry the rhythm he gets a chance to perform some of his most spectacular embellishments. The best are: Volume Eight (with Ben Webster: A+); Volume Two (with Roy Eldridge: A); Volume Seven (with Buddy DeFranco: A); Volume One (with Benny Carter: A-). Tatum is as universally revered as Charlie Parker, which may be why I quibble. Im always reminded of what Tom Piazza wrote in The Guide to Classic Recorded Jazz: Ask ten pianists to name the greatest jazz pianist ever and eight will tell you Art Tatum. The other two are wrong. Ive made a career out of being wrong, so I dont mind telling you that my answer to that question is Earl Hines. He was easily the greatest pianist in 1928 when he (and Louis Armstrong) cut some of the most classic jazz sides ever, and he was dazzling when he toured with Armstrongs 1946 All-Stars. In between he ran a very important big band, and in the 1960s he led a wonderful quartet with Budd Johnson on tenor sax. Later still, he recorded many solo piano albums, including a couple listed below (Tour de Force is probably the first pick, at least the choice title, but these come close). That, in turn, led me to an obscure Johnny Hodges album which couldnt possibly go wrong. After Tatum and Hines, I pulled out all those jazz vocal albums Ive been avoiding and slogged through them. Poet Anne Waldmans album jumped out of that pile. It is a jazz/poetry album somewhat similar to the Rich Halley-Dan Raphael album Children of the Blue Supermarket, which was my favorite album in 2011, although vocally it reminds me more of Patti Smith, with the sax closer to Ornette Coleman (hence my tweet). Looks like a pretty awful week coming up, both personally and all around the world. I have made some progress on the crashed server, but its going to be a long while before its all history. Recommended music links: Pop Art by Robert Christgau: In It for the Art: debut of Christgaus Billboard monthly column, mostly intro material like hes greeting new readers. Liberation Chorus: Ethan Iverson collects memorial thoughts from many jazz musicians on the late bassist, Charlie Haden. Ryan Maffei: Ryan does the 70s Guide: Well, the As anyway, much more thoroughly than I would, but I dont need to relive them. Michael Tatum: Rilo Kileys The Execution of All Things. Michael Tatum: Monk Meets Mulligan. New records rated this week: Al Basile: Swing n Strings (2013 [2014], Sweetspot): cornet-playing blues singer with an air of Mose Allison, his idea of strings two guitars [cd]: B+(**) Alan Chan Jazz Orchestra: Shrimp Tale (2013 [2014], Crown Heights Audio Network): pianist, leads 17-piece big band on debut, sharp and contemporary, with a spoken word bit [cd]: B+(*) Jason Derulo: Talk Dirty (2014, Warner Brothers): Ive heard dirtier, but rarely with more compelling melodies, hooks, beats, and succinct too [r]: A- Sherie Julianne: 10 Degrees South (2014, Azul Do Mar): Bay Area singer into Brazilian pop tunes, helpfully produced by pianist Marcos Silva [cd]: B Mark Meadows: Somethin Good (2014, self-released): pianist, likes smooth jazz grooves, and sings some, mostly neo-soul moans and murmurs [cd]: B- Rent Romus Lifes Blood Ensemble: Cimmerian Crossroads (2014, Edgetone): alto/soprano sax, honors Arthur Blythe, incinerates Ornette Coleman [r]: A- Sia: 1000 Forms of Fear (2014, RCA): voice like Shakira, only no Latin tinge, just an Australian take on British semipop gloom [r]: B Donna Singer: Destiny: Moment of Jazz (2014, Emerald Baby): standards singer, enjoyable when the song is Where or When, less so on Yesterday [cd]: B Isabel Stover: Her Own Sweet World (2010 [2014], self-released): standard singers debut album, Taj Mahal an outlier, voice and band all contribute [cd]: B+(*) Anne Waldman: Jaguar Harmonics (2014, Fast Speaking Music): a beat era pot I should have known, imagine Patti Smith in a rush backed by Ornette Coleman [cd]: A- Recent reissues, compilations, and vault discoveries rated this week: Enrico Pieranunzi/Marc Johnson/Joey Baron: Play Morricone 1 & 2: The Complete Recordings (2001-02 [2014], CAM Jazz, 2CD): [r]: A- Old records rated this week: Duke Ellington and Ray Brown: This Ones for Blanton (1972-73 [2000], Pablo/OJC): the pianist recalls what Jimmy Blanton changed, the bassist builds on him [r]: B+(***) Art Farmer: Out of the Past (1960-61 [1996], Chess): two Argo albums minus one cut each, one trumpet ballads with Tommy Flanagan, the other flugelhorn [r]: B+(***) Charlie Haden: Quartet West (1986 [1987], Verve): Mainstream Haden-style, straddling Ornette-Metheny, with Watts-Broadbent feeding the sentimantal [r]: B+(**) Charlie Haden/Chris Anderson: None but the Lonely Heart (1997, Naim): brittle Chicago pianist and sentimental assist open up touching duets [r]: A- Earl Hines: Blues in Thirds (1965 [1989], Black Lion): solo piano, near the top of his game (i.e., peerless), aside from two spots where he tries to sing [r]: A- Earl Hines: One for My Baby (1974 [1995], Black Lion): more solo piano, strutting and striding through seven marvellous Harold Arlen standards [r]: A- Earl Hines: Plays Duke Ellington, Volume Two (1971-75 [1997], New World): solo piano again, whats left after the 2-CD Volume One, swing with extra razzle [r]: B+(***) Johnny Hodges/Earl Fatha Hines: Stride Right (1966, Verve): two stars (plus Kenny Burrell) doing what comes naturally on songs that never grow old [r]: A- Art Tatum: Classic Early Solos (1934-1937) (1934-37 [1991], MCA): not really a stride pianist, too busy and ornate for that, but early on not so much so [r]: B+(***) Art Tatum: The Standard Sessions: 1935-1943 Transcriptions (1935-43 [1991], Music & Arts, 2CD): 2-CD of radio shots, 61 mostly great standards given the full Tatum treatment [r]: A- Art Tatum: The Art Tatum Solo Masterpieces: Volume One (1953 [1992], Pablo/OJC): doing these one-by-one, but impressive as he is I find myself resisting, almost always at [r]: B+(***) Art Tatum: The Art Tatum Solo Masterpieces: Volume Two (1953-55 [1992], Pablo/OJC): [r]: B+(**) Art Tatum: The Art Tatum Solo Masterpieces: Volume Three (1953-55 [1992], Pablo/OJC): [r]: B+(***) Art Tatum: The Art Tatum Solo Masterpieces: Volume Six (1953-55 [1992], Pablo/OJC): [r]: A- Art Tatum: The Art Tatum Solo Masterpieces: Volume Seven (1953-55 [1992], Pablo/OJC): [r]: B+(***) Art Tatum: The Art Tatum Solo Masterpieces: Volume Eight (1953-56 [1992], Pablo/OJC): [r]: B+(***) Art Tatum: The Complete Pablo Solo Masterpieces (1953-56 [1991], Pablo, 7CD): [r]: A- Unpacking: Found in the mail last week (plus): Laurie Antonioli: Songs of Shadow, Songs of Light: The Music of Joni Mitchell (Origin) Todd Bishop Group: Travelogue (Origin) Anthony Branker & Word Play: The Forward (Towards Equality) Suite (Origin) Bobby Broom: My Shining Hour (Origin) The Cellar and Point: Ambit (Cuneiform): advance, October 14 Eliana Cuevas: Espejo (ALMA) Dave Knife Fabris: Lettucs Prey (Musea) Wayne Horvitz: 55: Music and Dance in Concrete (Cuneiform): advance, August 19 Jazzhole: Blue 72 (Beave Music) Ryan Keberle & Catharsis: Zone (Greenleaf Music) Ricky Kej/Wouter Kellerman: Winds of Samsara (Listen 2 Africa) Greg Reitan: Post No Bills (Sunnyside): August 19 Mitch Shiner and the Blooming Tones Big Band: Fly! (Patois) Street Priest: More Nasty (Humbler) Steve Swallow/Ohad Talmor/Adam Nussbaum: Singular Curves (Auand): advance, August 5 Matt Ulery: In the Ivory (Greenleaf Music) The Bill Warfield Big Band: Trumpet Story (Planet Arts) Walter White: Most Triumphant (Summit) Tom Wolfe: Solerovescent (Summit) J.J. Wright: Inward Looking Outward (Ropeadope): August 19 [Forwarded by the MyLeftBlogosphere news engine. Link to original post below:]
Posted on: Tue, 22 Jul 2014 00:59:14 +0000
Trending Topics
Recently Viewed Topics
© 2015