tag:blogger.com,1999:blog-89982837710737512352024-03-05T16:24:27.255-05:00Who Can Be Fresh?Another music blog and home of BYOV.Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.comBlogger30125tag:blogger.com,1999:blog-8998283771073751235.post-20476479482003672852013-05-02T22:30:00.001-04:002013-05-06T13:39:46.983-04:00BYOV - Meeting #20<div style="text-align: justify;">
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</style><span style="font-family: Arial; font-size: small;">On Sunday, March 24<sup>th</sup>, I was still coming off what was a very narrow victory by my Jayhawks over a 16 seed in the NCAA Tournament. So that afternoon’s Tarheel matchup had me a little wary. </span></div>
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<span style="font-family: Arial; font-size: small;">If this reads like Greek to you, I’m sorry. I have two serious passions: basketball and music. </span><br />
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<span style="font-family: Arial; font-size: small;">Sometimes, due to scheduling conflicts, they are forced to co-exist. </span></div>
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<span style="font-family: Arial; font-size: small;">So, I’ve set the mood. My nervous mood, at least, as I watched the time until tipoff. </span></div>
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<span style="font-family: Arial; font-size: small;">Moving on to the music…. At least all the participants at BYOV #20 were victorious as we were able to listen to a diverse range of music that was either meaningful or created by a Californian musician (or both). </span></div>
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<span style="font-family: Arial; font-size: small;">The themes for BYOV #20 were:</span></div>
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<span style="font-size: small;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">a) It's electric! We would like to hear landmark performances that still startle to this day. Dibs on the 1812 Overture. </span></i></span></div>
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<span style="font-size: small;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">b) We're gettin' personal.... Bring a tune that has significance to you in your life's journey. </span></i></span></div>
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<span style="font-size: small;"><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">c) Goin' back to Cali, Cali, Cali.... Let's get regionally specific. Bring a track from your favorite California born/based artist. </span></i></span></div>
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<span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">1. James Newton – “Choir” from <i style="mso-bidi-font-style: normal;">Axum</i><span style="mso-spacerun: yes;"> </span>(ECM 1214, 1982)</span></b></span></div>
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<span style="font-family: Arial; font-size: small;">Once again I was persuaded to go first. </span></div>
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<span style="font-family: Arial; font-size: small;">I brought a record by a Californian musician. The recording was also responsible for making me reconsider the problems with the music industry, especially its treatment of artists. </span></div>
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<span style="font-family: Arial; font-size: small;">Nearly the second I cued up the overblown, harmonically rich solo flute track, Steve guessed that this was James Newton. </span></div>
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<span style="font-family: Arial; font-size: small;">It was indeed the astounding flutist from Los Angeles. Newton has long been an important member of the California jazz community, having begun his career playing with the likes of Bobby Bradford, John Carter, Red Callendar, Arthur Blythe, David Murray, etc. in the early 1970s. </span></div>
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<span style="font-family: Arial; font-size: small;">Newton had recorded a number of records for Circle Records of Germany and India </span><span style="font-family: Arial;">Navigation before he recorded this solo album, </span><i style="mso-bidi-font-style: normal;"><span style="font-family: Arial, Helvetica, sans-serif;">Axum</span></i><span style="font-family: Arial;">, for ECM.</span></div>
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<span style="font-family: Arial; font-size: small;">My interest in the record was piqued in a class discussion at NYU. During my senior year, I was enrolled in a class called Philosophy of Music, which was quite an amazing class in many ways, though I’m not really one for philosophic mumbo jumbo. </span></div>
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<span style="font-family: Arial; font-size: small;">Anyway…. The professor had been involved as a musical expert in a suit that was brought against the Beastie Boys by James Newton. In 1992, the Beastie Boys released a song called “Pass the Mic” on their album <i style="mso-bidi-font-style: normal;">Check Your Head</i>. The song used a six and a half second sample of Newton’s playing on “Choir,” which was looped over and over again. </span></div>
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<span style="font-family: Arial; font-size: small;">The Beastie Boys had apparently done what they were supposed to do. They paid for use of the sample to the company that owned the rights, ECM. The problem was there was no remuneration to the artist because “allegedly” this was a wholly improvised piece of music. </span></div>
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<span style="font-family: Arial; font-size: small;">Here was where the professor came in. The Beastie Boys’s defense hired him to prove that </span>
<span style="font-family: Arial; font-size: small;">the sample of Newton’s playing was not an “original” musical statement. Thus, he began to track down examples of other flutists and instrumentalists producing harmonics by humming through their instruments. He rounded up recordings by Rahsaan Roland Kirk, African and aboriginal musicians, etc. who used overblowing and similar effects in their music. </span></div>
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<span style="font-family: Arial; font-size: small;">Additionally, Newton’s case was vulnerable because the performance was not a written composition or, at least, recognized as such by the court, though he said he registered the composition with ASCAP in 1978. <a href="http://www.onlisareinsradar.com/archives/000034.php" target="_blank">Read more here</a>.</span></div>
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<span style="font-family: Arial; font-size: small;">Now maybe it was the music, the circumstance or just the snide way he represented the facts, but I wasn’t feeling the explanation and decision of the case. Prof was proud of the outcome. He had gone on to represent other musicians who, at least in my opinion, had obviously ripped off a creative musician’s work for their own financial gain. He repeatedly namedropped folks like Eminem and Dr. Dre to impress the students. </span></div>
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<span style="font-family: Arial; font-size: small;">To make it worse, when I asked who and what record this was, he wasn’t able to tell me the name of the recording or the label. </span></div>
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<span style="font-family: Arial; font-size: small;">“Oh, some small label from Germany….”</span></div>
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<span style="font-family: Arial; font-size: small;">Hear that, Manfred? </span></div>
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<span style="font-family: Arial; font-size: small;">Okay. Let’s rein this in. </span></div>
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<span style="font-family: Arial; font-size: small;">Needless to say, this hurt Newton quite a bit. He had to pay the legal fees that the Beastie Boys incurred. Maybe this wasn’t a winnable case but he was trying to protect what was his, right? </span></div>
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<span style="font-family: Arial; font-size: small;">The story really made me take a second look at the relationship between musicians, labels, and lawyers. Not to mention professors. </span></div>
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<span style="font-family: Arial; font-size: small;">Thomas mentioned that the German royalty collection agency GEMA has allowed improvised music to be considered as composition but at the lowest level, the same as pop music. Since there have been limited avenues for jazz, creative or improvised music to collect royalties, there has been little revenue generated for musicians, even though they are recognized. </span></div>
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<span style="font-family: Arial; font-size: small;">We discussed that for some time there has been a value in skilled transcribers who can write down improvisations for musicians who would like to submit them to their respective performance rights agencies. The process would take a lot of work but would definitely protect the artist and hopefully generate a bit more revenue. </span></div>
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<span style="font-family: Arial; font-size: small;">There was a “chicken or the egg” conversation, too. We discussed Chopin’s works, many titled “Impromtu,” were generally considered improvisations. Thomas reminded us that all compositions began as improvisations. Now there’s a real philosophic conundrum.</span></div>
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<span style="font-family: Arial; font-size: small;">Robert was next up to bat. He didn’t specify what the theme would be but told us that this record was definitely significant to him and his musical development. </span></div>
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<span style="font-family: Arial; font-size: small;">Turned out that this record went for the theme trifecta. Explanation coming. </span></div>
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<span style="font-family: Arial; font-size: small;">We heard a large ensemble launch into an old school jazz composition, which was a bit more polished than what would have been expected from a piece written in this manner. </span></div>
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<span style="font-family: Arial; font-size: small;">Steve ventured that it might be Count Basie. </span></div>
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<span style="font-family: Arial; font-size: small;">Maxime was able to guess that this was Benny Goodman and His Orchestra. </span></div>
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<span style="font-family: Arial; font-size: small;">Steve: “This is derived from King Oliver. It went from Oliver to Fletcher Henderson to Benny Goodman.” </span></div>
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<span style="font-family: Arial; font-size: small;">The tune was originally known as “Dippermouth Blues” written by Joe “King” Oliver and recorded in 1923. Fletcher Henderson recorded the tune alongside Oliver’s protégé Louis Armstrong in 1927. In the early 1930s, Henderson began arranging for Benny Goodman, thus the connection.</span></div>
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<span style="font-family: Arial; font-size: small;">Though the LP here was released in 1956, the recording of the tune was made in 1937. </span></div>
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<span style="font-family: Arial; font-size: small;">Someone thought that it was Bunny Berigan on trumpet but his famous solo was on “King Porter Stomp.” The trumpet section here was Charles Griffin, Harry James, and Ziggy Elman. </span><br />
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<span style="font-family: Arial; font-size: small;">Henderson’s arrangement of the piece included quotations of Oliver’s trumpet solo from the 1923 recording. The quotations remained in the arrangement in 1937. </span></div>
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<span style="font-family: Arial; font-size: small;">The recording was special to Robert because it was owned by his and Steve’s father. This was Robert’s first exposure to jazz music, as a child. </span></div>
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<span style="font-family: Arial; font-size: small;">“My father jettisoned it and it ended up in my basement.” </span></div>
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<span style="font-family: Arial; font-size: small;">So the record was special to Robert as a developmental building block in his musical appreciation. The record was also important to the music world at large as Benny </span><span style="font-family: Arial;">Goodman’s band was just beginning to take the world by storm in the late 1930s because of their success at the Palomar Ballroom in California. The trifecta!</span></div>
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<span style="font-family: Arial; font-size: small;">The Orchestra’s success in California was built behind radio play and timing. Goodman was being broadcast live from performances in Chicago in the 1930s over the radio, most being later in the evening. When the group went on tour, there were small turnouts until they reached California. While the radio broadcasts of the group were generally later in the evening all over the States, they were prime time broadcasts in California. </span></div>
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<span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">3. J.R. Monterose – “Sonnymoon For Two” from <i style="mso-bidi-font-style: normal;">Is Alive In Amsterdam Paradiso</i><span style="mso-spacerun: yes;"> </span>(Heavy Soul Music HSM 1502, 1969)</span></b></span></div>
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<span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">Presented by <a href="http://cliffordallen.blogspot.com/" target="_blank">Clifford Allen</a> – LP – Theme: B</span></b></span>
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<span style="font-family: Arial; font-size: small;">The beauty of BYOV themes has turned out to be that you can interpret them any way you’d like. Sometimes when you happen to be in a rush, like our friend Clifford, the presenter can bend the theme to his/her will. </span></div>
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<span style="font-family: Arial; font-size: small;">While considering his options, Clifford’s girlfriend suggested that he bring a significant live performance. So that was what he brought. </span></div>
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<span style="font-family: Arial; font-size: small;">Clifford: “I pulled something out that I thought was pretty awesome.” </span></div>
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<span style="font-family: Arial; font-size: small;">We heard a charging solo drummer joined by a tenor saxophonist. </span></div>
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<span style="font-family: Arial; font-size: small;">It wasn’t long before Thomas guessed that this was a duo between saxophonist J.R. Monterose and drummer Han Bennink. Bennink happened to be a regular collaborator with Thomas. </span></div>
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<span style="font-family: Arial; font-size: small;">The record was done on Hans Dulfer’s label, Heavy Soul Music. It was recorded live at the Amsterdam club, the Paradiso, in 1969. </span></div>
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<span style="font-family: Arial; font-size: small;">Steve: “Isn’t this a Sonny Rollins tune?” Yes. “Sonnymoon for Two.” </span></div>
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<span style="font-family: Arial; font-size: small;">Thomas said that he owned another live recording from the Paradiso, featuring Dexter Gordon, that he found in an Amsterdam record store for a piece of change. That recording was originally released on Catfish in the Netherlands in 1971. That recording also featured Bennink. </span></div>
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<span style="font-family: Arial; font-size: small;">It turned out that Monterose, born in Detroit but raised in Utica, New York, had lived in Europe – Belgium, the Netherlands, and Denmark - for a while in the late 1960s and early 1970s, performing infrequently. Apparently he had developed some “bad habits” while living in Albany, New York and had lost his cabaret card, prompting him to change continents. </span></div>
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<span style="font-family: Arial; font-size: small;">Monterose was remembered for a self-titled record released on Blue Note in 1956. He recorded with Teddy Charles, Kenny Dorham, and Kenny Burrell before recording his followup, <i style="mso-bidi-font-style: normal;">The Message</i>, for Jaro in 1960. Monterose then fell off the radar until this recording done in the Netherlands. </span></div>
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<span style="font-family: Arial; font-size: small;">Jason remarked on how consistent Bennink’s ability on drums has been from the beginning of his career until now and how he has kept growing as an artist.</span></div>
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<span style="font-family: Arial; font-size: small;">Thomas: “Experience has an impact. The components of Han’s playing have been there since the beginning. He always had energy. He and Misha had 10 years of playing under their belts before they went free. Han’s father was also a drummer and taught him much about being a classical percussionist. But Han always wanted to be a legitimate jazz drummer.”</span></div>
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<span style="font-family: Arial; font-size: small;">Clifford: “His playing is super clean. He’s a monster.”</span></div>
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<span style="font-family: Arial; font-size: small;">Thomas: “Han was also the European drummer for Johnny Griffin.”</span></div>
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<span style="font-family: Arial; font-size: small;">Clifford: “Him or Johnny Engels.” </span></div>
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<span style="font-family: Arial; font-size: small;">Thomas: “But Engels was much younger.” </span></div>
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Alluding to our James Newton discussion, Steve: “Did Alice get any money for<span style="mso-spacerun: yes;"> </span>the ‘Giant Steps’ quote?” </span></div>
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<span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">4. Original Dixieland Jazz Band – “Livery Stable Blues” from “Dixie Jass Band One-Step” b/w “Livery Stable Blues – Fox Trot” (Victor 182555, 1917)</span></b></span></div>
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<span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">Presented by Steve Futterman – MP3 – Theme: A & B</span></b></span>
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<span style="font-family: Arial; font-size: small;">Our next selection was a piece that Steve felt was both a landmark, revolutionary performance in the genre and American music overall.</span></div>
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<span style="font-family: Arial; font-size: small;">“It sounds as crazy now as it did way back then.”</span></div>
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<span style="font-family: Arial; font-size: small;">The speakers erupted with the sound of a screaming clarinet and marching drums and brass. </span></div>
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<span style="font-family: Arial; font-size: small;">The muted quality of the recording was a hint to the age. So were the animal imitations. </span></div>
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<span style="font-family: Arial; font-size: small;">Steve: “Think of how much shit is going on in this song….”</span></div>
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<span style="font-family: Arial; font-size: small;">Robert guessed that this was “Livery Stable Blues” by the Original Dixieland Jazz Band. </span>
<span style="font-family: Arial; font-size: small;">This song has gone down in history as the first “jazz” song ever recorded. </span></div>
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<span style="font-family: Arial; font-size: small;">Of course, there have always been dust ups between jazz fans as to the origins of jazz music and the unfairness of the entertainment world that an all white band was the first to record what was by all intents and purposes a black music. </span></div>
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<span style="font-family: Arial; font-size: small;">Without going into too much detail, it could be argued that the music was always a mixture of elements crossing over from not only black musicians but from creoles of color and whites as well. Treatise after treatise has been written about the elements that make up this music. German marching bands, Italian opera, European liturgical music, African/Caribbean harmonies/rhythms, habanera, ad infinitum. </span></div>
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<span style="font-family: Arial; font-size: small;">The fact of the matter was that the burgeoning music industry was owned, operated, and aimed at whites. Therefore, the initial recording opportunities were there to be had by white musicians. </span></div>
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<span style="font-family: Arial; font-size: small;">I just so happened to be reading Gunther Schuller’s tome on early jazz, <i style="mso-bidi-font-style: normal;">Early Jazz: Its Roots and Musical Development </i>(1968). He said that New Orleans musicians playing early variants of ragtime and blues had been going to Chicago for at least a decade before the Original Dixieland Jazz Band made their famous trip North. </span></div>
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<span style="font-family: Arial; font-size: small;">Prior to the group’s move to New York (where they made their famous recordings), black bandleader James Reese Europe had been making syncopated music for listeners at the Clef Club as early as 1910. </span></div>
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<span style="font-family: Arial; font-size: small;">I argued that the music the Original Dixieland Jazz Band was making was anticipated by Chicago and New York listeners, not only by word of mouth from visitors to New Orleans, but by proto-jazz New Orleans musicians and the unique music being created by parallel </span><span style="font-family: Arial;">musical innovators, like Mr. Europe.</span></div>
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<span style="font-family: Arial; font-size: small;">The market was ready for the music. It was just a matter of time and place for the jazz explosion to happen.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Arial; font-size: small;">(If that doesn’t stir up some comments, I don’t know what will.)</span></div>
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<span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">5. Marcus Miller – “Splatch” from <i style="mso-bidi-font-style: normal;">Tutu Revisited</i><span style="mso-spacerun: yes;"> </span>(Dreyfus Jazz FDM 4605036972 2, 2011)</span></b></span></div>
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<span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">Presented by Maxime Nivet – MP3 – Theme: B</span></b></span>
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<span style="font-family: Arial; font-size: small;">After the electric bass introduction, we heard a very familiar ensemble sound. </span></div>
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<span style="font-family: Arial; font-size: small;">“Miles.” It did sound very much like late Miles and Company. </span></div>
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<span style="font-family: Arial; font-size: small;">Steve: “Is that Kenny Garrett on sax?” No one was quite sure. </span></div>
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<span style="font-family: Arial; font-size: small;">So we kept listening. The trumpet sounded further and further from Miles’s distinctive tone. </span></div>
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<span style="font-family: Arial; font-size: small;">We knew who the bass player was: Marcus Miller. </span></div>
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<span style="font-family: Arial; font-size: small;">Our instincts were right. It wasn’t Miles on trumpet. This was a tribute album to Miles, specifically his work with Miller on the album <i style="mso-bidi-font-style: normal;">Tutu</i>. </span></div>
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<span style="font-family: Arial; font-size: small;">The saxophonist in question was one Alex Han while the Miles impersonator was the young gun Christian Scott. </span></div>
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<span style="font-family: Arial; font-size: small;">While some, like Clifford, found an affinity toward later Miles that some wouldn’t have suspected, some felt that Miles had given up.</span></div>
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<span style="font-family: Arial; font-size: small;">Robert: “Should we care about this music? Was Miles just doing it for the money or just trying to be relevant? It is like he just turned his back on experimentation.” </span></div>
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<span style="font-family: Arial; font-size: small;">I voiced my opinion that Miles was trying to make his music relevant to the times he was a part of. He had done it throughout his career, taking sounds he heard and utilizing them to the best of his ability (or his sidemen’s abilities). </span></div>
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<span style="font-family: Arial; font-size: small;">Thomas: “I don’t like the Miles of the ‘80s because I don’t like the music of the ‘80s.” </span></div>
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<span style="font-family: Arial; font-size: small;">Miles always worked with collaborators. The two main ones from dramatically different time periods were Gil Evans and Miller. In our collective opinion, the work of Miles with the former vastly outshines anything he did with Miller. </span></div>
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<span style="font-family: Arial; font-size: small;">Jason: “Musicians were able to make careers on having played with Miles. Look at Mike Stern.” </span></div>
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<span style="font-family: Arial; font-size: small;">I mentioned Jimmy Cobb, who has seemingly lived a fruitful musical life as the drummer from the <i style="mso-bidi-font-style: normal;">Kind of Blue</i> sessions. </span></div>
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<span style="font-family: Arial; font-size: small;">Robert stuck to his opinion that Miles had “got caught up in his ‘image’ of changing.” </span></div>
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<span style="font-family: Arial; font-size: small;">Basically, Miles’s image of evolving musician got in the way of his creation of art. Could be…. </span></div>
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<span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">Presented by Jason Weiss – CD – Theme: C</span></b></span>
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<span style="font-family: Arial; font-size: small;">For his selection, Jason brought a recording made by a group originating in California. </span></div>
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<span style="font-family: Arial; font-size: small;">The tune began with a bouncy duo between soprano and baritone saxophones. Then two other saxes joined the herd. A saxophone quartet. </span></div>
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<span style="font-family: Arial; font-size: small;">Thomas guessed that the ensemble was Rova Saxophone Quartet. </span></div>
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<span style="font-family: Arial; font-size: small;">Jason: “The group is based in California. I don’t know if they are all from California originally.” </span></div>
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<span style="font-family: Arial; font-size: small;">The ensemble began in 1978. The members were Jon Raskin, Larry Ochs, Andrew Voigt, and Bruce Ackley. Voigt left the group in 1988 and was replaced by Steve Adams. The ensemble has been important in linking experimental composition and free improvisation. </span></div>
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<span style="font-family: Arial; font-size: small;">Raskin was born in Oregon and moved to San Francisco in the 1970s and performed with John Adams at the San Francisco Conservatory of Music. Larry Ochs was originally from New York. Bruce Ackley was born in Rochester, NY and grew up in Detroit before moving to the Bay Area in 1971. Steve Adams was also from New York originally but made the move West. </span></div>
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<span style="font-family: Arial; font-size: small;">WSQ was a pretty successful amalgam of East Coast based saxophonists that recorded and performed regularly during the early to mid 1980s. The group included Julius Hemphill, Oliver Lake, David Murray, and Hamiet Bluiett. Hemphill, Lake, and Bluiett had all known and worked together as members of the Black Artists Group in St. Louis. </span></div>
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<span style="font-family: Arial; font-size: small;">Apparently, WSQ was first assembled in 1977 and recorded a live record on Moers Music called <i style="mso-bidi-font-style: normal;">Point of No Return</i>. They were first by the narrowest of margins.</span></div>
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<span style="font-family: Arial; font-size: small;">Jason noted the obvious comparisons between the two groups but said that he was always more interested in Rova because of their broader approach to experimentation in their music. He has seen the group a number of times since the 1980s, including their most recent collaborations with Nels Cline on Electric Ascension. </span></div>
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<span style="font-family: Arial; font-size: small;">Jason also remembered that the group was very involved with the audience and with other composers/musical thinkers. They had a monthly newsletter and commissioned many pieces by the likes of Anthony Braxton, Butch Morris, and Alvin Curran.</span></div>
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<span style="font-family: Arial; font-size: small;">The piece featured here was written by Steve Adams. </span></div>
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<span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">7. Hampton Hawes – “Hip” from <i style="mso-bidi-font-style: normal;">For Real!</i><span style="mso-spacerun: yes;"> </span>(Contemporary Records S7589, 1961)</span></b></span></div>
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<span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">Presented by <a href="http://thomasheberer.com/" target="_blank">Thomas Heberer</a> – LP – Theme: C</span></b></span>
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<span style="font-family: Arial; font-size: small;">Thomas stepped up next: “I really want to show off and I know just how.” </span></div>
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<span style="font-family: Arial; font-size: small;">He had brought two recordings with him. One was by one of his favorite musicians of all time and the other an extremely rare record, both representing the California theme. </span></div>
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<span style="font-family: Arial; font-size: small;">“Really, I like all these musicians but I should play my favorite California musician first. This selection could also be an underappreciated gem.”<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Arial; font-size: small;">We heard a bluesy tenor and bass introduce the tune, which featured a lithe pianist and drums. </span></div>
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<span style="font-family: Arial; font-size: small;">Jason: “It isn’t Buddy Collette?” No. </span></div>
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<span style="font-family: Arial; font-size: small;">Thomas: “The pianist is from California.” </span></div>
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<span style="font-family: Arial; font-size: small;">Clifford: “Carl Perkins?” It wasn’t the Indianapolis born, Los Angeles based pianist. </span></div>
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<span style="font-family: Arial; font-size: small;">Thomas, hinting: “It is the guy with the crazy left hand….”</span></div>
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<span style="font-family: Arial; font-size: small;">Clifford then recalled that the rest of the group was saxophonist Harold Land, bassist Scott La Faro, and drummer Frank Butler. </span></div>
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<span style="font-family: Arial; font-size: small;">Clifford: “I love Butler.” The Kansas City born drummer had made a name for himself performing on the West Coast with Land, Curtis Counce, and Art Pepper. </span></div>
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<span style="font-family: Arial; font-size: small;">Someone recalled a strange recording that blended West Coast jazz and Afro-Cuban elements called <i style="mso-bidi-font-style: normal;">Latinsville</i> (Contemporary, 1960) by Victor Feldman that happened to feature Scott La Faro. It was recorded nearly a year to the date after <i style="mso-bidi-font-style: normal;">For Real!,</i> in March 1959. </span></div>
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<span style="font-family: Arial; font-size: small;">Robert and Steve recalled the first recordings they had heard of Hawes were his <i style="mso-bidi-font-style: normal;">All Night Session</i> releases. There were three LPs released by Contemporary from one long, late-night session on November 12, 1956, which featured Hawes with bassist Red Mitchell, guitarist </span><span style="font-family: Arial;">Jim Hall, and drummer Bruz Freeman.</span></div>
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<span style="font-family: Arial; font-size: small;">Hawes’s collaboration with Charlie Haden was also mentioned. He had recorded on two Haden led projects, <i style="mso-bidi-font-style: normal;">The Golden Number</i><span style="mso-spacerun: yes;"> </span>(Horizon SP-727, 1977) and <i style="mso-bidi-font-style: normal;">As Long As There’s Music</i><span style="mso-spacerun: yes;"> </span>(Artist’s House AH 4, 1978). </span></div>
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<span style="font-family: Arial; font-size: small;">Thomas told us why he enjoyed Hawes’s playing so much. </span></div>
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<span style="font-family: Arial; font-size: small;">“I like his concept of time. He is sort of the epitome of a swinging player. I also like his energy and, for lack of a better term, ‘funky’ way of playing. He was sort of a rhythm section all to himself.” </span></div>
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<span style="font-family: Arial; font-size: small;">Jason: “Do you hear some sort of ‘Californian’ sensibility in his playing?”</span></div>
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<span style="font-family: Arial; font-size: small;">“Actually, I think of him as an East Coast musician living on the West Coast. He really sounds black. His music coming essentially from the blues.”<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">8. Horace Tapscott Quintet – “The Giant Is Awakened” from <i style="mso-bidi-font-style: normal;">The Giant Is Awakened</i><span style="mso-spacerun: yes;"> </span>(Flying Dutchman FDS 107, 1969)</span></b></span></div>
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<span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">Presented by <a href="http://thomasheberer.com/" target="_blank">Thomas Heberer</a> – LP – Theme: C</span></b></span>
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<span style="font-family: Arial; font-size: small;">Thomas: “Are you up for my ‘showing off’ record? This one is very rare. Jason and Bret should get this. The piano player is the leader and I really love the saxophone player. I think that they are all from California.” </span></div>
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<span style="font-family: Arial; font-size: small;">A declarative piano marches in with a strident alto sailing overhead.</span></div>
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<span style="font-family: Arial; font-size: small;">Clifford: “Oh, yeah! This is great.” </span></div>
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<span style="font-family: Arial; font-size: small;">Steve guessed that this was Horace Tapscott’s group. It was his first recording as a leader on Bob Thiele’s Flying Dutchman label. I wrote a blog post about two related recordings by Bobby Bradford and John Carter a while ago. <a href="http://bphresh.blogspot.com/2012/06/neglected-treasures-john-carter-bobby.html" target="_blank">Check it out here</a>.</span></div>
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<span style="font-family: Arial; font-size: small;">This was also the first recording of saxophonist Arthur Blythe, then going by Black Arthur Blythe. Thomas was astounded at how developed his style was already at this early date. </span></div>
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<span style="font-family: Arial; font-size: small;">The rest of the group was drummer Everett Brown, Jr. and bassists David Bryant (originally from Chicago) and Walter Savage, Jr. Tapscott was originally from Houston, Texas. </span></div>
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<span style="font-family: Arial; font-size: small;">Blythe went on to New York and established himself within the burgeoning loft scene of the 1970s and 1980s. He garnered a recording contract with Columbia in the 1980s, which was unique for such an avant garde musician. The early output was great but eventually ventured into more spotty commercial efforts. </span></div>
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<span style="font-family: Arial; font-size: small;">Someone asked where Blythe happened to be now. </span></div>
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<span style="font-family: Arial; font-size: small;">I had heard him for the first and only time live in Kansas City. He performed alongside Rodney Jones’s band at the Madrid Theater around 2002 or 2003. The group was playing rehashed soul jazz material with a bunch of allstars, including organist Dr. Lonnie Smith and drummer Idris Muhammad. I don’t recall there being more than 15 people in the audience. </span></div>
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<span style="font-family: Arial; font-size: small;">Apparently, Blythe has a condition that has impaired his ability to play. I recall someone saying that it was a form of dyslexia. It is a tremendous pity. Blythe was such a fabulous talent. </span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">I couldn't find a label shot for the single, so I went with this classic image.</span></td></tr>
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<span style="font-family: Arial; font-size: small;">Steve thought we hadn’t had enough examples of music that was significant to our lives.</span></div>
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<span style="font-family: Arial; font-size: small;">Jason, jokingly: “So this one was the cause of the breakup of the third marriage….”</span></div>
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<span style="font-family: Arial; font-size: small;">No. This record happened to be important in informing Steve’s own musical tastes after he heard it. </span></div>
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<span style="font-family: Arial; font-size: small;">We heard a gritty blues with a resonant slide guitar, harmonica, bass, and washboard. I felt that I knew the tune but it was a bit off. </span></div>
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<span style="font-family: Arial; font-size: small;">Steve made sure we heard the sudden outburst at the 1:40 mark. </span></div>
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<span style="font-family: Arial; font-size: small;">“Take me with ya, man, when ya go.” </span></div>
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<span style="font-family: Arial; font-size: small;">So the track was by Muddy Waters (the outburst by harmonica player Little Walter). I didn’t know the song but I knew the riff. I had heard it as a song with a different title from his Cadet recording, <i style="mso-bidi-font-style: normal;">After the Rain</i> (Cadet Concept LPS 320, 1969). He called the tune “Rollin’ and Tumblin’.” He took composer’s credit for both. Seems that there has been a history of blues artists taking older songs and revamping them. Less work for sure.</span><br />
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<span style="font-family: Arial; font-size: small;">Steve: “This was my introduction to roots music. It is amazing, emotional, and informal. It is everything.” </span></div>
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<span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">Presented by Maxime Nivet – MP3 – Theme: B </span></b></span><br />
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<span style="font-family: Arial; font-size: small;">“Is that Mike Clark on drums?” </span></div>
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<span style="font-family: Arial; font-size: small;">I had forgotten and had to look it up. It was Harvey Mason handling the beat. </span></div>
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<span style="font-family: Arial; font-size: small;">“Chameleon” became one of those tunes beyond criticism. It was at one point the future of </span>
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<span style="font-family: Arial; font-size: small;">We discussed this group versus the Mwandishi recordings, which are generally regarded as the Holy Grail of improvisation meeting electronic experimentation. </span></div>
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<span style="font-family: Arial; font-size: small;">No matter how much you love this record, the listener had to admit that this was Hancock on the decline. Subsequent projects have shown that this was definitely the case. </span></div>
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<span style="font-family: Arial; font-size: small;">That doesn’t mean that there weren’t interesting pieces interspersed here and there. My example was his solo recording called <i style="mso-bidi-font-style: normal;">Dedications</i>, which was released on CBS/Sony in Japan. One side was solo piano, the other, solo electronics/keyboards. Definitely check it out.</span></div>
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<span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">11. Country Joe and the Fish – “Section 43” from <i style="mso-bidi-font-style: normal;">Electric Music for the Mind and Body</i> (Vanguard VSD-79244, 1967)</span></b></span></div>
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<span style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">Presented by Nou Dadoun – MP3 – Theme: C</span></b></span>
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<span style="font-family: Arial; font-size: small;">So here is your BYOV Bonus Track!</span></div>
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<span style="font-family: Arial; font-size: small;">“’Section 43’ comes from the first album by Country Joe and the Fish on Vanguard called <i style="mso-bidi-font-style: normal;">Electric Music for the Mind and Body,</i> although there was an earlier version on a four-track EP that has the same basic structure but is slightly shorter. An excerpt of a live ‘Section 43’ is also heard in the Monterey Pop film. Country Joe also played Woodstock, of course, most famously doing the ‘Fish Cheer and the I-Feel-Like-I'm-Fixin-to-Die-Rag’ (for which Country Joe was sued for its similarity to Kid Ory's ‘Muskrat Ramble’!). I've heard rumors that ‘Section 43’ was named for the section of the California Criminal Code that made LSD illegal but I've never been able to confirm that.</span></div>
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<span style="font-family: Arial; font-size: small;">“Country Joe MacDonald is still active both musically (saw him at the Vancouver Folk Festival in the 90s) and politically. Lead guitarist Barry Melton (The Fish) eventually became a criminal defense lawyer but still plays with The Dinosaurs, a group of Californian psychedelic-era musicians.”</span></div>
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Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com0tag:blogger.com,1999:blog-8998283771073751235.post-57326875052026688992013-03-17T21:21:00.000-04:002013-03-17T21:21:08.597-04:00BYOV - Meeting #19<!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--> <!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-US</w:LidThemeOther> <w:LidThemeAsian>JA</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:EnableOpenTypeKerning/> <w:DontFlipMirrorIndents/> <w:OverrideTableStyleHps/> <w:UseFELayout/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria Math"/> <m:brkBin m:val="before"/> <m:brkBinSub m:val="--"/> <m:smallFrac m:val="off"/> <m:dispDef/> <m:lMargin m:val="0"/> <m:rMargin m:val="0"/> <m:defJc m:val="centerGroup"/> <m:wrapIndent m:val="1440"/> <m:intLim m:val="subSup"/> <m:naryLim m:val="undOvr"/> </m:mathPr></w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
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<span style="font-family: Arial;">Winter has been slowly creeping to its close. The ups and downs of temperature during February had made for a pretty unpredictable forecast for Sunday, February 24</span><sup style="font-family: Arial;">th</sup><span style="font-family: Arial;">. Though damp the day before, I was happy to find it a dry and fairly mild afternoon. Thus, the hardware lugging wasn’t unbearable.</span></div>
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<span style="font-family: Arial;">BYOV #19 was held that February afternoon at Barbès in Brooklyn. <o:p></o:p></span></div>
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<span style="font-family: Arial;">We had a pretty intense crew this time around and a ton of music was heard and discussed. Actually, some of these tracks have been fairly hard to come by. I’ve managed to work it out, however. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Our themes were:<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">a) Alpha and omega. We want to hear recordings from the beginning and the end of an artist's career to marvel at their scope. </span></i><span style="font-family: Arial;"><o:p></o:p></span></div>
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<i><span style="font-family: Arial;">b) The odd couple. Let's hear successful matchups between unexpected partners.</span></i><span style="font-family: Arial;"><o:p></o:p></span></div>
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<i><span style="font-family: Arial;">c) 1980s. The years of Reaganomics, big hair and leg warmers (</span></i><span style="font-family: Arial;"><a href="http://www.google.com/search?q=1980s+fashion&hl=en&client=safari&tbo=u&rls=en&biw=1087&bih=689&tbm=isch&source=univ&sa=X&ei=F2wVUYylEsXU0gHRmoHwCA&sqi=2&ved=0CC0QsAQ"><i><span style="color: #0037a3;">apparently</span></i></a><i>) had their ups and downs. Let's hear your favorite music from the '80s.<o:p></o:p></i></span></div>
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<!--[if !supportLists]--><span style="font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"> <b> <span style="font-family: Arial, Helvetica, sans-serif;">1.<span style="font-size: 7pt;"> </span></span><span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></b></span><!--[endif]--><b><span style="font-family: Arial;">Audio Letter – “Fading Green” from <i>It Is This It Is Not This (Neti-Neti)</i> (CNLF-</span><span style="font-family: Arial;">1, 1988)</span></b></div>
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<span style="font-family: Arial;"><b>Presented by Me – LP – Theme: B & C</b><o:p></o:p></span><br />
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<span style="font-family: Arial;">Once again I led the charge with a selection that was both an unexpected matchup between musicians and a product of the ‘80s. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The listeners heard a solo percussionist joined by some samba whistles, drone-y female vocals, and gamelan-ish percussion. There were some ethereal guitar twangles, too. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Clifford: “This reminds me of the band <a href="http://superiorviaduct.com/nohmercy/" target="_blank">Noh Mercy</a>.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">It wasn’t the San Francisco based art rock/post-punk girl group. Though, this would prove to be fairly close both in spirit and physical proximity. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is this a singer playing all instruments or a singer with a band?” It was poet/singer with an ensemble. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“She’s getting her cues from Lydia Lunch.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Clifford: “Is Robert Quine on this?” The former Voidoid and open-minded guitarist was not on this record. Though looking at his discography, this really seemed to be a good guess. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The odd ethnic blend wasn’t providing anyone with any inkling. <o:p></o:p></span></div>
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<span style="font-family: Arial;">I gave a hint: “There are two women and two men.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Nada. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“It is the women’s band.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Crickets.<o:p></o:p></span></div>
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<span style="font-family: Arial;">“There are two jazz musicians here. One should be considered a legend.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Jason: “Don Cherry?” Yep. Don was present, likely on whistles and berimbau. He was also credited with trumpet, flutes, and Doussn’ Gouni on the record.<o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is it Latif Khan?” No. The tabla player, who Cherry collaborated with on <i>Music / Sangam</i> (Europa Records JP 2009, 1982), was not involved. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The other jazz musician was percussionist Denis Charles, phenomenal player originally from the Virgin Islands, who had played with many luminaries of the avant-garde, including Steve Lacy, Billy Bang, and Cecil Taylor. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Oh yeah. Charles sounds just like he does on those Cecil Taylor records.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">The group was called Audio Letter, originally spelled as Audio Leter. The group was made up of two Seattle women, guitarist/improviser Sue Ann Harkey and poet/violinist Sharon Gannon. The two had made a number of cassette only releases on their Cityzens for Non-Linear Futures label. This was their first long player, which was recorded in New York in 1987. <o:p></o:p></span></div>
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<span style="font-family: Arial;">This record certainly fit the multi-kulti element Cherry was working in at the time. We spoke briefly about his work with Bengt Berger, Rip, Rig and Panic, and his “rap” record, <i>Homeboy (Sister Out)</i> (Barclay 827 488-1, 1985). <o:p></o:p></span></div>
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<!--[if !supportLists]--><b><span style="font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"> <span style="font-family: Arial, Helvetica, sans-serif;">2</span>.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><!--[endif]--><span style="font-family: Arial;">Hans Dulfter and Ritmo Naturel ft. Jan Akkerman – “The Morning After The Third” from <i>The Morning After The Third</i> (Catfish 5C054.24181, 1970)<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><b>Presented by <a href="http://cliffordallen.blogspot.com/" target="_blank">Clifford Allen</a> – LP – Theme: B</b><o:p></o:p></span><br />
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<span style="font-family: Arial;">Not shy for his first time up to bat, Clifford dropped the needle right away. We heard a lone, mournful tenor sax, which was joined by a tempered bass and then not-so-tempered Afro Cuban percussion. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Clifford told us that there were two individuals in the ensemble who wouldn’t typically play together. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The hint was that the guitarist was a “ringer,” while the saxophonist was not. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“What year was this?” 1970. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Mr. Allen was generous with the hints. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“The saxophonist should be better known.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">We continued to listen to the burly toned sax over the bed of percussion. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“They aren’t American…?” No. They are mainly Dutch. One of the musicians is from Surinam. <o:p></o:p></span></div>
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<span style="font-family: Arial;">With a hint of sarcasm aimed at the vamp, Steve: “They certainly like this chord.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Clifford: “The guitarist hasn’t popped out yet, but he will.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Then we heard the very electric, shredder on a very long terse solo. <o:p></o:p></span></div>
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<span style="font-family: Arial;">I guessed that this was saxophonist Hans Dulfer. I hadn’t heard his music before but was able to weed him out from the typical Dutch crowd. <o:p></o:p></span></div>
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<span style="font-family: Arial;">From there, the guitarist’s identity quickly fell into place.<o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is it a Dutch guitarist?” Yes.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Jan Akkerman?” It was the progressive rock/fusion guitar master. He was already a member of the well-known Focus ensemble when this record was released. Definitely not the same feel. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Dulfer had begun performing professionally in the mid-1960s. He recorded with free jazz legend Willem Breuker and Theo Loevendie before he recorded his first album with Ritmo Natural, <i>The Morning After The Third</i>, in February 1970, followed by <i>Candy Clouds</i> (Catfish 5C 054.24.307, 1970), recorded in August 1970. He continued in this free meets Afro-Cuban vein, performing alongside Frank Wright, Roswell Rudd, and Bobby Few. Later, Dulfer’s work edged more and more toward mainstream, pop jazz. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Dulfer’s name was vaguely familiar to some of the listeners. It wasn’t his forays in free jazz, fusion or funk that were familiar to the listeners, however. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Me: “He’s Candy Dulfer’s father.” Ahh….<o:p></o:p></span></div>
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<span style="font-family: Arial;">He was indeed the father of the smooth jazz, superstar sweetheart. <o:p></o:p></span></div>
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<span style="font-family: Arial;">While the music might not have been to everyone’s taste, Dulfer’s tone made an impression. Clifford remarked that he had a grown up listening to many of the blues/jazz saxophonists of the 1950s, like Ike Quebec. <o:p></o:p></span></div>
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<span style="font-family: Arial;">I thought his sound was reminiscent of the big voiced tenors of George Adams, Pharoah Sanders or Gato Barbieri (maybe it was the Afro Cuban accompaniment that made me say it?). Safe to say that Dulfer’s musical trajectory was similar to the Argentine saxophonist’s, too. <o:p></o:p></span></div>
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<!--[if !supportLists]--><b><span style="font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"> <span style="font-family: Arial, Helvetica, sans-serif;">3</span>.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><!--[endif]--><span style="font-family: Arial;">Etienne Brunet / Fred Van Hove – “Improvisation 1” from <i>Improvisations</i> (Editions Saravah, 2000)<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><b>Presented by <a href="http://www.itinerariesofahummingbird.com/" target="_blank">Jason Weiss</a> – CD – Theme: B</b><o:p></o:p></span><br />
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<span style="font-family: Arial;">Jason brought in a duo recording done by what he thought was an unusual pairing of musicians and instruments. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“There are three long tracks. Play the first one. It gets to it more quickly.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Robert: “Is that an organ?”<o:p></o:p></span></div>
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<span style="font-family: Arial;">We had heard the deep rumbling of a large pipe organ, which was met by a soprano saxophone. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “So this is Steve Lacy and who?”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Actually, this wasn’t Lacy on soprano this time. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is it all improvised?” Yes. All the pieces on the recording were improvisations. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Was this actually recorded in a church?” Yes. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “It can only be European.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">He was right. <o:p></o:p></span></div>
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<span style="font-family: Arial;">This piece was recorded at The Church of St. Germain-des-Prés in Paris during June 1997. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Jason mentioned that one of the musicians was a free jazz musician in his 70s. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Clifford was able to guess Belgian keyboardist Fred Van Hove. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Jason introduced us to his friend, Frenchman Etienne Brunet. The saxophonist had studied with Steve Lacy when Lacy had just moved to Paris in the late 1970s. The story was that Brunet plastered the city with fliers for Lacy concerts in exchange for lessons. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Brunet has shown a wide range of interests. He has recorded free improvisation, electronic compositions, and rock music. Brunet has even found an attraction to Romanian traditional music and has recorded some. Here is a link to Brunet’s <a href="http://free.bifteck.free.fr/" target="_blank">website</a>.<o:p></o:p></span></div>
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<!--[if !supportLists]--><b><span style="font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"> <span style="font-family: Arial, Helvetica, sans-serif;">4.<span style="font-size: 7pt;"> </span></span></span><!--[endif]--><span style="font-family: Arial;">Shirley Horn ft. Miles Davis – “You Won’t Forget Me” from <i>You Won’t Forget Me</i> (Verve 847 482-2, 1991)<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><b>Presented by Steve Futterman – MP3 – Theme: B</b><o:p></o:p></span><br />
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<span style="font-family: Arial; text-align: left;">The next selection was another odd couple, at least for the time it was recorded. </span></div>
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<span style="font-family: Arial; text-align: left;">Steve: “Yes. It is who you think it is."</span></div>
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<span style="font-family: Arial; text-align: left;">Once we heard that plaintive trumpet call, Clifford: “Miles.”</span></div>
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<span style="font-family: Arial; text-align: left;">We heard a supple female vocalist accompany the trumpeter (or visa versa) over a spare accompaniment.</span></div>
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<span style="font-family: Arial; text-align: left;">Robert: “Oh…. I know. Shirley Horn.”</span></div>
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<span style="font-family: Arial; text-align: left;">It was Horn’s recording of Goell and Spielman’s “You Won’t Forget Me” from the 1990 Verve album of the same name. The album was Miles’s last session as a sideman.</span></div>
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<span style="font-family: Arial; text-align: left;">Steve mentioned that it would have been more and more unlikely to hear late Miles playing in this fashion. The trumpeter was more involved with an electric sound with elements of pop during the late 1980s and 1990s. This was a return to an entirely acoustic jazz setting.</span></div>
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<span style="font-family: Arial; text-align: left;">It turned out that Miles was partly responsible for Horn’s success early on. He had heard and liked a couple of early recordings of Horn’s and he recommended her for a gig at the Village Vanguard. Miles’s clout helped to push Horn’s career forward.</span></div>
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<span style="font-family: Arial;">Producer Richard Seidel had provided an interesting fact about this session to Steve. Apparently, Miles wouldn’t record live with the ensemble, so everything he did was overdubbed after the fact. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “It’s great anyway.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">We laughed at the thought of the rhythm section comping nobody during Miles’s solo. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Even weirder is Miles playing with Scritti Politti.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Miles had recorded with the British new wave group in 1985, alongside Roger Troutman and Marcus Miller, for a tune called “Oh Patti (Don’t Feel Sorry for Loverboy).” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Clifford: “Miles sounds like himself. Relaxed.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">It was intriguing to hear the continuum between the sound that first delivered Miles’s popularity in the 1950s still being available to him in the early 1990s. <o:p></o:p></span></div>
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<span style="font-family: Arial;">As we kept listening, Steve: “She is the vocal equivalent to him.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Robert: “I wouldn’t have thought he had it in him to be so restrained.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Pop quiz: Who was another vocalist Miles worked with? <o:p></o:p></span></div>
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<span style="font-family: Arial;">Miles appeared on Bob Dorough’s “Blue Christmas.”<o:p></o:p></span></div>
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<!--[if !supportLists]--><b><span style="font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"> <span style="font-family: Arial, Helvetica, sans-serif;">5.<span style="font-size: 7pt;"> </span></span></span><!--[endif]--><span style="font-family: Arial;">Bud Powell – “Dance of the Infidels” from <i>The Amazing Bud Powell, Volume 1</i> (Blue Note BLP 1503, 1955 (1948))<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><b>Bud Powell – “Dance of the Infidels” from <i>The Lonely One</i> (Verve MG V-8301, 1959)<o:p></o:p></b></span></div>
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<span style="font-family: Arial;"><b>Presented by Robert Futterman – LP & MP3 – Theme: A</b><o:p></o:p></span><br />
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<span style="font-family: Arial;">Robert was the first to tackle the beginning and end of an artist’s career theme. He felt that the selections might be a little conservative to our ears, though the changes from the beginning to the end of this player’s career he found very unusual. <o:p></o:p></span></div>
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<span style="font-family: Arial;">We heard a snappy two-horn introduction that led to a solo piano melody quickly rejoined by the horns. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Sonny Rollins’s ‘first session.’ In 1949. But it really wasn’t his first session.” Rollins had recorded an earlier session with Babs Gonzales before this recording in August. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Jason: “Was this Sonny’s date?” No. It was pianist Bud Powell’s first recording for Blue Note for the <i>Amazing Bud Powell Vol. I</i> release. This was the quintet version of “Dance of the Infidels,” which featured Rollins, Powell, trumpeter Fats Navarro, bassist Tommy Potter, and drummer Roy Haynes. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Powell had already made a name for himself during the 1940s as a gifted modern during the inception of be-bop. The recording was made a few months after Powell was released from Creedmoor State Hospital where he received electro shock therapy to deal with his aggressiveness, especially apparent while drinking. He was later diagnosed with schizophrenia. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Clifford: “Rollins in ’49 sounds like Archie Shepp in 1963.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Robert then played a later version of “Dance of the Infidels” from the 1959 Verve release <i>The Lonely One</i>. The recording was actually made in 1955 and featured bassist Percy Heath and drummer Kenny Clarke. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Though this wasn’t at the end of Powell’s career, the recording really showed the deterioration of his playing. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Robert: “To my ear, this is not as good as the first recording. It just proves that later is not always better.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Powell moved to Paris in 1959 and continued to play and record spotily through the early 1960s. His chops continued to wane, as did his mind. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Robert: “He just began to run out of ideas.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Well, by this time he was seriously disturbed.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Clifford: “I do remember Bud having flashes of brilliance toward the end on those Fontana releases.” These were extremely late releases from 1962 to 1964. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Robert: “But it was harder. What a sad story.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Powell died in 1966 from complications from his contraction of tuberculosis three years earlier and neglecting his health. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Robert remarked about how interesting it was to see musicians get where they were going. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Paul Chambers was great at 19 years old.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Zak looked back with admiration at that generation and their work to try to achieve something.<o:p></o:p></span></div>
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<span style="font-family: Arial;">“They were living poorly. They really had to work if they really wanted to make a mark.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">For Jason, leaving a mark started with having a sound or developing one.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Clifford: “Yeah. Listen to late Ben Webster.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Further, Clifford was friendly with the late trumpeter/conceptualist Bill Dixon and said that Dixon really let his limitations shape his own sound and musical conception. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve speculated that if Thomas Heberer had been in the house, we would have likely heard Clifford Brown. Thomas?<o:p></o:p></span></div>
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<b><span style="font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="font-family: Arial, Helvetica, sans-serif;">6.<span style="font-size: 7pt;"> </span></span></span><span style="font-family: Arial;">Michael Hedges – “Aerial Boundaries” from <i>Aerial Boundaries</i> (Windham Hill WD-1032, 1984)<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><b>Presented by David Stoelting – MP3 – Theme: C</b><o:p></o:p></span><br />
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<span style="font-family: Arial;">Next up was another slice of the 1980s. <o:p></o:p></span></div>
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<span style="font-family: Arial;">David told us that the performer was principally an instrumentalist but later became a vocalist as well. He also passed away in the late 1990s.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Before the music, Steve: “James Chance?” Ah, no. By the way, Chance definitely isn’t dead. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The reverbed acoustic guitar was far from James Chance. It was a nice listen, though. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Is it D. Boon?” No it wasn’t the guitarist and former member of the Minutemen. Boon had passed in 1985 in a van accident. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve wondered if I knew who it was, as I’d been on an acoustic guitar kick. I said no but I was interested to find out. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve then guessed that it was Michael Hedges.<o:p></o:p></span></div>
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<span style="font-family: Arial;">“The white guy with the dreads, right?” Yep. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Originally from Sacramento, California, Hedges was a classically trained guitarist who graduated from the Peabody Conservatory. He moved to Palo Alto to attend Stanford but was discovered by pianist William Ackerman who quickly signed Hedges to record for his Windham Hill record label. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Hedges developed a unique and varied style on the guitar. He recorded a number of releases for Windham Hill before his death in 1997 in an automobile accident near Boonville, California. Maybe that was where the “Boon” arose? Steve?<o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve wondered where this strain of improvised acoustic guitars came from. He believed that John McLaughlin’s <i>My Goals Beyond</i> (Douglas KZ 30766, 1971) was highly influential to musicians like Hedges. <o:p></o:p></span></div>
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<span style="font-family: Arial;">A few of us chimed in that acoustic guitar improvisations had been en vogue for some time through recordings made by John Martyn, Pentangle, Leo Kottke, and John Fahey. Some were very experimental in their approach, adding electronics and effects to their sound. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve asked David if he had seen Hedges live. He had seen him in 1988. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“He was a California guy?” Yeah. Really….<o:p></o:p></span></div>
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<b style="text-align: left; text-indent: -0.25in;"><span style="font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"><span style="font-family: Arial, Helvetica, sans-serif;">7.<span style="font-size: 7pt;"> </span></span><span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><span style="font-family: Arial;">Alexander O’Neal – “What’s Missing” & “If You Were Here Tonight” from <i>Alexander O’Neal</i> (Tabu Records FZ39331, 1985)</span></b></div>
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<span style="font-family: Arial;"><b>Presented by Zak Shelby-Szyszko – MP3 – Theme: C</b><o:p></o:p></span><br />
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<span style="font-family: Arial; text-align: justify;">In the introduction to his ‘80s musical selection, Zak was forthright:</span><br />
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<span style="font-family: Arial;">“Being the resident R&B specialist and there is a ‘80s theme, there is something I just have to play.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Then came the Linn drum. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Are you sure this is the ‘80s?” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Sure there were punchy drums, washy synths and keyboards galore. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “I know this tune. Is it that Minneapolis guy…? Alexander O’Neal?”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Zak: “The production gives it away.” The producers were the Minneapolis masters Jimmy Jam and Terry Lewis. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Originally from Mississippi, O’Neal moved to Minneapolis as a young man. He joined Jam and Lewis’s Flyte Time. The band was then signed to Warner Brothers with the help of the “Purple One” himself, Prince. O’Neal was dumped from the group and replaced by Morris Day, allegedly because he was “too black” (likely a money issue, in reality). <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Now he was a singer.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Zak: “He was fucking great! But Prince fucked him over. But the ‘80s were still great for him. But in the ‘90s, he fell off.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “If you couldn’t find any who could sing like this, these records would be nowhere. But somehow the music made the synthesizers vital.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Zak played the slow jam “If You Were Here Tonight” afterward. We laughed at the lengths of the songs on the album. A bit overindulgent? <o:p></o:p></span></div>
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<span style="font-family: Arial;">All this led to the inevitable question: “What’s the makeout music these days?” Possibly a future BYOV theme? <o:p></o:p></span></div>
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<span style="font-family: Arial;"><b>Presented by Steve Futterman – MP3 – Theme: C</b><o:p></o:p></span><br />
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<span style="font-family: Arial;">As he plugged in his iPod, Steve told us that this was a recording by a musician who was “the emblematic guy of the ‘80s.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">“Here he is at his most conventional and it is great.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">We heard a lithe but brawny tenor sax in a quartet. The piano was especially flourishing. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Robert: “Yep. I know. But I won’t say.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Jason: “It could be Archie.” It wasn’t Mr. Shepp, who had certainly done similarly contoured, restrained recordings during the 1980s. <o:p></o:p></span></div>
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<span style="font-family: Arial;">We listened on with no names coming to us.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “People should be able to get this but won’t. It is David Murray.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">It was the über-prolific tenor player who had taken the 1980s by storm. Murray came through the 1970s with a high pedigree, making genre-spanning records for labels small and large. He had begun as an avant-gardist but in the ‘80s began to reach back to the roots of the music. <o:p></o:p></span></div>
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<span style="font-family: Arial;">On this 1990 Japanese release (recorded in 1988), we heard the lyrical side of the musician with a great band including pianist Dave Burrell, bassist Fred Hopkins, and drummer Ralph Peterson, Jr. The recording was made up of ballads written by the ensemble, most by Murray. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Clifford: “It is hard to be the man. He was able to make to many records making it hard to sift through.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">He was right. The over production of product may have watered down what should have been the desired effect of his obvious ability. Some of us argued that the same could be said of Steve Lacy or Anthony Braxton. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Jason objected a little: “Those guys were launched further as composers. I wouldn’t guess this was Murray. He was Ben Websterizing.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “I understand the composer idea but Murray wrote some great songs. Like this one.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Clifford: “Same with Burrell. Like his tune, ‘Margy Pargy.’” This was on his Douglas debut album, <i>High</i> (SD 798, 1968) – which featured a side long rendition of the <i>West Side Story</i> theme by Leonard Bernstein - and later on his “big time deal record” on Arista Freedom, <i>High Won – High Two</i> (AL 1906, 1976). <o:p></o:p></span></div>
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<!--[if !supportLists]--><b><span style="font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"> <span style="font-family: Arial, Helvetica, sans-serif;">9.<span style="font-size: 7pt;"> </span></span><span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><!--[endif]--><span style="font-family: Arial;">The Free Spirits – “Don’t Look Now (But Your Head Is Turned Around)” from <i>Out of Sight and Sound</i> (ABC Records 593, 1967)<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><b>Jim Pepper – “3/4 Gemini” from <i>Dakota Song</i> (Enja 5043, 1987)<o:p></o:p></b></span></div>
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<span style="font-family: Arial;"><b>Presented by Me – LP – Theme: A</b><o:p></o:p></span><br />
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<span style="font-family: Arial; text-indent: 0.5in;">I also decided to try my hand at the “alpha and omega” theme.</span></div>
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<span style="font-family: Arial; text-indent: 0.5in;">Robert: “Are you playing the first first or the first last?”</span></div>
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<span style="font-family: Arial; text-indent: 0.5in;">Me: “Huh? Oh, first then last.”</span></div>
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<span style="font-family: Arial; text-indent: 0.5in;">A wild mélange of surf rock, soul and free jazz spilled from the speakers.</span></div>
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<span style="font-family: Arial; text-indent: 0.5in;">“Are we listening for an individual or the group?” An individual in the group.</span></div>
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<span style="font-family: Arial; text-indent: 0.5in;">We continued to nod through.</span></div>
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<span style="font-family: Arial; text-indent: 0.5in;">“Which instrument?” The saxophonist. Not in the forefront but definitely taking space when wanting to.</span></div>
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<span style="font-family: Arial;">“The musician is no longer alive?” Right.</span></div>
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<span style="font-family: Arial;">No one was able to guess from the first selection, so I threw on the second.</span></div>
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<span style="font-family: Arial;">A lone tenor sax echoed through the room. The horn was then joined by a swinging rhythm section, as they spun into the melody of a jazz waltz.</span></div>
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<span style="font-family: Arial;">Clifford: “Jim Pepper?” Yes. The Native American tenor saxophonist who had popularized “Witchi Tai To.”</span></div>
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<span style="font-family: Arial;">The first piece that I played was the lead off track “Don’t Look Now (But Your Head Is Turned Around)” written by guitarist Larry Coryell for the proto-progressive rock band, The Free Spirits. The band also included bassist Chris Hill and drummer Bob Moses.</span></div>
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<span style="font-family: Arial;">This was the first recording of Pepper. He would go on to be a member of Hill’s Everything Is Everything group, where he first introduced his “hit” “Witchi Tai To.” Pepper would record in this vein of rock/jazz/folk through his own debut in 1971, </span><i style="font-family: Arial;">Pepper’s Pow Wow</i><span style="font-family: Arial;"> (Embryo SD 731, 1971).</span></div>
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<span style="font-family: Arial;">Though he worked through the 1970s, Pepper was absent from recording until the beginning of the 1980s when he worked with Charlie Haden’s Liberation Music Orchestra (</span><i style="font-family: Arial;">The Ballad of the Fallen</i><span style="font-family: Arial;">, ECM 1248) and on a handful of Paul Motian recordings.</span></div>
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<span style="font-family: Arial;">The second recording we listened to was Pepper’s 1987 recording on Enja which featured pianist Kirk Lightsey, bassist Santi Debriano, and John Betsch. It wasn’t his last record but was near the end as he passed away in Portland on February 10, 1992.</span></div>
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<span style="font-family: Arial; text-align: justify;">I was asked where my favorite Pepper playing showed up. I mentioned his recording with Motian as probably the most interesting material, </span><i style="font-family: Arial; text-align: justify;">Jack of Clubs</i><span style="font-family: Arial; text-align: justify;"> (Soul Note SN 1124, 1985) stood out in my mind.</span></div>
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<!--[if !supportLists]--><span style="font-family: Arial; mso-bidi-font-family: Arial; mso-fareast-font-family: Arial;"> <b> <span style="font-family: Arial, Helvetica, sans-serif;">10.<span style="font-size: 7pt;"> </span></span></b></span><!--[endif]--><span style="font-family: Arial;"><b>Burton Greene – “Ballad Two” from <i>Burton Greene Quartet</i> (ESP Disk 1024, 1966)<o:p></o:p></b></span></div>
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<span style="font-family: Arial;"><b>Burton Greene – “Tree” from <i>Live at Kerrytown House</i> (NoBusiness NBLP 49/50, 2012)<o:p></o:p></b></span></div>
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<span style="font-family: Arial;"><b>Presented by <a href="http://cliffordallen.blogspot.com/" target="_blank">Clifford Allen</a> – LP – Theme: A</b><o:p></o:p></span><br />
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<span style="font-family: Arial;">Clifford also decided to try his hand at the same theme. <o:p></o:p></span></div>
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<span style="font-family: Arial;">We heard a restrained piano accompanied by a strident alto saxophone. The rest of the quartet came in quietly. The arrangement was spare. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Me: “That saxophonist has quite a tone….”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Is the performer well known or fairly obscure?” Obscure. The pianist is the leader and the musician in question. <o:p></o:p></span></div>
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<span style="font-family: Arial;">We continued to listen.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Who was the Georgia Faun? Marion Brown?” Yes. It was the great, recently departed alto player. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Jason: “Burton Greene.” This was from his debut album on ESP Disk’ that was recorded in 1966. Along with Greene and Brown are bassist Henry Grimes and drummer Tom Price. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is this representative of the oeuvre?” Yeah. Sort of. I didn’t want to blow the lid off the place. <o:p></o:p></span></div>
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<span style="font-family: Arial;">We spoke a bit about Greene’s approach to the music here. There was a tinge of Tristano’s touch in his playing. Also, a bit of classical.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Clifford also mentioned the negative attention that Amiri Baraka (then LeRoi Jones) gave Burton in his book, <i>Black Music</i>. There, Baraka wrote about musicians knowing and searching for the spirit in their music. He wrote specifically about a concert where Burton was pitted up with Brown and Pharoah Sanders. While the saxophonists blew to oblivion, Burton, apparently, was unable to reach their shared state of ethereality and resorted to overindulgence by beating on the piano in search of the spirit. Whatever….<o:p></o:p></span></div>
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<span style="font-family: Arial;">Perhaps Baraka was being a little unfair because Burton was white? Maybe his inspirational spirit told him to bang on the outside of the piano? <o:p></o:p></span></div>
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<span style="font-family: Arial;">Anyway…. I digress. <o:p></o:p></span></div>
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<span style="font-family: Arial;">There was also the observation that Henry Grimes would have also been playing with Sonny Rollins at this time. He also recorded on Roy Haynes’s <i>Out of the Afternoon </i>(Impulse! A-23, 1962), four years prior. Here Grimes was at his more out, for sure. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Clifford then put on a recent solo recording from Kerrytown, Michigan in 2010. This was a performance at the highly regarded Edgefest held there every year.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Clifford assured us that Burton wasn’t dead, this was just later work. As a matter of fact, the pianist has wanted to move back to the States and find gigs in New York. Burton moved to Paris in 1969 and has spent the majority of his life in Europe. <o:p></o:p></span></div>
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<span style="font-family: Arial;">His style wasn’t nearly as related to the style of free piano associated with Cecil Taylor. This was a more subdued and lyrical approach, though he could stretch out. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Robert: “I hear more of a continuity between the early recording and the last one.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Jason mentioned Burton’s performance on Patty Waters’s <i>Sings</i> (ESP Disk 1025, 1966) and <i>College Tour</i> (ESP Disk 1055, 1966), where he had be pushed to play farther and farther out. He was even heard tossing garbage pail lid on <i>Sings</i>. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Apparently, Burton hadn’t enjoyed playing with Waters. He felt that her music had been too much like lounge music. <o:p></o:p></span></div>
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<span style="font-family: Arial;">It was also interesting to note that Ran Blake appeared on Waters’s <i>College Tour </i>recording. Steve felt that Burton and Blake shared a similar style, though Blake has been a bit more concise in his performances. <o:p></o:p></span></div>
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<!--EndFragment-->Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com0tag:blogger.com,1999:blog-8998283771073751235.post-64211961494204878192013-02-23T15:02:00.000-05:002013-02-23T15:02:47.066-05:00BYOV - Meeting #18<!--[if gte mso 9]><xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>2542</o:Words> <o:Characters>14495</o:Characters> <o:Company>Sunnyside Communications</o:Company> <o:Lines>120</o:Lines> <o:Paragraphs>28</o:Paragraphs> <o:CharactersWithSpaces>17800</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:PunctuationKerning/> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:DontGrowAutofit/> <w:DontAutofitConstrainedTables/> <w:DontVertAlignInTxbx/> </w:Compatibility> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml><![endif]--> <!--[if gte mso 10]> <style>
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</span> <span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The first meeting of BYOV in the New Year. It was a bright but chilly afternoon on January 26<sup>th</sup>, though not chilly enough to explain the small turnout. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Our diehards did show up, for which I’m very grateful. No worries, though. It has turned out that many of the meetings with only a handful of attendees have tended to be great in terms of discussion and coverage. That shouldn’t dissuade anyone from coming in the future, however. We have the room and want to see you.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Here were our themes for BYOV #18:</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;">a) Now you see 'em, now you don't.... Ever again. We'd like to hear about some musicians who showed up for a memorable session only to never appear again. </i><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;">b) Memorials. 2012 was a rough year for the music community. Let's hear your favorite track from a musician who passed away in 2012. </i><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;">c) Winter depression buster. Some folks get down in the winter time. We'll bring you up again. Let's hear the track that helps you thaw.</i><o:p></o:p></span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> <b>1.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><b>Paulo Moura – “Espinha De Bacalhau” from <i style="mso-bidi-font-style: normal;">Confusão Urbana, Surbana E Rural </i>(RCA Brasil 1030168, 1976)</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by Me – LP – Theme: C</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The first piece was an icebreaker that I thought should wake the listeners from their hibernations. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Initially, we heard a fluttery, nylon stringed guitar before a dynamic soprano saxophone barnstormed over the accompanying dual strings. The pace was tremendous. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">There were some appreciative, astonished looks.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas: “That is an unbelievably well recorded sax.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve guessed that it might be the French woodwind master Michel Portal based on the virtuosic performance. It was an interesting guess, but no. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Someone asked if the saxophonist was circular breathing. I’m pretty sure the performer wasn’t as you can hear the ebb and flow as the pace slackens and picks up in parts where the inclination would be to breathe. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">No one was able to guess that this was Brazilian saxophonist/clarinetist Paulo Moura. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I had come across his name, like many musicians I obsess over, when he passed away in July 2010 due to lymphoma at the age of 77. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This track was released on a 1976 record called <i style="mso-bidi-font-style: normal;">Confusão Urbana, Suburbana e Rural </i>which translates to “Confusion Urban, Suburban and Rural.” The concept behind the record was to blend musical elements of the urban Afro-Brazilian population, e.g. percussive elements related to samba, with the more suburban (white) musical tradition of big bands. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The track that I picked wasn’t representative of the concept but was a great performance of a very percussive, upbeat version of the chorinho. The “little cry” was a Brazilian instrumental style that typically featured guitar, the four stringed cavaquinho (the second string voice on the track), and a wind instrument (flute, clarinet, sax, etc.). </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Espinha de Bacalhau” means “spine of a cod.” Composer Sevenno Araújo had the instruments squirming like a fish. The piece featured Moura on soprano sax, Mané do Cavaco on cavaquinho and either Rosinha de Valença or Toninho Horta on guitar. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I picked the piece as my winter funk buster because it has such a tremendous energy and also a hint of South American flavor. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas: “Well the music is gorgeous, but the cover sucks.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">If you want to learn more about Moura check out his website (<a href="http://www.paulomoura.com/sec_discografia_list.php?language=pt_BR" target="_blank">link here</a>) which is still active and allows listeners to sample nearly every recording he made. </span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> <b>2.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><b>Lowell Davidson Trio – “L” from <i style="mso-bidi-font-style: normal;">Lowell Davidson Trio</i> (ESP Disk 1012, 1965)</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by <a href="http://www.thomasheberer.com/" target="_blank">Thomas Heberer</a> – MP3 – Theme: A</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas decided to present a musician who had an opportunity to record but quickly disappeared. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This particular musician had one recording session in his career. A subsequent recording of a later live performance was recently released, however. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas admitted that he had been inspired to pick up the release after reading Jason Weiss’s book on the ESP Record label. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We heard an expansive pianist in trio with a strong bassist and very busy percussion playing. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Robert: “I assume the pianist is a European…?” No, it is an American. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This also happened to be an American recording on an American label. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Are there multiple percussionists?” Just one busy one, who happens to live near here. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas went on to say the track was recorded in 1965. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I was able to guess pianist Lowell Davidson. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The rest of the trio was made up of bassist Gary Peacock and drummer Milford Graves. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Zak mentioned how interesting Davidson’s story was in the liner notes. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Davidson had studied biochemistry at Harvard before moving to New York. He was recommended to Bernard Stollman of ESP by the great Ornette Coleman. Davidson recorded this single album for ESP on July 25, 1965. He later had a mishap in a lab and never played piano again. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Davidson did reappear on a live recording of guitarist Joe Morris. The recording was made in 1985 and featured Davidson on drums. The album also featured cornetist Butch Morris and violinist Malcolm Goldstein. The album <i style="mso-bidi-font-style: normal;">Graffiti In Two Parts</i> was released last year on the French Rogue Art label. Definitely worth hearing, especially Morris’s work on cornet. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve wanted to ask a question of Thomas about free improvisation, as he was the resident expert. Steve wanted to know how the musicians knew where to end a piece while improvising together.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“It is instinctive, maybe.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas went on to say that approaches to collective improvisation were different for every musician. He found that Ornette Coleman was a good example of creating structure in improvisation, as he has always seemed to have a good feel for creating and leading the musicians through it. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas also mentioned that he recently performed in a trio gig with cellist Tristan Honsinger at Downtown Music Gallery. He said that Honsinger has developed a singular way of stopping his play in unexpected places, which creates unique tensions within the music. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We spoke a bit about the audience’s part in music like this. Listeners would need to be willing to open themselves up to the music to register what the musician was trying to deliver. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Overall, Thomas felt that Davidson’s recording was innovative for its time, though he found the already seasoned work that Cecil Taylor was attempting more poetic.<span style="mso-spacerun: yes;"> </span></span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> <b>3.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><b>Nuevo Quinteto Real – “Corralera” from <i style="mso-bidi-font-style: normal;">Timeless Tango</i> (Forever Music, 1996)</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by Robert Futterman – MP3 – Theme: C</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Robert brought a winter depression buster “based on a conversation from an earlier meeting.” We frequently discuss the differences and effectiveness of highly arranged music versus less arranged, “more emotive” music we frequently hear in jazz.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Robert was especially impressed with this particular composition’s arrangement and focus, which varies from what this group typically hears. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We constantly talk and celebrate the feel and natural sensibilities of musicians in jazz but the converse approach of highly organized music making can be just as effective. (A perfect example that sprang to mind was the funk music of James Brown, which was highly structured rhythmically but maintained an irresistible tension based on overlaid loose, instrumental soloing and vocal styling of Brown.) </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Back to the piece at hand….</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We heard a highly arranged tango composition featuring a loaded front line of guitar, piano, and accordion. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “It isn’t Astor (Piazzolla)…. Is the bass player playing arco?” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It did sound as if the bassist was indeed using his bow throughout the piece. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The high notes that were shared between the violin and bandoneon had some of us holding our ears. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">No one was able to guess who the group was. This was the Buenos Aires based Nuevo Quineteto Real led by famous tango pianist/composer/arranger Horacio Salgán. He instituted the original Quinteto Real in 1960 with the aim of performing tango music intended for listening rather than dancing. Nuevo Quinteto Real was created in the late 1990s and appeared in an Oscar-nominated film, <i style="mso-bidi-font-style: normal;">Tango, no me dejes nunca.</i> </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The group that we heard included guitarist Ubaldo de Lio, bandoneon player Nestor Marconi, bassist Oscar Giunta, and violinist Hermes Peressini. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We spoke a bit about the evolution of the tango. Orchestras reigned supreme in the 1930s and 1940s, much like the jazz orchestras in the United States. It was after this that the groups began to become smaller and smaller. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">There was a question about the voice you can hear in the midst of the playing. Was the voice cuing the musicians or dancers?</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas felt that the voice was for the dancers as the form of the dance changes.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Like a square dance.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas felt that the music here was maybe too fast for the average tango dancer. That made perfect sense with the group’s aim to perform the tango as a musical composition for composition’s sake rather than a vehicle for dance. Thomas went on to mention the potential two cultures of tango, the everyday music for dance and the showcase for virtuosic playing, which we heard here.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve asked Thomas if the Instant Composers Pool orchestra, which Thomas has been a long time member of, had ever used tango as an influence. Apart from using colors of the music here and there, Thomas felt that the group was never really influenced by the Argentinean sound. He said that they were more influenced by revolutionary sounds/songs (much like Haden’s Liberation Music Orchestra), music of Kurt Weill, and the circus. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">ICP’s music was a counter reaction to a tense and serious 1960s scene. The group tended to buck against the trend of heavily wrought improvisational density and the seriousness of most advanced compositional thought that was popular at the time. </span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> <b>4.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><b>Etta James & Eddie “Cleanhead” Vinson – “Misty” from<i style="mso-bidi-font-style: normal;"> Blues In the Night: The Early Show, Vol. 1</i> (Fantasy FCD-9647-2, 1986)</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by <a href="http://zealimages.wordpress.com/" target="_blank">Zak Shelby-Szyszko</a> – MP3 – Theme: B</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Zak: “I’d like to play a tribute to a fallen legend. You’ll know who it is immediately. This also happens to be my favorite version of this song.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We heard a laconic female vocal over a fuzzy Hammond organ accompaniment. The song was a take on Erroll Gardner and Johnny Burke’s “Misty.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I was able to guess that it was Etta James. The beloved singer passed away on January 20, 2012. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This particular recording was from a live date at Marla’s Memory Lane Supper Club in Los Angeles in 1986. A remarkable, intimate setting for the astounding band with saxophonists Eddie “Cleanhead” Vinson and Red Holloway, drummer Paul Humphrey, bassist Richard Reid, organist Jack McDuff, and recently re-emerged guitarist Shuggie Otis. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As she was mostly known for her R&B and blues performances, Steve wondered what Zak thought of her jazz singing. Zak admitted to being a fan of James in nearly any musical situation. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">James’s voice rose at one point to a big crescendo.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “That’s Etta James! This is loose. She’s having a good time.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We spoke a minute about Shuggie Otis, who has recently begun touring again. The guitarist began performing alongside his famous bandleader father Johnny Otis in the 1960s. He then released a couple of well-known and sampled recordings in the early 1970s, namely <i style="mso-bidi-font-style: normal;">Freedom Flight</i> and <i style="mso-bidi-font-style: normal;">Inspiration Information</i>. Since then, Otis’s appearances have been few and far between. Here’s hoping he can keep this comeback alive. <a href="http://shuggieotisofficial.net/" target="_blank">Check his website here</a>.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas: “This selection could also be against winter depression.”</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> <b>5.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><!--[endif]--><b>Ronald Isley & Burt Bacharach – “Alfie” from <i style="mso-bidi-font-style: normal;">Isley Meets Bacharach</i> (Dreamworks Records B0 001005 02, 2003)</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by Steve Futterman – MP3 – Theme: B</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve wanted to present another fallen hero but his selection had “a twist.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “You have to figure out the twist.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A dreamy string and guitar introduction led to a soulful male falsetto singing a very familiar tune. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Zak: “It sounds like Ron Isley, but he’s not dead.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Neither is Burt Bacharach.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This was Ronald Isley singing Bacharach’s tune, “Alfie.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">But we still hadn’t figured out the “twist” and listened on in silence for a couple of moments. Seemed as though we were waiting for a breakout solo or something to grab a hold of.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The hero who Steve intended to highlight was lyricist Hal David who he felt hadn’t received the credit that he was due for his long running collaboration with Bacharach. David had passed away on September 1, 2012 at the age of 91. Steve praised him especially for his ability to write tremendously creative songs, like “Alfie.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve went on to say that “Alfie” was an amazing song that was concerned with the meaning of life.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">He found that the answer was that love was the meaning of life “if you want it to be.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Really profound for a song made for a movie.” The movie <i style="mso-bidi-font-style: normal;">Alfie</i> starring Michael Caine came out in 1966. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We also laughed at the fact that Isley went to jail three years after the recording on the charge of tax evasion. </span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> <b>6.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><!--[endif]--><b>Ruth Copeland – “The Medal” from <i style="mso-bidi-font-style: normal;">I Am What I Am</i> (Invictus SMAS-9802, 1971)</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by Me – LP – Theme: A</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I wanted to play a tune from an artist who wasn’t a “one and done” kind of figure, but rather had a very short-lived career while being surrounded by all the components needed for a career of larger impact. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The tune began with an ominous piano joined in duet with a longing female vocalist. The sentimentality of the lyrics swayed toward an earlier era for sure. It was the ‘70s, ya’ll. Then the track exploded into a blues/rock maelstrom.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Are you sure this isn’t a winter pick me up?” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Is it Betty Davis?” It wasn’t the mercurial funk vocalist/provocateur and former wife of Miles. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“It isn’t Fontella Bass. She died this year.” No. It wasn’t the great Fontella Bass, either. I had thought of bringing something of hers along, though. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This was singer/songwriter Ruth Copeland on her second recording, <i style="mso-bidi-font-style: normal;">I Am What I Am</i>. Her career began alongside that of George Clinton and Parliament but didn’t last anywhere as long. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Copeland was originally from England and moved to the United States where she married Jeffrey Bowen, a producer at Motown. Bowen soon became involved with the Holland, Dozier and Holland record label Invictus. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Copeland started working with Invictus, writing and performing with an unsuccessful group called New Play. After that she became began working with another one of the label’s other projects, Parliament. Copeland helped produce the band’s debut <i style="mso-bidi-font-style: normal;">Osmium</i> and wrote two songs that appeared on the album, “Little Old Country Boy” and “The Silent Boatman.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">For her own releases, Copeland was able to corral a number of members of Parliament to be in her band for her two releases, <i style="mso-bidi-font-style: normal;">Self Portrait</i> (1970) and <i style="mso-bidi-font-style: normal;">I Am What I Am</i>. Both albums have a fair share of Rolling Stones covers. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“The Medal” was a great original composition that featured Bernie Worrell, showcasing his classical piano chops, and a wailing Eddie Hazel on guitar. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">She fell off the radio shortly after the release of <i style="mso-bidi-font-style: normal;">I Am What I Am</i>. She did release a third album in 1976 called <i style="mso-bidi-font-style: normal;">Take Me To Baltimore</i> (RCA). Copeland has since disappeared. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“How do you follow that?”</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> <b>7.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><!--[endif]--><b>Terry Callier – “Do You Finally Need A Friend” from <i style="mso-bidi-font-style: normal;">Occasional Rain</i> (Cadet Records CA 50007, 1972)</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by <a href="http://zealimages.wordpress.com/" target="_blank">Zak Shelby-Szyszko </a>– MP3 – Theme: B</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Zak had another fallen hero who I had apparently hipped him to. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“I’ve been on a two month binge of his music.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We listened for a couple of minutes. Apparently I had a brain fart as I just kept thinking “Gil Scott Heron,” but it definitely wasn’t him. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas bailed me out by guessing Terry Callier. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The great singer/songwriter had passed away on October 27<sup>th</sup>. The Chicago born Callier began his music career early with a single for Chess Records in 1962 at 17 years old. His first solo record was <i style="mso-bidi-font-style: normal;">The New Folk Sound of Terry Callier</i>, which was released on Prestige in 1968. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In the early 1970s, Callier became affiliated with the Cadet label where he released the Charles Stepney produced <i style="mso-bidi-font-style: normal;">Occasional Rain</i> in 1972. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;">Occasional Rain</i> was a perfect example of Callier’s musical formula of mixing elements of folk and jazz. </span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> <b> 8.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><!--[endif]--><b>Horace Silver – “Cookin’ at the Continental” from <i style="mso-bidi-font-style: normal;">Finger Poppin’</i> (Blue Note BST 84008, 1959)</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>“Song for My Father” from <i style="mso-bidi-font-style: normal;">Song for My Father</i> (Blue Note BST 84185, 1965)</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by Robert Futterman – LP – Theme: C</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It seemed that Robert was really trying to break from a winter funk.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Here’s another depression buster. I brought three…. You’ll get this immediately. I think that’s one of the virtues of a depression buster.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The rolling piano intro with hyperactive hi-hats led to a blistering melody shared between trumpet and tenor sax.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Horace Silver.” No question.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas: “Blue Mitchell is a god.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The trumpeter was a hero of Thomas’s, along with some of the other listeners present. Thomas thought that his playing was “pure magic.” Thomas had spent a lot of time transcribing his solos and was especially impressed at the economy Mitchell used in his playing. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Louis Hayes on drums?” Yes. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Gene Taylor?” Yes it Taylor on bass.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Robert maintained that Silver has remained under-praised. We all agreed. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“The emotion. You know it is him immediately.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas: “He had an unbelievable left hand.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “The great Martin Williams said he sounded like a cross between Pete Johnson and Bud Powell.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Song for My Father” came up next on the compilation album we were listening to. There was a collective gasp and shrug for the unquestionable classic. An “oh yeah” moment.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Is it a sin to write a good song these days? Or to play a short solo?” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We certainly left the meeting a bit warmer than when we arrived. </span></div>
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<!--EndFragment-->Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com0tag:blogger.com,1999:blog-8998283771073751235.post-27659338591297505842013-01-30T11:49:00.000-05:002013-02-09T11:08:49.573-05:00BYOV - Meeting #17<!--[if gte mso 9]><xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>2663</o:Words> <o:Characters>15182</o:Characters> <o:Company>Sunnyside Communications</o:Company> <o:Lines>126</o:Lines> <o:Paragraphs>30</o:Paragraphs> <o:CharactersWithSpaces>18644</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:PunctuationKerning/> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:DontGrowAutofit/> <w:DontAutofitConstrainedTables/> <w:DontVertAlignInTxbx/> </w:Compatibility> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml><![endif]--> <!--[if gte mso 10]> <style>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Happy New Year from the Polar Bear Plunge</span></td></tr>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It was grey and misty on December 16<sup>th</sup>. I toiled up the hill toward Barbès while the rain quickly began to dissolve the large cardboard box I carried my turntable in. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Happy to arrive without being covered with papier mâché, I was greeted at the door to a full house in celebration. Adults mingling and kids running around. Olivier, one of Barbès’ proprietors and good friend, explained that they were having a party for a two year old but it wouldn’t disturb our meeting. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">So on to the back I went to set up. I started to sound check with some Banda Black Rio and soon had a toddler dance party in the back while the BYOV attendees began to funnel in. A heartwarming Park Slope moment….</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Our themes for BYOV #17 were:</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;">a) You GOT to hear them live... So many musicians/groups sound incredible live but fail to produce the same energy and musicality in the studio. Choose a live track that truly captures a musician or band at their best, or at least most accurately, more than any studio record did.</i><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;">b) A Murderers' Row. We'd like to hear your example of an "All-Star" band that deserves that title or unexpected/unlikely all-star bands. </i><o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">c) Got the spirit. As a rule, BYOV isn't aligned with any religious group or belief. We do realize that many composers are, however. We'd like to hear your favorite religious dogma-tism inspired release/musician. Perfect way to ring in the holidays, eh? <o:p></o:p></span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Dig on in.</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> <b>1.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><!--[endif]--><b>Frank Zappa – “The Meek Shall Inherit Nothing” from <i style="mso-bidi-font-style: normal;">You Are What You Is</i> (Barking Pumpkin Records PW2 37537, 1981)</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by: Richard Gehr – MP3 – Theme: C</b></span></div>
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</span> <span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I had originally thought that the religious theme would either be extremely popular or avoided by most presenters. Richard had no problem being the first to seize upon the opportunity to present a tune inspired by religion but emphatically not of it. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Richard introduced the piece by saying that it was the “most obvious and pandering” example of “dogmatism” he could find. Plus, he thought it was a good gospel song.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The faux gospel/country strain blared from the speakers. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ashley and Steve guessed Frank Zappa simultaneously. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We all giggled as we listened through the song and its lyrics with their unrepressed disdain for modern religion.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“The number one ain’t you. / You ain’t even number two.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;">You Are What You Is</i> presents Zappa at his post Mothers best with more focused songwriting and ever present satirical lyrics. He goes on to try his hand at a number of different song forms on this record besides this countrified gospel. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I knew of Zappa’s experiments with a multitude of musical genres but hadn’t recalled an effort to approach gospel before and no one had a recollection of any earlier work that had. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Richard made it perfectly clear that his view of the holiday season echoed that of Zappa’s overall view on religion. So our holiday meeting began with a focused anti-holiday feature. How pleasant. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Thank you for bringing in Zappa.”<span style="mso-spacerun: yes;"> </span></span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> <b>2.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><!--[endif]--><b>V.S.O.P. – “Jessica” from <i style="mso-bidi-font-style: normal;">The Quintet</i> (Columbia C2 34976, 1977)</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by: <a href="http://www.thomasheberer.com/" target="_blank">Thomas Heberer</a> – LP – Theme: B</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas brought in a recording that featured a group of jazz heroes from the 1960s who had diverged from “jazz” to do other things. He felt that ultimately this was a “wonderful example of an all star ensemble.” We would certainly agree after listening.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas had come across this recording as a young jazz fan in Germany. He said that many young jazz players/listeners first heard the work of these musicians through this recording. The European festival circuit has always had an eye (and ears) for all star collaborations and meetings of stars. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas: “Though, ninety-nine percent of the music didn’t live up to the grouping.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The group featured on this 1977 live performance did happen to “live up” to its name. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The room was silent as the understated ballad began.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I could see Steve’s fingers mimicking those of the pianist right before he guessed that this was the V.S.O.P. group.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">V.S.O.P. was a jazz super group originally created in 1976 by legendary pianist Herbie Hancock, which featured saxophonist Wayne Shorter, bassist Ron Carter and drummer Tony Williams. This grouping was 80% of the Miles Davis Quintet from the 1960s. Trumpeter Freddie Hubbard was the Davis ringer in the ensemble. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ted: “This was a different context for Freddie.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas: “He was much more subdued than usual.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The group had no studio recordings, but were featured on three albums taken from live performances: <i style="mso-bidi-font-style: normal;">V.S.O.P.</i> - <i style="mso-bidi-font-style: normal;">The Quintet</i> (Columbia, 1976), <i style="mso-bidi-font-style: normal;">Tempest in the Colosseum</i> (Columbia, 1977) and <i style="mso-bidi-font-style: normal;">Live Under the Sky</i> (Columbia, 1979). The last two recordings were only released in Japan. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;">The Quintet</i> recording was compiled from two dates, both in California: July 16, 1977 at the Greek Theatre in Berkeley and July 18, 1977 at the San Diego Civic Theatre. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve remembered the recordings that were recorded live in Japan as being over the top and full of pyrotechnics.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“The beginning of the end. They got too used to how they could push certain buttons for audience response.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Acerbically: “The music was particularly aimed at the coked up Japanese fans in Tokyo during the late ‘70s.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas was impressed by Hancock and Company’s ability to “play music from the ‘60s but from a different angle due to their own unique directions they’d taken in the music.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ted remarked that each individual had grown and developed since their days with Miles. A few had quite different musical personalities and, thus, different sounds.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Tony had different nuances and Ron was amped up which makes him sound completely different.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ashley commented on the “fluctuating effect” that could be heard while Hubbard was playing. Maybe a sign of the eventual decline of his lip? Those CTI records and the soaring high notes held within were notoriously bad on his embouchure. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Finally, Thomas reiterated that this recording was a “gateway drug” for fusion fans who would eventually fall for jazz.</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> <b>3.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><!--[endif]--><b>Charlie Parker – “Round Midnight” & “Lester Leaps In” from <i style="mso-bidi-font-style: normal;">Complete Live at Birdland – May 17, 1950</i> (Rare Live Recordings, 2009 (1950)) & <i style="mso-bidi-font-style: normal;">Live at Rockland Volume 2</i> (Legends Live, 2011 (1952))</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by: <a href="https://tedpanken.wordpress.com/" target="_blank">Ted Panken</a> – CD – Theme: A & B</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“These show a side of an artist – live - that you wouldn’t hear in the studio.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ted had brought two recordings from two different sessions, which were recorded two years apart. One, he mentioned, was an allstar date. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As soon as Ted put in the CD, Steve: “Is it <i style="mso-bidi-font-style: normal;">Live from the Birdland</i>?”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It was indeed Charlie Parker performing Thelonious Monk’s “Round Midnight” at the famed Birdland Club in New York on May 17, 1950. The recording also featured Ted’s allstars: pianist Bud Powell, bassist Curly Russell and drummer Art Blakey (Fats Navarro was on the date but sat out on the tune).</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve wanted to start a discussion: “Other than this music is perfect, what in this music got you into jazz? What did you hear that made you love it?”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ted: “Everything.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">There were some comments on the depth of Powell’s playing.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Like Monk but with all the technique Monk didn’t want to use.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ashley: “That also fits for religious experience.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ted admitted that this was his single favorite track. While interviewing musicians at WKCR, he found out that it was many musicians’ favorite. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This recording was done right before Navarro died.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Thank God it was recorded.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It was likely recorded by Boris Rose off of a live radio feed. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve mentioned that jazz historian Dan Morgenstern has argued that this recording was made earlier than previously thought. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ted: “I don’t want to overly romanticize what was happening then, but there really was amazing art coming out of sleazy settings.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">There was an encore performance to be heard from Bird. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This example was one not typical of Parker as he took what was for him a long solo. Also, it was not as “artful” as what we would expect from the saxophonist. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Well if you were playing more than two choruses back then, you were practicing.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ted: “Maybe he was practicing.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Before the music even began to play, Steve: “So this must be ‘Lester Leaps In’ from the Rockland Ballroom….” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ted: “You are such a spoil sport. Yes it is ‘Lester Leaps In.’”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Who was the drummer on this? Max Roach. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Has anyone determined what was Parker’s longest solo on record?</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ted: “This is definitely one of them.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“It has to be.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We continued to listen to the acrobatic Parker as he continued to follow his muse in a more expansive manner than usual. The concert was on September 26, 1952 and has long been a classic among Bird aficionados. The group Parker played alongside featured pianist Walter Bishop, guitarist Mundell Lowe, bassist Teddy Kotick, along with drummer Roach. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Whoo!”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Invigorating!”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ted brought the music into context by repeating that this music was being performed in a dancehall. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“This is a dance….” Ted trailed off shaking his head. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Apparently, a handful of the Bird with Strings pieces were performed at this date. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“You can really hear his Kansas City heritage in the music. Especially, his mimicking the blues shouts during his solo.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The consensus was that Parker’s true character was shown when he performed live. The shining examples of which would come for the famous Benidetti tapes. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We also discussed a pretty amazing study and dissection of Parker solos and performance by the great saxophonist/conceptualist Steve Coleman which was on the now defunct website Jazz.com. <a href="http://www.jazz.com/dozens/the-dozens-steve-coleman-on-charlie-parker" target="_blank">Link here</a>. Check them out. </span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> <b>4.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><!--[endif]--><b>Milton Cardona – “Ogu’n” from <i style="mso-bidi-font-style: normal;">Bembé </i>(American Clavé AMCL 1004, 1986)</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by: Me – LP – Theme: C</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">For my selection, I opted for a more direct religious example (not to take away from the Church of Bird). </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The listeners nodded their heads to a chant with response accompanied by a percussion ensemble. The African and Latin influences in the music were overt. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Richard: “It’s like a Sunday in Queens.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ted was able to guess that this was percussionist Milton Cardona’s recording for American Clavé. He thought that it may have been the famous Cuban rumba group, Los Muñequitos de Matanzas. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Puerto Rican percussionist Milton Cardona recorded an album of liturgical music for use in Santeria (or Lucumi) practice. The recording included the Eya Arania, which “facilitates communication between the Orishas (Gods) and the devotees. This is done through a series of chants for each Orisha, led by an Akpwon (singer) and Ankori (chorus) in a call and response pattern while the bata (three different sized, double-headed, hourglass shaped drums) play corresponding rhythms.” (From the album notes.)</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Additionally, Santeria/Lucomi is “a form of musico-religious expression of Cubans, Puerto Ricans and Blacks in New York, derived from beliefs and practices of the Yoruba people of Nigeria and Dahomey in West Africa. These beliefs were brought to the New World as a result of the Slave Trade. From volutary organizations known in Cuba as “Cabildos,” the Yoruba derived Lucumi, and other religious and secret societies of African origins emerged.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This particular track featured the chant and corresponding rhythms for the Orisha Ogu’n, “the God of all things iron and mineral, and the God of War.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Along with the recordings, I brought an interesting book called <i style="mso-bidi-font-style: normal;">Power of the Orishas</i> by Migene Gonzalez Wippler.<span style="mso-spacerun: yes;"> </span>This book provides a pretty in depth look at all the Orishas and practices of Santeria. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Among the many powers of Ogu’n, I found that the Orisha could be summoned to prevent car accidents:</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“About one quarter pound of ground meat is well mixed with palm oil (Manteca de corojo). The mixture is then sprayed with rum and cigar smoke and divided into six equal parts. These are then rubbed around the four tires, the front and the back of the car, asking Oggún to keep the car and its occupants safe from accidents.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Very interesting stuff. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Richard mentioned that he almost brought a similar musical selection. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">On the topic of Santeria, we discussed perhaps the most famous musician/Santero, Larry Harlow of Fania fame. Born Lawrence Ira Kahn, Harlow was a Brooklyn born Jew. His musical journey led him to Afro-Cuban music and collaborations with Johnny Pacheco and then the famed salsa label Fania Records. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The Afro-Cuban music wasn’t the only part of the culture that caught his interest. Harlow, El Judão Maraviollos, began performing Santeria in his New York City apartment, with all the accoutrements: altars, animal sacrifice, etc.</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> <b>5.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><!--[endif]--><b>Peter Gabriel – “The Feeling Begins” & “Of These, Hope” from <i style="mso-bidi-font-style: normal;">Passion: Music for the Last Temptation of Christ</i> (Geffen Records 9 24206-2, 1989)</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by: Ashley Kahn – YouTube – Theme: C</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ashley brought in two recordings representing “the spiritual side of things.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We heard the swelling synth drone, Middle Eastern strings and duduk (Armenian oboe). An aggressive beat with a number of different percussion pieces was then introduced, picking up the pace. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Is it L. Subramaniam?” No, it wasn’t the Indian master of Carnatic violin. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Is this from some religious music compilation?” No. It isn’t the form as much as the context of the music that relates to the spiritual. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ashley gave the hint that this was recorded to accompany a film. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">No one was able to guess this was British singer/songwriter/conceptualist Peter Gabriel’s score for the <i style="mso-bidi-font-style: normal;">Last Temptation of Christ, </i>Martin Scorsese’s 1989 film starring Willem Dafoe as Jesus. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Gabriel wanted to feature a mixture of Middle Eastern and world music sources along with his own experimentation with electronics and new age music. He went on to win the Grammy for New Age Album of the Year with this recording.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“The Feeling Begins” featured a number of world music performers including violinist Shankar, percussionist Hossam Ramzy and duduk masters Antranik Askarian and Vatche Housepian. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Richard wasn’t a fan of the music. Once again, he brought up the Real World label as reference to weakened world fusion music. It wasn’t mentioned but Real World was begun by Peter Gabriel. He felt that the <i style="mso-bidi-font-style: normal;">Passion Sources</i> album was better than this effort. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Richard: “I guess this pick is seasonal, too.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We listened to another track, “Of These, Hope.” This was accompanied by a scene in the movie where Jesus faced his first temptation. This intense track featured Mustafa Abdel Aziz on arghul providing a drone. Shankar was also present on violin alongside Massamba Diop on talking drum. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ashley appreciated Gabriel’s use of space and he felt that his use of North African rhythm elements was excellent. The down side was that the music was dated with a very late ‘80s sound. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Many listeners remembered the controversy that erupted around the making of the <i style="mso-bidi-font-style: normal;">The Last Temptation of Christ</i>, most importantly the movie depicted Jesus sleeping with Mary Magdalene. </span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> <b>6.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><!--[endif]--><b>Replacements – “Iron Man,” “I Will Follow” & “Jumpin’ Jack Flash” from <i style="mso-bidi-font-style: normal;">The Shit Hits The Fans </i>(Twin/Tone Records TTR 8443C, 1985)</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by: Ashley Kahn – CD – Theme: A</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ashley also wanted to present a group that he felt was a tremendous live act that presented aspects not present in studio efforts. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">From the speakers: “Iron Man? Yeah, okay…” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Immediately, Steve: “<i style="mso-bidi-font-style: normal;">The Shit Hits the Fans</i>.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We heard an extremely loose version of the Black Sabbath evergreen done by the Replacements, a Minneapolis rock group that had its heyday in the 1980s. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ashley had grown up during the first explosion of punk and thought he had heard “every raunchy thing.” But this release surprised him. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The records the Replacements made in the studio were good pop/rock records. The band’s persona totally shifted when they performed live, however. The group would become loud, drunk, crazy and absolutely riveting live. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ashley: “The depth of music they could draw from was amazing.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thus the covers presented here: “Iron Man,” U2’s “I Will Follow” and the Rolling Stones’s “Jumpin’ Jack Flash.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;">The Shit Hits the Fans</i> was recorded in 1984 at a live show at the Bowery in Oklahoma City on Nov. 11, 1984. It was recorded by a fan with a cheap tape recorder, which was confiscated by the band. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The group was just about to release their first album for Sire Records. They decided to put the live recording out as a cassette tape only release on the Twin Tone label. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ashley: “The band plays what is essentially the listening library of every young man at the time.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ashley saw the band three or four times. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Looking back, Steve admitted that he loved the group but felt that he missed the point. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Why would I pay to hear a band do stuff that they messed around with in a garage?”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ashley could only shrug: “It’s in the title….” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Richard: “I think they sound authentic enough.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ted: “They sound unlistenable.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ashley: “It depends on your aesthetic.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ted admitted that he attended his first arena rock show only a week earlier: The Rolling Stones at the Barclays Center in Brooklyn. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve (a big Stones fan): “A good start.” </span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> <b> 7.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><!--[endif]--><b>Charlie Christian – “Topsy (Charlie’s Choice)” from <i style="mso-bidi-font-style: normal;">Live Sessions at Minton’s Playhouse – New York, May 1941</i> (Jazz Anthology, 1989 (1941))</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by: Steve Futterman – MP3 – Theme: A</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The final selection was presented by Steve and was a live performance by a musician who had a short career but was the first to present his instrument in a new canon. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The muted live performance of a jazz guitarist began to waft over the room. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It wasn’t long before a couple of listeners piped up with Charlie Christian’s name. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This was the legendary guitarist’s tremendous take on Eddie Durham’s “Topsy” which was recorded at Minton’s Playhouse by Jerry Newman in 1941, a year before Christian’s death. The band featured trumpeter Joe Guy, pianist Kenny Kersey and drummer Kenny Clarke. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This would turn out to be the only live jam session to have been recorded with Christian, who can be heard really stretching out on the tune. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Christian was the first to present the guitar as a melodic rather than rhythmic component in jazz playing. Quite a revolution, really. He also helped to forward the be-bop cause. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “A classic example of ‘play as long as you want.’ I don’t always think this is necessarily a great thing but it happens to be Charlie Christian, so it all works out.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Someone mentioned that Christian sounded like early Wes Montgomery, circa 1948 or 1949. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Sarcastically, “I hope he sounds like Montgomery. This is where early Montgomery was coming from.” </span></div>
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<!--EndFragment-->Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com0tag:blogger.com,1999:blog-8998283771073751235.post-48915463402789269832012-12-11T16:27:00.001-05:002012-12-11T16:27:56.863-05:00BYOV - Meeting #16<!--[if gte mso 9]><xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>2899</o:Words> <o:Characters>16527</o:Characters> <o:Company>Sunnyside Communications</o:Company> <o:Lines>137</o:Lines> <o:Paragraphs>33</o:Paragraphs> <o:CharactersWithSpaces>20296</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:PunctuationKerning/> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:DontGrowAutofit/> <w:DontAutofitConstrainedTables/> <w:DontVertAlignInTxbx/> </w:Compatibility> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml><![endif]--> <!--[if gte mso 10]> <style>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Another lovely fall day in Brooklyn found me at Barbès with a record player, computer and a pad and pen. Yet I was unprepared….<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As I grabbed my pregame coffee at <a href="http://www.colsonpastries.com/" target="_blank">Colson Patisserie</a> next door, I ran into Ashley Kahn, who happened to be joining us for the first time. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Of course, Ashley had to be the first person to ever bring a 45-rpm single. And<span style="mso-spacerun: yes;"> </span>me without an adaptor… It was a phonographic emergency! <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Fortunately, the local <a href="http://www.yelp.com/biz/music-matters-brooklyn" target="_blank">Music Matters</a> store on 7<sup>th</sup> Avenue was able to help provide some plastic, neon yellow adaptors that fit the bill. I’ve been wearing one around my neck ever since. You never know when one will come in handy….<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Another interesting, unlikely phenomenon occurred on that Nov. 11<sup>th</sup> meeting: The majority of music played was not jazz. Overwhelmingly so. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Here were our themes de resistance: <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>a) Odd instrument out. Is that a sitar with the Beatles? An alp horn with 2 Live Crew? We'd like to hear your best example of a foreign (non-Western) instrument (and/or musician) alongside "typical" Western instrumental configuration. <o:p></o:p></i></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>b) BIG BANG! Bring in a track that you feel has huge influence. It can be on society, a musical genre, technology.… Whatever.... <o:p></o:p></i></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>c) It grows on you…. You know that song that the first time you heard you were like... "This song sucks..." But then you realize you are singing it in the shower, when you brush your teeth and while listening to your Radiohead records. Bring that song. </i><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Read on and enjoy! <o:p></o:p></span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-list: Ignore;"> 1.<span style="font: 7.0pt "Times New Roman";"> </span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">Emilio Solla & The Tango Jazz Conspiracy – “Remain Alert” from <i style="mso-bidi-font-style: normal;">Bien Sur!</i> (Fresh Sound FSWJ 042, 2010)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by Robert Futterman – CD – Theme: A<o:p></o:p></span></b></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Robert wanted to introduce us to a European instrument that he had been unfamiliar with until he heard this track. He was wondering if we would be able to identify the instrument and where it originated from. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A feisty drum solo emerged and then the introduction of a nasaly, screaming horn. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Robert: “And that’s it…”<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It was obvious that this was a bagpipe of some sort.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Yeah… But what is its nation of origin?” <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">There was some head scratching as the increasingly Latin vibed piece continued to play on. The pipes died off and didn’t return for the rest of the composition. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It was François who guessed that these were Galician bagpipes. He was correct, to everyone’s surprise. The recording featured Victor Prieto performing on the instrument.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Of course, I knew why he had an inside knowledge of the instrument and made him explain. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Sunnyside will be releasing an album by another Galician bagpiper, Cristina Pato. François first met Pato while she was working on composer/conceptualist Bob Belden’s <i style="mso-bidi-font-style: normal;">Miles Español</i> project that was released a couple of years ago. Pato has been performing jazz, classical and folkloric music with the instrument for some time with ensembles like Yo Yo Ma’s Silk Road Ensemble. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The Galician bagpipe or gaita comes from the northwestern part of Spain near the Portuguese border. Most popular in the Middle Ages, the gaita made a comeback in the 1970s. Why not?<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">When you have a bagpiper playing some sort of jazz related material there has to be a mention of the legendary Philly saxophonist/bagpiper/kilt-enthusiast Rufus Harley. <o:p></o:p></span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-list: Ignore;"> 2.<span style="font: 7.0pt "Times New Roman";"> </span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">Sainkho Namchylak – “Tanola Nomads” from <i style="mso-bidi-font-style: normal;">Out of Tuva</i> (Crammed Disc CRAW 6, 1993)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Sainkho Namchylak & Evan Parker – “Hurzu” from <i style="mso-bidi-font-style: normal;">Mars Song</i> (Les Diques Victo 042, 1996) <o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by <a href="http://www.itinerariesofahummingbird.com/" target="_blank">Jason Weiss</a> – CD – Theme: A<o:p></o:p></span></b></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jason also went for the non-western instrument route for his musical selection, though his choice didn’t feature an instrument. His example was a vocalist of extraordinary skill and individuality.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jason: “She’s really an exotic instrument.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We heard atmospheric gongs and some wet reverb before a big voice came in. The singing was lovely but the composition was bordering on new age.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “So the electric bass was the foreign instrument to her right?”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">No guesses were made to whom the artist may be. Jason mentioned that she had been recording for nearly 25 years.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Richard: “It sounds a lot like something on the Real World label. I’m not a fan.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The vocalist was Sainkho Namchylak, a Tuvan vocalist who had studied the tradition of throat singing but had wanted to do more. She had limited opportunity for advancing her style as the Soviet powers that be made her perform only in the traditional music of her Mongolian heritage. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Eventually, Namchylak was able to leave and thereby perform/record in a number of different settings.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Our listeners weren’t happy with the production on this particular track and were wondering if Jason might have any recordings with her in a more interesting setting. As a matter of fact, he did.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas had mentioned that he knew Namchylak’s music but as an improvising musician. Apparently, she was a fearless improviser who was known to be open to any sort of “pick up band” she could put together.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jason then played us a track of Namchylak performing with saxophonist extraordinaire Evan Parker. It was much better received.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">After a few deceptive cadences, Steve: “I’ve already heard three full endings… Just tell us when it is done.”</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-list: Ignore;"> <b> 3.<span style="font: 7.0pt "Times New Roman";"> </span></b></span><!--[endif]--><b>Elaine Brown – “Seize the Time” from <i style="mso-bidi-font-style: normal;">Seize the Time – Black Panther Party</i> (Vault SLP-131, 1969)<o:p></o:p></b></span></div>
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<b><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by Me – LP – Theme: B & C</span></b></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">For my part, I wanted to bring a recording that was “truly” revolutionary. It also turned out to be a piece that I had to learn to love.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The swelling horns and emphatic drums presaged a powerful female vocalist with a message. The driving low horns kept driving momentum that underscored the dramatic lyric about “seizing the time.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">No one was able to guess that the vocalist was Elaine Brown, who was the Deputy of Information for the Southern California Chapter of the Black Panther Party when she recorded the album <i style="mso-bidi-font-style: normal;">Seize the Time</i> in 1969.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I had originally come across this record when I was collecting a bunch of pianist/bandleader/arranger Horace Tapscott recordings a few years ago. He did the arrangements on this recording.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As I mentioned, I worked at liking this one. Obviously, the music’s message wasn’t aimed at me. I could appreciate the message, however, and the fact that Tapscott was involved was enough for me to dig it.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I mistakenly said that the recording was released by the Panthers. Daniel Richard was sure that the record was released by the Vault record label, a West Coast operation that put out records by a multitude of California groups, including the Challengers, Ernie Watts and the Chambers Brothers. He was absolutely correct.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I also was incorrect when I said that “Seize the Time” was the Black Panther national anthem. The real one was entitled “The Meeting.” Included here.</span><br />
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-list: Ignore;"> 4.<span style="font: 7.0pt "Times New Roman";"> </span></span></b><b style="mso-bidi-font-weight: normal;">Hippopotamus – “Hippopotamus” <i style="mso-bidi-font-style: normal;">from Explorer Series - Animals of Africa: Sounds of the Jungle, Plain & Bush</i> (Nonesuch H-72056, 1973)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by Richard Gehr – MP3 – Theme: B</span></b></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Richard told us that his selection wasn’t a big bang but a little bang. He also mentioned that the record that this composition came from had a distinct local impact.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We heard some kind of guttural sounds and what seemed like birds. Maybe some sort of field recording….</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Are we supposed to ID the vocalist?”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“It sounds like some sort of animal.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Richard: “Yeah. But what animal?”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I guessed the hippo. Folks seemed astonished that I was able to guess it correctly. Maybe the years of watching National Geographic specials had finally paid off.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">So there were some giggles about the hippo noises and the fact that Nonesuch released this record in the 1970s on their Explorer Series, this edition chronicled animals of Nairobi and Kenya. The real laughs came when they found out that this recording had an impact on the Downtown New York experimental music scene in the late 1970s and early 1980s, specifically with artists like John Zorn and Elliott Sharp.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve was rolling: “I hear it. It’s their roots!”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“So is this a performance?”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Richard: “Yeah. It’s all solo, free improvisation.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Chuckles…</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">What else was on the record?</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“You got your wildebeest. You got your lion. It is just like a night at the Stone.”</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-list: Ignore;"> 5.<span style="font: 7.0pt "Times New Roman";"> </span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">Minor Threat – “Minor Threat” from <i style="mso-bidi-font-style: normal;">Minor Threat EP</i> (Dischord Records 3, 1981)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by David Stoelting – MP3 – Theme: B</span></b></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The next piece was definitely a <i style="mso-bidi-font-style: normal;">big bang</i> in the realm of politics and musical form. David mentioned that we would probably get the name of the group quickly because it was in the lyrics.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">He also mentioned that it was punk rock…</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Oh no…”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">So we listened intently as the guitar began to pummel us.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Someone guessed Fugazi. He was close.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This was Minor Threat. The legendary DC punk band that Ian McKay led before he created both Fugazi and his Dischord record label.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">David had always been impressed with Minor Threat and McKay. The group had an ethos that he could respect. They stood for three things: “being anti-Nazi, not getting wasted and punk rock.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I mentioned that I had the opportunity to see McKay in action with Fugazi when I was a freshman in college. I recall it being an uncomfortable experience as McKay scanned the crowd while he performed. At any attempt at moshing, he would stop the music and scream at the guilty mosher, “Stop fucking moshing! We’ll stop playing right now. Don’t ruin this for everyone else.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">No moshing at a punk gig? Strange days.</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-list: Ignore;"> 6.<span style="font: 7.0pt "Times New Roman";"> </span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">Frankie Smith – “Double Dutch Bus” from “’Double Dutch Bus’ b/w ‘Double Dutch’” (WMOT Records 4W8 5351, 1981 (1981))<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by Ashley Kahn – 45rpm – Theme: C<o:p></o:p></span></b></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">For his selection, Ashley brought a record that he had “hated but then grew to like.” <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“So I had to buy the 45.”<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Good thing I had made my run for an adaptor or we wouldn’t have been able to listen to this gem. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A recognizable dance beat and digitized car horn were heard. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ashley said that this song was omnipresent when it came out, hitting especially hard in Philadelphia where it originated. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Of course, there were only a couple folks who recognized the sample used by Missy Elliott on her hit “Gossip Folks.” Although, we forgot whom the original artist was. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It happened to be Frankie Smith, who had been a songwriter for Philly International but later created this hit. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The story goes that Smith had at one time wanted to be a bus driver. Apparently, racist policies within the Southeastern Pennsylvania Transportation Authority in Philly made it impossible. Smith still had access to a recording studio due to his association with the Gambles & Huff record label, however. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">While at the studio for another session, Smith began improvising a theme and lyrics over a rhythm. The lyrics of the song “Double Dutch Bus” were initially an effort to vent about his woes over the bus driving turn down. Along with those, came nonsensical lyrics that have since become legendary in the hip-hop world. Smith also giving birth to the “izzle.” (See Wikipedia or Snoop Dogg). <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Apparently, the lyrics that we hear on this track were the g-rated version of his protest rap. I guess we sort of get the picture.<o:p></o:p></span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-list: Ignore;"> 7.<span style="font: 7.0pt "Times New Roman";"> </span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">Last Poets – “White Man’s Got a God Complex” from <i style="mso-bidi-font-style: normal;">This Is Madness</i> (Douglas Z-30583, 1971)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by <a href="http://www.thomasheberer.com/" target="_blank">Thomas Heberer</a> – LP – Theme: B & C<o:p></o:p></span></b></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It was just about this time when we realized that there was a surprising lack of jazz being played at this particular gathering. Not that it was a bad thing. It was kind of refreshing. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas: “Well… This isn’t jazz either.”<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas wanted to play a piece by a group he felt was the “biggest bang” in the last 40 years in pop music. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Not that I’m a pop expert.”<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">He also explained that for a long time he had originally ignored the work of this group assuming that the music wasn’t sophisticated enough to catch his attention. Thomas did give the music a chance and ultimately enjoyed the efforts of this unique, groundbreaking ensemble. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The instantly recognizable voices with percussion accompaniment came over the speakers.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Is this the Last Poets?”<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It certainly was. We were hearing the voices of poets Alafia Pudim and Umar Bin Hassan on their second LP, which was recorded in 1970 for Douglas Records. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The Last Poets have been lauded as important musical precursors to hip-hop, along with efforts by James Brown and Gil Scott-Heron. The group had stood apart from others as they eschewed singing for a steady stream of poet lyricism alongside minimally produced rhythmic foundations. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The overtly political tone of their recordings especially influenced the more radical element of hip-hop, namely Public Enemy and NWA. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ashley: “They were the first rappers and the last poets.”<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Our new attendee Wesley mentioned that he had been involved in a project where members of the Last Poets recorded with modern rappers with good results. He remembered a great exchange between the Poets and the rapper Common, who was in awe of the legendary lyricists. <o:p></o:p></span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-list: Ignore;"> 8.<span style="font: 7.0pt "Times New Roman";"> </span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">David Essex – “Rock On” from <i style="mso-bidi-font-style: normal;">Rock On</i> (Columbia KC 32560,1973)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by Steve Futterman – MP3 – Theme: C<o:p></o:p></span></b></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve wanted to play a tune that he used to hate. The more he listened the more he grew to become more impressed by the “strange, exotic production of this pop song.” <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve was surprised that it never broke into the 1950s rock thing like most popular releases. This music was surprisingly different. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The slow grinding groove was more reminiscent of reggae than to the blues drenched rock of the time. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “It was such a dope record.”<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ashley guessed that this was singer David Essex’s big hit “Rock On” from the album of the same name. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Did he ever have any other hits?” No. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“It must have been influential in some way?” <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Wesley: “Maybe on Prince.” I would say Lenny Kravitz, too.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“It also has a kind of (Sly Stone) ‘Family Affair’ sound, too.”<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Richard: “I think it sounds very T.Rex-ian.” Maybe Marc Bolan had an effect on Mr. Essex as they were both English. <o:p></o:p></span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-list: Ignore;"> 9.<span style="font: 7.0pt "Times New Roman";"> </span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">Frankie Ford w/ Huey “Piano” Smith and Orchestra – “Sea Cruise” from “’Sea Cruise’ b/w ‘Roberta’” (Ace Records 554, 1959)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by Ashley Kahn – LP – Theme: A<o:p></o:p></span></b></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ashley had another selection he wanted to present. This one showcased an unusual instrument, actually it would be questionable whether it could be considered an instrument at all. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The sounds of waves lapping and the ship bell were enough for Steve to guess “Sea Cruise.” <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Isn’t the track someone else’s tune?” Yep. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The story behind “Sea Cruise” was that the track was recorded by New Orleans legend Huey “Piano” Smith but the producers removed Smith’s vocals to add those of Ford. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The intriguing “voice” on this track would be the foghorn that was used toward the end of the recording used to punctuate the rhythm section. Quite a punch. There was also another similar voiced instrument included on the recording, a wonderful bass saxophone handled the bass line through a good portion of the tune.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ashley thought that there was a “big bang” aspect to this track, too. It was very apparent that the substitution of a black vocalist for a white one was an effort to crossover to reach a broader (white) audience. This definitely wasn’t the first time and certainly wouldn’t be the last. There was also such a tremendous use of post-production tricks with the added atmospheric sounds and the foghorn.<o:p></o:p></span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-list: Ignore;"> 10.<span style="font: 7.0pt "Times New Roman";"> </span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">Cootie Williams and His Orchestra – “Fly Right (Epistrophy)” from <i style="mso-bidi-font-style: normal;">Cootie Williams and His Orchestra 1941-1944</i> (Classics 827, 1995)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by <a href="http://www.thomasheberer.com/" target="_blank">Thomas Heberer</a> – LP – Theme: B<o:p></o:p></span></b></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We went back to our jazz roots for Thomas’s next selection. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas: “From my perspective, this was a big bang, especially in the world of jazz. The structure of this song brought something new to the music. For 1942, this was a departure from the same obvious forms.”<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The snappy cymbals led to a big band arrangement of an extremely well known theme. Well known to jazz heads, at least.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Now we’re talking!”<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “This is Cootie Williams Orchestra playing ‘Epistrophy,’ right? With Joe Guy on trumpet?” <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This was indeed Williams’s take on Thelonious Monk’s “Epistrophy” but as it was originally issued as “Fly Right.” This was the first recording of a Monk composition before he became the king of esoteric yet beloved jazz melodies (and harmonies for that matter). <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Monk wasn’t involved otherwise in the performance. The pianist recorded was Kenny Kersey. It was interesting to note that another famed bebop pianist was involved with the recordings included on this CD. In 1944, 20 year old Bud Powell, who was under the legal guardianship of Cootie, performed “You Talk a Little Trash,” “Floogie Boo,” ”Do Some War Work, Baby” and “I Don’t Know” with the Cootie Williams group. Not on this recording as was originally thought, however. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Historically, drummer Kenny Clarke has received credit for helping with the composition, though it might not have been the case. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Thomas was impressed by the composition for a number of reasons. It was harmonically very different than most pieces around that time which for the most part used harmonies based on Tin Pan Alley songs. The structure was wholly original and moved away from the common II-V-I form epidemic in jazz at the time. It also provided a departure from the stereotypical blues and 32-bar structure. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“It was always in that form unless it was recorded in Canada. Then it was AABA, eh?” <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Ouch.<o:p></o:p></span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-list: Ignore;"> 11.<span style="font: 7.0pt "Times New Roman";"> </span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">Lou Rawls – “You’ve Made Me So Very Happy” from <i style="mso-bidi-font-style: normal;">You’ve Made Me So Very Happy</i> (Capitol Records ST-8-0427, 1970)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by <a href="http://www.wesleyverhoeve.com/" target="_blank">Wesley Verhoeve</a> – MP3 – Theme: B<o:p></o:p></span></b></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Wesley was inspired to present a track that he felt helped to unleash a tremendous talent on the pop world in the 1970s. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Everyone knows the artist. This is more about the producer.” <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">An all too familiar piano riff and tambourine oozed from the speakers. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Me: “Ah… De La Soul.” They sampled it.<o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Well then it must be Lou Rawls with David Axelrod producing.” <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Oh course everyone knew who Lou Rawls was. David Axelrod, on the other hand, wasn’t so well known. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Axelrod was a composer/arranger/producer who began working in jazz in the late 1950s in California. His first production was Harold Land’s <i style="mso-bidi-font-style: normal;">The Fox </i>in 1959. His most productive stage of his career came after he joined Capitol Records and began producing a wide range of artists like Rawls, Cannonball Adderley and the psych rock group the Electric Prunes. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Eccentric record collectors and hip-hop fans have been equally impressed by the three solo recordings Axelrod produced in late 1960s: <i style="mso-bidi-font-style: normal;">Song of Innocence, Songs of Experience</i> and <i style="mso-bidi-font-style: normal;">Earth Rot</i>. Many of his productions became fodder for hip-hop productions in the 1980s and 1990s. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I first became aware of this tune from the sample De La Soul used for their song “I Am I Be” on the 1993 album <i style="mso-bidi-font-style: normal;">Buhloone Mindstate</i>. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Even this performance was a cover as the first version was recorded by Brenda Holloway for Tamla Records in 1968. Blood, Sweat & Tears also recorded a popular version shortly thereafter. <o:p></o:p></span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-list: Ignore;"> 12.<span style="font: 7.0pt "Times New Roman";"> </span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">OM – “Chipero” from <i style="mso-bidi-font-style: normal;">With Dom Um Romao</i> (JAPO/ECM 60022, 1978)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by Me – LP – Theme: A<o:p></o:p></span></b></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As the majority of the group packed up their belongings or finished their beers, I threw on one last record. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This selection presented a non-western instrument alongside an avant-garde, jazz-rock ensemble. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The percussion heavy sound led to an almost oriental feel before a solo berimbau began to play and start up an ostinato pattern. Slowly the guitar, bass and monkey impersonations began to come together. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This was the band OM featuring reed player Urs Leimgruber, guitarist Christy Doran, bassist Bobby Burri and drummer Fredi Studer. On this record, OM was joined by Brazilian percussionist Dom Um Romao, who handled percussion. Romao was also featured on the berimbau. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The berimbau is a Brazilian stringed percussion instrument made of a long rod (verga) with a gourd resonator (cabaça). The instrument is played by striking a steel string (arame) spanning the length of the verga (think bow and arrow) with a stick (baqueta). Different tone inflections can be made by putting pressure on the arame with a dobrão (stone or coin) while striking it with the baqueta. <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This instrument provided a very distinct sound to the overall compositional makeup of the tune. <o:p></o:p></span></div>
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<!--EndFragment-->Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com0tag:blogger.com,1999:blog-8998283771073751235.post-66146502457101843702012-11-11T10:52:00.001-05:002014-12-03T13:48:45.697-05:00BYOV - Meeting #15<!--[if gte mso 9]><xml> <o:DocumentProperties> <o:Template>Normal.dotm</o:Template> <o:Revision>0</o:Revision> <o:TotalTime>0</o:TotalTime> <o:Pages>1</o:Pages> <o:Words>2961</o:Words> <o:Characters>16883</o:Characters> <o:Company>Sunnyside Communications</o:Company> <o:Lines>140</o:Lines> <o:Paragraphs>33</o:Paragraphs> <o:CharactersWithSpaces>20733</o:CharactersWithSpaces> <o:Version>12.0</o:Version> </o:DocumentProperties> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings> </xml><![endif]--><!--[if gte mso 9]><xml> <w:WordDocument> <w:Zoom>0</w:Zoom> <w:TrackMoves>false</w:TrackMoves> <w:TrackFormatting/> <w:PunctuationKerning/> <w:DrawingGridHorizontalSpacing>18 pt</w:DrawingGridHorizontalSpacing> <w:DrawingGridVerticalSpacing>18 pt</w:DrawingGridVerticalSpacing> <w:DisplayHorizontalDrawingGridEvery>0</w:DisplayHorizontalDrawingGridEvery> <w:DisplayVerticalDrawingGridEvery>0</w:DisplayVerticalDrawingGridEvery> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:Compatibility> <w:BreakWrappedTables/> <w:DontGrowAutofit/> <w:DontAutofitConstrainedTables/> <w:DontVertAlignInTxbx/> </w:Compatibility> </w:WordDocument> </xml><![endif]--><!--[if gte mso 9]><xml> <w:LatentStyles DefLockedState="false" LatentStyleCount="276"> </w:LatentStyles> </xml><![endif]--> <!--[if gte mso 10]> <style>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">So the weather on Oct.14<sup>th</sup> wasn’t nearly as terrible as I hoped that it would be. After a summer of very comfortable temperatures, BYOV doesn’t really need to have nice weather any more as our turnouts have been a bit slim.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">So at 3pm and the sun shining brightly, I waited in the dark recess at the back of Barbès sipping coffee and hoping some fellow music geek would show. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">And then there were geeks! Let’s not go crazy. We had something like twelve people all told but considering the last few months, that was a tidal wave. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I was happy to see a crowd for one of my favorite collection of themes to date. Here they are:</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;">A) Multi-kulti. We want to hear interpretations of roots music that we've never heard before.</i><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;">B) All souled out. Bring an example of an artist who would be considered a "sell out." Is he/she really selling out? Should we dismiss as gimmick or learn to love? </i><o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">C) This one is for the ladies... Let's hear your favorite female artist regardless of genre.<o:p></o:p></span></i></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We’ve come to expect some interesting music and opinions. #15 proved to have plenty. Read on.</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> 1.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">George Russell – “All About Rosie” from <i style="mso-bidi-font-style: normal;">Modern Jazz Concert</i> (Columbia Adventures In Sound WL127, 1957)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by <a href="http://joelharrison.com/" target="_blank">Joel Harrison</a> – CD – Theme: A<o:p></o:p></span></b><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Joel: “This interpretation of a traditional theme is one of the best of the 20<sup>th</sup> Century by one of the best composers/arrangers of the 20<sup>th</sup> Century.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">That was a strong statement by a man who is very studied in the art of arrangement and composition. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Within five seconds of listening, Steve was able to guess George Russell’s reinterpretation of the old African American spiritual “Rosie, Little Rosie.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “How does the nursery rhyme go?” Don’t really know.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Joel: “This could have been written today. It sounds so modern.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The piece was written for a showcase at the Brandeis University Jazz Festival in 1957.<span style="mso-spacerun: yes;"> </span>Some thought they remembered a televised broadcast of the piece being performed, perhaps the same performance that was recorded on June 10<sup>th</sup> at the Festival.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Is that a flute I hear?” No, vibes. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The ensemble included Teddy Charles on vibes, pianist Bill Evans, guitarist Barry Galbraith, trumpeters Art Farmer and Louis Mucci, saxophonists Hal McKusick and John LaPorta, bassist Joe Benjamin and drummer Ted Sommer. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This particular selection has been released on a couple of different audio incarnations, the<span style="mso-spacerun: yes;"> </span>easiest to find being the Columbia compilation <i style="mso-bidi-font-style: normal;">The Birth of the Third Stream </i>that featured selections from Gunther Schuller’s <i style="mso-bidi-font-style: normal;">Music for Brass</i> and <i style="mso-bidi-font-style: normal;">Modern Jazz Concert</i>. The latter release presented selections from the Brandeis Festival, including “All About Rosie.” </span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> 2.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">Amina Claudine Myers – “Jailhouse Blues” from <i style="mso-bidi-font-style: normal;">Salutes Bessie Smith</i> (Leo Records LR 103, 1980)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by Me – LP – Theme: A & C<o:p></o:p></span></b><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">My selection began with a bass solo, which prompted the question if the piece was by the bassist. No it wasn’t but the mystery artist would appear soon after.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It was pretty quiet in the room as the piano and vocal came in.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve was quick at guessing the tune, which was Bessie Smith’s “Jailhouse Blues.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Talk about incredible non sequiturs…” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Apparently, there were quite a few hidden sexual innuendos dispersed throughout the lyrics of Smith’s tunes, including this gem. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">There were still no guesses at who the artist performing the piece was, though there were plenty of heads nodding along.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“What year is this?” 1980. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">No one guessed pianist/organist/vocalist Amina Claudine Myers. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “That makes sense.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The track featured accompaniment by bassist Cecil McBee and drummer Jimmy Lovelace.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Kind of wish it was just bass and piano.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The track fit the themes of female artist and transformed roots well. Depending on how you view Myers’s career trajectory, listeners could potentially view Myers’s signing to Arista/Novus and her pop attempts on the label as selling out. Personally, I have no problem with these releases. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Joel remembered taking Myers and saxophonist Dewey Redman on tour in the 1980s. He said that during a sound check, the two began to play an impromptu spiritual duet. He recalled it being some of the best and most beautiful music he heard on the tour and requested that they perform a piece like that in concert. Joel was rebuffed but still holds the memory dear.</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> 3.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">George Shearing ft. Marjorie Hyams – “Conception” from (<i style="mso-bidi-font-style: normal;">The Definitive George Shearing</i>, Verve 2002 (1949))<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by Robert Futterman – LP – Theme: C<o:p></o:p></span></b><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Robert decided to dig a little deeper for his selection. He thought that we might guess the composer/headlining artist but maybe not pick up on the musician he intended to present, a female performer. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The track was a fairly standard jazz ensemble recording featuring both vibes and piano.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Richard: “Well… It isn’t Gary Osborne or Terri Gibbs…” That was pretty obvious. Terry Gibbs might have been a better guess. Gary Burton? </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Is the mystery artist the vibraphonist?” Yes.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve began to reel out names of vibists before settling on possibly the only female vibist, Marjorie Hyams. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve’s omniscience determined that this recording must be George Shearing’s “Conception,” which was recorded on July 27, 1949. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Along with vibes, Hyams also played piano and was a skilled arranger. She had performed in groups led by Woody Herman, Mary Lou Williams and Charlie Ventura prior to playing with Shearing. From 1951 to 1970, Hyams performed and taught around Chicago. She died in June 2012. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The track also featured drummer Denzil Best, who could also play trumpet and piano. Best even accompanied Shearing on piano while Shearing manned the accordion on another recording. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Shearing was an adept accordionist, having begun his career in a blind accordion band in the United Kingdom. </span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> 4.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">Laura Nyro – “Tom Cat Goodbye” from <i style="mso-bidi-font-style: normal;">New York Tendaberry</i> (Columbia KCS 9737, 1969)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by <a href="http://zealimages.wordpress.com/" target="_blank">Zak Shelby-Szyszko</a> – LP – Theme: C<o:p></o:p></span></b><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I’m so proud of Zak for bringing a piece of vinyl. The virus is spreading. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Zak prefaced playing his selection by saying that this particular female artist has been a major favorite of his for some time. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Of course, Steve guessed singer/songwriter Laura Nyro immediately. I think that we’re going to have to institute some sort of time limit before Mr. Futterman can give his guess. Shot clock?</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Me: “Is the volume okay?” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Yeah… But can you take some of the reverb off?” Some scoffs. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve asked Zak if he felt that Nyro was properly lauded as an artist.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Zak: “No. She has been grossly underappreciated.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Kimberly: “She was a goddess. She has never gotten her due as a songwriter.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Robert remembered seeing a marquee at the Fillmore East that had Miles Davis opening for Nyro. The association with Miles was a bit deeper than that as Nyro had invited him to appear on one of her recordings. He turned the appearance down stating that she didn’t need him. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Nyro did have a penchant for jazzier sounds. A later recording featured Alice Coltrane and Gregg Allman on the same track. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;">New York Tendaberry</i> was an early record but Nyro’s style and prowess grew exponentially from record to record.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “She grew in giant leaps beginning with very concise pop songs which grew into these big, involved compositions.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Zak was impressed by Nyro’s handling of transitions in her music. The compositions could be very herky-jerky, going from one musically concrete segment to another but handled with panache. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Zak: “It gives her music a certain freedom but there is control within that freedom.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Kim: “This gives the effect that she was really playing for herself giving the listener a sense of eavesdropping. ‘Okay… Let me leave…’” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jason asked what had become of Nyro. She passed away in 1997 after a fight with ovarian cancer. She recorded sporadically in the late 1970s with large breaks throughout the 1980s. In 1988, Nyro began to tour again in smaller venues. Her final album <i style="mso-bidi-font-style: normal;">Walk the Dog and Light the Light</i> was released in 1993. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Nyro was an activist as well as an artist. She was a feminist (she led an all woman band for some time) and was also a vocal member of the lesbian community. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In the end, Nyro has remained a cult figure but one who has kept resurfacing with more and more interest. </span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> 5.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">Captain Beefheart – “Bluejeans & Moonbeams” from <i style="mso-bidi-font-style: normal;">Bluejeans & Moonbeams</i> (Mercury SRM-1-1018, 1974)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by Richard Gehr – MP3 – Theme: B<o:p></o:p></span></b><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Always a fan of music of the more bent variety, Richard brought a synth filled, schmaltzy number performed by an artist incredibly hard to pin down. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jason: “I recognize that voice…”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Richard: “This record was a famous sell out record from a famous sell out.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We listened on with open ears but puzzled faces. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It happened to be Don Van Vliet, better known as Captain Beefheart. After nearly a decade of making idiosyncratic/weird avant-blues records, Beefheart tried to swing for the commercial seats. After releasing three middling records in the early 1970s, Beefheart’s Magic Band quit. His next recording, <i style="mso-bidi-font-style: normal;">Bluejeans & Moonbeams,</i> was recorded by a quickly assembled ensemble before going on the road for tour dates that were already booked. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The record was a soft-rock bust. Richard proved there were Beefheart fans of all creeds. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Is that Gary Lucas on guitar?” No. It is someone you’ve never heard of. (Dean Smith as a matter of fact.)</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Zak: “This sounds better than the rest of Beefheart’s stuff…” Gasp!</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">There seemed to be a general consensus that Beefheart’s earlier material was the strongest. Zak just ain’t down with no <i style="mso-bidi-font-style: normal;">Troutmask</i>. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Then the synth solo came in. Laughs all around.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve to Richard: “I don’t know what’s weirder: Beefheart doing this or you defending it…”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Richard: “It’s the shit! Beefheart attempting to be normal is weirder than just about anyone else.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">There was also the question of whether Beefheart was ripping off Dr. John or vice-a-versa. Not likely. Mac Rebennack had already had a long career in New Orleans as a songwriter and session guitarist before he moved to California and created his Dr. John persona. The fact that other musicians were working along similar lines in California in the mid-1960s was purely coincidental and reflected the popularity of certain music in these locales. The fact that Van Vliet and Frank Zappa attended the same high school should not be overlooked as their musical tastes seemed to converge.</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> 6.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">Muddy Waters – “Good Morning Little Schoolgirl” from <i style="mso-bidi-font-style: normal;">Folk Singer</i> (Chess LPS-1483, 1964)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by Steve Futterman – MP3 – Theme: A<o:p></o:p></span></b><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Now here is a great example of a roots artist paying homage to another roots artist.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Kim: “Ohh… Meta.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Yeah… It’s meta.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We heard an acoustic blues set with two guitarists and a very familiar vocalist. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Robert: “Oh yeah… Muddy Waters doing ‘Good Morning Little Schoolgirl.’” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This was blues legend Muddy Waters’s rendition of the “Original” Sonny Boy Williamson’s “Good Morning Little Schoolgirl,” which featured Willie Dixon on bass, Clifton James on drums and Buddy Guy on guitar. The album was recorded in September 1963 in Chicago as an intended all acoustic project.<span style="mso-spacerun: yes;"> </span>Waters had already begun playing electric guitar by then.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Can you get any more behind the beat?” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A number of attendees were trying to, apparently, as they drummed along on the tables. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Zak: “It is so relaxed. And you could recognize Waters’s voice anywhere.”</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> 7.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">Jonas Knutsson - “Polska Efter Tommos Anders, Älvdalen, Dalarna” from <i style="mso-bidi-font-style: normal;">Blåslåtar</i> (Country & Eastern, 2011)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jonas Knutsson & Horn Please – “1:a Lorikspolskan” from <i style="mso-bidi-font-style: normal;">Horn Please!</i> (Country & Eastern, 2007)<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by <a href="http://www.itinerariesofahummingbird.com/" target="_blank">Jason Weiss</a> – CD – Theme: A<o:p></o:p></span></b><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jason brought two tracks by the same artist that had elements of roots music that was jazz in essence. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Try to imagine which country…”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We heard a frolicking solo soprano saxophone in a very folkloric and melodic setting. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Is it Middle Eastern?” You could imagine it that way, but no.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “It is a soprano sax sounding like an Eastern instrument, though.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Richard: “It reminds me of Jan Garbarek. It sounds Nordic.” It is. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Eastern? It sounded like a polka to me. </span><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jason played another selection from the same artist that featured more instrumentation, which really fleshed out the sound. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The saxophonist was Jonas Knutsson, a Swedish musician who recorded these two albums for percussionist Bengt Berger’s Country & Eastern label. The first was a solo soprano record and the second was a collection of traditional Swedish songs arranged for six horns (two players happened to be women). </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Oh! He must have sold out!”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The latter piece was credited to fiddler Bjorn Stabi. Jason had come across<span style="mso-spacerun: yes;"> </span>Stabi and his peer Ole Hjorth’s music as a young man at the Berkeley Public Library. Recordings of their repertoire were included on the Nonesuch Explorer record series released in 1971. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Apparently, Jason’s attraction stuck and was aided by the improvisatory concept of Knutsson. (Not to mention Jason’s attraction to the soprano sax.) </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We talked briefly on the history of Scandinavian musicians using folkloric elements in their work. A recent favorite of mine has been the duo recording between Ingebrigt Håker Flaten and Håkon Kornstad entitled <i style="mso-bidi-font-style: normal;">Elise</i> , where the Norwegian musicians take traditional Norwegian hymn melodies and improvise around them. A beautiful record.</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> 8.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">Yma Sumac – “Taita Inty (Virgin of the Sun God)” from <i style="mso-bidi-font-style: normal;">Voice of the Xtabay</i> (Capitol Records L244, 1950)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by <a href="http://www.gilleslaheurte.com/" target="_blank">Gilles Laheurte</a> – CD – Theme: A & C<o:p></o:p></span></b><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Our new attendee, Gilles, brought a selection featuring a cultural mash-up done by a talented female vocalist. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The opening gong bang set us up for a cheesy arrangement but the incredible high ranged, operatic vocals were inspiring. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Indefatigably, Steve: “Yma Sumac.” It would seem so.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Gilles was impressed by Sumac’s incredible range, apparently four octaves and “even five octaves at her peak” according to Wikipedia. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Sumac was born in Callao, Peru in 1922. She recorded in Argentina before making her way to the States where she was signed by Capitol Records in 1950. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I asked into what genre she would be placed. There was obviously a large exotica/lounge music market in the 1950s as mood music was in vogue as stereo equipment became more accessible. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “There are definitely certain elements of camp at work here.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It might be unfair to confine such an extraordinary talent to such a pedestrian genre. Ultimately, we decided to be magnanimous and simply agree that her work “defies category.” Nice of us, huh?</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As a whole, we didn’t know much about Sumac. Jason mentioned that there were recordings released by Bernard Stollman’s ESP label. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Richard: “Well it’s all there on the Google.” </span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> 9.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">Fiona Apple – “Every Single Night” from <i style="mso-bidi-font-style: normal;">The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do</i> (Clean Slate/Epic 88691978631, 2012)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by <a href="http://www.jeremyudden.com/" target="_blank">Jeremy Udden</a> – MP3 – Theme: C<o:p></o:p></span></b><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Next, Jeremy played some pop music. Admittedly, a little bit out of this group’s comfort zone. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This was the first tune off this popular female artist’s new recording that was released about three months ago. Jeremy had been a fan for some time but felt that this was her best work to date. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">For pop music, this was pretty idiosyncratic. A mixture of tin-pan alley, typical pop form and a little something special (or just bizarre). It had to be Fiona Apple. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Not everybody was familiar with Ms. Apple. Not too surprised here. A couple had heard about her only recently because of her latest trouble with the law at a renowned traffic stop in Sierra Blanca, Texas and a certain cache of marijuana and hash. But who hasn’t been pulled over there? Willie? Snoop?</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jeremy felt that the new work was especially well conceived by Apple’s new producer, Charlie Drayton. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I mentioned that I had become a fan of Apple in my teens because of my father. Dad would sporadically purchase music by female artists to play while he cleaned the house on the weekends. “I like when women sing to me” was his favorite retort. Some were winners: <i style="mso-bidi-font-style: normal;">Tidal</i>. Some losers: Toni Braxton. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Being a horror and b-movie buff, Kimberly enlightened us a bit on Apple’s father, who had attempted a career as an actor, his most famous role occurring in <i style="mso-bidi-font-style: normal;">Christmas Evil</i>. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“He had issues and then he had her…” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Apple doesn’t fall far from the tree. Wink…</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> 10.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">Ran Blake – “Lost Highway” from <i style="mso-bidi-font-style: normal;">Driftwoods</i> (Tompkins Square TSQ2097, 2009)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by <a href="http://joelharrison.com/" target="_blank">Joel Harrison</a> – CD – Theme: A<o:p></o:p></span></b><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Joel thought of another artist to present.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“This guy is one of the greatest interpreters of American music. We’ll see if Steve can guess who.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Is this just piano?” Yes. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A lone, heavily reverbed piano sang out. The music was extremely subdued and introspective. There wasn’t an identifiable melody, rather, it was a rumination on a possible melody. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Ran Blake.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jason: “Whatever he plays is always special.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Joel: “I like that he always does little pieces. He is so concise.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">It was certainly true that most pieces that Blake performs barely make it to five minutes. Pretty odd for an improvising musician. Refreshing might be a better work, no? </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Was that improvisational or was he playing some tune?” Yeah, it was totally improvisational. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The tune that Blake was re-interpreting was Hank Williams’s “Lost Highway.” Whether Blake was using pieces of the melody or harmonic changes could not be discerned. Blake is the master of creating a mood. It is no surprise that many of the themes that he chooses to work on are from film scores, the ultimate mood music.</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> 11.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><!--[endif]--><b style="mso-bidi-font-weight: normal;">Dinah Washington – “What a Difference a Day Makes” from <i style="mso-bidi-font-style: normal;">What a Difference a Day Makes </i>(Mercury SR-60158, 1959)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by <a href="http://zealimages.wordpress.com/" target="_blank">Zak Shelby-Zsyszko</a> – YouTube – Theme: C<o:p></o:p></span></b><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Zak wanted to play this classic track for his mother, Linda, who happened to be gracing us with her presence that afternoon. This happened to be her favorite female musician. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The lovely vocals of Dinah Washington were recognized immediately. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Joel: “Listen to those background vocals. Wow… What a great arrangement.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Zak wanted Linda to stick up for her fav: “What made Dinah your favorite singer?”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Linda: “It’s just her voice. She has this sassiness. She also has this weariness. It just speaks to me.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Zak: “Her voice was never as clean as Sarah (Vaughan) or Ella (Fitzgerald). There was pain in there. Like she had lived these lyrics.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Kimberly: “(She sounded) Almost like she was smiling through the pain.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “That blues inflection… Mmm…”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Zak: “But she has this power but never takes advantage of it.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Washington had known despair and heartache. She had been married seven times. (“Wow… Almost as many marriages as Larry King.”) There were also her addiction problems with drugs and alcohol. If anyone could express sorrow, it was Dinah. </span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b style="mso-bidi-font-weight: normal;"><span style="mso-bidi-font-family: Cambria;"><span style="mso-list: Ignore;"> 12.<span style="font: 7.0pt "Times New Roman";"> </span></span></span></b><b style="mso-bidi-font-weight: normal;">Meadow ft. Laura Branigan – “In The Beginning: When You Were Young” from <i style="mso-bidi-font-style: normal;">The Friend Ship</i> (Paramount PAS-6066, 1973)<o:p></o:p></b></span></div>
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<b style="mso-bidi-font-weight: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Presented by Kimberly Shelby-Szyszko – MP3 – Theme: C<o:p></o:p></span></b><br />
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Kimberly wanted to play this tune featuring her favorite female artist just to see if she had found a “Steve Stumper.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve was quiet for a moment, then: “I know this!” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Kimberly: “I spoke too soon.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Still Steve mulled over the potential vocalists.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jason: “Is this recent? From the ‘70s?” Oh. This is so ‘70s. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Did she have a long or short career?” Shortish.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jason: “Joan Armatrading?” No. But a good guess.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Did she have a major following?” At her peak, yes, but then a major fall.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Where was she based?” New York City. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Richard: “Judy Henske?” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve, finally: “Melissa Manchester?”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Kimberly kindly gave more hints. This was a group effort from 1973. The singer then went on to a solo career that was plagued by bad material, e.g. Michael Bolton and Diane Warren. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Still more shakes of the head. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Kimberly: “She had a couple of big hits in the ‘80s: ‘Gloria’ and ‘Self Control.’” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">No one guessed vocalist Laura Branigan. This recording was from an album called <i style="mso-bidi-font-style: normal;">The Friend Ship</i> by the band Meadow. In 1979, Ertegun signed her to Atlantic but held up releasing anything as the label tried to find the proper way to market her. Eventually, the plan was a bad one. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Kimberly expressed her appreciation for Branigan’s “unmatched pipes.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“She has power but also vulnerability. To me, Edith Piaf is her only rival. The material was the only issue.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Another example of what could have been...</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Kimberly: “Sorry… I didn’t mean to bring everyone down.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We weren’t bummed. We were enlightened. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1OtFoA4_8NIbcQaMQ3pn1keBgwh5_SVAgaarhHxI2iDKKNqqcF3X4ueDL2mqjsJ4eNVb9qHzOu6wH0prVy8IU2dmhOxYPkPHpRZsXB0QHxqXButHIRtV5VPR241jejcfDIJYZjYc2b30/s1600/IMG_1078.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1OtFoA4_8NIbcQaMQ3pn1keBgwh5_SVAgaarhHxI2iDKKNqqcF3X4ueDL2mqjsJ4eNVb9qHzOu6wH0prVy8IU2dmhOxYPkPHpRZsXB0QHxqXButHIRtV5VPR241jejcfDIJYZjYc2b30/s400/IMG_1078.jpg" width="400" /></a></div>
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</span> <span style="font-family: Arial, Helvetica, sans-serif;">Finally… The end of summer. Away goes the heat. Finally gone away is the period of family vacation and obligations. And (hopefully) the end of the slack attendance at our BYOV meetings.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I really look forward to seeing some<a href="http://www.blogger.com/blogger.g?blogID=8998283771073751235" name="_GoBack"></a> of our traveling musicians back in the fold. We’ve certainly missed you. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As you’ve probably guessed, our turnout at BYOV #14 on September 9<sup>th</sup> was light. We did manage to host our hardcore element and even a new guest.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">As always, we heard some very interesting music from a diverse range of artists. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Our manageable themes were:</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;"> a)<span style="font: 7.0pt "Times New Roman";"> </span></span></span></i><!--[endif]--><i style="mso-bidi-font-style: normal;">What ever happened to…? We want to hear your fav example of a living (or might be living) musician who has mysteriously fallen off the radar.<o:p></o:p></i></span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;"> </span></span></i></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;"> b)<span style="font: 7.0pt "Times New Roman";"> </span></span></span></i><!--[endif]--><i style="mso-bidi-font-style: normal;">Hometown heroes. Or not. Let’s hear a musician from your hometown that you feel never got his/her due or was just overhyped.<o:p></o:p></i></span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;"> </span></span></i></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;"><span style="mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;"> c)<span style="font: 7.0pt "Times New Roman";"> </span></span></span></i><!--[endif]--><i style="mso-bidi-font-style: normal;">The right sound for right now. Digging on Tuvan throat singers or bowed saw soloists? Bring an example of your current musical obsession. <o:p></o:p></i></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"> We’re off to the races!</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;"> <b>1.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><b>Hafiz Modirzadeh – “Facet Thirteen” & “Facet Twenty” from <i style="mso-bidi-font-style: normal;">Post-Chromodal Out</i> (<a href="http://www.pirecordings.com/" target="_blank">Pi Recordings</a>, 2012)</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by: Paul Bennett – CD – Theme: B</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Our newest attendee jumped straight onto the hot seat. Paul was excited to present a hometown favorite of his.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We heard an assortment of wind instruments accompanied by piano that built microtonally into a very rich melodic statement somewhat reminiscent of those of Ornette Coleman or the Bradford/Carter groups, though with a more foreign, folkish sound. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Is it one guy playing two horns?” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“No. A trumpet and a sax playing together. There may be some overdubbing.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jason: “Ah. This is who I thought it might be.” Jason knew but let us continue working on the puzzle.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Paul told us that the saxophonist was the leader and Jason kept dropping subtle hints.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“This is from that last album?” Yes. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Is it a prepared piano?” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Paul: “A retuned piano. You’ll probably know the pianist best.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Blue Gene Tyranny?”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Sounds like there is a zither.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jason: “It is a santur. I believe the recording is supposed to be a suite.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Is this a working group?” They’ve been together for the past two or three years but don’t play frequently.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Paul revealed the pianist: Vijay Iyer. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I was then able to guess Amir ElSaffar on trumpet, which gave away the tenor saxophonist as Hafez Modirzadeh. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Paul had attended high school in San Jose, California with Modirzadeh, who is of Iranian descent. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Modirzadeh studied and played with Ornette Coleman, utilizing many of the melodic and harmonic concepts of the master in his own amalgamation of jazz/western improvisation with Middle Eastern musical forms. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Paul had played with Modirzadeh while in school and followed his career, including his professorship at San Francisco State and his amazing self-made career in jazz/improvised music. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jason was able to identify the santur and said that he was a fan of authentic Middle Eastern music. We listened to “Facet 20,” a composition that featured the santur played by Faraz Minooei. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">(Interesting side note: Paul and Robert had met briefly at a gig of bassist Ken Filiano, who also happens to appear on this disc. Robert has studied with Filiano and the bassist had tried to hook Robert and Paul up to play together. Small world. Coming soon: BYOV - the Band.)</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><o:p> </o:p> </span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;"> <b> 2.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><!--[endif]--><b>Freddie Hubbard – “Cry Me Not” from <i style="mso-bidi-font-style: normal;">Hub Cap</i> (Blue Note BLP 4073, 1961)</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by: Robert Futterman – LP – Theme: B</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfUVo_dfofLEimoGAALAoafpH2bhhLB8EDdVJ31r0Bjyg9WWp-Y65IQMRc5Gbb22HH12UpdEJdl_Lk-i9aQ7AIVcWYEAQGauZwREMBi0q6kpIGCer6SFJtL2JwcYSTdHua5iX72gemAGU/s1600/freddie-hubbard-hub-cap-front-1600.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="398" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfUVo_dfofLEimoGAALAoafpH2bhhLB8EDdVJ31r0Bjyg9WWp-Y65IQMRc5Gbb22HH12UpdEJdl_Lk-i9aQ7AIVcWYEAQGauZwREMBi0q6kpIGCer6SFJtL2JwcYSTdHua5iX72gemAGU/s400/freddie-hubbard-hub-cap-front-1600.jpg" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Robert inadvertently went out of his way to stump us on this track, as this was supposed to be a hometown hero but was only realized in a round about sort of way.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">He began coyly enough: “This isn’t that obscure.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We heard a fantastically arranged three-horn melody with embellished trumpet sections. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Is it Wayne Shorter? He was from Newark, right?” No.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“McCoy Tyner?” Nope.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“It’s almost like a Grachan Moncur III tune. That slow tempo…” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “It sounds like Booker Little. But it isn’t.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Is it a Max Roach record? Wasn’t he from Brooklyn?” No. He was from North Carolina. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Is the trumpet player the leader?” Yes. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Is he a Brooklynite?” Sort of. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Lee Morgan?” No.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Paul: “Freddie Hubbard.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">But Hubbard wasn’t from Brooklyn. He was from Indianapolis. He did happen to live in Brooklyn during the 1960s when this was recorded for Blue Note. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “I can really hear the Booker Little influence here.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">But there was another Brooklyn connection that was a little less obvious.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “The tune was by Randy Weston.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Cry Me Not” was indeed written by the Brooklyn born and raised pianist Weston and arranged by the great trombonist/arranger Melba Liston (of Kansas City). Apparently, this was Hubbard’s favorite track on the record. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This recording featured an amazing group including saxophonist Jimmy Heath (of Philadelphia), trombonist Julian Priester (of Chicago), pianist Cedar Walton (of Dallas), bassist Larry Ridley (also of Indy) and drummer Philly Joe Jones (I bet you could guess where he’s from). </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jason mentioned that saxophonist Cecil Payne was from Brooklyn.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Robert: “Well I guess I could have brought Betty Carter but I didn’t.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Thank you!”</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i> </i><b>3<i>.</i><span style="font-style: italic; font: normal normal normal 7pt/normal 'Times New Roman';"> </span></b><!--[endif]--><b>Llyn Foulkes – “Old L.A.” from <i style="mso-bidi-font-style: normal;">Llyn Foulkes and His Machine: Live at the Church of Art <o:p></o:p></i></b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by: <a href="http://www.itinerariesofahummingbird.com/" target="_blank">Jason Weiss</a> – CD – Theme: C</b></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqWClURd5Be_Lv-5_YHFEfxyb7DQjMUUDv3Tn7apb_hmMBY3MmaQuzKiUUjDpDyBvPpj3oCYWjxt2-0nqXSNAaQAZ2roYy7xd_Ppc-WTnZF0J7FabIW3So428MYOcIY1hjLzqbAHct1eA/s1600/machinellyn_foulkesfoto_uwe_zucchi_0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqWClURd5Be_Lv-5_YHFEfxyb7DQjMUUDv3Tn7apb_hmMBY3MmaQuzKiUUjDpDyBvPpj3oCYWjxt2-0nqXSNAaQAZ2roYy7xd_Ppc-WTnZF0J7FabIW3So428MYOcIY1hjLzqbAHct1eA/s400/machinellyn_foulkesfoto_uwe_zucchi_0.jpg" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">For his own presentation, Jason brought a recording by an artist that he was invested in, this time for a writing project. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The musician here was known primarily as a visual artist and is soon to have a retrospective exhibit in Los Angeles. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The group heard a kind of bizarrely minimalist, homemade-percussive tune with a twisted vocal, which sounded vaguely familiar. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6imADzW0NtgWoQ_bptg6hBwnL7M23d_J39hVNA4kxvUACGqsYalLXFmLG0YwGGNYHnH3pO0yIN1EGvSYmrGe-zrmP7wcbok7PAB7dcUB3Eb3k5gUH1UkeSU1c_IcLaVitobLajHXbbYY/s1600/7024751045_0441cfdaac.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6imADzW0NtgWoQ_bptg6hBwnL7M23d_J39hVNA4kxvUACGqsYalLXFmLG0YwGGNYHnH3pO0yIN1EGvSYmrGe-zrmP7wcbok7PAB7dcUB3Eb3k5gUH1UkeSU1c_IcLaVitobLajHXbbYY/s1600/7024751045_0441cfdaac.jpg" /></a></div>
<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Paul: “It has a late ‘70s Tom Waits feel.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jason: “Don’t mention Waits to him.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Apparently, Waits wasn’t very supportive of this artist’s work, though they lived and worked in very similar artistic fields and locations. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">No one was able to guess who this was. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Llyn Foulkes has been a unique and influential individual in the modern American art scene since the late 1950s. Music was also a huge part of his life as he played drums in a band called City Lights (1965-1971) and his own The Rubber Band (1973-1977). </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">In 1979, Foukes created “The Machine,” an assortment of junkyard percussion and small instruments that he played as a sort of one-man band. The tune we heard featured Foulkes on his contraption along with his own “Waitsian” vocals. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">His music and his art recalled nostalgia for the lost traditions of novelty art, i.e. the one-man band and the postcard (which he used as inspiration for his landscape paintings). </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Foulkes has been in Los Angeles since the 1950s and a part of many of the different movements established during these past five decades, though he has always remained an individual. Like his contemporary Robert Rauschenberg, Foulkes most well known work utilized a method of collage painting and mixed media. Many of his images took critical views of the United States and its culture, including mixing dour images with those of pop culture (including Mickey Mouse). </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The same “souring of the American dream” can be heard in Foulkes’s lyrics. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We discussed a couple other projects that blended art and music relying heavily on improvisation. One of the most recent and successful was that of guitarist Nels Cline and painter (and Foulkes contemporary) Norton Wisdom. DVDs of their collaboration can be found here. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Foulkes’s retrospective will be held at Kent Fine Arts. The link is here.</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;"> <b>4.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><!--[endif]--><b>Ramsey McLean / Tony Dagradi – “Swan Song” from <i style="mso-bidi-font-style: normal;">The Long View</i> (Prescription No. 4, 1983)</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by: Me – LP – Theme: A & C</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">For my selection, I brought a recording that I had been listening to a bunch (I’ll explain why later) and featured a musician that had faded from the scene. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Is that a cello?” Yes. And I’m sorry for the soprano sax feature, Steve.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The meditative cello and sax duet held the listeners in silence for a few moments. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Is it Kalaparusha (Maurice McIntyre) and Abdul Wadud?” No. But interesting guess. I nearly brought a Wadud record.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Paul: “There is a hint of (Jan) Garbarek. Is this Surman?” Nope.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jason: “Are they non-Americans?” They are both Americans.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Erik Friedlander?” No. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Still alive?” Both are still alive. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“Dave Holland?” He isn’t American and he hasn’t fallen off anyone’s radar. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I hinted that the cellist was the musician who had disappeared. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Robert: “It sounds like a bassist that switched to the cello.” How astute. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Robert knew from the patterns the string player was playing. More in the supportive role of a bassist than a practiced cellist. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“It isn’t (saxophonist) Courtney Pine is it?” No. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “The cello is out of tune. No big deal.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Robert: “Ron Carter used to play the cello out of tune.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Paul: “This isn’t (Carter’s) style or approach.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">They kept trying to narrow down the saxophonist. It wasn’t Dave Liebman. Not Steve Lacy. And not Sam Newsome. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I introduced the crew to bassist/cellist/songwriter Ramsey McLean and saxophonist Tony Dagradi. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">I had found this duet record in New Orleans on my last trip and had been intrigued by the music. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Dagradi would be the most well known of the two players as he had been a member of Carla Bley’s band in the late 1970s, released a handful of records on Gramavision in the 1980s and has been a member of the New Orleans based modern jazz ensemble Astral Project for over 30 years. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">McLean was the odd man out. He had also found his way to New Orleans in the late 1970s and made two recordings on Prescription Records, co-owned at the time by drummer Alvin Fielder. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">McLean’s claim to fame came as he collaborated on early recordings of Harry Connick, Jr. The bassist had begun writing poetry/lyrics in the 1980s and supplied Connick with some for his early recordings. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Later, Connick would take McLean to court to try to break the 50/50 deal on royalties. Connick would lose. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">With some help, I’ve tracked Mr. McLean down and plan to interview him for an upcoming project. </span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;"> </span></span></span><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b><span style="mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";"> </span></span></span>Louvin Brothers – “Must You Throw Dirt In My Face” from <i style="mso-bidi-font-style: normal;">I Don’t Believe You Met My Baby</i> (Hilltop JS-6165, 1976)</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by: Steve Futterman – MP3 – Theme: C</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Here’s something that I’m listening to right now. Well I’ve listened to this forever.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The harmonically buoyant, mandolin tinged tune brightened up the room.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Jason: “Well this certainly isn’t a hometown hero.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve was blunt and informed us that he doesn’t like most country, though the music here was far from what country has now become. He wasn’t sure that this tune was the most representative of how great a harmony group these guys were. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The Louvin Brothers were an extremely successful country group. Both brothers sang and helped to popularize close harmony, much of their material relating to their Baptist upbringing with warnings against the dangers of sin. Ira played mandolin, while Charlie played guitar. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">While the music was in harmony, the relationship between the brothers was not. Apparently, the two hated each other. The group split up in 1963. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Their lives weren’t devoid of sin, either. Ira was accused of beating his wife and died in a car accident 1965 when he had a warrant out for his arrest on a DUI charge. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Charlie went on to have a long career in country and gospel until he passed away in 2011. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve thought that the music was very modern for the time, while the addition of mandolin kept the music rooted to the country tradition. His trajectory for the advancement of country music went like this: the Stanley Brothers to the Louvin Brothers to the Everly Brothers.</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;"> <b> 6.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><!--[endif]--><b>Al Haig – “All God’s Chillun Got Rhythm” from <i style="mso-bidi-font-style: normal;">Jazz Will-O-The Wisp (</i>Xtra 1125, 1972 (Mar. 13, 1954))</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by: Steve Futterman – MP3 – Theme: B</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve had another.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“This is very brief and very different.<span style="mso-spacerun: yes;"> </span>This is a fall-off-the-radar guy who could have potentially been big. He’s almost a hometown guy, too.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">A fleet fingered pianist took off on an uptempo trio excursion. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “Perhaps he set himself up for disappointment. To do this song after Bud Powell was a mistake. It seems like the same arrangement.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">This recording was by Newark, New Jersey born pianist Al Haig. He had appeared on a variety of recordings by the likes of Charlie Parker and Stan Getz. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Haig disappeared in the 1960s. During that time, he beat the rap of killing his wife. He claimed that his wife was drunk and fell down the stairs but he later admitted that he had strangled her to death. Nice guy, huh? </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Haig did mount a comeback in the 1970s</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Some were wondering where Haig and Parker crossed paths. Haig was apparently busy in many recording sessions during the 1950s and was most likely available on a call for Parker sides. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Steve: “He knew how to do it (play). From swing to bop.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">We also briefly discussed other pianists that had the touch but were mostly overlooked, including George Shearing. Ornette Coleman was a fan of Shearing, saying that Shearing was a great bebop player. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Can you think of any others? I<span style="mso-spacerun: yes;"> </span>am sure there are a ton.</span></div>
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<!--[if !supportLists]--><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><span style="mso-bidi-font-family: Cambria; mso-fareast-font-family: Cambria;"><span style="mso-list: Ignore;"> <b>7.<span style="font: 7.0pt "Times New Roman";"> </span></b></span></span><!--[endif]--><b>Tuba Skinny – “Some of These Days” from <i style="mso-bidi-font-style: normal;">Garbage Man </i>(Self-Released, 2011)</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><b>Presented by: Paul Bennett – CD – Theme: C</b></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">For the last selection of the day, Paul wanted to have us listen to a New Orleans based group that he had recently seen pack the house at Barbès. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“They do the trad stuff better than anyone else.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The band is Tuba Skinny and Paul originally saw them while on a trip to the Big Easy. The band had been busking on Royale while he was walking through the French Quarter. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Paul had followed their itinerary and found that they were playing locally at BYOV’s home base, Barbès. The crowd went nuts for them.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">“It was like a mosh pit. You gotta see them.” </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The trumpet player was a particular highlight for the group. The trumpeter is Shaye Cohn, who just happens to be Al Cohn’s granddaughter. She was very impressive and showcased more than a passing resemblance in tone to the great Bix Beiderbecke. </span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">The group gave the trad musical tradition a boost in validity because of their youth and enthusiasm. Very good to hear the tradition being kept alive.</span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><a href="http://tubaskinny.bandcamp.com/" target="_blank">Buy their records here. </a></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">Of course, talk went back to Mr. Steve Lacy, who started performing in trad bands. Red Allen had taken him under his wing while the saxophonist was still very young. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgLZxR7GHTDEUTSBJkdNW8c45CRoF8aTA1bMRyOJtNdBLiTb8zOOOdQ2AVVxpZjLLnBy6CBGrN7xYUEAi3H1s2xhW2B7dYrCxpKBPxDsdP-_KsweDeQa8cIdGaWe1qkTODTTnTX5Ie_kQ/s1600/IMG_0999.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgLZxR7GHTDEUTSBJkdNW8c45CRoF8aTA1bMRyOJtNdBLiTb8zOOOdQ2AVVxpZjLLnBy6CBGrN7xYUEAi3H1s2xhW2B7dYrCxpKBPxDsdP-_KsweDeQa8cIdGaWe1qkTODTTnTX5Ie_kQ/s400/IMG_0999.jpg" width="400" /></a></div>
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<span style="font-family: Arial;">This past BYOV found me coming off a New Orleans high. I had just came back a week before. So on the afternoon of August 12<sup>th</sup>, the attendees were subjected to Dr. John’s arguably perfect record <i>Gris-Gris</i> (ATCO SD 33-234, 1968). <o:p></o:p></span></div>
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<span style="font-family: Arial;">The turnout was typical for a summer time session: light. It didn’t stop us from listening to some very divergent musical offerings.<o:p></o:p></span></div>
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<span style="font-family: Arial;">The themes for BYOV#13 were as follows:<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">A) Keep it brief. Bring in your favorite short performance of two minutes or less.</span></i><span style="font-family: Arial;"><o:p></o:p></span></div>
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<i><span style="font-family: Arial;">B) No Coast. Our first of what will probably be increasingly popular regional suggestions. We want to hear your favorite Midwestern musician, composer or band.</span></i><span style="font-family: Arial;"><o:p></o:p></span></div>
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<i><span style="font-family: Arial;">C) Could have been somebody. Do you know a song that you think could have been a hit if put in the right hands? Lets hear it. <o:p></o:p></span></i></div>
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<span style="font-family: Arial;">I was surprised at how popular the Midwestern category was while the “coulda been a hit” category was very nearly neglected. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Jump in.<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: Arial; mso-fareast-font-family: Arial;"> <b>1.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></b></span><!--[endif]--><span style="font-family: Arial;"><b>Andrew Hill – “Hey Hey” from <i>Lift Every Voice</i> (Blue Note BST 84430, 1969)<o:p></o:p></b></span></div>
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<span style="font-family: Arial;"><b>Presented by Me – MP3 – Theme: B & C</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">I thought this track would be a bit of a puzzler for this crowd but as soon as the squawky sax came in Robert guessed Andrew Hill. He had heard the track before on some Blue Note compilation. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Who’s on tenor?” I didn’t know offhand and had to look it up. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Carlos Garnett played the gut busting tenor. Woody Shaw was featured on trumpet, Freddie Waits on funky drums and Richard Davis on bass. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Waits is definitely coming out of Roy Haynes.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">It reminded the attendees of Max Roach’s recording with the J.C. White Singers with a similar title called <i>Lift Every Voice and Sing</i> (Atlantic SD 1587, 1971). <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Are they singing words?” Nope, just bop, bahs and aahs. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard: “Sounds like the Swingle Singers meet (Luciano) Berios.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">“Do you think that the vocals were recorded live or overdubbed?” They were probably overdubbed after the quintet recorded the track. <o:p></o:p></span></div>
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<span style="font-family: Arial;">I picked this title because I thought that it was extremely catchy and had potential for crossing over (at least in the 1960s). The vocals pushed it over, of course. The chorus master was Lawrence Marshall, who doesn’t have any additional recording credits that I can find. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Joel: “In what universe could this have been a hit?”<o:p></o:p></span></div>
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<span style="font-family: Arial;">I explained that had Blue Note decided to split the track in half and put it on a 7 inch it could have had some jukebox play. They had done it with similar tunes from Bobby Hutcherson. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Joel: “I like your attitude.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">I also picked Andrew Hill because of his connection to Chicago. Though, Thomas reminded me that Hill was born in Port au Prince, Haiti. Close enough for jazz.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Thomas also had a couple other juicy tidbits about Hill. He recalled that Hill had written a note in his <i>From California with Love</i> release (Artists House AH 9409, 1979) where he voiced his opinions of the record and jazz industries where he had found a “route into poverty.” I’ve provided a bit of the note here:<o:p></o:p></span></div>
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<i><span style="font-family: Arial;">At the zenith of my Blue Note recordings, I found that fame and fortune were not my reward, but fame and poverty. This was hard to believe, for I had seen artists like Miles Davis, Maynard Ferguson, Oscar Peterson, etc., pass through Chicago. They weren’t surviving but living. <o:p></o:p></span></i></div>
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<i><span style="font-family: Arial;">At the top of my promotion, the English Rock groups were storming America. I had two alternatives: go commercial, or find a way to maintain my lifestyle. I was born with the ability to play anything I heard, so music would be with me regardless of what road I took.<o:p></o:p></span></i></div>
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<span style="font-family: Arial;">I wonder what Hill would say about the legacy of this recording. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Thomas had discussed Hill’s music with the great tuba/bari saxophonist Howard Johnson who said that Hill’s compositions had puzzling arrangements and that many of his recording sessions were deemed failures. There was a reason that many of his sessions from the ‘60s weren’t released until the late ‘70s up until the early 2000s. <o:p></o:p></span></div>
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<span style="font-family: Arial;">I still happen to think that many listeners are just catching up to Mr. Hill. This might not have been his deepest recording but it was certainly an intriguing one.<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: Arial; mso-fareast-font-family: Arial;"> <b>2.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></b></span><!--[endif]--><span style="font-family: Arial;"><b>Sun Ra – “Enlightenment” from <i>Jazz In Silhouette</i> (Impulse!/ABC SD 9265, 1975 (Saturn, 1958))<o:p></o:p></b></span></div>
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<span style="font-family: Arial;"><b>Presented by Robert Futterman – LP – Theme: B</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">Robert began by saying this was for the Midwestern theme: “A liberal understanding of Midwestern…” <o:p></o:p></span></div>
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<span style="font-family: Arial;">The introductory gong got some guffaws but we soared on. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Roland Kirk?” Nope. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard: “John Gilmore.” Yep - along with the rest of the fez-wearing-circa-1959 edition of the Sun Ra Arkestra. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “How did Gil Evans get on this session? This sounds straight out of <i>Porgy and Bess</i>.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Thomas: “With Hobart Coxon.” The trumpeter was certainly a standout here. So was the baritone saxophonist Pat Patrick. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “This is wonderfully conventional. Now Ra’s going for Ahmad Jamal style piano.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard: “This would be really good with some vocalist going ‘bow, bow, bow…’” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Slack jawed Steve: “Now it sounds like Stan Kenton…”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Robert: “There was always the joke – ‘Is the music Chicago or is it Saturn?’”<o:p></o:p></span></div>
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<span style="font-family: Arial;">“Enlightenment” was truly enlightening. Ooofph. This was really a portrait of Sun Ra’s very open concept of jazz during the late 1950s in Chicago, where he got his start after moving north from Alabama. His approach was focused on the now classic big band arrangements with a bit of added exoticism, thus the gongs and fez. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Joel mentioned that we should have Henry Threadgill come in because he could give a good rundown on Chicago’s musical history. Tell him to come down. We’d be happy to have him and I’d personally escort him on the F train.<o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: Arial; mso-fareast-font-family: Arial;"> <b>3.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></b></span><span style="font-family: Arial;"><b>Jacob Garchik – “Optimism” from <i>The Heavens: The Atheist Gospel Trombone Album</i> (Yestereve, 2012)<o:p></o:p></b></span></div>
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<span style="font-family: Arial;"><b>Presented by <a href="http://joelharrison.com/" target="_blank">Joel Harrison </a>– CD – Theme: A</b><o:p></o:p></span><br />
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<span style="font-family: Arial;">Joel: “This is a short one.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">We heard a very familiar brass band sound. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Me: “You should read the BYOV blog more.” Frown… <o:p></o:p></span></div>
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<span style="font-family: Arial;">Of course, we’ve heard the marvelous new record by Jacob Garchik. Miles Okazaki brought it in for BYOV #11. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The fact that another musician brought the record in says a ton about the recording. I don’t know what both presenters being tremendous guitarists implied. I do recommend everyone pick this release up, however. <o:p></o:p></span></div>
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<span style="font-family: Arial;">It has not only been well received by Garchik’s peers but also the critical world at large. He got a very nice write up by Ben Ratliff after his CD release performance at Shapeshifter Lab in Brooklyn. <a href="http://www.nytimes.com/2012/07/30/arts/music/jacob-garchik-at-shapeshifter-lab.html" target="_blank">Link here</a>.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Joel: “This song is brief. The whole record is a little over 30 minutes. I wish I could do that. My average is about 60 minutes.”<o:p></o:p></span></div>
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<span style="font-family: Arial;"><b>Presented by Richard Gehr – CD – Theme: B</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard brought a recording of a Midwestern group hailing from Oklahoma. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Bret will know this.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">A very forward bass, drums, piano and pedal steel emerged from the speakers. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Matt: “Oh, I know!”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Joel: “Is it Jacob Fred Jazz Odyssey? I wouldn’t have known who it was without you saying they were from Oklahoma.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Apparently, there aren’t many well-known jazz/jam ensembles that come from the Sooner State. <o:p></o:p></span></div>
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<span style="font-family: Arial;">I didn’t know upon first listen, unfortunately. I had been a big fan when my hair was a bit longer in college. Matt wanted pics. These have been conveniently lost, fortunately. <o:p></o:p></span></div>
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<span style="font-family: Arial;">JFJO has had a long tradition as a touring ensemble, especially in the Midwest where I grew up. The group has had many incarnations: a mid-sized jazz ensemble, a three piece jam band, an electronic music group, this featured quartet with pedal steel guitar and now a jazz ensemble with two to three horns. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard: “I would have brought their most recent release, <i>The Race Riot Suite</i> (The Royal Potato Family, 2011), but I couldn’t find it.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Robert wondered how the group found success.<o:p></o:p></span></div>
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<span style="font-family: Arial;">The answer, of course, was touring. The strong support of Hyena Records and Kevin Calabro had also helped to keep the band in the limelight. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Even Matt had booked the band while in college at Carnegie Mellon. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Joel: “What other jam bands do you like, Matt?”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Matt, without hesitation: “The Allman Brothers… “ (Joel is an unabashed Allman Brothers superfan). <o:p></o:p></span></div>
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<span style="font-family: Arial;">Joel: “Well… These guys must have slept on a couple of couches.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Matt: “They slept on my couch when they played at my school.” <o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: Arial; mso-fareast-font-family: Arial;"> <b>5.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></b></span><!--[endif]--><span style="font-family: Arial;"><b>Bix Beiderbecke w/ The Frankie “Tram” Trumbauer Orchestra – “Singin’ the Blues” from Frankie Trumbauer & His Orchestra – “Clarinet Marmalade” / “Singin’ the Blues” (Okeh Electric 40772, 1927)<o:p></o:p></b></span></div>
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<span style="font-family: Arial;"><b>Presented by Steve Futterman – MP3 – Theme: B</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">We were greeted by an early jazz recording that featured a prominent clarinet and trumpet. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Matt: “Is it Count Basie?” Nope. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“The trumpet player is Mr. Midwest?” Yes.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Thomas: “This is ‘Singin’ the Blues’?” Yep. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“I brought two Bix CDs because I thought that someone else might play something of his.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">The Iowa born cornetist has become a legendary figure in jazz and a pivotal element of the developments beyond the Chicago “Hot Jazz” style. His legend has only grown because of an extremely short career (only 4 to 5 years) due to his death aided by chronic alcoholism at the age of 28. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Beiderbecke had a revolutionary approach to the music that found him playing with a more laid back approach and cool tone while the music was still in the upbeat Dixieland style swing. His approach has been highly influential to many brass players, including Thomas.<o:p></o:p></span></div>
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<span style="font-family: Arial;">The track also featured a bevy of heavy hitters of the time, including clarinetist Jimmy Dorsey, the C-melody sax of Frankie Trumbauer, drummer Chauncey Morehouse, pianist Paul Mertz, trombonist Miff Mole and guitarist Eddie Lang.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Lang was a particular favorite of many of the aficionados in the room. He made quite a name for himself as the only guitarist to call on in those early days of jazz recording. He was featured so frequently that there was a moment of silence for him on radio when he passed away in 1933 at the age of 31 years old. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Matt: “It was interesting to hear the guitar here because there must have been more saxophones in households than guitars in 1927.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Joel: “Now the world is sick with guitar players.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Evidently, Lang was one of the two jazz musicians to have died in the dentist chair, the other being saxophonist Johnny Hodges. <o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: Arial; mso-fareast-font-family: Arial;"> <b>6.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></b></span><!--[endif]--><span style="font-family: Arial;"><b>Bix Beiderbecke and His Gang – “Sorry” from “Sorry” / “Since My Best Gal Turned Me Down” (Okeh 8544, 1927)<o:p></o:p></b></span></div>
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<span style="font-family: Arial;"><b>Presented by <a href="http://www.thomasheberer.com/" target="_blank">Thomas Heberer</a> – CD – Theme: B</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">Once again we turned back the clock to the 1920s. The lively rhythmic bounce to this track was invigorating.<o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is that a bass saxophone?” Sure was. The big horn was holding down the rhythm section. I lamented that there weren’t many of those big horns around anymore. Could they all have been melted down as part of the war effort during the Second World War? <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is the tune ‘Clarinetology’?” Nope.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Another Beiderbeck performance on a rendition of Howard Quicksell and Raymond Klages’s “Sorry.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Thomas reiterated what a great source of inspiration Beiderbecke had been to him. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Bix was one of the first ‘cool’ players. Lester Young being the other. Chicago was filled with all of the ‘hot’ players but Bix came along with a totally different style.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">The question of where these tunes were recorded came up. Turns out these were recorded in New York while only a few were actually put to wax in Chicago. <o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: Arial; mso-fareast-font-family: Arial;"> <b> 7.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></b></span><!--[endif]--><span style="font-family: Arial;"><b>Eric Kloss – “It’s Too Late” from <i>One, Two, Free</i> (Muse MR 5019, 1972)<o:p></o:p></b></span></div>
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<span style="font-family: Arial;"><b>Presented by <a href="http://fullyaltered.com/fa/" target="_blank">Matt Merewitz </a>– MP3 – Theme: B</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">In came the groovy alto, guitar and funky bass. Plenty of soul cymbals, too. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Okay. Sonny Stitt.” No. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Bunky Green.” Uh-uh. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Matt: “I’ll be impressed if you get it.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Eric Kloss. You impressed? Can you turn it off now?” Not a fan of the soul sax. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Matt was a fan, however. He actually wanted to track Kloss down while he was at school in Pittsburgh, where the saxophonist had resided until that time. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Blind from birth, Kloss had depended on his father for most of his life, attended a Pennsylvania school for the blind and never strayed far from Pittsburgh. After his father’s death, the saxophonist’s interests transferred to his wife who took him off the scene, making it unfeasible to study with him.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Matt considered Kloss the Chris Potter of the ‘60s. He crossed many jazz related boundaries, playing free, bop, pop, etc. Kloss was also a regular on many soul jazz recordings on Prestige and later Muse Records.</span></div>
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<span style="font-family: Arial;">This recording was from an early 1970s Muse release that featured the tremendous rhythm section of bassist Dave Holland, guitarist Pat Martino, electric pianist Ron Thomas and drummer Ron Krasinski. Of course, the tune itself was the Carole King penned classic</span></div>
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<span style="font-family: Arial;">The question arose whether to consider Pittsburgh the Midwest (I certainly don’t).</span></div>
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<span style="font-family: Arial;">Matt: “Well, it certainly isn’t the East Coast…”</span></div>
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<!--[if !supportLists]--><span style="font-family: Arial; mso-fareast-font-family: Arial;"> <b>8.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></b></span><!--[endif]--><span style="font-family: Arial;"><b>Melvin Rhyne – “What Are You Doing the Rest of Your Life?” from <i>Classmasters</i> (Criss Cross Jazz, 1183, 2000)<o:p></o:p></b></span></div>
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<span style="font-family: Arial;"><b>Presented by <a href="http://fullyaltered.com/fa/" target="_blank">Matt Merewitz</a> – MP3 – Theme: B<o:p></o:p></b></span></div>
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<span style="font-family: Arial;">For his next selection, Matt turned to a true blue Midwesterner. <o:p></o:p></span></div>
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<span style="font-family: Arial;">We heard a snazzy organ quartet with tenor, guitar and drums. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “The tune is (Michel Legrand’s) ‘What Are You Doing the Rest of Your Life.’ Now which organist? Jimmy Smith, Jack McDuff...” (He listed maybe three or four more)<o:p></o:p></span></div>
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<span style="font-family: Arial;">Matt: “He’s from Indiana.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Turned out the organist was Melvin Rhyne who has been an important part of the Indianapolis jazz scene for many years, his first involvement playing piano with Rahsaan Roland Kirk and most notably on organ with guitarist Wes Montgomery. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “So… Is that Houston Person on sax?”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Matt: “No. Think much younger.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Ah. Eric Alexander. So what do you think of Alexander?”<o:p></o:p></span></div>
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<span style="font-family: Arial;">“He’s generic.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Matt: “But a very specific generic: George Coleman in the mid ‘60s.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Matt went on to say that he still enjoyed listening to Alexander, especially on “tenor dual” type records pitting two horns against each other. There are a couple of discs with him matching up with Vincent Herring. The saxophonist is definitely able to perform a certain type of sound extremely well. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Apparently, Alexander remains a busy clinician and touring artist, carving a niche with students and fans of that 1950-1960s bop to soul jazz sound. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The other members of this combo were guitarist Peter Bernstein and drummer Kenny Washington. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Joel: “Genero Central.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Yeah. But many forget that most jazz fans dig just this sort of recording. It is very easy to get caught up in the musical landscape of New York and feel that we’re really jazz centric and starting trends. This isn’t really the case. As you can read in the DownBeat Readers Poll, most of the jazz audience is much more conservative than the critical population. <o:p></o:p></span></div>
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<!--[if !supportLists]--><b><span style="font-family: Arial; mso-fareast-font-family: Arial;"> 9.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></span><!--[endif]--><span style="font-family: Arial;">Dave King Trio – “Lonely Woman” from <i>I’ve Been Ringing You</i> (Sunnyside SSC 1336, 2012)<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><b>Presented by Me – CD – Theme: B </b><o:p></o:p></span><br />
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<span style="font-family: Arial;">I introduced the piece by saying that I had been requested to play this tune and that the leader and the rest of the ensemble were Midwesterners.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Resonant cymbal rubs led to a somber piano on a faintly recognizable, ruminative melody with a strong bassist and tasty brushed drums.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Matt: “Bill Carrothers?” Good guess. Carrothers was a part of the trio.<o:p></o:p></span></div>
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<span style="font-family: Arial;">We kept listening without anyone guessing the other players.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Out of the blue – Joel: “Someone should have brought Dave King’s Trucking Company.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">That didn’t spark any followup or the guesses that I had expected. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Is it ‘Lonely Woman?’” It certainly was the Ornette Coleman chestnut.<o:p></o:p></span></div>
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<span style="font-family: Arial;">So I had to let the cat out of the bag. After the last BYOV’s Bad Plus debate, I had mentioned to Chris Morrissey that Sunnyside was planning on releasing a Dave King Trio record where there was a focus on the “jazz” side of the drummer. I thought that it might be a good way to expose the skeptics to King’s full spectrum. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The results were great. The jazz police thought the tune very well performed and were surprised that King was the leader. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “What does he care?”<o:p></o:p></span></div>
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<span style="font-family: Arial;">It seems as though musicians who find success doing a certain thing are always fighting to prove their appreciation and knowledge for the tradition that inspired them. Since the Bad Plus has found a level of success, I feel that some jazz purists have written off what the members could do based on a limited listening. <o:p></o:p></span></div>
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<span style="font-family: Arial;">King doesn’t have to prove anything. Yet, he wanted to make a record that was more “in the tradition.” So here we are. Great record. <o:p></o:p></span></div>
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<!--[if !supportLists]--><span style="font-family: Arial; mso-fareast-font-family: Arial;"> <b>10.<span style="font-family: 'Times New Roman'; font-size: 7pt;"> </span></b></span><!--[endif]--><span style="font-family: Arial;"><b>Mose Allison – “Young Man Blues” from <i>Mose Allison Sings</i> (Prestige PR 7279, 1963)<o:p></o:p></b></span></div>
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<span style="font-family: Arial;"><b>Presented by Steve Futterman – MP3 – Theme: A<o:p></o:p></b></span></div>
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<span style="font-family: Arial;">Our dessert was a short piece that Steve thought we’d recognize. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“I love that they turned this into a rock epic.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Most recognized the piece as Allison’s “Young Man Blues” that the Who recorded later on <i>Live at Leeds</i> (Polydor, 1970). <o:p></o:p></span></div>
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<span style="font-family: Arial;">Mose Allison’s original was much shorter and a bit less bombastic. Talk about maximizing… <o:p></o:p></span></div>
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<!--EndFragment--><br />
<!--EndFragment-->Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com0tag:blogger.com,1999:blog-8998283771073751235.post-26508463834197548132012-08-16T23:02:00.001-04:002012-08-16T23:02:11.142-04:00Excavation - Kansas City
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<span style="font-family: Arial;">In July, I took a trip to my old stomping grounds of
Kansas City to visit my kith and kin.</span></div>
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<span style="font-family: Arial;">Growing up in the suburbs of KC meant that I had
access to a number of fantastic sources for my burgeoning record addiction. Two
legendary shops still cast large shadows over the present vinyl landscape:
Recycled Sounds and The Music Exchange. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Both of these stores were based in Midtown’s Westport
district, the oldest part of KC and probably the longest lasting “young and hip
district.” I began to frequent both shops as a teenager believing that I could
harness the power of hip-hop DJ stardom through a random assortment of LPs.
There was no one to tell me otherwise, of course, so I built up a small (and
admittedly weak) collection of cheapo discs. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Recycled Sounds was the home of indie rock in KC. The
store was opened in the late 1980s by husband and wife partners, Kurt von
Schlemmer and Annie Winter. The store was in the forefront of what was hip in
the Kansas City area and was host to a ton of excellent instore performances (I
recall two during my hip-hop days – the newly christened X-ecutioners featuring
Rob Swift, Roc Raida (RIP) and Total Eclipse and Mixmaster Mike as part of the
1998 Beastie Boys / A Tribe Called Quest tour). The store closed in 2006 due to
Winter’s health issues. (She eventually passed away in 2009). This was also the
first place to accept a résumé from yours truly. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The Music Exchange was not as hip perhaps, but more
well rounded. This huge store was where I really started collecting. The original
location was on Westport Road just east of Broadway. Owners Ron and Nancy Rooks
moved from Wichita to open the store in 1979. The store moved to a huge
location on 4200 Broadway just south of the KC coffee landmark, the Broadway
Café. After a hard time of it, the store closed and reopened in the River
Bottoms of KC before Ron passed away in 2006 sealing the fate of the Music
Exchange. <o:p></o:p></span></div>
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<span style="font-family: Arial;">After the unfortunate demise of these two
stalwarts and the death of the Pennylane/Streetside franchise (where I made my
retail debut), there weren’t many options for record perusal in the KC metro
area. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Over the past five to six years, the
vinyl market in KC has expanded. There have been a number of store openings in
the City proper and in the neighboring suburbs. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Here I’ve provided a rundown of the
recent additions along with a long-standing gem just a bit out of town. Go get some wax and some BBQ. <o:p></o:p></span></div>
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<b><span style="font-family: Arial;">Earwaxx
Records & More - 6410 N. Oak Trafficway - Gladstone, MO 64118<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><a href="http://www.facebook.com/earwaxxrecords"><b>www.facebook.com/earwaxxrecords</b></a><b> 816-436-9299<o:p></o:p></b></span></div>
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<span style="font-family: Arial;">I arrived at the Kansas City
International airport around noon on </span><span style="font-family: Arial;">July
18th. The weather was a balmy 105 degrees with high
humidity. Good reason to be indoors in the air conditioning. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL5dlhEFRlYyXEWzgT2SNkd_CcTaW3Yq2U7d16GMwc8B0QHMjea3xgXGe-vhYiXn3zh1DEN0bvHj7AVyFwv1wOJSnkUy2xZF-YgtkIgil6TNsdWtdyrFIypuILnHIkG50CsODDpWmKE_k/s1600/IMG_0856.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL5dlhEFRlYyXEWzgT2SNkd_CcTaW3Yq2U7d16GMwc8B0QHMjea3xgXGe-vhYiXn3zh1DEN0bvHj7AVyFwv1wOJSnkUy2xZF-YgtkIgil6TNsdWtdyrFIypuILnHIkG50CsODDpWmKE_k/s320/IMG_0856.jpg" width="320" /></a><span style="font-family: Arial;">My sister was the unfortunate soul that
had to pick me up ‘cause I intended on hitting the first shop immediately. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Earwaxx Records happened to be located
between the airport and Kansas City. The shop is in Gladstone north of the City
and is surrounded by what seemed to be an overabundance of used car dealerships
and tattoo parlors.</span></div>
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<br /></div>
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<span style="font-family: Arial;">We found the shop located within a short
strip mall. The location allowed for a store of a good size. <o:p></o:p></span></div>
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<span style="font-family: Arial;"><br /></span></div>
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<span style="font-family: Arial;">The front of store held what many used
shops tend to gather: collectable t-shirts and action figures. The real goods were
in the next larger room.</span></div>
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<br /></div>
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<span style="font-family: Arial;">There was a long array of new arrivals to
peruse. There seemed to be a very good mix of genre and obscurity. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Of course my main objective was the jazz
selection, which turned out to be rather large. My search therein found a wide
variety of independent labels mainly from the Midwest and East Coast. Many of
the records that I came across I had never seen before and they were in good
condition. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">I was willing to make a number of</span><span style="font-family: Arial;"> </span><span style="font-family: Arial;">“purchases of chance” (a turntable platter
roulette, so to speak) based on the very reasonable price point.</span></div>
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<br /></div>
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<span style="font-family: Arial;">The soul/R&B section was a bit
smaller and I shopped a bit through the rock selection, which was the shop’s
apparent specialty. Decided to keep my stay a bit brief for my sister’s sake. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">The staff was helpful when approached. They even
looked cute in their matching t-shirt uniforms. Actually, I should have picked
one up. See you at Christmas. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Questions were answered and hands were held to direct
me to a listening station. <o:p></o:p></span></div>
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<span style="font-family: Arial;"><br /></span></div>
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<span style="font-family: Arial;">The condition of the records varied a little but I
think the prices were representative of condition in nearly every case.</span></div>
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<br /></div>
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<span style="font-family: Arial;">I felt that I came away with a strong collection of
discs from Earwaxx. The breakdown is below:<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">It turned out that Earwaxx was opened in May 2008. Strange
that I hadn’t managed to make it up there until this trip. I’ll make a point of
getting there as frequently as I can from here on out. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Earwaxx proved to be a great new spot for finding a
wide variety of LPs. I was very happy with the selection and condition overall.
It happened to be a bit out of the way but that’s how it goes in KC. <o:p></o:p></span></div>
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<span style="font-family: Arial;"><br /></span></div>
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<span style="font-family: Arial;">The pull:</span></div>
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<span style="font-family: Arial;"><br /></span></div>
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<span style="font-family: Arial;"><br /></span></div>
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<span style="font-family: Arial;">Clockwise from top left - </span></div>
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<span style="font-family: Arial;">1. Ellis Marsalis - <i>Syndrome</i> - ELM Records - JS 4834 - $5</span></div>
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<span style="font-family: Arial;">2. Wally Badarou - <i>Echoes</i> - Island Records - 90495-1 - $15</span></div>
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<span style="font-family: Arial;">3. Steve Feigenbaum & Tom Scott - <i>Things Are More Like They Are Now Than They Ever Were Before</i> - Random Radar Records - RRR007 - $5</span></div>
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<span style="font-family: Arial;">4. Monnette Sudler Quartet/Quintet - </span><i style="font-family: Arial;">Time for a Change</i><span style="font-family: Arial;"> - Inner City - $8</span></div>
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<span style="font-family: Arial;">5. Bob Szajner Triad - </span><i style="font-family: Arial;">Afterthoughts</i><span style="font-family: Arial;"> - RMS - 77004 - $7</span></div>
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<br /></div>
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<span style="font-family: Arial;">Ratings:<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Location: 6/10 <o:p></o:p></span></div>
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<span style="font-family: Arial;">Price: 8/10<o:p></o:p></span></div>
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<span style="font-family: Arial;">Stock: 7.5/10<o:p></o:p></span></div>
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<br /></div>
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<b><span style="font-family: Arial;">Love Garden
– 822 Massachusetts St. – Lawrence, KS 66044 – 785-843-1551</span></b></div>
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<b><span style="font-family: Arial;">www.lovegardensounds.com<o:p></o:p></span></b></div>
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<br /></div>
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<span style="font-family: Arial;"><br /></span></div>
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<span style="font-family: Arial;">On Friday, I recruited my father (he would say
forced) to drive me down to a scorching Lawrence, Kansas so that I could visit
a former haunt of my high school and college days, the Love Garden.</span></div>
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<br /></div>
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<span style="font-family: Arial;">Every great college town should have a great
independent record store. The Love Garden has reigned supreme in Lawrence and
(in truth) the rest of Kansas as the best music shop since 1990.<span style="color: red;"> <o:p></o:p></span></span></div>
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<span style="font-family: Arial;"><br /></span></div>
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<span style="font-family: Arial;">I began visiting the shop when I was in high school.
Like Recycled Sounds, Love Garden was a great place to find independent rock
and hip-hop on CD and vinyl as Lawrence has always been a hub for touring
artists and home to a few greats, too (Get Up Kids, what!?!).</span></div>
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<br /></div>
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<span style="font-family: Arial;">For years, the store had resided upstairs at 936
Massachusetts before it moved to its current location at 822 Massachusetts, just
a bit farther north. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">While I miss the old record cover tiled
stairwell of the old location, the new street side location certainly has
served the store well, increasing foot traffic into the shop. <o:p></o:p></span></div>
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<span style="font-family: Arial;"><br /></span></div>
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<span style="font-family: Arial;">The new space was certainly roomy with a
large vaulted ceiling and one long sales place. The entrance of the store held
the 45s and used stereo equipment offered for sale. Immediately behind was
their new vinyl selection that held a ton of recent and reissued LPs.</span></div>
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<br /></div>
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<span style="font-family: Arial;">They had definitely scaled back the amount
of records since my last trip, though the store has remained very well curated.
<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">The jazz selection was much smaller than
it had been formerly but it did hold a few winners. Most of the jazz seemed to
be a few decades older than what I typically look for. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">The most intriguing section was the
alternative with a fair share of punk, new wave, goth and experimental titles
to puzzle over. I took some time at the listening station to go through a
handful of the unknown but more interesting looking titles.<o:p></o:p></span></div>
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<span style="font-family: Arial;"><br /></span></div>
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<span style="font-family: Arial;">Condition was generally good with a
decent to generous grading system marked on each disc. Worth taking a gander at
the disc.</span></div>
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<br /></div>
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<span style="font-family: Arial;">Prices were low to average on all the
discs. Some of the pieces I found wouldn’t have been found for double the price
in New York shops. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">I did find myself going through their
dollar selection as most of the pieces seemed to be in very good condition. Got
a handful of 1980s jazz titles that I had been passing over for a while because
of condition issues in other shops. These were pristine and the cheapest I’ve
found them. So ha! <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx9WKj0sTW90qJy1QWONlxTUVYW96X0Sg6Vb1vN-cAbTHvw9tKSp0MnnxC-DcbY3GWIvyJXAN_57oHdJ-i9o2lxsdVU_BVLl8415bqSKyql1x7HGIcHhNx7gVgr9IytIibsfY1WHRBecw/s1600/IMG_0892.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx9WKj0sTW90qJy1QWONlxTUVYW96X0Sg6Vb1vN-cAbTHvw9tKSp0MnnxC-DcbY3GWIvyJXAN_57oHdJ-i9o2lxsdVU_BVLl8415bqSKyql1x7HGIcHhNx7gVgr9IytIibsfY1WHRBecw/s320/IMG_0892.jpg" width="240" /></a></div>
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<span style="font-family: Arial;">The shop also maintains one of the
friendlier staffs in the area. Maybe it is that healthy country lifestyle those
folks have in Lawrence. Though, I do remember the early days when the staff
used to be a little imposing, a little “too cool” for a young music twerp like
myself.</span></div>
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<br /></div>
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<span style="font-family: Arial;">The Love Garden has remained a great shop
and an important stop in Lawrence, besides stocking up on Jayhawks gear, of
course. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">There was a 30-minute car trip involved
but it ultimately led to reward. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Haulish:</span></div>
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<span style="font-family: Arial;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj55Yln4HwSrWRBGlk-jrOh2Mbj-hwd9AeF-YIEp1LDcN-YVnf7oqCfTdcPGeaQ3Ct4rjSFSYstkxC9aeVjSO8VX7DRpab-TMlT5sp8hvar5_ufSrESbxj1w_5fuu5SBjMndYQE2u15_V4/s1600/IMG_0956.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj55Yln4HwSrWRBGlk-jrOh2Mbj-hwd9AeF-YIEp1LDcN-YVnf7oqCfTdcPGeaQ3Ct4rjSFSYstkxC9aeVjSO8VX7DRpab-TMlT5sp8hvar5_ufSrESbxj1w_5fuu5SBjMndYQE2u15_V4/s320/IMG_0956.JPG" width="320" /></a></div>
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<span style="font-family: Arial;">1. Charlie Watts Orchestra - Live Fulham Town Hall - Columbia/CBS - FC 40570 - $4</span></div>
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<span style="font-family: Arial;">2. Arild Andersen Quartet - Green Shading Into Blue - ECM/Warner - 1127 - $5</span></div>
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<span style="font-family: Arial;">3. Fred Tompkins - Compositions of Fred Tompkins - F.K.T. Records - 101 - $4</span></div>
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<span style="font-family: Arial;">4. Charles Wuorinen - Time's Encomium for synthesized & processed synthesized sound - Nonesuch - H-71225 - $5</span></div>
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<span style="font-family: Arial;">5. James Newton - The African Flower - Blue Note - BT 85109 - $1</span></div>
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<span style="font-family: Arial;">6. Walter Zuber Armstrong / Steve Lacy - Call Notes - World Artists - WA 1005 - $10</span></div>
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<span style="font-family: Arial;">7. Oliver Lake - Otherside - Gramavision - 18-8901-1 - $1</span></div>
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<span style="font-family: Arial;">8. Outer Circle - Outer Circle - Bemisbrain Records - BB129 - $14</span></div>
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<span style="font-family: Arial;">Ratings:<o:p></o:p></span></div>
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<span style="font-family: Arial;">Location: 7/10<o:p></o:p></span></div>
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<span style="font-family: Arial;">Price: 8/10<o:p></o:p></span></div>
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<span style="font-family: Arial;">Stock: CD = 8/10 – LP = 7.5/10<o:p></o:p></span></div>
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<b><span style="font-family: Arial;">Vinyl
Renaissance – 1415 W. 39<sup>th</sup> St. – Kansas City, MO 64111 –
816-756-0014</span></b></div>
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<span style="font-family: Arial;"><b><a href="http://www.vinyl-renaissance.com/">www.vinyl-renaissance.com</a></b><b><o:p></o:p></b></span></div>
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<span style="font-family: Arial;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZDOSLxvNZWgRoB8fvAmetCJ1foox-KYvW4q09jfVy9LhCzCYrL5UdUWO2maF9vhnQTS97cqPdByT4X3ZZ305_iYJaFEw5rRIKWW-tp8v3HGd6tAgefhmWL6GleSqGWB4q4wMr0nJfygY/s1600/IMG_0923.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZDOSLxvNZWgRoB8fvAmetCJ1foox-KYvW4q09jfVy9LhCzCYrL5UdUWO2maF9vhnQTS97cqPdByT4X3ZZ305_iYJaFEw5rRIKWW-tp8v3HGd6tAgefhmWL6GleSqGWB4q4wMr0nJfygY/s400/IMG_0923.jpg" width="400" /></a></div>
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<span style="font-family: Arial;">The latest addition to the KC record
store lineup has been Vinyl Renaissance on 39</span><sup style="font-family: Arial;">th</sup><span style="font-family: Arial;"> Street. This
location was opened in April of 2011.</span></div>
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<span style="font-family: Arial;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg148talqpm4OdX-KAhD2CGssdmmX83zg7lV6B4j2izFL2wafGUMAkD0-pg5eYSp4k5ov52jhNWy440VrUQRmPr234fSo6MUeVBosfu9MZ85D5BaIoGBQ9DnvgIYmLt0HAxbRtfApiOpJk/s1600/IMG_0264.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg148talqpm4OdX-KAhD2CGssdmmX83zg7lV6B4j2izFL2wafGUMAkD0-pg5eYSp4k5ov52jhNWy440VrUQRmPr234fSo6MUeVBosfu9MZ85D5BaIoGBQ9DnvgIYmLt0HAxbRtfApiOpJk/s320/IMG_0264.jpg" width="240" /></a><span style="font-family: Arial;">The original location of Vinyl
Renaissance was opened a few years earlier at 10922 Shawnee Mission Parkway in
Shawnee, Kansas. I have visited this shop a couple times. They had a decent
selection but were kind of heavy at the price point.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXABLKxCjAYwir0ZleeIV91fOogZxfleG2l8EhT8z-GHpncQuql4FO8FlXj8AASjx8OCuLWnoOWE0J7uD1eMKvcecPfbWDi3nSvjmKD93TEUc1JnOXjS2uukJLK-0UFUofcjQu_2-W1AE/s1600/IMG_0909.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXABLKxCjAYwir0ZleeIV91fOogZxfleG2l8EhT8z-GHpncQuql4FO8FlXj8AASjx8OCuLWnoOWE0J7uD1eMKvcecPfbWDi3nSvjmKD93TEUc1JnOXjS2uukJLK-0UFUofcjQu_2-W1AE/s320/IMG_0909.jpg" width="320" /></a></div>
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<span style="font-family: Arial;"> </span><span style="font-family: Arial;">I’ve already visited this newer Missouri
location a half dozen times or so. The prices have hovered around the medium
range but have been steadily getting higher.</span></div>
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<span style="font-family: Arial;">The store has been the best stocked shop
in Kansas City for some time, though the stock doesn’t turn over very
frequently. They do happen to have a very aggressive buying campaign as you can
see on street corners around the city. <o:p></o:p></span></div>
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<span style="font-family: Arial;"><br /></span></div>
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<span style="font-family: Arial;">The shop’s central location has made it
the first stop shop in town. They have continued to order new vinyl and CDs
making it the last store to carry these in the City. Kind of strange, really.</span></div>
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<br /></div>
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<span style="font-family: Arial;">Their used record selection covered the
lion share of the space. There was a large jazz and blues section along with a
larger rock and soul section. Alongside their new additions, there were two
rarity sections: one for jazz and one for rock/pop. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKgGzSN8GLPn1JyqdLMnTxpkHSLewCNACzOAAq-kKY95bymnh-NTwXWSsekI-Uiad1lemK0sSOXSMGQZZhmClDX6Msw5eFH2i1w97L40WnTa3Ub20SoL7ZLiDQqxrZX7Kz96cOknCtodc/s1600/IMG_0913.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKgGzSN8GLPn1JyqdLMnTxpkHSLewCNACzOAAq-kKY95bymnh-NTwXWSsekI-Uiad1lemK0sSOXSMGQZZhmClDX6Msw5eFH2i1w97L40WnTa3Ub20SoL7ZLiDQqxrZX7Kz96cOknCtodc/s320/IMG_0913.jpg" width="320" /></a></div>
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<span style="font-family: Arial;">The store’s business plan has seemed to
go after serious collectors rather than bang for your buck buyers. The jazz
choices seemed to be priced at the higher end of what I’d be willing to spend
for them. I only managed to take a couple pieces home. It didn’t help that
there wasn’t a listening station to try to hear if some of the higher priced
items might be worth the financial risk. <o:p></o:p></span></div>
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<span style="font-family: Arial;"><br /></span></div>
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<span style="font-family: Arial;">The staff was nice when approached.
Talkative about the local record scene when asked. I know that at the store’s
inception, many of the principle staff members came from the recently closed
Streetside location in Westport. Happy that they found a home.</span></div>
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<span style="font-family: Arial;">Here’s what I got:</span></div>
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<span style="font-family: Arial;"><br /></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVHlHIXXp5bW7yo_9eJAOkb-q1jNENrCJ50k-74lW-G23B_QFZkbdV_d1EqHC9H0ZsAhJWmOxM8Sph7Q1twP-uhdMiXw3Y9QZZZ33ugN61g_r9nO6VuoLVg5OnIvakEqyQ6yc8WzwrGBA/s1600/IMG_0958.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVHlHIXXp5bW7yo_9eJAOkb-q1jNENrCJ50k-74lW-G23B_QFZkbdV_d1EqHC9H0ZsAhJWmOxM8Sph7Q1twP-uhdMiXw3Y9QZZZ33ugN61g_r9nO6VuoLVg5OnIvakEqyQ6yc8WzwrGBA/s400/IMG_0958.JPG" width="400" /></a></div>
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<span style="font-family: Arial;"><br /></span></div>
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<span style="font-family: Arial;">1. City Light Orchestra - <i>Raised Spirits</i> - City Light Records - SRK 13429 - $6</span></div>
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<span style="font-family: Arial;">2. Defunkt - <i>Defunkt</i> - Hannibal Records/Antilles - HNBL 1301 - $8</span></div>
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<span style="font-family: Arial;">3. The Paul Winter Sextet - <i>Jazz Meets the Folk Song</i> - Columbia - CS 8955 - $8</span></div>
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<span style="font-family: Arial;">4. Joe Ruddick / Jim Theobald - <i>Nothing To Hide</i> - Joe's Smashing Records - #3 - $8</span></div>
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<span style="font-family: Arial;">5. Joe Ruddick - <i>New Music - Solo Piano - Quartet - Quadruple Octet</i> - Joe's Smashing Records - Number One - $6</span></div>
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<span style="font-family: Arial;">Ratings:<o:p></o:p></span></div>
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<br /></div>
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<span style="font-family: Arial;">Location: 9/10<o:p></o:p></span></div>
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<span style="font-family: Arial;">Price: 5/10<o:p></o:p></span></div>
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<span style="font-family: Arial;">Stock: CD=6/10 – Vinyl=7/10<o:p></o:p></span></div>
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<b><span style="font-family: Arial;">Zebedee’s
RPM Music – 1208 W. 39<sup>th</sup> St. – Kansas City, MO 64111 – 816-960-6900<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><b><a href="http://www.zebedeesrpm.com/">www.zebedeesrpm.com</a></b><b><o:p></o:p></b></span></div>
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<span style="font-family: Arial;">This shop opened up shortly after the Music Exchange shut its doors. A number of former Exchange staffers were able to work at Zebedee's for a time.</span></div>
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<span style="font-family: Arial;"><br /></span></div>
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<span style="font-family: Arial;">The store itself has been located in a
funky old home off 39</span><sup style="font-family: Arial;">th</sup><span style="font-family: Arial;"> Street. There they set up a small alcove for
the register in the foyer while the records and CDs are in what must have been
either the dining room or living room areas.</span></div>
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<span style="font-family: Arial;">Everything in the store was used, which
was totally fine since that was all I was looking for. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The stores selection wasn’t great for
what I was looking for and there were definitely quality issues. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Of all the stores, Zebedee’s was
certainly the most active in the way of clientele. The staff was actively
engaged with a number of visitors and went out of their way to talk to me about
what I was looking for, went to look for it upstairs and, when they couldn’t
find the title, took down my name to inform me if it ever came in. Good
business. <o:p></o:p></span></div>
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<span style="font-family: Arial;">I have gone to Zebedee’s and picked up a
handful of records in the past. This trip proved fruitless but I’m still happy
to peruse their stacks as long as they stay as attentive and friendly to the
customers.</span></div>
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<span style="font-family: Arial;">Ratings:<o:p></o:p></span></div>
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<span style="font-family: Arial;">Location: 9/10<o:p></o:p></span></div>
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<span style="font-family: Arial;">Price: 8/10<o:p></o:p></span></div>
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<span style="font-family: Arial;">Stock: CD=6/10 – Vinyl=6/10<o:p></o:p></span></div>
Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com19tag:blogger.com,1999:blog-8998283771073751235.post-3475644361419111282012-07-29T16:20:00.001-04:002012-07-30T12:31:01.729-04:00BYOV - Meeting #12<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwGzujm-awC1ndvby_gvwN7SimLAKWsJwDEQaLO7oKoKiKMngA0hoVuzb3BjhG3HP2WzoJfqcg3RIB24WEQC1HIMHacVcCCu1raGfx-l-sXUryHzs6pW6l3hyphenhyphenyYjeHKQnyhO8HtdhHzT4/s1600/IMG_0794.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwGzujm-awC1ndvby_gvwN7SimLAKWsJwDEQaLO7oKoKiKMngA0hoVuzb3BjhG3HP2WzoJfqcg3RIB24WEQC1HIMHacVcCCu1raGfx-l-sXUryHzs6pW6l3hyphenhyphenyYjeHKQnyhO8HtdhHzT4/s400/IMG_0794.jpg" width="300" /></a></div>
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Here we are: A full year into my listening session experiment. There have been some great turnouts and tremendous music heard. There have been some less than stellar turnouts and some contemporary country tunes. A total crapshoot but it is always fun.</div>
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If you are reading these posts and have the opportunity, I hope that you’ll join us for an upcoming meeting of BYOV. If you want to be on the email list, send me a note at <a href="mailto:bret.sjerven@gmail.com">bret.sjerven@gmail.com</a>. Thanks for reading.<br />
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Summer sessions have proven to be a hard sell. Many musicians are busy on the European festival circuit. Critics are hiding in their AC caves. The normal folks have gotten the hell out of New York.</div>
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That said I was happy to get a small but varied crowd for BYOV #12. It was held on July 8<sup>th</sup> in the cozy back room of Barbès in sun scorched Park Slope, Brooklyn. </div>
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The difficulty level of our themes has gotten tougher and tougher. </div>
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Here were this session’s challenges:</div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;">a) Persona Non Grata - Bring your favorite recording by an artist while they were in exile (forced or otherwise).</i><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i style="mso-bidi-font-style: normal;">b) "It's aiiigght..." - Song you really want to like, or feel that you should like, but don't. </i><o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;">c) Lit rock. - Bring your favorite literary inspired musical work, any genre. And yes, you can do better than Led Zeppelin's "Moby Dick." </span></i><span style="font-family: Helvetica;"><o:p></o:p></span></div>
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On to the show.</div>
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<b>1.<span class="Apple-style-span" style="font-family: 'Times New Roman';"><span class="Apple-style-span" style="font-size: 9px;"> </span></span>Charles Mingus – “The Chill of Death” from <i style="mso-bidi-font-style: normal;">Let My Children Hear Music</i> (Columbia C 31039, 1972)</b></div>
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<b>Presented by Robert Futterman – LP – Theme: C</b></div>
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Robert was primed to give us a few selections that he had picked for our literary theme. </div>
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He prefaced this selection by mentioning that he felt this piece was at once “pretentious, ponderous and lighthearted.” </div>
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We heard a large ensemble of strings and winds. Shortly after, a husky voice started to ramble on a poem that stretched the length of the piece. </div>
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Steve: “Is it Mingus’s ‘The Clown’?” Close.</div>
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“It is Jean Shepherd, though? He provided the vocal on ‘The Clown’.” </div>
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It did turn out to be a Charles Mingus composition but it wasn’t Shepherd, however. It was Mingus himself lending his voice. </div>
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Robert went on to say that he felt the piece was “egomaniacal.”</div>
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“I can’t even listen to it. It is an impossible record.” </div>
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Funny to hear since Mingus himself found <i style="mso-bidi-font-style: normal;">Let My Children Hear Music</i> to be one of his better efforts. The album was a grand concept that mingled a career’s worth of Mingus compositional material into a clustered but ultimately intriguing recording. The hero of the hour was the guy that had for so long made sense out of Miles Davis’s “directions in music,” Mr. Teo Macero. </div>
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Macero got props for arranging and editing this monster into a coherent recording. </div>
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The conversation turned again to Mr. Shepherd, who had hosted a legendary radio show on WOR that ran in the late 1960s into the 1970s. In 1957, he was featured on the Mingus composition “The Clown” as he delivered an improvised vocal.</div>
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<b> 2.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></b><b>Steve Lacy Sextet – “Morning Joy” from <i style="mso-bidi-font-style: normal;">The Condor</i> (Soul Note SN 1135, 1986)</b></div>
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<b>Presented by Robert Futterman – LP – Theme: C</b></div>
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Robert’s next piece was another tune featuring poetry. </div>
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This principle artist was guessed right away. Steve Lacy wouldn’t escape this crowd. </div>
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Ted: “Is it one of his poetry records?” Yes – each composition featured a poem by one of four poets including Anna Akhmatova, Franco Beltrametti, Nanni Balestrini and Bob Kaufman. </div>
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The track featured the saxophone duo of Lacy and Steve Potts along with pianist Bobby Few, bassist Jean-Jacques Avenel and drummer Oliver Johnson. Lacy’s wife, vocalist/violinist Irene Aebi handled the duties of reciting/singing the poem by poet Bob Kaufman. </div>
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Jason was familiar with Kaufman. The poet was born in New Orleans to a German-Jewish father and a mother of Martinique heritage. He was one of the original beat poets. Like Lacy, Kaufman relocated to France where he was later dubbed “Rimbaud Noir.” </div>
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Ted had just finished Jason’s book of collected <a href="http://www.amazon.com/Steve-Lacy-Conversations-Jason-Weiss/dp/0822338157/ref=sr_1_1?ie=UTF8&qid=1343659790&sr=8-1&keywords=steve+lacy+weiss" target="_blank">Lacy interviews</a>. What happenstance that writer, reader and subject met… </div>
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“It could only happen here…”</div>
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<b> 3.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></b><b>George Russell ft. Jon Hendricks – “Manhattan” from <i style="mso-bidi-font-style: normal;">New York, N.Y. </i>(Decca, 1958)</b></div>
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<b>Presented by Robert Futterman – LP – Theme: C</b></div>
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The final selection that Robert presented was the one that he felt was the strongest example of mixing poetry and jazz music. </div>
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The introductory drum solo before the all too familiar vocal was enough for this crew of jazz scholars. </div>
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Everyone knew the familiar “Manhattan” by musical polyglot and theorist George Russell. The Jon Hendricks vocal has been classic material for half a century. </div>
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Steve: “The drummer was Charlie Persip. Whew…” </div>
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Robert: “I like that Hendrick delivers the poem with no vocalese.” </div>
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“John Coltrane was on this, right?” Yep. </div>
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Apparently, Coltrane was brought in for the session as a burgeoning star. As he took fifteen minutes to look the piece over, the studio musicians scoffed - they thought he couldn’t read. As they ran through the piece, Trane knocked out a tremendous solo. Turned out that not only could he read, he had been adding his own harmonic additions to the structure. </div>
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Thomas mentioned that he had read Russell’s famed <i style="mso-bidi-font-style: normal;">Lydian Chromatic Concept of Tonal Organization for Improvisation</i>. He thought that the book was both beautiful and disastrous as it presented an amazing concept and legitimization of a certain type of composing and arranging but also led to the world of jazz education - which has tended to homogenize the music. Thomas has favored the trial and error method over the institutionalized educational system.</div>
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In the book, Russell reflected on Coltrane’s solo as being a perfect example of using imagination and harmonic thought in a presented structure. </div>
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Robert: “This is a long one. We don’t have to listen to it all.”</div>
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Ted: “But that’s what we’re here for.”</div>
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“Who was the guitarist on this?” Barry Galbraith. </div>
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Ted mentioned that Adam Rogers had studied with the forgotten legend who never had a chance to record an album of his own. </div>
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Another famous solo on the tune was Bill Evans’s one-handed piano solo. Steve called it “sitting on his left hand.” He also did this on “All About Rosy” later on. </div>
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Evans and Russell had been close. They had served in the army together and Russell had brought Evans to accompany vocalist Lucy Reed on her <i style="mso-bidi-font-style: normal;">This Is Lucy Reed</i> recording for which he had done some arrangements. They subsequently worked together on a number of far reaching projects, including a number of small groups and a large group recording under Evans’s name called <i style="mso-bidi-font-style: normal;">Living Time</i>. </div>
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<b> 4.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></b><b>Tristan Honsinger – “Violets” from <i style="mso-bidi-font-style: normal;">Picnic</i> (DATA Records 852, 1985)</b></div>
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<b>Presented by <a href="http://www.thomasheberer.com/" target="_blank">Thomas Heberer</a> – LP – Theme: A</b></div>
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Before presenting, Thomas had a question or rather a confession. </div>
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“We all love Steve Lacy and we have no reason to question his actions and decision making. But I have a hard time listening to recordings that he made with Steve Potts and Irene Aebi.”</div>
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It seemed as though Thomas had a point in his collecting where he was going weeding through his collection trying to determine whether he would ever listen to certain records again. Being a fan of Lacy, he had discovered that he couldn’t listen to records featuring Potts or Aebi. </div>
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Thomas mentioned that he probably owned 30 or so Lacy recordings but had gotten rid of most of the recordings with Potts or Aebi. He was looking to our panel to give him a reason to keep the rest. </div>
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Thomas added that he had also played with Potts and found Potts’s playing especially annoying due to the saxophonist’s lack of regard for intonation. He found it odd that Lacy loved working with Potts as Lacy’s pitch was extremely controlled. </div>
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Our Lacy expert Jason has heard all the cries of dissension about Aebi in the past, though just as many concerning Potts, whose playing he has enjoyed for some time. </div>
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Jason’s opinion on the Aebi influence on Lacy was that Lacy separated from the American jazz scene and had adapted himself to a more open European aesthetic – using European folkloric and classical ideas to add a jolt to his music. There was also the effort to incorporate his life partner into his work.</div>
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Thomas wasn’t too impressed with the answer as he has long been a member of this particular European “art music” scene. </div>
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Ted mentioned that he felt that Potts had come from an American swing based tradition but had gone on to a more post Ornette Coleman position when he began performing with Lacy. Of course, Potts’s relocation to Paris, the crossroads for the most experimental jazz during the late 1960s and 1970s, played a big part in his musical development and collaborations. </div>
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Steve found it strange that Lacy actually let Potts occasionally double on soprano, as their styles certainly didn’t mesh. </div>
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Jason: “Do you have a problem when Lacy includes a second horn player?”</div>
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Thomas: “No. I like the material he did with Roswell Rudd and the stuff that he did with George Lewis was great.” </div>
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No consensus was reached. Aebi would remain a polarizing figure in the world of Lacy-ites. And now Steve Potts has become part of that conversation. </div>
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There wasn’t much of a tie in with Lacy on the piece Thomas had selected, although the saxophonist on the track played with hints of Lacy’s style and may have lived in Paris for a short time. </div>
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The album was recorded by a sextet, though one voice was missing on this track. The musicians were from five different nations from four different continents. Two of the musicians had been persona non grata. </div>
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“Why were they ‘non grata’?” One had opposed Apartheid in South Africa and the other had refused to serve in Vietnam. </div>
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As we listened, we heard an off kilter melody shared between a trumpet and soprano saxophone. There was plucking strings and crashing cymbals. </div>
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Steve looked to me: “Do you know it?” I didn’t but I was worried that it might have been the artist that I wanted to present later (stay tuned). </div>
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“When was it recorded?” 1985. </div>
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Ted took a wild guess: “Is it Sean Bergin?” The saxophonist was indeed Bergin. A South African that made his home in Amsterdam. </div>
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The ensemble was led by cellist Tristan Honsinger - who had fled the USA to avoid the draft during the Vietnam War. The rest of the ensemble was Japanese trumpeter Toshinori Kondo, French bassist Jean-Jacques Avenel and American percussionist Michael Vatcher. </div>
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Ted wondered about the Vietnam flight as he thought the draft had ended in 1973 while Honsinger claimed to have left in 1974. </div>
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The answer to that riddle was that Honsinger originally left the States for Montreal in 1969. He later moved to Europe in 1974. </div>
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Thomas has collaborated with Honsinger and finds the cellist/composer very intense but with a hidden super romantic side. </div>
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I wish I had known of this one before. Great record all around.</div>
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<b>5.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></b><b>Fred Hersch Ensemble – “Part 2: The Sleepers” from <i style="mso-bidi-font-style: normal;">Leaves of Grass</i> (Palmetto, 2005)</b></div>
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<b>Presented by <a href="https://tedpanken.wordpress.com/" target="_blank">Ted Panken</a> – CD – Theme: C</b></div>
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Ted mentioned that his selection was “music featuring literature with a capital L.” He was also happy that there was a Brooklyn connection with the piece. He felt the piece “somewhat artisanal” apropos to the Park Slope surroundings. </div>
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Steve: “Is that Kurt Elling?” Yes. “Horrible…” </div>
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Ted: “Hmm… I really like Elling.” </div>
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Steve: “So is this a John Hollenbeck project?” No. Though it did happen to feature Hollenbeck on drums.</div>
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“Glenn Patscha?” No, it wasn’t the keyboardist and leader of the rootsy Ollabelle. </div>
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“That was Tony Malaby on tenor, though? Right?” I believe so. </div>
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No one guessed the leader or the literary connection. </div>
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The literary element was a poem by the former Brooklynite Walt Whitman. </div>
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The project was pianist Fred Hersch’s setting of Whitman poems to his own original compositions and arrangements. </div>
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Ted: “This also happens to be one of my favorite Whitman poems.” </div>
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<b>6.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></b><b>Bill Evans – “A Sleepin’ Bee” from <i style="mso-bidi-font-style: normal;">Trio 64</i> (Verve V6-8578, 1964)</b></div>
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<b>Presented by Steve Futterman – MP3 – Theme: C</b></div>
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Steve wanted to present a quick one that he felt everyone would get but he had just thought of.</div>
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As soon as the piano started, it was easy to tell that it was - seemingly a crowd favorite – Bill Evans. It was his trio of bassist Gary Peacock and drummer Paul Motian that was recorded in New York City on December 18, 1963. </div>
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The composition was by Harold Arlen but the tune’s original lyrics were provided by literary great and altogether strange guy, Truman Capote. </div>
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<b>7.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></b><b>Carlos d’Alessio & Marguerite Duras – "India Song (Orchestre)" from <i style="mso-bidi-font-style: normal;">India Song Et Autres Musiques De Films</i> (Le Chant Du Monde LDX 74818, 1984)</b></div>
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<b>Presented by <a href="http://www.itinerariesofahummingbird.com/" target="_blank">Jason Weiss</a> – CD - Theme: A</b></div>
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We heard a slinky piano groove that built up with cornet, clarinet and violin -reminiscent of early jazz and blues. </div>
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Steve: “Is it a Sidney Bechet piece?” No but it was certainly in the spirit. </div>
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Jason told us that the piece was written for an art house film from the 1970s. There was certainly an early American jazz meets French cabaret feel. </div>
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Steve: “So the composer was in exile?” In a way.</div>
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Composer Carlos d’Alessio was an Argentinean native who lived in France. This particular work was composed for writer/director Marguerite Duras’s film <i style="mso-bidi-font-style: normal;">India Song</i>. Duras wrote the play in 1972 and later released the film adaptation in 1975. </div>
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The setting of the movie was Paris in the 1930s – thus the early jazz sound that would have been extremely popular during the period.</div>
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Jason also mentioned that this particular song had a connection with another BYOV fav, Kip Hanrahan, as it was performed on his first recording <i style="mso-bidi-font-style: normal;">Coup De Tête</i> (American Clavé AMCL 1007, 1981) with Carla Bley featured on vocals and piano. </div>
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<b>8.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></b><b>Brion Gysin – “Kick” from <i style="mso-bidi-font-style: normal;">Self-Portrait Jumping</i> (Made to Measure MTM 33, 1993)</b></div>
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<b>Presented by <a href="http://www.itinerariesofahummingbird.com/" target="_blank">Jason Weiss</a> – CD – Theme: C</b></div>
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The trumpet just kicked in when Thomas chimed: “It sounds like Don Cherry.”</div>
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It certainly was. </div>
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The tune had a certain new wave / world fusion feel that Cherry went on to champion in the 1980s. But he wasn’t the main artist.</div>
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No one was able to guess artist and performance artist Brion Gysin. Most well known for his drawings and paintings, Gysin was involved in music and writing, too. He helped his friend William Burroughs edit a number of writings and even helped devise a “cut-up” system that Burroughs used to write <i style="mso-bidi-font-style: normal;">Naked Lunch</i>. </div>
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“Kick” came from an album Gysin recorded with French guitarist Ramuntcho Matta called <i style="mso-bidi-font-style: normal;">Self-Portrait Jumping</i> that featured his own vocals and lyrics over tracks that included illustrious jazz musicians like Don Cherry and Steve Lacy (with whom he had collaborated extensively). </div>
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<b> 9.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></b><b>Bad Plus – “Frog and Toad” from <i style="mso-bidi-font-style: normal;">Give </i>(Columbia CK 90771, 2004)</b></div>
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<b>Presented by <a href="http://chris-morrissey.com/" target="_blank">Chris Morrissey</a> – CD – Theme: C</b></div>
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Chris brought in an instrumental tune inspired by a series of children’s books by Arnold Lobel entitled <i style="mso-bidi-font-style: normal;">Frog and Toad</i>. </div>
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Steve: “Did this come out recently? I know I’ve listened to this recently.”</div>
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It was recent. At least in the scope of the past ten years, as it was released in 2004. </div>
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Jason: “It is interesting to know the name of the song while listening to the tune. You can put the image together and hear a certain energy the song tries to capture.” </div>
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No one tried to guess the artist(s). Chris hinted that the composer was a drummer from Minnesota. </div>
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Ted guessed the Bad Plus, the consistently trailblazing modern jazz (and other stuff) trio featuring pianist Ethan Iverson, bassist Reid Anderson and drummer Dave King. Each member has composed for the group but this particular tune was written by King. </div>
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The question of the group’s substantiality in the world of jazz came up as it inevitably does in any conversation about the Bad Plus.</div>
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“Is there anything beyond the rock and roll covers?” </div>
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Chris took exception: “As a disclaimer, these guys are friends of mine. They may be a polarizing group just because of their wide recognition. Their music isn’t schtick or tongue in cheek and they certainly aren’t insensitive to the music.”</div>
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Ted echoed Chris’s sentiments: “The group’s approach isn’t so calculated.” </div>
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Ted went on to say that the ensemble never aimed at being a group that covered rock and contemporary tunes to attract listeners. </div>
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The fact that the Bad Plus has had success beyond that which most jazz ensembles have attained has only garnered them with detractors in the jazz community. What should have been seen as a modern attempt at drawing from popular song has put the group in the crosshairs of the jazz cognoscenti. </div>
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The easiest target has seemed to be drummer Dave King. Once again his drumming came into question at our roundtable as someone mentioned that - to all intents and purpose - King was a rock drummer. </div>
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Chris: “Dave and many of his fans would vehemently deny that claim. He can play any style and has developed his own distinct concept and style.” </div>
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The fact of the matter was that the ensemble has brought together three individuals with many varied musical interests and concepts. Each of the members has proven his worth as a composer and improviser. </div>
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While the group has moved past these arguments, at least they’ve kept the music relevant and developed a following that might not have reached out to jazz otherwise. </div>
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<b> 10.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></b><b>Harry Miller Quintet – “Schooldays” from <i style="mso-bidi-font-style: normal;">Down South</i> (VARA Jazz 4213, 1985)</b></div>
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<b>Presented by Me – LP – Theme: A</b></div>
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We heard a plucked bass and scattered drums. There were some chuckles as some muffled vocalese and human squawking was heard. The horns came in as the drums swung into double time. </div>
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And they were off!</div>
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I mentioned that the make up of this ensemble was mainly European with some others. </div>
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Thomas: “It isn’t the Brotherhood?” It wasn’t the Chris McGregor led Brotherhood of Breath but Thomas was thinking along the right lines. </div>
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Ted: “I was thinking Dutch. Maybe Willem Breuker or Wolter Wierbos?” Though Breuker wasn’t there, it was the Dutch trombonist Wierbos blasting away. </div>
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It also turned out that the group was listening to saxophonist Sean Bergin for the second time that afternoon. </div>
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No one guessed the other exile, Bergin’s fellow countryman. </div>
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It was the great South African bassist Harry Miller most well known for his time with the Brotherhood of Breath, adventures in the UK and European free jazz scenes and his creation of Ogun Records with his wife Hazel. </div>
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The rest of the ensemble included the under-appreciated British trumpeter Mark Charig and the iconoclastic Dutch percussionist Han Bennink.</div>
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This particular record was released posthumously, Miller having perished on December 16, 1983 from injuries he received in a car accident on November 27. Two other musicians also died in the early morning disaster. The recording was made on March 3, 1983 in Amsterdam and released in February 1984. </div>
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Thomas mentioned that the accident was still mentioned as caution whenever musicians took to the road by car.</div>
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<b>11.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal;"> </span></b><b>Bob Dylan – “I Shall Be Released” from <i style="mso-bidi-font-style: normal;">The Bootleg Series, Vols. 1-3: Rare and Unreleased, 1961-1991</i> (Sony, 1997)</b></div>
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<b>Presented by Steve Futterman – MP3 – Theme: A</b></div>
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Steve: “I want to play a quick example of an artist that went into a sort of voluntary exile.”</div>
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Chris: “Isn’t that just called moving?”</div>
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The vocalist was obviously Bob Dylan. This was material from the Basement Tapes that were made as Dylan took time away from the limelight and started to piece together what was to become the Band.</div>
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The singer/songwriter had a motorcycle accident in 1967, which he used as an excuse to escape the touring life of which he was fairly exhausted. Dylan had just come off a big European tour and “he didn’t want to do it again.” </div>
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Ultimately, this led to new developments in Dylan’s craft, vocal style and the creation of one of the folk/rock’s favorite groups, the Band.</div>
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Jason: “So it was more of an internal exile.” </div>
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Steve: “At least he made good use of his time.” </div>
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<br /></div>Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com0tag:blogger.com,1999:blog-8998283771073751235.post-89163406552169031772012-06-29T10:47:00.001-04:002012-06-29T10:47:24.613-04:00BYOV - Meeting #11<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0WErV0JKhqR0hyphenhyphen0BkdXd8RThTXDj0GdQ_hfRISirvwY4VT8uwWMMwD1DlsmbCCEiul8z1_Of58oO9_RR6g8NxzYyWkCwZEXpXx75GJq1C20S5VYKTxe1irjGSx0w4CnBTiC-MSkwIPsg/s1600/IMG_0734.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0WErV0JKhqR0hyphenhyphen0BkdXd8RThTXDj0GdQ_hfRISirvwY4VT8uwWMMwD1DlsmbCCEiul8z1_Of58oO9_RR6g8NxzYyWkCwZEXpXx75GJq1C20S5VYKTxe1irjGSx0w4CnBTiC-MSkwIPsg/s400/IMG_0734.jpg" width="300" /></a></div>
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<span class="Apple-style-span" style="font-family: Arial;">BYOV took an unintended vacation for about two months. I hope that you weren’t worried.</span></div>
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<span style="font-family: Arial;">Absence made some folks’ hearts grow fonder… I was very happy to see a fairly large crew with whetted appetites for music and extended <i style="mso-bidi-font-style: normal;">ad</i> <i style="mso-bidi-font-style: normal;">nauseum</i> discussion. Yippee! <o:p></o:p></span></div>
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<span style="font-family: Arial;">BYOV #11 convened once again at Barbès in Brooklyn on June 3<sup>rd</sup> with a very nice turnout, including a new demographic which I’ve been trying to target for a while – young women. On suggestion of BYOV attendees, of course. <o:p></o:p></span></div>
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<span style="font-family: Arial;">I happened to think that this series of themes was especially challenging. Though, they didn’t seem to faze my pro music selectors. Well, maybe a bit. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Here were the themes:<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">a) Instant classic. What are some tunes from the 2000s you think deserve to become standards or that are likely to be considered "classic" songs in the future? "Sexy and I Know It," anyone? </span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">b) Giant (mis)steps. Oh how we love talking about misadventures and poor choices by musicians. Bring in your best example.</span></i></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">c) Out of left field. It is easy to become engrossed in a certain musical avenue. Every so often, a song or musician from a completely different place will hit you. What song do you love that came from outside your comfort zone? <o:p></o:p></span></i></div>
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<span style="font-family: Arial;">What would you have picked?</span></div>
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<b><span style="font-family: Arial;">1.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Arial;">Michael Hurley / The Unholy Modal Rounders / Jeffrey Fredericks & The Clamtones – “Hoodoo Bash” from <i style="mso-bidi-font-style: normal;">Have Moicy</i> (Rounder 3010, 1976)</span></b></div>
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<span style="font-family: Arial;"><b>Presented by Seton Hawkins – LP – Theme: C</b><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial;">Seton brought us a recording that he felt was originally out of his comfort zone but that he grew to be “kind of in love with.”</span></div>
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<span style="font-family: Arial;">Steve: “What exactly is your comfort zone?”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Seton: “I guess classical and jazz and anything out of Africa. Oh yeah… And Elvis – mainly early Elvis.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">We listened to a cracked country/folk tune featuring fiddle, bass, guitar and brushed drums. Oh… and some odd warbled vocals. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Seton mentioned that this album was a “collaboration” between three acts, the acts also happened to be quite incestuous. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard (who happened to know the album off the bat): “Have you seen the documentary?”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Seton: “Hell yes!”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Jason: “Sounds like the Holy Modal Rounders.” Very, very close.<o:p></o:p></span></div>
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<span style="font-family: Arial;">So… This ensemble and the subsequent recording provided a very complicated scenario. Want to hear it? Here it goes…<o:p></o:p></span></div>
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<span style="font-family: Arial;">The Holy Modal Rounders was a folk ensemble from New York City created by Peter Stampfel and Steve Weber in the early 1960s. The two musicians were introduced to each other by Antonia Duren, who went on to write many songs for the Rounders (including “Hoodoo Bash”). <o:p></o:p></span></div>
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<span style="font-family: Arial;">Separately and later in the 1960s, songwriter Jeffrey Frederick put together a group that became known as the Clamtones in his native Vermont. He also began collaborating with songwriter/multi-instrumentalist Michael Hurley shortly thereafter. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Frederick moved to Portland, Oregon in 1975. It just so happened that Steve Weber of the Holy Modal Rounders had relocated there as well. The two leaders shared a backing band known as The Clamtones under Frederick and the Holy Modal Rounders while performing with Weber. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Peter Stampfel hadn’t made the move to Portland and ended his collaboration with Weber. So, when he met up with Frederick/Hurley and Co. on a road trip, he decided to join in - leading this loose group of folk musicians under the guise of the Unholy Modal Rounders. <o:p></o:p></span></div>
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<span style="font-family: Arial;">On this tour, the collective recorded <i style="mso-bidi-font-style: normal;">Have Moicy!.</i> Making the situation even more confusing, the credits provided for the album have the ensembles completely jumbled. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Hoodoo Bash” was written by Antonia Duren and featured Peter Stampfel on vocals, Robert “Frog” Nickson on drums, Paul Presti on guitar and Robin Remaily on mandolin. The album notes credited Jeffrey Frederick and Jill Gross on vocals. <o:p></o:p></span></div>
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<span style="font-family: Arial;">There were further reasons Seton enjoyed the record, most importantly: “Michael Hurley sounding like Jimmy Buffett – if Jimmy Buffett didn’t suck.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Funny that this was presented first as we had just been marveling over Jason’s <a href="http://www.amazon.com/Always-Trouble-ESP-Disk-Outrageous-Interview/dp/0819571598/ref=sr_1_1?ie=UTF8&qid=1340832925&sr=8-1&keywords=jason+weiss" target="_blank">new oral history of the ESP label</a> – the label that originally released the Holy Modal Rounders albums. <o:p></o:p></span></div>
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<b><span style="font-family: Arial;">2.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Arial;">Lionel Hampton – “California Dreamin” from <i style="mso-bidi-font-style: normal;">Them Changes</i> (Brunswick BL-754182, 1972)</span></b></div>
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<span style="font-family: Arial;"><b>Presented by Ben Monder – CD – Theme: B</b><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial;">Ben: “So I first heard this on WFMU’s Incorrect Music radio show. I knew that I had to get it after I heard it. It was definitely out of my comfort zone.”</span></div>
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<span class="Apple-style-span" style="font-family: Arial;">We heard a funky track with a languid yet soulful vocalist singing the very familiar “California Dreamin’” by the Mamas and the Papas. Bass heavy, tight snare and a horn section beefed the track up.</span></div>
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<span style="font-family: Arial;">Richard: “It isn’t Bobby Womack is it?” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Zak: “No. If it were Bobby, this would be a classic.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard: “You call this a misstep?”<o:p></o:p></span></div>
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<span style="font-family: Arial;">“Great bass player. Do you know who it is?” No. (Turned out to be a bassist by the name of Steve Rushin.)<o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Is it a known artist?” Oh yeah – The last part will give it away.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Then the vibraphone came in. Huh? <o:p></o:p></span></div>
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<span style="font-family: Arial;">The singer: “Help me somebody!” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “True words…” <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is the vocalist a different person than the vibraphonist?” I don’t think so. I think it is the same guy. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The vocalist’s style was reminiscent of James Brown but additional vibes talent didn’t line up. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Were the brass players in his band?” Yes.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Lionel Hampton. But I don’t think he was singing.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">It was indeed the Lionel Hampton band from a 1972 recording called <i style="mso-bidi-font-style: normal;">Them Changes</i>. The record featured a number of soul and rock covers done by a slick large ensemble and vocalists. The vocal on this track was sung by forgotten soul singer Lee Moses. (<a href="http://onepointeightseconds.blogspot.com/2011/12/lee-moses-time-and-place-1971.html" target="_blank">Here is a link to his only album as a leader</a>.)<o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve was positive that Lionel wasn’t the vocalist as he had sung on recordings in the past. So we listened to Hampton’s rendition of “One Sweet Letter From You” recorded in 1939. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “He’s no James Brown…”<o:p></o:p></span></div>
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<span style="font-family: Arial;">“Oh c’mon… Just skip ahead to the part where he starts shrieking.” <o:p></o:p></span></div>
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<b><span style="font-family: Arial;">3.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Arial;">Jacob Garchik – “The Heavens” from <i style="mso-bidi-font-style: normal;">The Heavens: The Atheist Gospel Trombone Album</i> (Self Released, 2012)</span></b></div>
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<span style="font-family: Arial;"><b>Presented by <a href="http://www.milesokazaki.com/" target="_blank">Miles Okazaki</a> – CD – Theme: C</b><o:p></o:p></span><br />
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<span style="font-family: Arial;">Miles: “I guess this is out of my comfort zone. I think it is interesting and wanted to play it. But if I saw it in a store, it probably wouldn’t have been something I would have picked up at first glance.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">The listeners were greeted by a warm trombone led brass ensemble playing a bluesy, gospel arrangement. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“How old is this?”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Miles: “This is very, very new.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Ben: “Is it Jacob Garchik? His new thing where he plays all the instruments?” Yep. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The San Francisco born, New York based Garchik has been performing regularly in a variety of ensembles – from jazz and improvised music to the brass heavy Mexican Banda - in the local NYC and global creative music scenes for some time. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Miles: “Technically this is really amazing. And it is very soulful. The rest of the record is just as good. There’s a bit of klezmer, gospel, blues…” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Garchik wrote and played all the parts on this recording - overdubbing parts to make a brass choir. A really, lush beautiful recording. <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">I’d like to thank Jacob for sending a copy of the disc and allowing me to stream the track for the blog. The CD will be released on July 31. Watch this site for more details: <a href="http://JacobGarchik.com/">JacobGarchik.com</a>.<o:p></o:p></span></i></div>
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<b><span style="font-family: Arial;">4.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Arial;">Quintetto Vocale Italiano performing Carlo Gesualdo – “Asciugale I begli occhi, W5.57” from <i style="mso-bidi-font-style: normal;">Sämtliche fünfstimmigen Madrigale</i> (Telefuken, 1965-1969)</span></b></div>
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<span style="font-family: Arial;"><b>Presented by <a href="http://www.thomasheberer.com/" target="_blank">Thomas Heberer</a> – LP – Theme: C</b><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial;">Thomas presaged playing his selection telling us that he had a “broad comfort zone.”</span></div>
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<span style="font-family: Arial;">Thomas: “My musical world began with jazz and then began opening up. Sometimes I run across a record that I’m not comfortable with but that usually just opens new doors.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Thomas was particularly taken with this selection that he wouldn’t have otherwise discovered without taking a chance. <o:p></o:p></span></div>
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<span style="font-family: Arial;">We heard a vocal group of five voices performing a restrained, somber piece. The parts moved slowly and had a wide range of harmonic coloring shared between the parts. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“I can’t tell what language it is in.” Italian. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Ben: “Is it Gesualdo?” Yep.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Carlo Gesualdo was a very special composer for his time and he also had quite an intriguing story. He was the Count of Napoli at the end of the 16<sup>th</sup> century, late in the Renaissance period. Being a very wealthy man, Gesualdo was able to afford his own orchestra that played his compositions but not outside of his estate. He composed for his own enjoyment. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Gesualdo’s music was unique to the period. He used chromatic methods that wouldn’t be heard again for 200 years and wrote compositions to express emotional conditions, not in celebration of God. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The emotional conditions Gesualdo faced were extraordinary. In 1580, he caught his wife Donna Maria d’Avalos in bed with her lover Fabrizio Carafa. Gesualdo murdered them on the spot and displayed their bodies in front of the palace. He was not prosecuted because of his royal status. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Apparently, there was a shift in Gesualdo’s compositional style following the murders. He began feeling guilt for what he had done. Thus opened a new compositional chapter, one of a depressed count – his music becoming more somber and affected.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Thomas: “His music is an island. It was very extreme for the time period. And since no one listened to it, the music was very isolated. So no one cared about it for 200 years.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Gesualdo wrote six books of madrigals. Three books came before the murders, three after. This particular madrigal came form the fifth book and features remarkable use of chromaticism and counterpoint. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Thomas: “He was a conscious destroyer of rules.”<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">I tried to find the exact recording that Thomas provided but could not. This recording was done by Claudio Cavina and La Venexiana on a disc entitled Gesualdo: Quinto Libro de Madrigali (1611).<o:p></o:p></span></i></div>
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<b><span style="font-family: Arial;">5.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Arial;">John Coltrane – “My Favorite Things” from <i style="mso-bidi-font-style: normal;">My Favorite Things</i> (Atlantic SD 1361, 1961)</span></b></div>
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<span style="font-family: Arial;"><b>Presented by Steve Futterman – MP3 – Theme: B</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">Our favorite agent provocateur was next.</span><br />
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<span style="font-family: Arial;">The familiar sound of Coltrane’s soprano debut floated out of the speakers as everyone looked around the room. We could all see where this was going. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “How did the soprano saxophone destroy jazz?” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard: “I think the Stratocaster has done way more damage.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">There were more than a couple of guffaws. But Steve asked his question in earnest. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Oran: “Well… Isn’t it Sidney Bechet’s fault?”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “But clarinet was his first instrument. He doubled on soprano.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve wanted to clarify that he wasn’t slighting Coltrane’s work or Steve Lacy’s exceptional focus on the horn but took issue with tenor players doubling and/or focusing on the soprano. <o:p></o:p></span></div>
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<span style="font-family: Arial;">I suggested that the fact that the instrument was in the same key (Bb) as the tenor and had the same fingering made it easy to transfer to. Though, the fact that a player may have a great sound on a tenor doesn’t ensure he would have a good or even mediocre sound on the soprano. Honing a tenor embouchure versus a soprano embouchure would take real work on the part of the musician. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard tried a more musical approach to reason why players might choose the soprano: “The soprano is strident and cuts through anything. Plus it has a call to prayer kind of sound.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve stuck to his guns. He thought that the “Middle Eastern” inflection that frequently appears with soprano has been overplayed. <o:p></o:p></span></div>
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<span style="font-family: Arial;">He also thought that though Wayne Shorter has spent a long time developing an identity on the soprano, the legendary saxophonist had a more pronounced identity on tenor. The problem was Shorter’s approach to the horns: robust and melodic on tenor while short and motif-based on soprano. That had developed into the common approach for all doublers and eventually the common identity for the soprano. <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Love to hear some opinions from folks that favor the lighter horn… <o:p></o:p></span></i></div>
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<b><span style="font-family: Arial;">6.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Arial;">Miles Davis – “Pharaoh’s Dance” from <i style="mso-bidi-font-style: normal;">Bitches Brew</i> (Columbia GP 26, 1970)</span></b></div>
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<span style="font-family: Arial;"><b>Presented by Robert Futterman – CD – Theme: B</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">Here was another easily recognizable selection. I believe it was Steve’s daughter India who promptly guessed artist correctly.</span><br />
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<span style="font-family: Arial;">Robert: “What was I thinking? I really liked this recording when I first bought it. Now I listen and ask: why do I like this? It is aimless. There are all these great musicians here. Where are they going? Why don’t they get there sooner?”<o:p></o:p></span></div>
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<span style="font-family: Arial;">It wasn’t that <i style="mso-bidi-font-style: normal;">Bitches Brew</i> had fallen out of Robert’s favor but it remained a mystery why this recording has remained a classic in the jazz lexicon.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Zak: “It may have been aimless but it was distinctive. They tapped into something unique.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Yet the argument would remain that the <i style="mso-bidi-font-style: normal;">Bitches Brew</i> sessions were an amalgamation of hours of jamming without a clear purpose or even any real themes. This project might have been more historically relevant because it was more or less a project of studio excesses, i.e. putting together a tremendous ensemble of talent, riffing on hours of tape and finally having a producer (Teo Macero) sculpt a product out of it. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard: “You have to consider the time and the historical context.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard maintained that at the time, these long jams were happening all over. Many groups took advantage of the drug culture and subsequent open mindedness of a younger generation of listeners. The Grateful Dead took a similar approach but were much more aimed at building to a specific moment. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard: “The Dead presented more free music to a wide range of listeners than any other band.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Jason: “Was Miles’s music ‘free music’?” Maybe not, but structure was definitely the defining issue here.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Robert: “What bothers me is the lack of structure.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">We discussed how Teo Macero was the real hero for this and many other Miles projects following. Macero ultimately made compositions out of raw musical material. These recordings were essentially musique concrète. <o:p></o:p></span></div>
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<span style="font-family: Arial;">There was also the question of length as many of the compositions on <i style="mso-bidi-font-style: normal;">Bitches Brew</i> exceeded the 12-minute mark.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Seton: “What about Wagner? Tristan and Isolde is extremely long but remains a classic.”<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Amazing that this recording can still prompt such a heated discussion nearly 50 years after its release. Or maybe it’s just us…? I fear it might be.<o:p></o:p></span></i></div>
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<b><span style="font-family: Arial;">7.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Arial;">Kip Hanrahan – “Busses from Heaven” from <i style="mso-bidi-font-style: normal;">Beautiful Scars</i> (American Clavé AMCL 1060, 2007)</span></b></div>
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<span style="font-family: Arial;"><b>Presented by <a href="http://www.itinerariesofahummingbird.com/" target="_blank">Jason Weiss</a> – CD – Theme: A</b><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial;">Jason: “I don’t know if it is a classic but I think it is a good tune.”</span></div>
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<span style="font-family: Arial;">Richard: “We’ll be the judges of that…” <o:p></o:p></span></div>
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<span style="font-family: Arial;">The Afro-Cuban song featured a measured clave, violin and English lyrics. I thought the growling spoken words were reminiscent of Bill Laswell’s recordings of Burroughs on his Material <i style="mso-bidi-font-style: normal;">Seven Souls</i> recording. The Afro Cuban bit didn’t fit the Laswell persona, however. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is this a great performance or a great tune?” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Jason: “Well, considering the artist may or may not actually be playing on this tune, I’m not sure. But I think that the music really stays with you. There is a lot of layering. Many textures.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">No one guessed who the artist was. <o:p></o:p></span></div>
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<span style="font-family: Arial;">It turned out to be Kip Hanrahan. His work has been kind of popular around BYOV for a little while. Richard had previously brought another project that came out on his American Clavé label, <i style="mso-bidi-font-style: normal;">Conjure</i>. <o:p></o:p></span></div>
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<span style="font-family: Arial;">There has been some question as to Hanrahan’s involvement in the actual music making. He has always been credited as the producer and/or director of projects that came out on American Clavé but many musicians have disputed his input or activity. Hanrahan has also been a poet, vocalist and percussionist on the side. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Apparently in the live situations, Hanrahan has tended to move about the stage, occasionally playing percussion or whispering direction to players. There has been reason to suspect that he hadn’t recorded on tunes from his own recordings. <o:p></o:p></span></div>
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<span style="font-family: Arial;">While his production style may be a mystery, Hanrahan’s taste has never been suspect. Born of Jewish and Irish decent, he was raised in the Bronx listening to Latin and Black music. This led him to create and produce projects that were very much focused on Afro-Cuban, salsa, tango and jazz. Hanrahan’s legacy might be that he was a great organizer rather than musician or producer. <o:p></o:p></span></div>
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<span style="font-family: Arial;">After Jason’s presentation, we began to discuss what we should be deemed a “modern classic.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Of course, there were a couple of angles to approach this from. There was the classic popular song. There are hundreds of tunes written every year that are loved for a time and then forgotten. A few get passed down through generations of listeners. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Popular music has proven to be tough to gauge, especially by the crowd that turns up at BYOV. Generally music snobs, the BYOV regulars have found it hard to digest most current popular music. Seton provided an example of a modern songwriter that could be a potential successor of past “classic” progenitors, Stephen Merritt of the Magnetic Fields.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve was more interested in the jazz component in generating classic material. His main issue has been that there are no longer composers creating music in the classic jazz cannon – compositions that peers use in their own repertoire, etc. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “There are no more Horace Silvers…”<o:p></o:p></span></div>
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<span style="font-family: Arial;">We discussed this at length. Most classic jazz compositions were either standard popular material taken from musicals of the day (the American Songbook) or pieces written on the chord changes of these tunes. Occasionally, there came a composer that had an impact by writing tunes that other jazz musicians took on.<o:p></o:p></span></div>
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<span style="font-family: Arial;">The creation of a classic song cannot really be judged until later. It took some time for compositions of composers like Horace Silver, Thelonious Monk and Herbie Hancock to be regularly heard as part of the jazz canon. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Thomas: “We’re not in a period for covering. There have been a few recent examples, like Vijay Iyer’s covering Julius Hemphill, but overall musicians are composing their own material.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Ben: “Cover tunes are really used to imbue the performer’s own identity, anyway.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Thomas also mentioned that most current musicians seemed to be looking to establish their own compositional identities rather than look to past forms, though using others’ compositions could provide a frame of reference to the artist’s particular sound and approach. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The past also had other imperatives. Recording was still a money making endeavor for artists and labels. A label like Prestige would have a group come in without any rehearsal time, pick a few tunes and record. The songs they played weren’t new compositions typically but standards that would be familiar to the musicians. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Not completely satisfied with his query results, Steve pointed out that Ornette Coleman was a perfect model of what he was searching for. Coleman has been known as a great melodist with many players being familiar with his tunes. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“A genius like that comes only once a decade or so…”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Only time will tell. (I’m going with all the clichés today, huh?)<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">The conversation was long, interesting and involved. So much so it was hard to record. Another reason to get your ass to BYOV.<o:p></o:p></span></i></div>
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<b><span style="font-family: Arial;">8.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Arial;">Darius Jones – “The Enjoli Moon” from <i style="mso-bidi-font-style: normal;">Book of Mae’bul</i> <i style="mso-bidi-font-style: normal;">(Another Kind of Sunrise)</i> (AUM Fidelity AUM072, 2012)</span></b></div>
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<span style="font-family: Arial;"><b>Presented by <a href="http://zealimages.wordpress.com/" target="_blank">Zak Shelby-Szyzsko</a> – CD – Theme: A</b><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial;">Breaking in to smooth out the situation after our extended debate, Zak wanted to play a recording by a “young guy that fits the Ornette mold.”</span></div>
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<span style="font-family: Arial;">Zak: “This tune really sticks in my head. I find myself humming it on the train.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Solemn piano opened up for a strident alto saxophonist soon joined by bass and drums. The melody was barefaced and poignant. The shifting meters and ensemble’s expansiveness made for an interesting listen. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “This sounds like an Andrew Hill record.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is it the pianist’s recording?” No - the saxophonist. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is it Rudresh (Mahanthappa)?” No. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is the saxophonist under 30?” Don’t know his age but he’s probably in the early to mid 30s. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The saxophone solo ratcheted the intensity to a boiling point. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“When the inspiration fails, you can always squeak.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is it Jeremy Udden?” No, no… Definitely not. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The saxophonist was Darius Jones, a current critical favorite. His playing has been lauded for its power and bluesy soulfulness. The rest of the ensemble was made up of pianist Matt Mitchell, bassist Trevor Dunn and drummer Ches Smith. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Zak thought that this particular song could be deemed a “modern classic” as it had similar characteristics with Ornette Coleman’s modus operandi, a memorable melodic refrain and heart on your sleeve performance. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Are the other tracks similar?” Yes. They are all a bit different but all have this very spiritual approach. <o:p></o:p></span></div>
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<b><span style="font-family: Arial;">9.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Arial;">Bill Fay – “Methane River” from <i style="mso-bidi-font-style: normal;">Bill Fay</i> (Deram Nova DN 12, 1970)</span></b></div>
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<span style="font-family: Arial;"><b>Presented by Me – MP3 – Theme: C</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">I explained that during my tenure at Downtown Music Gallery I was privileged to hear a ton of music that I probably wouldn’t have otherwise. I spent a ton of time with Bruce Gallanter and Manny Maris and their wide, wild musical tastes.</span><br />
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<span style="font-family: Arial;">It was Bruce that turned me on to this fairly obscure figure in the English folk music scene. <o:p></o:p></span></div>
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<span style="font-family: Arial;">I am not a tremendous fan of folk or folk-rock music but this recording totally put me under its spell. Most likely it probably had to do with the jazz elements of the larger ensemble. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Methane River” was a pretty heady tune. It had Baroque pop leaning and a stout brass section. There was also a very blatant message of overcoming your obstacles with a very strange allegory – swimming a methane river? <o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard: “I think someone left his cake out in the rain…”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard thought it sounded similar to another British folk/pop songwriter, Al Stewart. I could hear the similarities but while Stewart chased a more pop and progressive rock base, this artist remained in an older style of popular song mixed with tinges of jazz and classical elements. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The artist was singer/songwriter Bill Fay. He recorded two albums for Decca’s Deram Nova label in 1970 (<i style="mso-bidi-font-style: normal;">Bill Fay</i>) and 1971 (<i style="mso-bidi-font-style: normal;">Time of the Last Persecution</i>). The albums sold poorly and Fay was dropped by the label. <o:p></o:p></span></div>
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<span style="font-family: Arial;">It has taken some time and some reissues for Fay to gain some attention again. Both of his studio recordings were reissued in 2005. Live recordings of his Bill Fay Group were also released shortly thereafter. These featured the guitar of jazz/prog rock guitarist Ray Russell. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Who did the arrangements on this record?” Michael Gibbs.<o:p></o:p></span></div>
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<span style="font-family: Arial;">“Ah… Mr. Deram himself.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Gibbs was a trombonist and go to composer/arranger for many projects during the late 1960s and 1970s. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Fay has begun a sort of comeback. He released a double CD collection in 2010 that featured a recording from the early 1970s that was never released alongside a collection of new songs. Fay has scheduled a release of a new album in the fall of 2012, as well. <o:p></o:p></span></div>
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<b><span style="font-family: Arial;">10.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Arial;">Hiromitsu Agatsuma</span></b></div>
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<span style="font-family: Arial;"><b>Presented by <a href="http://www.oranetkin.com/" target="_blank">Oran Etkin</a> – YouTube – Theme: C</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">Oran wanted to present us a musician that he felt was completely “out of left field.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">The instrument that we heard was obviously of Asian origin. No one could place what it was or where it was from. <o:p></o:p></span></div>
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<span style="font-family: Arial;">It turned out to be the Japanese shamisen, actually a larger version called the Tsugaru-jamisen, played by the virtuoso Hiromitsu Agatsuma. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Agatsuma has been well known for his use of the traditional three-stringed instrument in a variety of modern settings along with numerous collaborations with musicians across genres and cultures.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Oran said that he “needed to get in a comfort zone” with this music as he was going to be performing with Agatsuma in July. Apparently, he would be flying to Japan two days prior to their performance for a few quick rehearsals then a large concert. The band would include taiko drummers, piano and Oran on reeds. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Playing this instrument with piano might be a misstep…” <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Reminds me of banjo picking. I could definitely see Bela Fleck ripping this guy off.” <o:p></o:p></span></div>
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<b><span style="font-family: Arial;">11.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Arial;">Brad Paisley – “All I Wanted Was A Car” from <i style="mso-bidi-font-style: normal;">5<sup>th</sup> Gear</i> (Arista Nashville, 2007)</span></b></div>
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<span style="font-family: Arial;"><b>Presented by Richard Gehr – MP3 – Theme: C</b><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial;">Richard had a mischievous look in his eye as he came forward with his iPod: “This was definitely out of my comfort zone when I first heard it. Now I love it.”</span></div>
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<span style="font-family: Arial;">We had just gotten our first taste of twanging guitar new country and the gut-busting engine rev when Steve asked: “Does this fit in the realm of guilty pleasure?”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard: “I don’t necessarily like that term. I do like it, though.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">We kept listening, though. Our new motto: Give it a chance, give it a chance. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Brad Paisley, right? I hadn’t heard him but I know he’s supposed to be a good guitarist.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard: “A good songwriter, too.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Okay… But could the production get any more antiseptic? He is a good guitarist, though.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">“Yeah. The solo could have been about four minutes longer!”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard: “I think he’s better than Springsteen. (Some raised eyebrows there), His songs touch on real emotion and topics that are easy to identify with. Plus you can never be surprised by the literalism in country music.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard had gone to see Paisley perform at Madison Square Garden.<o:p></o:p></span></div>
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<span style="font-family: Arial;">“It was like a tribute to ADD. He was running around stage - taking huge solos in front of video projections and huge light shows. It was great. Anyway, it is the only commercial country music I can stand. “<o:p></o:p></span></div>
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<span style="font-family: Arial;">Don’t know that I or any one else could agree. <o:p></o:p></span></div>Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com1tag:blogger.com,1999:blog-8998283771073751235.post-77445124661139372532012-06-07T10:21:00.000-04:002012-06-07T14:31:46.816-04:00Neglected Treasures - John Carter & Bobby Bradford on Flying Dutchman<div class="separator" style="clear: both; text-align: center;">
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Over the past few years, I’ve become increasingly interested in the creative jazz that emerged from California from the 1950s to the 1980s. The most important proponents of the avant-garde out West were musicians like Jimmy Giuffre, Ornette Coleman, Horace Tapscott, Vinny Golia and the Cline Brothers.<br />
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Two of the most important figures in the progressive jazz scene were multi-reedist John Carter and trumpeter/cornetist Bobby Bradford. During the mid to late 1960s, this forward thinking duo came together to help form the New Art Jazz Ensemble and remained close collaborators until Carter’s death in 1991. <o:p></o:p></div>
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Through the whims of legendary record producer Bob Thiele, Carter and Bradford were given a chance to present their unique style of jazz to a larger audience. They released two outstanding recordings, <i style="mso-bidi-font-style: normal;">Flight of Four</i> and <i style="mso-bidi-font-style: normal;">Self Determination Music</i> on Thiele’s Flying Dutchman label in 1969 and 1970. The recordings did not make the tandem household names but they did firmly entrench them as standard bearers of the new music on the West Coast. <o:p></o:p></div>
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I recently had the good fortune to speak with Mr. Bradford about these two recordings and the events that led up to their creation. Through Mr. Bradford’s memories and a bit of research, I was able to gain some insight into the music. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">John Carter<o:p></o:p></b></div>
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<tr><td class="tr-caption" style="text-align: center;">Carter</td></tr>
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John Wallace Carter was born in Ft. Worth, Texas on September 24, 1929. He was introduced to music at an early age through his parent’s record collection and the music of the Baptist church his family attended. Carter first got involved in music by playing the mellophone then moved on to the clarinet at the age of 12. <o:p></o:p><br />
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Carter started playing professionally at 14 after he had picked up the saxophone and flute. Carter’s association with saxophonist Ornette Coleman and drummer Charles Moffett began in the 1940s as bebop zealots but, as there was no work for jazz musicians, they all played as part of the R&B scene of middle Texas.</div>
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Carter was a brilliant young man. He graduated high school at the age of 15 and attended Lincoln University in Jefferson, Missouri, where he received his Bachelor’s of Arts in 1949 (just 19 years old). While he attended Lincoln, Carter continued to play and tour infrequently, mostly with Kansas City based blues musicians like George Baldwin. Carter continued his education at the University of Colorado where he received his Masters in 1956. Between 1949 and 1961, Carter found work by teaching music in the public schools of Ft. Worth. <o:p></o:p></div>
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In 1961, Carter relocated to Los Angeles with his wife, with whom he would have four children. He was able to find work as a traveling music teacher, driving from school to school. Carter had originally wanted to try his hand as a studio musician but found that the sacrifice wouldn’t be worth it – studio work would have consumed all his time and wouldn’t have let him focus on his own individual musical development. <o:p></o:p></div>
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Carter maintained a busy schedule as an educator but still played as frequently as he could. He knew and performed with many of the Los Angeles based musicians, including pianist Hampton Hawes and saxophonist Harold Land. By the 1960s, Carter had begun looking for new musicians that were interested in the new directions he had been exploring. It was his friend Ornette Coleman that recommended Bobby Bradford. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">Bobby Bradford<o:p></o:p></b></div>
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Bobby Lee Bradford was born July 19, 1934 in Cleveland, Mississippi. He spent his early childhood in Mississippi. Unlike Carter, Bradford’s relocation to California took a few attempts to hold. <o:p></o:p></div>
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The first was by car in 1944 when Bradford’s stepfather, mother and brother went to look for better opportunities out West. His stepfather’s brother had already established himself in California and work at the Douglas aircraft manufacturer looked promising – ultimately it wasn’t. After a brief spell in Detroit right after the unsuccessful Los Angeles try, Bradford decided that he didn’t see eye to eye with his stepfather and moved to Dallas to settle in with his father at the behest of his mother. This was in 1946 and he was 11 1/2 years old.<br />
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<tr><td class="tr-caption" style="text-align: center;">Bradford</td></tr>
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Bradford had played a little piano as a child in Mississippi but began playing music in earnest in 1949 when he picked up the cornet in 10<sup>th</sup> grade. He was immediately attracted to the fledging sounds of bebop and began practicing religiously. Bradford was able to get gigs playing in R&B bands backing touring vocalists at the time. Among the musicians that he befriended in high school were David “Fathead” Newman, James Clay and Cedar Walton. <o:p></o:p></div>
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The Dallas and Ft. Worth jazz scene was expansive at that time. It wasn’t until Bradford was a freshman at Samuel Huston College in Austin, Texas that he finally played with that “Ft. Worth musician who was doing some far out shit.” The occasion was Bradford’s friend and drummer Charles Moffett’s wedding. A jam session was set up to celebrate at the Victory Grill in Austin. That was where Bradford first heard Moffett’s best man, the saxophonist Ornette Coleman. <o:p></o:p><br />
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Bradford’s next rendezvous with Coleman wouldn’t occur until he left college after a year and a half for Los Angeles in 1953. Bradford hadn’t been getting what he wanted out of Huston College and decided to try his luck out West. He settled in with his mother and stepfather. It wasn’t long after his move that Bradford met Coleman on the Red Car, a train that ran between Long Beach and downtown Los Angeles.</div>
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Coleman had moved to Los Angeles after leaving the Pee Wee Crayton band. When Bradford met him, the saxophonist had already married poet Jayne Cortez and was living at her parents’ home. Coleman was interested in playing with Bradford but was also looking for employment, which Bradford was able to help him with. Bradford was working as a stock guy at Bullock’s department store and was able to get Coleman a position there. <o:p></o:p></div>
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The two musicians met frequently at Coleman’s in-law’s house to practice. Coleman and Cortez moved shortly thereafter to an apartment over a commercial garage where the musicians had more opportunity to play their music. <o:p></o:p></div>
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Coleman and Bradford were able to find gigs every so often playing bebop and Tin Pan Alley tunes in the red light district of Los Angeles, including a number of gay bars. While his concepts weren’t fully realized, Coleman had begun adding his own tunes to the group’s repertoire though the group played mostly tunes with chord changes. <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Ornette Coleman</td></tr>
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“Ornette never gave an inch,” said Bradford. “He stuck to his guns. People ask if I was working on something similar? Hell no, I wasn’t. It was all Ornette. I wasn’t thinking about playing tunes without chords. It was Ornette that made me see the possibility of linear improvisation. His melodic themes attracted me and made my bebop playing better.” <o:p></o:p></div>
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Bradford received his draft notice in 1954. He volunteered which allowed him to opt for either the Air Force or Navy for a span of 4 years. He chose the Air Force and reported for service on December 28, 1954. Bradford spent those four years playing in the jazz band, where his technique “went up 200 percent.” <o:p></o:p></div>
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By this time, Bradford was married with twin boys and a young daughter. He decided to return to school to finish his degree so that he could teach music. Bradford enrolled at the University of Texas in Austin where he attended for one year and a semester. The University was on the other end of town and proved to be a hassle to get to between work and family obligations. <o:p></o:p></div>
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Bradford was then offered an opportunity for a scholarship at Huston-Tillotson University. Huston College had merged with Tillotson College in 1952. The proximity made it much easier for Bradford. For their scholarship, Bradford had to be a “music gofer” - playing in every ensemble while maintaining his job at a local bowling alley. <o:p></o:p></div>
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Professional opportunities didn’t dry up while Bradford was at Huston-Tillotson, in fact, though he had to turn many down. Coleman called in 1960 to ask Bradford to play on his <i style="mso-bidi-font-style: normal;">Free Jazz</i> album (Atlantic SD 1364, 1961). Bradford asked the University administration if he could leave but as it was the middle of a semester, he would have received an incomplete. His absence prompted Coleman to use trumpeter Freddie Hubbard in his stead. <o:p></o:p></div>
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Broke during the spring of 1961, Bradford decided to join up with Coleman in New York City. Contrary to many reports, Coleman was still playing frequently but not recording beyond his own rehearsal tapes. The saxophonist had put together a new ensemble due to a falling out with trumpeter Don Cherry, whom Bradford replaced. There were auditions for bassist and drummer, the spaces eventually going to Jimmy Garrison and Charles Moffett respectively. <o:p></o:p></div>
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The new ensemble opened at the Five Spot during the summer of 1961 with all new music. The group played regularly throughout the summer and fall of that year all over New York City, including the original Jazz Gallery (where there was an art exhibition running concurrently) and Birdland. The only gig that Bradford recalled outside of NYC was a single hit in Cincinnati, Ohio where Coleman introduced his Free Jazz Octet that featured Bradford and Don Cherry, soprano saxophonist Steve Lacy, bassists Garrison and Art Davis and drummers Moffett and Ed Blackwell. (Apparently there are rehearsal recordings of this group, nothing more). <o:p></o:p></div>
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Bradford continued to travel between New York and Texas, playing music on the weekends while working a day job and going to school the rest of the week. Bradford didn’t do much playing outside of the Coleman ensemble, though he occasionally played in Latin dance bands - what he called “pre-salsa” bands. He tried bringing his family to New York shortly but Coleman began his boycott of the local club scene that left Bradford out of work and forced him to return to Texas. Bradford’s family had moved into a Federal Housing Project in Austin, just able to survive on his modest income. <o:p></o:p></div>
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In May of 1963, Bradford graduated from Huston-Tillotson. He immediately got a job teaching music at a school in Crockett, Texas. It wasn’t long until he decided to try his luck in California again. Bradford packed up his family and moved back in 1964. <o:p></o:p></div>
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When he arrived in Los Angeles, Bradford found work as a workman’s comp adjuster for Los Angeles County. The County made him report in San Bernadino, which was far from his Los Angeles home. The family eventually settled in Pomona, closer to work. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">The twain shall meet…<o:p></o:p></b></div>
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It was a few years before Carter and Bradford met. After playing with numerous groups and a hectic teaching schedule, Carter was looking for something new. He was a good friend of Ornette Coleman from his days in Ft. Worth; Carter even conducted Colemans’s first symphonic work “Inventions of Symphonic Poems” in May 1967 at the UCLA Jazz Festival. <o:p></o:p></div>
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Carter asked Coleman for a player recommendation; Coleman recommended Bradford and gave Carter Bradford’s phone number. The two had known of each other while in Texas but had never met. <o:p></o:p></div>
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In an interview with Frank Kofsky in <i style="mso-bidi-font-style: normal;">Jazz & Pop</i> (Vol 9, #1 – Jan. 1970) Carter recalled: “I was interested in getting a thing going, and Ornette said, well, you and Bobby Bradford ought to get together because Bobby Bradford is here in California somewhere. But he didn’t know where Bob was at the time, so he called to Texas, to a mutual friend of ours, and he had Bob’s brother’s address, phone number, so I called him. Bob and I finally got together like that, and were already working by the time of the big band thing at UCLA, in 1966.” <o:p></o:p></div>
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Bradford assumed that the “big band thing” was the Coleman work at the jazz festival mentioned above. That occurred in 1967 and did not involve Bradford.<o:p></o:p></div>
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Carter called Bradford shortly after and the two hooked up. Carter lived in Los Angeles with his family while Bradford’s was in Pomona. Rehearsals would require a long commute. One rehearsal space they found was a studio that was opened on 103<sup>rd</sup> Street and Grandee Avenue for the local black community after the Watts riots of August 1965. It was interesting to note that a large portion of the studio’s funding came from actor and liberal philanthropist Larry Hagman, who would later portray the inscrutable conservative J. R. Ewing on the television sitcom <i style="mso-bidi-font-style: normal;">Dallas</i>. <o:p></o:p></div>
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Carter and Bradford began to audition rhythm section players in order to form an ensemble. Carter knew many of the musicians around town and was able to put his feelers out. The two recruited drummer Eldridge “Bruz” Freeman (brother of saxophonist Von and guitarist George Freeman from Chicago) and bassist Tom Williamson. The resulting group was named the New Art Jazz Ensemble. <o:p></o:p><br />
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<tr><td class="tr-caption" style="text-align: center;">NAJE - Williamson, Carter, Bradford & Freeman</td></tr>
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Gigs were hard to come by in and around Los Angeles.</div>
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From the Frank Kofsky interview in <i style="mso-bidi-font-style: normal;">Jazz & Pop</i> (Vol. 9, #1):<o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">Carter: First of all, there’s no place for exposure. We’ve been playing where we’re playing – in the ghetto – for a long time. There are only three jazz clubs in the town. <o:p></o:p></i></div>
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<i style="mso-bidi-font-style: normal;">Kofsky: Why do you suppose you can’t get booked into clubs?<o:p></o:p></i></div>
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<i style="mso-bidi-font-style: normal;">Bradford: First of all, if we were playing straight up-and-down kind of jazz, it would help. But playing what we’re playing, and not being the kind of music that the mass of people are going to rush into the club to hear, the club owner – being concerned with having a group there that a crowd of people are going to come to hear – is not prepared to take any kind of chance on a group like ours, where, if an owner is going to take a chance, they’d rather take it on a group that at least they are personally happy with. <o:p></o:p></i></div>
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<i style="mso-bidi-font-style: normal;">New York Times</i> critic Robert Palmer had this quote from Carter in a 1982 article about the duo and their collaboration since the 1960s: <o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">In 1969, when the quartet led by Mr. Carter and Mr. Bradford had already been together for two years, the trumpeter picked up a drinking glass and remarked to a friend, “You could put all the money this group has made in the last two years – in nickels – in there and not even reach the top.” (April 30, 1982, p. C16)<o:p></o:p></i></div>
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<tr><td class="tr-caption" style="text-align: center;">Ray Bowman</td></tr>
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The group had their first public appearance at the Century City Playhouse in early 1968, as reported in the <i style="mso-bidi-font-style: normal;">DownBeat</i> Ad Lib Los Angeles section for February 8 (Vol. 35, #3). This was a gig produced by Ray Bowman - “The Sol Hurok of the avant garde” as <i style="mso-bidi-font-style: normal;">DownBeat</i> would call him. Bowman was a music critic and promoter in Southern California that presented the New Art Jazz Ensemble many times during the late 1960s and early 1970s at venues like the Playhouse and the Ice House in Pasadena.<br />
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It might have been at the Century City Playhouse that John Hardy heard the NAJE. Hardy would soon be the first to record the group.</div>
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John Hardy was a biology professor at Occidental College, ornithologist and co-owner of the independent jazz label Revelation Records. Hardy invited the NAJE to perform and record at Occidental on January 16, 1969. The ensemble performed to an audience in the College’s Herrick Lounge. There was no money advance but the group was willing to make the recording for the exposure. <o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">Seeking</i> (REV-9, 1969) was released in the spring on Revelation. The group didn’t make any money but had a recording to their name. The initial announcement of the upcoming recording was made in the March 6, 1969 issue of <i style="mso-bidi-font-style: normal;">DownBeat</i> (Vol. 36, #5) along with the group’s performance at the Cal State Jazz Festival. The March 20, 1969 issue (Vol. 36, #9) showed that the ensemble had played at Shelly’s Manne Hole for three nights.<o:p></o:p><br />
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Reviews for <i style="mso-bidi-font-style: normal;">Seeking </i>were very good. They included a 4 ½ star review by John Litweiler in the September 19, 1969 issue of <i style="mso-bidi-font-style: normal;">DownBeat </i>(Vol. 36, #19). Litweiler was especially impressed by Bradford’s playing but was concerned that the ensemble’s aural proximity to Ornette’s efforts might ultimately hinder their success.</div>
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(There are some that dispute the recording dates between <i style="mso-bidi-font-style: normal;">Seeking</i> and <i style="mso-bidi-font-style: normal;">Flight of Four</i>. Bradford was sure that <i style="mso-bidi-font-style: normal;">Flight of Four</i> was recorded after the <i style="mso-bidi-font-style: normal;">Seeking</i> session. Some discographies show <i style="mso-bidi-font-style: normal;">Flight of Four</i> being recorded on January 3, 1969, others - including <i style="mso-bidi-font-style: normal;">Lord’s Discography</i> - later in April. Bradford was sure it was a later date. The rest of this article is based on the April recording date.)<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">Bob Thiele and Flying Dutchman<o:p></o:p></b></div>
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Legendary record producer Bob Thiele had already had a storied career by the late 1960s. He had begun early creating his own Signature Records at the age of 17 to record his jazz heroes. Thiele later made a name for himself producing records for Decca and Coral Records. He was responsible for producing perhaps Louis Armstrong’s biggest hit, “What a Wonderful World.”<o:p></o:p><br />
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<tr><td class="tr-caption" style="text-align: center;">Bob Thiele</td></tr>
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In 1961, Thiele took the reins of Impulse! Records from the label’s founder Creed Taylor, who had gone on to head Verve. Thiele brought in one of the recording industry’s most diverse rosters of musicians including John Coltrane, Dizzy Gillespie, Shirley Scott, Yusef Lateef, Albert Ayler and Pharoah Sanders.</div>
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It was the “What a Wonderful World” session that would be the catalyst for Thiele’s departure from Impulse!. The producer had run into increasingly stiff resistance from the president of ABC-Paramount Larry Newton. Newton was on Thiele’s case about his choices for Impulse! and his other production work for ABC-Paramount. <o:p></o:p></div>
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Thiele had written “What a Wonderful World” with George David Weiss with the intent of having Tony Bennett record it. Bennett turned the song down. Thiele then offered it to his hero and friend Louis Armstrong. The recording was scheduled for July 1968. <o:p></o:p></div>
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Legend has it that Newton was on hand at the session for a publicity shot with Armstrong. Newton found out that Thiele was planning to have Armstrong record a ballad. He was livid. Newton had wanted to release a more pop oriented number like those that had already been successful for Armstrong. Apparently, Thiele and Newton had it out in the studio and Thiele eventually got Newton locked out of the studio while Armstrong recorded the tune. <o:p></o:p></div>
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Ultimately, the single wasn’t promoted in the United States and sold poorly domestically. The release did extremely well when released overseas, including being the best selling single of 1968 in the United Kingdom. <o:p></o:p></div>
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At this point, Thiele was looking for a way to get out of ABC-Paramount. Thiele established his own production company later in 1968, which was announced in <i style="mso-bidi-font-style: normal;">Billboard </i>magazine. He named the company Flying Dutchman Productions after the ghost ship of nautical legend – which was doomed to sail the seas forever. Thiele continued as an independent producer at Impulse! for a while. He managed to license a couple of recordings from Ornette Coleman and record Pharoah Sander’s <i style="mso-bidi-font-style: normal;">Karma </i>during this time<i style="mso-bidi-font-style: normal;"> </i>(<i style="mso-bidi-font-style: normal;">Karma</i>’s success eventually got Sanders signed to Impulse!). <o:p></o:p></div>
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Restructuring at ABC-Paramount gave Thiele a perfect opportunity to shove off. The Impulse! offices moved to Los Angeles in January 1969. Thiele remained in New York City.<o:p></o:p></div>
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Flying Dutchman Productions finally took flight in April 1969 with funding from Dutch based Philips. Thiele’s production group included three labels: Flying Dutchman, BluesTime and Amsterdam. Thiele also brought a handful of musicians with him, including Louis Armstrong, Johnny Hodges, Gato Barbieri and Oliver Nelson. <o:p></o:p></div>
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Thiele was also on the lookout for new talent and the West Coast was one of his first stops to find it. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">Carter and Bradford Meet Thiele<o:p></o:p></b></div>
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The “What’s Happenin” section of <i style="mso-bidi-font-style: normal;">Jazz & Pop</i> for April/May 1969 (Vol. 8, #4/5) announced Thiele’s intentions:<o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">Flying Dutchman Soars<o:p></o:p></i></div>
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<i style="mso-bidi-font-style: normal;">Flying Dutchman Productions, Ltd., headed by Bob Thiele, has signed the John Carter-Bobby Bradford Quartet and pianist Horace Tapscott to the new Flying Dutchman label. Thiele, long noted for discovering new talent, signed and recorded the aforementioned West Coast jazz artists in April. Thiele has started a new blues label for FD, called Blues Time. Already signed are Joe Turner, T-Bone Walker, Otis Spann and Eddie “Cleanhead” Vinson. Watch these pages for further adventures of the Flying Dutchman!<o:p></o:p></i></div>
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Interestingly, the same issue of <i style="mso-bidi-font-style: normal;">Jazz & Pop</i> had Carter # 10 for clarinet and Bradford # 8 for trumpet in their Reader’s Poll. No doubt due to their release of <i style="mso-bidi-font-style: normal;">Seeking</i> a short time prior to publication. <o:p></o:p><br />
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In the spring of 1969, Thiele went to Los Angeles on a search for West Coast talent. The producer had already begun putting together his initial slew of releases, which would include a collaboration between Oliver Nelson and Steve Nelson (<i style="mso-bidi-font-style: normal;">Soulful Brass</i>, FDS 101), the jazz rock super group Spontaneous Combustion (<i style="mso-bidi-font-style: normal;">Come and Stick Your Head In</i>, FDS 102) and electro-acoustic composer Jon Appleton’s first album (<i style="mso-bidi-font-style: normal;">Appleton Syntonic Menagerie</i>, FDS 103).</div>
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Another interesting release that Thiele had produced was a spoken word record by the Los Angeles based drummer cum poet cum critic Stanley Crouch called <i style="mso-bidi-font-style: normal;">Ain’t No Ambulances for No Niggas Tonight</i> (FDS 105). Crouch was originally from California and had been involved as a critic and occasional drummer for some of Los Angeles’s progressive jazz scene. (I reached out to Crouch to talk about his possible involvement in furthering Thiele’s interest in the West Coast musicians. He asked me to follow up another time.)<o:p></o:p></div>
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Bradford recalled auditioning for Thiele after the recording of <i style="mso-bidi-font-style: normal;">Seeking</i>, so presumably in the spring of 1969. The audition might have been at the behest of Crouch, who would have been involved in the Los Angeles music scene at the time. While with Thiele, Carter and Bradford recommended that the producer look into recording pianist Horace Tapscott and saxophonist Black Arthur Blythe. <o:p></o:p></div>
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Some discographies have shown that <i style="mso-bidi-font-style: normal;">Flight of Four </i>(FDS 108), the first recording that Carter and Bradford did for Thiele, was recorded on January 3, 1969. This would be before the recording session for <i style="mso-bidi-font-style: normal;">Seeking</i>. It would be unlikely that this happened as Thiele would have just barely have had Flying Dutchman together as a production company at that point. The date was probably given as 1969, the discographers adding January later on. <o:p></o:p></div>
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Furthermore, the recording session for Horace Tapscott’s <i style="mso-bidi-font-style: normal;">The Giant Is Awakened</i> (FDS-107) was held on April 3, 1969 and the release was before <i style="mso-bidi-font-style: normal;">Flight of Four</i>. The <i style="mso-bidi-font-style: normal;">Jazz & Pop</i> notice mentioned that both <i style="mso-bidi-font-style: normal;">Flight of Four</i> and <i style="mso-bidi-font-style: normal;">The Giant Is Awakened</i> were recorded in April, therefore the April 1, 1969 recording date for <i style="mso-bidi-font-style: normal;">Flight of Four</i> has been the most likely date. The fact that Bradford and Carter recommended Tapscott for a session probably meant that the recordings were made closely together on one West Coast trip for Thiele. <o:p></o:p></div>
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Tapscott went on to say in his autobiography <i style="mso-bidi-font-style: normal;">Songs of the Unsung </i>that Thiele was pushed by Crouch and Carter to record his group. Bradford has maintained that Thiele was extremely independent and wasn’t forced to do anything, rather he was very interested in discovering new talent in and around Los Angeles. Tapscott mentioned that he was very impressed that Thiele came to the ghetto to meet with him, though he was wary of what the producer might do with his music. Ulimately, Tapscott left it up to a vote of the band members whether they should record, they voted “yes.” <o:p></o:p></div>
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From the June 26, 1969 issue of <i style="mso-bidi-font-style: normal;">DownBeat</i> (Vol. 36, #13):<o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">Meanwhile, other local avant-gardists are having some luck in getting their music recorded. The New Art Jazz Ensemble, co-led by John Carter, reeds, and Bobby Bradford, trumpet (Other members are Tom Williamson, bass, and Bruz Freeman, drums), have recorded for Revelation records and are about to wax for Bob Thiele’s Flying Dutchman label, which has also signed another avant-garde Los Angeles combo, the Horace Tapscott Quartet. <o:p></o:p></i></div>
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<b style="mso-bidi-font-weight: normal;">Bob Thiele Emergency<o:p></o:p></b></div>
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To announce the first slew of recordings for Flying Dutchman, Thiele put together a compilation featuring contributions from most of the artists that were to have releases in the first eight releases of the label. Released under the name Bob Thiele Emergency, the double LP <i style="mso-bidi-font-style: normal;">Head Start</i> (FDS-104) was the introduction of the Flying Dutchman record label to the world. <o:p></o:p><br />
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Like his earlier attempt <i style="mso-bidi-font-style: normal;">Light My Fire</i> (Impulse!, AS-9159), Thiele tried to provide a mixture of all the musical styles that he was involved and influenced by into one recording. <i style="mso-bidi-font-style: normal;">Head Start</i> featured a hodgepodge of groupings and styles blended together into long tracks meant to tell the story of jazz or overt political statements.</div>
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<i style="mso-bidi-font-style: normal;">Head Start</i> was also the first release on Flying Dutchman that featured the playing of John Carter and Bobby Bradford. The quartet was tacked into the final movement of a sidelong piece entitled “The Jazz Story.” The piece was a pasting together of different groups playing music in styles representing the inception of jazz to the present - including the blues, swing, bebop and the avant-garde. Representing the avant-garde, the ensemble played the Carter composition “In the Vineyard” after a recorded statement from Ornette Coleman (“there will always be new forms of music”). “In the Vineyard” later became one of the group’s frequently played tunes. <o:p></o:p></div>
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The “In the Vineyard / Avant Garde” concluded the horns fade out while Horace Tapscott can be heard taking over on the piano. <o:p></o:p></div>
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Bradford: “It was a spliced together event.” <o:p></o:p></div>
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He meant that the quartet was never in the studio with Tapscott and that the pianist’s playing was overdubbed onto a track (an outtake) recorded at the <i style="mso-bidi-font-style: normal;">Flight of Four </i>session. It sounded as if the trumpet and clarinet tracks were taken out of the mix and Tapscott played along with the rhythm section until the conclusion of the track. The music broke momentarily before the pianist started up on a different tune in a trio. <o:p></o:p></div>
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A large supplement to the July 1969 issue of <i style="mso-bidi-font-style: normal;">Jazz & Pop</i> magazine (Vol. 8, No. 7) heralded the emergence of the new label. It featured a long article on the <i style="mso-bidi-font-style: normal;">Head Start</i> album, which included a short quote from Thiele: <o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">For the last (“In the Vineyard / Avant Garde”), according to Thiele, ‘we used Horace Tapscott on piano, and the John Carter-Bobby Bradford group – great musicians from the Watts area who exemplify the music of today.’<o:p></o:p></i></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Flight of Four<o:p></o:p></i></b></div>
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On April 1, 1969, the members of NAJE recorded the material that would be released on <i style="mso-bidi-font-style: normal;">Flight of Four</i> (FDS 108). The session was engineered by Eddie Brackett, who had recorded hits by the Ventures, the Cricketts and Dean Martin. Bob Thiele had recently used Brackett as an engineer on a handful of jazz releases for Impulse!, including sessions for saxophonist Tom Scott and guitarist Mel Brown. Brackett would also record Horace Tapscott’s <i style="mso-bidi-font-style: normal;">The Giant Is Awakened</i> two days after this session.</div>
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The liner notes for <i style="mso-bidi-font-style: normal;">Flight of Four</i> did not provide info on the studio the album was recorded but Brackett had been working predominately at United Western Recorders in Hollywood. The studio complex at 6050 & 6000 West Sunset Boulevard was one of the most popular in Hollywood, having been used by artists like Frank Sinatra and the Beach Boys. The 6050 West Sunset address was originally called United Recorders and the 6000 address Western Studios. They are now Ocean Way Recording Hollywood and EastWest Studios, respectively.</div>
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The Carter / Bradford session most likely took place in the B Room at the United Recorders building at 6050 West Sunset.<br />
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The ensemble recorded mostly Carter original tunes, with one exception - “Woman” by Bradford. <o:p></o:p></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVNyE6MjNtrD0xr_7xHE5Zw-I7MBTgze5caqBzYIjCh2_SK1vFBNHsAP_P-ybuIkILaDAMm8k9UNntAeCRbL8ZdEH13-YA5O1LA-hYDNEtjZOYzZSWJamy4bEON0lwhOWJfdRkfOTpMIE/s1600/6089029.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><span class="Apple-style-span" style="color: black;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVNyE6MjNtrD0xr_7xHE5Zw-I7MBTgze5caqBzYIjCh2_SK1vFBNHsAP_P-ybuIkILaDAMm8k9UNntAeCRbL8ZdEH13-YA5O1LA-hYDNEtjZOYzZSWJamy4bEON0lwhOWJfdRkfOTpMIE/s320/6089029.JPG" width="320" /></span></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ocean Way Recording formerly United Recorders</td></tr>
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Bradford: “John was a prolific writer. He wrote every day, so he always had a lot of stuff. I always waited for the Lord to give me inspiration. I didn’t sit around with a green visor and a sharpened pencil.”<o:p></o:p></div>
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No information was found that listed the order the material was recorded. <o:p></o:p></div>
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The first track to appear on the LP was Carter’s “Call to the Festival,” introduced by Freeman’s martial drums and Williamson’s rumbling bass before the winds present the intricate, linear melody. The ensemble typically avoided a counting off tempo, instead they’d maintain eye contact to initiate the tune and segue into solos and further development. The tune provided a space for the ensemble to explore varying tempos, dynamic ranges and moods, while maintaining a strong since of melodic direction. The conclusion was especially strong. <o:p></o:p><br />
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<tr><td class="tr-caption" style="text-align: center;">Eddie Brackett</td></tr>
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“Call” was a good example of why Bradford maintained that Bruz Freeman was the “first free drummer.” Unlike the early Ornette Coleman drummers that kept time while Coleman floated above (Bradford: “Ornette wouldn’t count but it was always in time, especially with Moffett.”), Freeman was able to switch between marking time and playing free. Bradford and Carter referred to the free rhythm section playing as the “scramble” - basically, the propulsion of the rhythm section without staid rhythmic ideas. <o:p></o:p><br />
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There was an obvious indebtedness to the philosophy of Coleman, including similar musical concepts and instrumentation. Carter played alto on “Call,” which was Coleman’s primary instrument. There were obvious melodic devices used similarly to Coleman’s, including the “crying” sound that Coleman used so frequently in solos and in composing.</div>
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Another Carter composition “The Second Set” had a shorter melodic theme and higher tempo, which launched quickly into solos. Carter took the first on alto, showing his fleet fingered forays and passionate overblowing to dramatic effect. Williamson’s bass playing was especially strong in the trio segment, extremely forceful and demanding. Bradford’s trumpet solo provided many interesting thematic ideas but he eventually settles on a repetitive figure of descending notes for a number of choruses. Overall, the texture remained staid as the ensemble had strong forward motion throughout, breaking only for a powerful Freeman drum solo. <o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Freeman</td></tr>
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The only Bradford composition on the session was “Woman,” a ballad led by the trumpet player and bass with some percussion rejoinders. This was the first recording of this song, spaced out so much that it is hardly recognizable when compared to the later versions, including one on <i style="mso-bidi-font-style: normal;">Live – One Night Stand</i> (Soul Note, 121 168-1). Carter appeared on clarinet for the track delivering a subtle but poignant solo over the very atmospheric accompaniment of Freeman and Williamson. The effect was haunting and possibly one of the most tender moments the group recorded.<br />
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Carter’s “Abstractions for Three Lovers” had an interesting melodic concept with a solo melodic theme where the bass began a repetitive two note pattern until the horns layer on top to follow an upward melodic line. The music slowed for a segment where Carter’s alto and Bradford’s trumpet mirror a theme before reverting to the repeating two notes, which build and drop.</div>
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<tr><td class="tr-caption" style="text-align: center;">Williamson</td></tr>
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The long melodic theme of “Abstraction” created the most intricate composition on the LP. The theme finally dissolved into a Bradford solo with an independent Williamson bass accompanying. Carter’s solo was also played against the bassist’s freely improvised ramblings. Bradford returned, echoing the sax at the end of the solo before the theme emerged once more. The thematic elements of Carter’s compositions were especially noticeable here and showed a structural integrity that Coleman never showed in his quartet work. <o:p></o:p></div>
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Finally, Carter’s “Domino” finished the disc with an uptempo and more swinging piece. The melody was once again very intricate with the horns playing in unison with sudden flourishes of 16<sup>th</sup> notes. The piece featured Carter on tenor sax, obviously not his standard horn choice as his solo features a number of squeaks. Overall, Carter’s performance was very good, his solo provided a wide range of ideas that led him over the full range of the horn. Bradford framed the melody during his solo finding new articulations and arpeggiations – building his solo thematically. <o:p></o:p></div>
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Prior to release, Thiele advised Carter and Bradford to rethink the name of the ensemble. Up until this time, the quartet had been called the New Art Jazz Ensemble but the producer thought it best for promotion that the group should go under one or both of the horn players’ names. Both Carter and Bradford voiced an issue with the idea as they didn’t want to slight Freeman or Williamson but eventually acquiesced to Thiele. Thus, <i style="mso-bidi-font-style: normal;">Flight of Four</i> was released as the work of the John Carter & Bobby Bradford Quartet. <o:p></o:p><br />
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The recording was re-mixed and mastered by Tony May in New York City. He was a well-respected engineer who had done mixing work for many Verve releases, continued work with Flying Dutchman and became the go to US engineer for ECM. May also worked classic recordings by rock and folk groups like the Band, Blue Cheer and Van Morrison to name a few.</div>
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The packaging of the album was the lovely Flying Dutchman gatefold with design by Robert and Barbara Flynn of Viceroy design agency. Radical writer/jazz critic Frank Kofsky was recruited to write the liner notes. He called out the “provincialism” of the jazz world, one that subjugated the rest of the world’s creative offering not originating in the jazz capital of New York City. The notes don’t go far in describing the musicians or the music.<br />
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There were also some nice portraits of the musicians by Irv Glasser. Glasser's cover photograph has the quartet in front of a bronze sculpture by the Romanian-born, Canadian artist Sorel Etrog entitled <u>Moses</u> (1963) at the Los Angeles County Museum of Art. (The sculpture is currently in storage at LACMA). The photographs in the gatefold are from the recording session. <o:p></o:p><br />
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The original release date couldn’t be ascertained but the first review showed up in the November 27, 1969 issue of <i style="mso-bidi-font-style: normal;">DownBeat </i>(Vol. 36, #24). Most likely, the release was around the same time. The review was a fairly good one written by the then assistant editor Lawrence Kart, who gave the recording 4 out of a possible 5 stars. Two months earlier, John Litweiler had given the group’s <i style="mso-bidi-font-style: normal;">Seeking</i> a four and a half star review in the same publication (September 18 – Vol. 36, #19).</div>
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Kart enjoyed <i style="mso-bidi-font-style: normal;">Flight of Four</i> more than the earlier effort because “the group sounds more relaxed and the recording is less dry.” The critic remarked on the leaders’ obvious influence from the Ornette Coleman school:<o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">Imagine Coleman or Bradford listening to Charlie Parker in 1949. As devoted boppers, they memorized and elaborated on what they heard, like thousands of other young musicians. But, surrounded by the Southwestern blues conception that gave birth to Parker and Lester Young, their elaborations were subject to feedback from the initial source. Thus, through a unique conjunction in time and place, a genius like Coleman could make relations between the free, expressionistic use of melody and rhythm in Southwestern blues and similar qualities in Parker’s highly sophisticated music, ending up with seemingly radical innovations (they were radical in effect, but the method was pretty much one of intuitively combing already existing things). <o:p></o:p></i></div>
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<i style="mso-bidi-font-style: normal;">In such an environment, talented musicians like Bradford and Carter could emulate their idols (Fats Navarro and James Moody, I would guess) and, as they matured, extend their initial inspirations into novel areas. And feedback enters once again when Carter and Bradford were influenced in the ‘60s by Coleman’s fully developed music. <o:p></o:p></i></div>
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<i style="mso-bidi-font-style: normal;">The result is that this group sounds quite fresh and new; not because they are using new musical materials, but because, like Coleman, they legitimately tap jazz roots and bring forth new relations between familiar things. <o:p></o:p></i></div>
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Kart went further to say that he really enjoyed Bradford’s playing, finding his melodic concept “reminiscent of Buck Clayton.” He wasn’t as impressed with Carter’s solo playing, however. Though he did say that Carter’s music was “honest music - free from the affected hysteria which sometimes plagues the avant garde.” <o:p></o:p></div>
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The next bit of press that Carter and Bradford received was in the January 1970 issue of <i style="mso-bidi-font-style: normal;">Jazz & Pop</i> (Vol. 9, #1). The duo had a long interview with Frank Kofsky that was accompanied by a number of Irv Glasser photographs taken at the <i style="mso-bidi-font-style: normal;">Flight of Four</i> session. The interview settled on issues pertinent to the creation and promotion of their music in Los Angeles. The recording wasn’t mentioned at all. (Some of the information regarding performing opportunities was mentioned earlier in this article.) <o:p></o:p></div>
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The review of <i style="mso-bidi-font-style: normal;">Flight of Four</i> in <i style="mso-bidi-font-style: normal;">Jazz & Pop</i> didn’t show up until the March 1970 issue (Vol. 9, #3). Critic Will Smith enjoyed the record but didn’t find it groundbreaking. <o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">The group’s sound is close to that of the early Ornette Coleman unit with Cherry, Haden and Blackwell – Carter’s tunes (he composed all the lines except Bradford’s “Woman”) are like early Coleman works and the loose unison ensemble edge is similar. <o:p></o:p></i></div>
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Once again, Bradford’s playing was a standout for Smith. He compared the trumpeter to Don Cherry – “they both use fast, spinning little phrases to punctuate and space their lines” – but thought that Bradford’s sound was most similar to that of Ted Curson. <o:p></o:p></div>
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Smith didn’t think that Carter felt comfortable in the free playing and heard echoes of James Moody along with the obvious Coleman references in his sound. <o:p></o:p></div>
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Bradford said that the recording continued to get good responses from critics around the world but it didn’t benefit the group financially. Gigs were still hard to come by in Los Angeles and the group made very little effort to tour outside, even when prodded to do so by Thiele. <o:p></o:p></div>
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The Flying Dutchman producer maintained that the only way the record would be successful was if the group would move to New York. The musicians were not about to leave Los Angeles even if it meant increased success as recording and performing artists, they were already too invested in their lives out West. <o:p></o:p></div>
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Though the group didn’t follow Thiele’s suggestion, the producer did go record a follow up <i style="mso-bidi-font-style: normal;">Flight of Four</i> with a second recording. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Self Determination Music <o:p></o:p></i></b></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2lx9sjS9tpXf6Gfmq1qtgUSCKj305Cp6RZ4eXRlADSy7IHyoS0yp0mFT3kxi4nubs_k9IwCG6RC3V8C8FNEoRMJotGTCxP0XbMG5-sGzt7hHAUIehMgIgNye1xcNGIWXAofepnkxqWXM/s1600/IMG_0743.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2lx9sjS9tpXf6Gfmq1qtgUSCKj305Cp6RZ4eXRlADSy7IHyoS0yp0mFT3kxi4nubs_k9IwCG6RC3V8C8FNEoRMJotGTCxP0XbMG5-sGzt7hHAUIehMgIgNye1xcNGIWXAofepnkxqWXM/s320/IMG_0743.jpg" width="320" /></a>In the August 1970 issue of <i style="mso-bidi-font-style: normal;">Jazz & Pop</i> (Vol. 9, #8), critic John Sinclair wrote a very long and involved multiple record review under the title “Self-Determination Music.” Among the reviews, were short descriptions of two Flying Dutchman recordings, Horace Tapscott’s <i style="mso-bidi-font-style: normal;">The Giant Is Awakened</i> and Stanley Crouch’s <i style="mso-bidi-font-style: normal;">Ain’t No Ambulances for No Nigguhs Tonight</i>. Whether the article’s title was influenced by or was the influence for the title of Carter and Bradford’s subsequent release has remained a mystery. <o:p></o:p><br />
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Carter and Bradford took the quartet plus the additional (uncredited) bassist Henry Franklin – who would later record a number of now classic recordings on Black Jazz and Catalyst - to TTG Studios to record their third disc as a group around the same time as the article. Bradford was sure that it was the summer of 1970.</div>
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<tr><td class="tr-caption" style="text-align: center;">Shooting Star formerly TTG Studios</td></tr>
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The “Two Terrible Guys” that owned TTG were Tom Hidley and Ami Hadani. They had established the studio at 1441 North McCadden Place in Hollywood in 1965. Hadani was credited as the engineer for this session. He had engineered sessions for many now classic albums including The Mothers’ <i style="mso-bidi-font-style: normal;">Freak Out</i> and <i style="mso-bidi-font-style: normal;">Absolutely Free</i>. <o:p></o:p><br />
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No recording date could be found for this session, nor could the recording order the ensemble took could be established.</div>
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The first composition on the album was Carter’s “The Sunday Afternoon Jazz Blues Society.” Later, the tune would show up on the album <i style="mso-bidi-font-style: normal;">Comin’ On</i> (hat ART 6016, 1989) as “Sunday Afternoon Jazz Society Blues,” alluding to a possible mistake made by the Flying Dutchman layout designers. <o:p></o:p></div>
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The piece began with the two bassists and drummer playing freely before the unison ascending melody shared between alto sax and trumpet came in. The melody was very reminiscent of Coleman’s mix of fluid lines with an almost taunting countermelody. <o:p></o:p><br />
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<tr><td class="tr-caption" style="text-align: center;">Carter</td></tr>
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Carter took the first solo that was very blues influenced as he reached for altissimo notes that would later become his stock in trade. Bradford emerged as Carter’s solo ended. The trumpeter played with the time within the tempo of the song, he cuts it in half only to speed up once more. The piece was a showcase for the expanded rhythm section as they really keep up an impressive amount of energy throughout the piece.</div>
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Bradford’s lone composition on the LP was “The Eye of the Storm.” Williamson led in with the solo bass melody while Freeman created atmospheric washes of cymbal. The piece began to pick up pace as the trumpet melody emerged, accentuated by the alto. The true impact of the melody would be heard as the horns interlock and then break apart. The swirling rhythm section made a tremendous bed of activity for the horn players to solo over. <o:p></o:p></div>
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“Eye of the Storm” was the longest piece the group had recorded up until then. The rhythm section remained aggressive while the soloists would play with the melody and improvise, building or diminishing the tension by playing off each other, laying out, slowing or quickening pace. The group interplay was probably best displayed on this piece as the texture could switch from subtle tension to full aggression. The energy was unrelenting, even the breakdown with the duo basses soloing kept up the vigorous energy. The energy only subsided after the ensemble died away leaving only Williamson’s bass and Freeman’s lingering cymbal washes. <o:p></o:p></div>
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The b-side began with Carter’s “Loneliness,” a slow, melancholy ballad introduced by bowed bass, subdued trumpet and Carter’s flute along with Freeman on bells. The lush mood would be interrupted by Carter’s strident alto underlined by Bradford’s muted trumpet echoing the call. The meditative quality of the track was furthered by the reliance of Carter on the flute to accompany while he switches to alto for all solo flights.<o:p></o:p><br />
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<tr><td class="tr-caption" style="text-align: center;">Bradford</td></tr>
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The recording of “Loneliness” was especially warm, as the horns’ inflections and the bass tone really stand out. The group established its own sound world that would eventually be echoed by many spiritual jazz ensembles during the later part of the 1970s.</div>
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The bass set off quite a clip for Carter’s “Encounter.” The horns are found locked into the unison melody after a segment that featured a wide round with the alto following the trumpet. The rhythm section set up a tremendous rumbling that barreled through the piece. Bradford’s dexterity was on full show as he climbed higher and higher in register through his solo. His clear tone was worth noting even while he experimented with swaths and smears of sound. <o:p></o:p></div>
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Carter was featured on tenor once again on the closer. His technique seemed more keyed in on this performance, which allowed him to try some extreme yet controlled effects on the horn – honks, squeals and altissimo range. The solo section featured the extremes of the two horn players’ ranges. The unrelenting force from the bassists and drummer was tremendous and once again the dual bass segment was extremely expressive. Freeman took one of the best solos of either recording - searing and snare heavy - before an extended head section back out. <o:p></o:p><br />
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The packaging for <i style="mso-bidi-font-style: normal;">Self Determination Music</i> was designed by Lou Queralt, who went on to do a couple other Flying Dutchman packages including Gil Scott-Heron’s <i style="mso-bidi-font-style: normal;">Small Talk at 125<sup>th</sup> and Lenox</i>. The cover photo of what appeared to be a tepid pool of water or possibly the La Brea Tar Pits was taken by Elihu Blotnick.</div>
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Regular Jazz & Pop contributor Robert Levin provided the liner notes. The themes of the notes were the gradual acceptance of the new music that Ornette Coleman unleashed upon an unprepared audience and how these new forms of expression meant “the black-American’s liberation from four-hundred years of uncertainty regarding the worthiness of his identity.” These musicians had found a way to “liberate” themselves from prevailing forms. While supportive of the efforts of the generation’s attempts at shedding the shackles of the conservative musical society at large, the notes haven’t provided much information about the ensemble and what they were trying to achieve themselves. <o:p></o:p></div>
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The album was most likely released in the early fall of 1970. The first review of the album was found in the October 28, 1970 issue of <i style="mso-bidi-font-style: normal;">DownBeat</i> (Vol. 38, #18). Critic John Litweiler gave the recording 4 out of 5 stars. Litweiler was especially taken by Carter’s writing: “Carter’s themes on <i style="mso-bidi-font-style: normal;">Sunday</i> and <i style="mso-bidi-font-style: normal;">Encounter</i> are long, single lines very much broken and contrasted. They are like certain pieces Ornette Coleman and Anthony Braxton used to write (hear that Ornette phrase in <i style="mso-bidi-font-style: normal;">Sunday</i>), but the phrases are more brittle and Carter’s wit is more electric.” He also found that Carter’s playing had strengthened since the previous release.<o:p></o:p></div>
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Litweiler maintained that the recording didn’t showcase Bradford’s best playing but thought that “Loneliness” provided the best glimpse at the trumpeter’s ability. He also remarked on how much he enjoyed Freeman’s drumming but thought that the recording would have been more effective with a single bassist. <o:p></o:p></div>
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Self-Determination Music<i style="mso-bidi-font-style: normal;"> is an LP well worth your attention, though perhaps not as successful </i>as Flight for Four<i style="mso-bidi-font-style: normal;"> or </i>Seeking<i style="mso-bidi-font-style: normal;"> (as the New Jazz Art Ensemble). These players have staked out an important place within the mainstream of jazz; their care and skill and love for their art communicate intensely. And considering Carter’s development as a composer and Bradford’s fresh trumpet challenges, the promise of future discoveries is bright indeed. <o:p></o:p></i></div>
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Another review could be found in the March 7, 1971 issue of the <i style="mso-bidi-font-style: normal;">New York Times</i>. Critic Clayton Riley reviewed <i style="mso-bidi-font-style: normal;">Self Determination Music</i> and vocalist Leon Thomas’s first recording for Flying Dutchman. Riley likened the ensemble’s work to that of Charlie Parker’s – geniuses baffling audiences with new, unexpected forms. <o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">I refer to Parker’s logical descendants because I think the intentions involved in his music and theirs are precisely the same: the destruction of “normality,” the creative assassination of cultural and artistic caretaking establishments. <o:p></o:p></i></div>
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Riley was most impressed by the take on “Loneliness,” likening Bradford’s playing to Miles Davis’s. He referred to the energy of “Encounter” as ‘street combustion.’ <o:p></o:p></div>
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More ‘70s vernacular:<o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">These Brothers are not formula followers; their work neither begins nor does it end in any sense that we might call formal or traditional or … whatever. Their playing is forceful and free. And it is astute also, the men know – I wanta thank ya – </i>know<i style="mso-bidi-font-style: normal;"> their instruments and use them in an informed as well as a daring fashion. <o:p></o:p></i></div>
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From there, Clayton talked about the ability of Black music to be simultaneously beautiful and violent, citing Louis Armstrong, Art Tatum, Lester Young, Art Blakey, Ornette Coleman and Sun Ra as examples. <o:p></o:p></div>
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<i style="mso-bidi-font-style: normal;">The Carter-Bradford Quartet will, I hope, keep on gittin’ up. This is their second album, I understand, and what they’ve done with it is show us what can and will be in contemporary music’s new and near future. Check them out. <o:p></o:p></i></div>
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The <i style="mso-bidi-font-style: normal;">Times </i>review had obvious mistakes – omission of the second bassist and limited knowledge on of the ensemble – but it was very positive to be received so well in such an important publication. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">Aftermath<o:p></o:p></b></div>
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Though there had been a bit of good press, the records never really took off. Both Carter and Bradford remained in Los Angeles working as educators. Bradford started off at CalArts and then moved to Pomona College, where he remained for over 25 years. <o:p></o:p></div>
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The pair didn’t record or perform as frequently after <i style="mso-bidi-font-style: normal;">Self Determination Music</i>. It wasn’t until 1972 that their second release on Revelation came out. <o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqULk35ePrOGJ4oal8MrXgL1WgHH7LP74nmsLQZnFTnWr74FNte7Kadd1rYyDsfYm3wgD9qoJkvn_s5IWKyHi_bOsMWwVUpOfwtnriwTR_OJiZ8yHfqYM3z3uZFvw59_rOv3ZOOq6vatc/s1600/secrets_frontcover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><span class="Apple-style-span" style="color: black;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqULk35ePrOGJ4oal8MrXgL1WgHH7LP74nmsLQZnFTnWr74FNte7Kadd1rYyDsfYm3wgD9qoJkvn_s5IWKyHi_bOsMWwVUpOfwtnriwTR_OJiZ8yHfqYM3z3uZFvw59_rOv3ZOOq6vatc/s1600/secrets_frontcover.jpg" /></span></a><i style="mso-bidi-font-style: normal;">Secrets</i> (REV-18) featured only a single track from what formerly was the New Arts Jazz Ensemble. “Circle” was recorded at the Herrick Lounge at Occidental College on November 9, 1971. The three studio tracks were recorded on April 4, 1972 and featured bassist Louis Spears, drummer Ndugu Chancler and pianist Nate Morgan. <o:p></o:p><br />
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From there the duo diverged as they became more involved in their day-to-day lives. Bradford would go on to finally appear on an album of Ornette Coleman, <i style="mso-bidi-font-style: normal;">Science Fictio</i>n (Columbia KC 31061, 1972). Before the <i style="mso-bidi-font-style: normal;">Secrets</i> session, the trumpeter also ventured to Europe and recorded with members of John Steven’s Spontaneous Music Ensemble. He later returned to the United Kingdom and recorded <i style="mso-bidi-font-style: normal;">Love’s Dream</i> with Stevens, saxophonist Trevor Watts and bassist Kent Carter at the end of 1973. </div>
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It was about that time that Carter shifted his attention predominantly toward the clarinet. <o:p></o:p></div>
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Bradford: “I was not making happy noises about him leaving the alto. I loved his saxophone playing.” <o:p></o:p></div>
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Carter showed up as a collaborator on a few releases during the 1970s, including Vinny Golia’s <i style="mso-bidi-font-style: normal;">Spirits In Fellowship</i> (Nine Winds 0101, 1977), Tim Berne’s <i style="mso-bidi-font-style: normal;">The Five-Year Plan</i> (Empire Productions EPC 24K, 1979) and James Newton’s <i style="mso-bidi-font-style: normal;">The Mystery School </i>(India Navigation IN 1046, 1980). He released two recordings as a leader during this time, a live album, on a small label, called <i style="mso-bidi-font-style: normal;">Echoes From Rudolph’s</i> (Ibedon IAS 1000, 1977) and a recording of a suite of folk tunes called appropriately enough <i style="mso-bidi-font-style: normal;">A Suite of Early American Folk Pieces for Solo-Clarinet</i> (Moers 02014, 1979). <o:p></o:p></div>
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Bradford and Carter would resume their partnership on subsequent recordings of Carter’s Quintet and Octet. While Bradford still enjoyed playing standard jazz repertoire along with his own material, Carter really focused on his own compositions, creating a series of five recordings in a suite that would become his legacy as a writer and conceptualist – <i style="mso-bidi-font-style: normal;">Roots and Folklore: Episodes in the Development of American Folk Music </i>(<i style="mso-bidi-font-style: normal;">Dauwhe</i> (Black Saint BSR 0057, 1982), <i style="mso-bidi-font-style: normal;">Castles of Ghana</i> (Gramavision 18-8603-1, 1986), <i style="mso-bidi-font-style: normal;">Dance of the Love Ghosts</i> (Gramavision 18-8704-1, 1987), <i style="mso-bidi-font-style: normal;">Fields</i> (Gramavision 18-8809-1, 1988) and <i style="mso-bidi-font-style: normal;">Shadows on a Wall</i> (Gramavision R1 79422, 1989)). (Hopefully, these tremendous releases will be reissued at some point.)<o:p></o:p></div>
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Carter’s legacy has remained a vital part of the story of creative music in the United States. He was a gifted performer, educator and conceptualist. Carter passed away on March 31, 1991 in Inglewood, California. <o:p></o:p></div>
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Bradford’s legacy has continued to grow as he has continued to be an important voice in the contemporary world of jazz and improvisation. He has continued his roll as an educator, predominantly at Pomona College. Bradford has also been an in demand sideman and leader, recording with musicians as diverse as Nels Cline, Frode Gjerstad and David Murray.<o:p></o:p></div>
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As of December 31, 2011, the Flying Dutchman catalog had reverted back to the Thiele Estate. The catalog had been previously controlled by Sony/BMG. Any documents would presumably be with Thiele’s family. (I did send a message to Bob Thiele’s son to see if any info might be readily accessible with no response.)<o:p></o:p></div>
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There has been word that International Phono has planned to release reissues of these two recordings in the fall of 2012 or spring of 2013. <o:p></o:p><br />
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<i>I would like to sincerely thank Bobby Bradford for sharing his time and information. I would also like to thank the staff at the Institute of Jazz Studies at Rutgers University and the expedient staff of the Los Angeles County Museum of Art's Research Library. Also, thanks to Charles Sharp and Clifford Allen for the tips. </i></div>Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com4tag:blogger.com,1999:blog-8998283771073751235.post-89579139172537207582012-04-22T18:42:00.000-04:002012-04-22T18:42:29.077-04:00BYOV - Meeting #10<span class="Apple-style-span" style="font-family: Calibri;">Another BYOV has come and gone. While we didn’t have a huge crowd, we did manage to have one of the most diverse programs that I can recall.</span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: Arial, Helvetica, sans-serif;"><i>Searching for new BYOVers...</i></span></td></tr>
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<span class="Apple-style-span" style="font-family: Calibri;">The group met on March 25</span><span class="Apple-style-span" style="font-family: Calibri;"><sup>th</sup></span><span class="Apple-style-span" style="font-family: Calibri;"> at Barbès. The task for the presenters was to come up with an example that adhered to these fun themes:</span></div>
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<i><span style="font-family: Calibri;">a) "I like this one better than the original..." We want to hear your favorite adaptation of a tune from one genre to another. </span></i><span style="font-family: Calibri;"><o:p></o:p></span></div>
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<i><span style="font-family: Calibri;">b) Who is the Pete Rose of jazz? Trying to think of a musician that bet on a band member flubbing the changes? Stop. We want your favorite musical "switch hitters". Guys/gals that handled multiple instruments, straddled genres, etc. Doesn't have to be jazz. </span></i><span style="font-family: Calibri;"><o:p></o:p></span></div>
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<i><span style="font-family: Calibri;">c) We've all heard music that we've liked but left us scratching our heads. We want to hear your favorite "unclassifiables". <o:p></o:p></span></i></div>
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<span style="font-family: Calibri;">As I mentioned, the group wasn’t as large as the music was eclectic. I hope that the upcoming BYOVs will see more new and/or familiar faces amongst the crowd. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">The one advantage of getting out kind of early was that I didn’t miss a second of KU giving it to the Tarheels. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">On to the music:<o:p></o:p></span></div>
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<b><span style="font-family: Calibri;">1.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Calibri;">I Gambang Kromong Slendang Betaw & Mama Ong – “Stambul Lama” from <i style="mso-bidi-font-style: normal;">Music of Indonesia, Vol. 3: Music from the Outskirts of Jakarta</i> <i style="mso-bidi-font-style: normal;">– Gambang Kromong</i> (Smithsonian Folkways SFW 40057, 1991)</span></b></div>
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<span style="font-family: Calibri;"><b>Presented by Richard Gehr – CD – Theme: C</b><o:p></o:p></span><br />
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<span style="font-family: Calibri;">Richard prefaced by saying that he thought this recording “totally uncategorizable.” <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Richard: “I don’t know how much of this you’ll be able to listen to. Maybe we could do something like Queen for a Day. Keep clapping until you want it turned off….”<o:p></o:p></span></div>
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<span style="font-family: Calibri;">“This record has made my life worth living.”<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Steve: “Remember… He likes Phish.”<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Richard: “Among other things… I’m not ashamed.”<o:p></o:p></span></div>
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<span style="font-family: Calibri;">We were immediately sent into a strange aural world, a very bizarre sound mixture with a completely distinctive texture, one that I had never heard before. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">“Is it the vocalist’s recording?” No – it is a group. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">“Are all the musicians from the same country?” Yes.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Me: “Is it one of those Indian psychedelic compilations?” No.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">We started to go through the sounds we could identify. Definitely gamelan percussion and Hawaiian guitar. There was also a unique vocal style unfamiliar to all the listeners. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">“Is that a native flute?” Most likely.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">There were other guesses to where the music originated: Africa? Polynesia? <o:p></o:p></span></div>
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<span style="font-family: Calibri;">We weren’t going to get it.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Robert: “This was a good piece for the theme.”<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Turned out the recording was by an Indonesian group called I Gambang Kromong Slendang Betaw & Mama Ong from 1990. The group mixed elements of gamelan with jazz to form a very distinct style, written in gamelan form, which included a very long melody. The Western instruments just blow on top of the gamelan structure, which wouldn’t naturally allow for much improvisation.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">In the music, the listener could hear elements of African pentatonic forms along with more particularly Asian sounds. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Diego: “It reminds me of melodies from the Canary Islands.” (Where Europe met Africa).<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Steve: “How did you get turned on to this?”<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Richard: “The mail.” <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Critics: the lucky few who don’t have to venture beyond their mailbox to discover new and amazing things. <o:p></o:p></span></div>
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<b><span style="font-family: Calibri;">2.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Calibri;">Charles Mingus – “Oh Lord Don’t Let Them Drop That Atomic Bomb On Me” from <i style="mso-bidi-font-style: normal;">Oh Yeah</i> (Atlantic 1377, 1962)</span></b></div>
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<span style="font-family: Calibri;"><b>Presented by Robert Futterman – LP – Theme: B</b><o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-family: Calibri;">Robert: “This tune has a few switch hitters. Maybe up to three…”</span></div>
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<span style="font-family: Calibri;">Didn’t take but a second for Steve to guess Mingus on piano. The other immediate switch hitter was Roland Kirk (who could play all the woodwinds - simultaneously). <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Steve: “I thought someone would bring <i style="mso-bidi-font-style: normal;">Mingus Plays Piano</i> (Impulse! A-60, 1963).” <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Robert: “What about Dannie Richmond? I thought he was a saxophonist before he was a drummer.” <o:p></o:p></span></div>
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<span style="font-family: Calibri;">He definitely was. He picked up the drums in 1955 and was in Mingus’s group six months later. Richmond stayed with Mingus until Mingus died. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">“Was Kirk on the manzello or stritch?” The manzello was Kirk’s name for his modified King Saxello (curved Bb soprano sax) while stritch was his modified Buescher straight alto. I thought it sounded like an alto, by deduction – the stritch. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Robert recalled seeing a drummer-less Mingus ensemble that featured saxophone titan George Adams and trumpeter Jack Walrath. Richmond’s parents had just died and he couldn’t make the gig. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Richard saw Mingus while growing up in Portland, Oregon. Apparently, George Adams had heard about the death of his mother and played a heart wrenching solo for nearly a half hour. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Richard: “It was the most passionate playing that I’ve ever heard.” <o:p></o:p></span></div>
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<span style="font-family: Calibri;">There were questions to where Jack Walrath was now. He has a website and gigs infrequently. <o:p></o:p></span></div>
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<b><span style="font-family: Calibri;">3.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Calibri;">Heiner Goebbels / Heiner Müller – “Wilde Spekulationen (Wild Speculations)” from <i style="mso-bidi-font-style: normal;">Der Mann im Fahrstuhl (The Man in the Elevator)</i> (ECM 1369, 1988)</span></b></div>
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<span style="font-family: Calibri;"><b>Presented by Me – LP – Theme: C</b><o:p></o:p></span><br />
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<span style="font-family: Calibri;">I only prefaced the tune by saying that it was really weird. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">“What year is this from?” 1988. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Steve: “That drum Machine should have tipped you off…” <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Calibri;">The song featured a strange blend of electronic and rock, saxophone and German sprechtstimme. Shouldn’t forget the mellow English language vocal from a voice that should be recognizable to the “Downtown” music fan.</span></div>
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<span style="font-family: Calibri;">“Whose project is it? The vocalist?” No. It is the saxophonist’s.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">“Is it an adaptation of a poet?” No. But definitely bound by a literary element. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Me: “Richard, I’m surprised you haven’t guessed the vocalist.” <o:p></o:p></span></div>
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<span style="font-family: Calibri;">“The music is very Kip (Hanrahan) like. Definitely on a romantic streak.”<o:p></o:p></span></div>
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<span style="font-family: Calibri;">This recording was a collaboration between German composer/saxophonist Heiner Goebbels and East German writer Heiner Müller generating a contemporary opera. The ensemble included a number of tremendous musicians including guitarist Fred Frith, reed player Ned Rothenberg, trombonist George Lewis, trumpeter Don Cherry, percussionist Charles Hayward, vocalist Ernst Stötzner and guitarist/vocalist Arto Lindsay. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">I thought that Arto might have been the key to recognition. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Robert: “This is great and just gives more proof that there is no ‘ECM sound.’ Manfred (Eicher) just puts out things that he feels are interesting or important.”<o:p></o:p></span></div>
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<b><span style="font-family: Calibri;">4.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Calibri;">J.S. Bach performed by José Miguel Moreno, Emma Kirksby & Carlos Mena – “Chaconne-Tombeau, ‘Christ lag in Todesbanden’ (after Violin Partita No. 2 in D minor, BWV 1004)” from <i style="mso-bidi-font-style: normal;">J.S. Bach, De Occulta Philosophia</i> (Glossa, 2003)</span></b></div>
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<span style="font-family: Calibri;"><b>Presented by <a href="http://www.diegobarber.com/" target="_blank">Diego Barber</a> – MP3 – Theme: A</b><o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-family: Calibri;">Diego presented us with an unusual arrangement of this Bach Chaconne where classical lutist Moreno arranged this well-known piece for vocalists, soprano Emma Kirksby and counter tenor Carlos Mena.</span></div>
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<span style="font-family: Calibri;">As a Bach expert, Diego explained that the adaptations of Bach’s compositions originally written harpsichord have been prevalent for generations. He has been playing Bach on the guitar for many years. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Moreno has been an adherent for performing classical and medieval music with the instruments that were available at the time of their composition. He didn’t have a problem rearranging the music for odd instrumental or voice combinations, however. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Here Moreno played the basso continuo on his lute while having arranged the most important lines for the soprano and tenor voices. This piece made use of 6 point harmony, with the lute handling the more chordal elements. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Bach’s music was typically very active. Harpsichords had no sustain, so the music would have to just keep on going. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Apparently, this recording was made at a tempo very slow for Bach. Diego thought that it might be because Moreno wasn’t adept enough to play the scales as fast as they needed to go. Moreno has been regarded as a great teacher and conceptualist of older music but not the best performer. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Diego really enjoyed the voicing on this piece even if the articulation wasn’t correct. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Diego: “The music of Bach always sounds good.”<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Steve: “It is hard to kill…”<o:p></o:p></span></div>
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<b><span style="font-family: Calibri;">5.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Calibri;">The Coasters – “Shoppin’ for Clothes” from <i style="mso-bidi-font-style: normal;">Shoppin’ for Clothes/The Snake and the Book Worm</i> (ATCO 45-6178, 1960)</span></b></div>
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<span style="font-family: Calibri;"><b>Presented by Steve Futterman – MP3 – Theme: C</b><o:p></o:p></span><br />
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<span style="font-family: Calibri;">Steve: “And now for something completely different…” <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Steve mentioned that this tune was performed by a very popular pop music group. He found it amazing that they could release a song like this as a single. The song didn’t have any discernable melody and no hook. It was essentially a spoken story over rhythm track. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Steve: “It is a funny song and I love it.” <o:p></o:p></span></div>
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<span style="font-family: Calibri;">The music was R&B based and reminded me of what would come later from the Last Poets, most closely resembling Lightnin’ Rod’s <i style="mso-bidi-font-style: normal;">Hustler’s Convention</i>. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Steve kept trying to give hints to us through our laughter. The saxophonist on the cut had grown up with Ornette Coleman. The release came out in 1960. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Richard: “Zappa must have heard this record.”<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Steve finally told us that it was the Coasters. The group that had huge hits - like “Charlie Brown” and “Yakety Yak.” This was still a Lieber and Stoller production like most of their hits, just completely different. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Steve: “It was unimaginable that they could release this as a single.”<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Agreed. <o:p></o:p></span></div>
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<b><span style="font-family: Calibri;">6.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Calibri;">Devine & Statton – “Bizarre Love Triangle” from <i style="mso-bidi-font-style: normal;">The Prince of Wales</i> (Les Disques Du Crépuscule TWI 873-2, 1989)</span></b></div>
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<span style="font-family: Calibri;"><b>Presented by Me – LP – Theme: A</b><o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-family: Calibri;">I decided to play a cover song.</span></div>
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<span style="font-family: Calibri;">Robert thought that choosing a cover song was tough especially for jazz as most of the jazz repertoire originated as covers of tunes popular at the time. He thought it would be silly to bring in another Coleman Hawkins recording of a standard. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">We all agreed, of course. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">But, I hadn’t brought a jazz standard.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">I put on a very stripped down acoustic version of this pop tune with a female vocalist. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Steve: “That’s the New Order song. ‘Bizarre Love Triangle.’” <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Richard: “Is it Belle and Sebastian?” No. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Steve could remember another group that had covered the song and had a hit but it wasn’t this one. That happened to be the Australian group Frente!. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">The group presented here was Devine and Statton which was made up of former Manchester post-punk band (Ludus) member Ian Devine and the Welsh vocalist and former member of the Young Marble Giants and The Weekend Alison Statton. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">This version wasn’t a groundbreaking revision but it was a very nice piece to listen to. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Steve: “Do you have the original version? We should see how radically they’ve changed the song.” <o:p></o:p></span></div>
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<span style="font-family: Calibri;">I didn’t. It will have to be a future experiment. <o:p></o:p></span></div>
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<b><span style="font-family: Calibri;">7.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Calibri;">Ulrich P. Lask – “Drain Brain” from <i style="mso-bidi-font-style: normal;">LASK</i> (ECM 1217, 1982)</span></b></div>
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<span style="font-family: Calibri;">So I decided to play another strange selection. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Cue the Nintendo synths, John Zorn-ish sax and the bizarre vocals. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Matt: “Is this Jan Hammer?” No – but I like some of his stuff.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">“Karen Mantler?” No.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Steve: “Debbie Harry?” Nuh-uh. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Richard: “This isn’t a Carla Bley thing?” Nope.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">“Is this on ECM?” Yep. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">“Zorn?” No. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">“What year was it recorded?” 1982. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">“Ornette Coleman?” A resounding no. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">“An American or European?” European. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Steve: “One alto doubling?” I guess. There was only one horn player on the date.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">“John Tchicai? Evan Parker?” No and no. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">No one guessed German saxophonist Ulrich P. Lask. This was one of two recordings that he did for ECM that featured his compositions for saxophone and synthesizers alongside percussionist Meinof Bauschulte and vocalist Maggie Nicols. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">I thought this record was really wild when I first heard it. Very much indebted to new wave and early dance along with minimalist composition. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Robert: “I think this is more successful than the other ECM piece you played.”<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Definitely more danceable, if nothing else. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">(I have hopes to speak to Lask about this and his other release at some point.)<o:p></o:p></span></div>
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<b><span style="font-family: Calibri;">8.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Calibri;">Jethro Tull – “Serenade to a Cuckoo” from <i style="mso-bidi-font-style: normal;">This Was</i> (Island Records ILP 985, 1968)</span></b></div>
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<span class="Apple-style-span" style="font-family: Calibri;">“Yeah!” There were some fans in the audience.</span></div>
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<span style="font-family: Calibri;">Robert: “I was going to bring the original.” (Rahsaan as a switch hitter). <o:p></o:p></span></div>
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<span style="font-family: Calibri;">So this was Jethro Tull’s infamous cover of Rahsaan Roland Kirk’s “Serenade to a Cuckoo.” <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Steve played it with fond memories but I just had to dig into the seedier side. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Apparently, Kirk was not very enthusiastic about the cover version. It was played in homage to flutist Ian Anderson’s multi talented hero. Kirk was very upset at the success these British musicians had with his tune, playing sold out stadiums, etc. while he continued to struggle. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Robert: “It was a total theft of his style.”<o:p></o:p></span></div>
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<span style="font-family: Calibri;">Steve stood by Tull. It was a tribute after all. Their covering the tune did lead Rahsaan to some opportunities that he probably wouldn’t have had otherwise, including gigs at the legendary Fillmore theaters. <o:p></o:p></span></div>
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<b><span style="font-family: Calibri;">9.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Calibri;">Esperanza Spalding – “Endangered Species” from <i style="mso-bidi-font-style: normal;">Radio Music Society</i> (Heads Up International LC 15025, 2012)</span></b></div>
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<span style="font-family: Calibri;"><b>Presented by <a href="http://fullyaltered.com/fa/" target="_blank">Matt Merewitz</a> – MP3 – Theme: A</b><o:p></o:p></span><br />
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<span class="Apple-style-span" style="font-family: Calibri;">Matt decided to play us something more current and that he had been feeling.</span></div>
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<span style="font-family: Calibri;">It didn’t take me long to guess bassist/vocalist Esperanza Spalding from her new recording <i style="mso-bidi-font-style: normal;">Radio Music Society</i>. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Matt: “But what is the tune? Think late ‘70s early ‘80s…” <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Head scratching.<o:p></o:p></span></div>
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<span style="font-family: Calibri;">“It is by a very famous jazz composer.” <o:p></o:p></span></div>
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<span style="font-family: Calibri;">No one had a guess. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">It was Wayne Shorter’s “Endangered Species” from his <i style="mso-bidi-font-style: normal;">Atlantis</i> record (CBS 26669, 1985). Apparently Spalding rearranged the song and added her own lyrics. <o:p></o:p></span><br />
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<span style="font-family: Calibri;">We listened to the original version performed by Shorter to see what differences there were. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">I’m not sure the majority saw a sea change from the original to Spalding’s new vocal version. (Decide for yourself).<o:p></o:p></span><br />
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<span style="font-family: Calibri;">We did discuss the recent interest in revisiting the music of the 1980s jazz and R&B scene in the current jazz market. I think the overall consensus was that the music really hasn’t been hitting the mark. <o:p></o:p></span></div>
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<span style="font-family: Calibri;">Not to belittle the musicians or even their influences, but I personally find it difficult to identify with their choices when I feel that many artists – including Shorter and the often covered Stevie Wonder – weren’t making their best music during the early 1980s. Be that as it may, music has always been cyclic and maybe we’ve just gotten stuck in that 30-year rut. <o:p></o:p></span></div>
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Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com0tag:blogger.com,1999:blog-8998283771073751235.post-39464755636936837142012-03-19T22:31:00.000-04:002012-03-20T15:09:29.489-04:00BYOV - Meeting #9<div style="text-align: justify;">
<span class="Apple-style-span" style="font-family: Arial;">The ninth installment of BYOV was held on February 19</span><span class="Apple-style-span" style="font-family: Arial;"><sup>th</sup></span><span class="Apple-style-span" style="font-family: Arial;"> at Barbès with the diehards. I’ve forgotten to check if the weekends scheduled are around holidays and I’ve been burned a couple of times. The low attendance has been attributed to the proximity to holidays. Naturally, we would love to have high attendance.</span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Arial;">Thus… <span class="Apple-style-span" style="color: #990000;">Important Announcement!</span></span></b></div>
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<span style="font-family: Arial;"><span class="Apple-style-span" style="color: #990000;">All future BYOVs will take place on the last Sunday of each month unless there is some annoying holiday or hindrance. We’ll figure out November and December as we get closer. </span><o:p></o:p></span></div>
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<span style="font-family: Arial;">Back to #9… I thought that the themes were particularly strong. They are listed below:<o:p></o:p></span></div>
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<span style="font-family: Arial;"><i>a) The United Nations band. Looking for your best collaborations between musicians of different nationalities. Maybe I can finally bring this classic hip-hop joint featuring <a href="http://www.youtube.com/watch?v=TMFjBl5VMaY"><span style="color: #0037a3;">Hakeem Olajuwon</span></a>…<o:p></o:p></i></span></div>
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<span class="Apple-style-span" style="font-family: Arial;"><i>b) Wrote a song about you. Wanna hear it? Here goes… Tribute albums are tricky. They can be inspired or really terrible. Let’s hear your choice for either best or worst tribute album.</i></span></div>
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<span style="font-family: Arial;"><i>c) Love on the beat. Sure, Serge… But we love the beat. We want to hear your favorite groove, break or in the pocket rhythm. Jab’o Starks and Stubblefields are accepted. I’ll provide a drum kit if someone knows Pretty Purdie.</i><o:p></o:p></span></div>
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<span style="font-family: Arial;">Joel Harrison found the assignment tough, especially with international collaborations. As he had done a number of collaborations with musicians of foreign tradition, he tried to locate one that he felt would fit the bill. While searching, he found it difficult to find a collaboration that didn’t sound dated. I would have to agree that many collaborations blending music of different cultures have become dated, but they have remained interesting to hear. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve Futterman thought differently. He believed that most of these collaborations have retained a modern sound, at least more contemporary than some of the more recently released collaborations. <o:p></o:p></span></div>
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<b><span style="font-family: Arial;">1.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Arial;">Mahavishnu Orchestra – “Meeting of the Spirits” from <i style="mso-bidi-font-style: normal;">The Inner Mounting Flame</i> (Columbia KC 31067, 1971)<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><b>Presented by Steve Futterman – MP3 – Theme: A</b><o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial;">This track didn’t play long before it was guessed simultaneously by a handful of attendees.</span></div>
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<span style="font-family: Arial;">This was truly a band of musical gypsies. The members of the group came from scattered locations all over the world. Guitarist John McLaughlin is from Yorkshire, England; drummer Billy Cobham is from Panama; keyboard player Jan Hammer is from Prague, Czechoslovakia; violinist Jerry Goodman is from Chicago and bassist Rick Laird from Ireland. <o:p></o:p></span></div>
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<span style="font-family: Arial;">I ventured to ask Steve why he had brought a Mahavishnu track when he had such a negative reaction when Ben Monder had played a track from a later record - <i style="mso-bidi-font-style: normal;">Visions of the Emerald Beyond</i> - at a previous BYOV. Steve thought that the ensemble assembled on <i style="mso-bidi-font-style: normal;">The Inner Mounting Flame</i> was spectacular while the added strings, etc. on the later recording was way over the top. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve felt that the music on <i style="mso-bidi-font-style: normal;">The Inner Mounting Flame</i> was an extension of the directions taken by John Coltrane and Jimi Hendrix. <o:p></o:p></span></div>
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<span style="font-family: Arial;">We had a few eye-witnesses to the power of Mahavishnu, including Steve, Joel and Richard Gehr. They all remember enjoying the experience. Some more than others. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“It was one of the first times I did coke, so I don’t remember much…”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve remarked that the traded solos between McLaughlin and Goodman reminded him of the bebop duels between Dizzy Gillespie and Bird. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“It was the world’s tightest garage band.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Joel: “It is obvious this was pre-ProTools.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Talk turned to guitarist Gregg Bendian’s Mahavishnu Project, a well-known group that has continued in the vein of McLaughlin’s groundbreaking ensemble to enthusiastic response. The Project got a thumbs up from all Mahavishnu enthusiasts present. <o:p></o:p></span></div>
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<span style="font-family: Arial;"><b>Presented by Robert Futterman – LP – Theme: A</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">Robert: “This wasn’t chosen because it is obscure…”<o:p></o:p></span></div>
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<span style="font-family: Arial;">“But it is, huh…?” <o:p></o:p></span></div>
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<span style="font-family: Arial;">We heard a big band playing a slightly loose and thoroughly swinging fare. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “No… This music doesn’t get the point.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Joel: “It isn’t Don Ellis is it?” No. <o:p></o:p></span></div>
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<span style="font-family: Arial;">We wondered if the leader was one of the musicians. He was indeed. <o:p></o:p></span></div>
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<span style="font-family: Arial;">No one was able to guess the group or the leader. Robert thought that someone might have been able to guess the trumpeter, Ahmed Abdullah, who probably had the highest profile of any of the musicians on the recording. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Robert had read the theme of international collaboration and had immediately thought of Sarbib’s Multinational Big Band, though Sarbib and Brazilian percussionist Guilherme Franco were the only non-US citizens involved. Sarbib is a Frenchman of Algerian descent. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Robert had seen the group during the early 1980s at a free show at the South Street Seaport in New York City and had enjoyed the gig enough to pick up a copy of the LP. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Sarbib was primarily a bassist but also doubled on piano and organ. He led a handful of recordings during the late 1970s and early 1980s. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The Multinational Big Band included a sort of who’s who of the New York out scene in the early 1980s. Saxophonists David Sewelson, Booker T, Jemeel Moondoc and Mark Whitecage; trumpeters Ahmed Abdullah, Roy Campbell and Steven Bernstein; percussionist Guilherme Franco and bassist David Hofstra all show up among others. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Definitely a fun release. <o:p></o:p></span></div>
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<b><span style="font-family: Arial;">3.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Arial;">Conjure – “Fool-Ology (The Song)” from <i style="mso-bidi-font-style: normal;">Music for the Texts of Ishmael Reed</i> (American Clavé AMCL 1006, 1984)<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><b>Presented by Richard Gehr – CD – Theme: A</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">Before playing his track, Richard wondered if there had been some kind of consensus that made it only appropriate to present the music as a blindfold test. There wasn’t but most participants enjoyed it. Richard didn’t enjoy it so much and preferred a straight up presentation.<o:p></o:p></span></div>
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<span style="font-family: Arial;">On the subject of blindfold tests, Joel suggested that there be awards for the most correct identifications. Perhaps that could be arranged. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Back to the music…<o:p></o:p></span></div>
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<span style="font-family: Arial;">Even though Richard was going to tell us, this selection wasn’t a tough one to guess. A handful of listeners knew that it was a Kip Hanrahan production. I filled in Conjure and Ishmael Reed’s name. My good KC pal Dennis Price introduced me to this one when I was in high school.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Conjure was a group pieced together by record producer Kip Hanrahan for his American Clavé label. The group presented text of writer/poet Ishmael Reed (wanna read a wild book? <a href="http://www.amazon.com/Mumbo-Jumbo-Ishmael-Reed/dp/0684824779/ref=sr_1_1?ie=UTF8&qid=1332208379&sr=8-1" target="_blank">Check this one out</a>) sung by guest vocalists accompanied by original music. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Hanrahan is well known for his dabbling in genres as diverse as tango, salsa, Afro-Cuban, jazz and funk for his productions. He is constantly involved with musicians from other countries in the creation of his own eccentric recordings. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The group that he put together for “Fool-Ology” included a number of illustrious musicians from the States and the Caribbean. This tune was written by the Art Ensemble of Chicago trumpeter Lester Bowie and featured accompaniment by saxophonist David Murray, bassist Jamaladeen Tacuma, Latin jazz bassist Andy Gonzalez and drummer Billy Hart. The track also presented a handful of tremendous musicians of Caribbean descent, including master Haitian vodou drummer <a href="http://www.nytimes.com/2012/03/10/arts/music/frisner-augustin-haitian-vodou-drummer-is-dead-at-63.html" target="_blank">Frisner Augustin</a> (RIP), Haitian guitarist Elysee Pyronneau, Puerto Rican percussionist Milton Cardona and Cuban percussionist Orlando “Puntilla” Rios. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Everyone present was a fan of Hanrahan’s work with American Clavé. Unfortunately, many musicians aren’t. <o:p></o:p></span></div>
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<span style="font-family: Arial;">I had to tell the story of my first and only meeting with Mr. Hanrahan. <o:p></o:p></span></div>
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<span style="font-family: Arial;">I was at the Library of Congress in Washington, DC for a performance by Guillermo Klein. The wonderful <a href="http://larryappelbaum.wordpress.com/" target="_blank">Larry Appelbaum</a> was going to do a pre-concert interview with Klein and there were a number of folks waiting for said interview. I was speaking with Larry when he pointed out Hanrahan. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Naturally, I wanted to meet Kip and thank him for his work and the fantastic music. I approached and said, “Mr. Hanrahan…? It is very nice to meet you. I’m a big fan, blah, blah…”<o:p></o:p></span></div>
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<span style="font-family: Arial;">He took my proffered hand with a wary look and asked, “Do I owe you money?” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Very nice guy with a sense of humor. Obviously, the music meant a lot to him. I’m happy to see that American Clavé has returned to business with some reissues and new things of late. <o:p></o:p></span></div>
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<b><span style="font-family: Arial;">4.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Arial;">Roy Brooks – “The Free Slave” from <i style="mso-bidi-font-style: normal;">The Free Slave</i> (Muse Records MR 5003, 1970)</span></b></div>
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<span style="font-family: Arial;"><b>Presented by Zak Shelby-Szyszko – MP3 – Theme: C</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">Brother Zak brought in a pretty grooving drum driven number for the beats theme. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard: “Must be the drummer’s album.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">That was very clear. The drums were mixed way up front. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Zak mentioned that he used to play this one a lot while working in a coffee shop in Detroit. Many listeners would later ask who the group was or would recognize the drums from being sampled on hip-hop tracks.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve took the first stab: “Idris Muhammad?” Nope.<o:p></o:p></span></div>
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<span style="font-family: Arial;">“Were the other musicians in the ensemble well known?” All - except the pianist. Kind of an allstar band. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“When was it recorded?” In 1970. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Zak: “Bret, I’m surprised you don’t know from all that hip-hop you listen to.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">I was surprised, too. I was racking my brain. It did seem familiar. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Robert: “The trumpeter is playing like Freddie (Hubbard), but not… The tune has a very (Les McCann) ‘Compared to What?’ vibe.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Zak: “I love the space. The guys were just locked into this groove.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Joel: “Is the trumpeter Blue Mitchell?”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “No. He’s better than that. Let’s go by labels… It isn’t Blue Note. Is it Prestige?” No.<o:p></o:p></span></div>
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<span style="font-family: Arial;">“Cadet?” No.<o:p></o:p></span></div>
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<span style="font-family: Arial;">It turned out the record came out on Muse.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Zak had to give us this one. It was one of drummer Roy Brooks’s few dates as a leader. The band included trumpeter Woody Shaw, saxophonist George Coleman, bassist Cecil McBee and pianist Hugh Lawson. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Zak: “This was very early Woody Shaw but he was definitely known.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Hmm… He was toning down his style to fit the music.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Brooks had been a top-flight drummer in the 1960s. He had played with many different leaders, including Horace Silver, Yusef Lateef, Abdullah Ibrahim, Max Roach and Charles Mingus. He was also known for playing strange percussion instruments, most notably the saw. <o:p></o:p></span></div>
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<span style="font-family: Arial;">During the mid-1970s, Brooks began to suffer from a mental disorder and returned to his hometown of Detroit. There he began medicating with lithium. He continued to play with the local Detroit independent jazz scene and to teach in the local community. <o:p></o:p></span></div>
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<span style="font-family: Arial;">In the 1990s, Brooks stopped using his medication and became increasingly out of hand. After a few arrests for threatening neighbors and an assault, Brooks was taken to prison and then put into psychiatric care. He passed away in 2005. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Another sad story of a tremendous jazz musician. <o:p></o:p></span></div>
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<b><span style="font-family: Arial;">5.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Arial;">Mike Cooper – “O.M.M. Coda” from <i style="mso-bidi-font-style: normal;">Life and</i> <i style="mso-bidi-font-style: normal;">Death In Paradise</i> (Fresh Air 6370 500, 1974)</span></b></div>
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<span style="font-family: Arial;"><b>Presented by Me – LP – Theme: A</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">I decided to bring a pretty esoteric recording that featured an interesting pairing of a folk/rock guitarist with some African jazz musicians. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The track began with overdubbed guitars overlapping followed by a distinctive vocal. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Sounds like (Dylan’s) ‘Just Like Tom Thumb’s Blues’…” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Or ‘Desolation Row’.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Richard: “Maybe it is Butch Hancock? He’s the closest guy to Dylan who isn’t Dylan.” Nope.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Then came in the trembling, arco bass that filled out the sound a bit more. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Forget Dylan… This sounds like (Van Morrison’s) <i style="mso-bidi-font-style: normal;">Astral Weeks</i>.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is it (bassist) Richard Davis?” Nope. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Finally, the rest of the ensemble fell in with drums and sax in a more upbeat prancing, rocking section. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “I’m not familiar with him but is the singer Scott Walker?” No. Definitely not. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“What are his initials?” M and C. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“MC Hammer…?” Ha-ha. Not close.<o:p></o:p></span></div>
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<span style="font-family: Arial;">This was the first time that these guys heard guitarist/vocalist Mike Cooper. The English musician born in 1942 became a contemporary of fellow guitar experimenters like Bert Jansch and Davy Graham. He has explored all types of music from all over the world, most notably folk, rock, blues and free improvisation. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Are you sure his name isn’t Mick…?”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Though Cooper alone was a cool discovery, I let them know that the more obscure musicians were the foreigners. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is the saxophonist that South African guy?” You mean Dudu Pukwana? No. But this player was well acquainted with him. Though, this saxophonist was English. <o:p></o:p></span></div>
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<span style="font-family: Arial;">No one could guess the others. <o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">Death In Paradise</span></i><span style="font-family: Arial;"> was Cooper’s sixth release as a solo artist and featured collaborations with a handful of luminary jazz musicians living in England, including saxophonist Mike Osborne and two South Africans - bassist Harry Miller and drummer Louis Moholo. <o:p></o:p></span></div>
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<span style="font-family: Arial;">This release has never been reissued. There are tentative plans, however…<o:p></o:p></span></div>
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<b><span style="font-family: Arial;">6.<span style="font: normal normal normal 7pt/normal 'Times New Roman';"> </span></span><span style="font-family: Arial;">Jimi Hendrix – “Killing Floor” from <i style="mso-bidi-font-style: normal;">Jimi Plays Monterey</i> (Reprise Records 25358-1, 1986)<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><b>Presented by Steve Futterman – MP3 – Theme: C (A, too)</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “Here’s another one you’ll get right away.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Yep. The Jimi Hendrix Experience stampeded through the speakers performing Howlin’ Wolf’s classic “Killing Floor.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “It is stunning. He just gets it so right.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">This song was Hendrix’s introduction to a larger US audience, basically. The first tune he played at the Monterey International Pop Festival in June 1967. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Joel: “This is amazing rhythmic playing.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">That was why Steve wanted to play the track. The dynamic between Hendrix’s tremendous guitar and the rhythm section of bassist Noel Redding and drummer Mitch Mitchell was tremendous. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Zak: “Mitch Mitchell was such a monster.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve: “That guitar attack is so hard to do plus he’s singing.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Robert: “Not to mention that this is an international band, too.” <o:p></o:p></span></div>
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<span class="Apple-style-span" style="font-family: Arial;"> </span></div>Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com0tag:blogger.com,1999:blog-8998283771073751235.post-19548916472021788342012-02-10T11:55:00.000-05:002012-02-10T12:04:21.971-05:00BYOV - Meeting #8<br />
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<span class="Apple-style-span" style="font-family: Arial;">Our last session of BYOV on January 15 had some issues. First off: it was frickin’ freezing. Second: there was a Giants versus Packers game scheduled for 4pm. (Side note: Big Blue!)</span></div>
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<span style="font-family: Arial;">I expected the turnout to be a bit light. Three o’clock rolled around and there were three of us. So we waited… Three fifteen rolled around, two more. Finally, 3:30… A slew of saxophonists and guitarists showed up. <o:p></o:p></span></div>
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<span style="font-family: Arial;">In the end, we had one of the largest BYOV groups yet. Unfortunately, most decided to be observers rather than presenters. Hope to see many of the same crowd next time (with some music). <o:p></o:p></span></div>
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<span style="font-family: Arial;">Anyway… Here were the themes:<o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">a) Let me reintroduce myself… Critically panned or disliked album that warrants a re-appraisal. Got a record that got s#@% on by the press but you thought was hot? Let’s put it to the test.</span></i><span style="font-family: Arial;"><o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">b) What’s he doing here!?! We’d like to hear the most surprising of special guests. You heard that Kanye with Bela Fleck jam yet? Fire!</span></i><span style="font-family: Arial;"><o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">c) Blind ambition. Bring in the most ambitious piece of music you can find. Doesn’t have to be pretty. “Bohemian Rhapsody” wins, so pick another.<o:p></o:p></span></i></div>
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<span style="font-family: Arial;">With a ton of guitarists and a theme asking for ambitious music, you can guess what happened next. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Fusion fest…<o:p></o:p></span></div>
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<span style="font-family: Arial;">So, off to the races…<o:p></o:p></span></div>
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<b><span style="font-family: Arial;"> 1. Airto w/ Gil Evans & WDR Big Band – “Kyrie” from <i style="mso-bidi-font-style: normal;">Misa Espiritual – Airto’s Brazilian Mass</i> (Deutsche Harmonia Mundi, HM 663 (1983))<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><b>Presented by Me – LP – Theme: C</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">The listeners were met by a dense, winding piano intro with a Ligeti-esque dissonant choir stirring unease. The group was silent while taking in the swirling cacophony.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Futterman: “This is a Groove Holmes record, right?” Snicker.<o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is it the pianist’s recording?” No. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Man… How long is this track?” <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is it composed or improvised?” Mostly composed, I think.<o:p></o:p></span></div>
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<span style="font-family: Arial;">There was a fair share of laughter as the piano and choir died down and psychedelic water droplets led to a full orchestra featuring strings, low brass and glockenspiel. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Me: “This one isn’t obvious…” Sarcastic laughter.<o:p></o:p></span></div>
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<span style="font-family: Arial;">“Will we know the musician’s name?” Yep. You’ll be surprised. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Wendel: “Is it Zappa?” Nope. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“A jazz musician?” Yes and no. <o:p></o:p></span></div>
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<span style="font-family: Arial;">After a short section of medieval chanting, a full tilt funky jazz orchestra took flight. There were a number of raised eyebrows. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Me: “The vocal should give it away.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is it an Italian? Frith? Zorn?” It did sound a bit like Morricone’s more extreme compositions but they should have been thinking more southerly. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“That Brazilian blind guy (Hermeto Pascoal)?” Getting close. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Monder finally guessed Airto Moreira and Merewitz guessed that it was Gil Evans with the big band arrangement (he was technically the musical director). <o:p></o:p></span></div>
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<span style="font-family: Arial;">This record was recorded in Cologne with the WDR Big Band in 1983. One of the wildest records that I’ve purchased. It goes through phases of modern classical, Brazilian fusion, funky jazz and straight up pop rock. This was Brazilian percussionist/composer Airto Moreira’s attempt to set the liturgy of a mass to a progressive jazz-fusion. The results were insane.<o:p></o:p></span></div>
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<span style="font-family: Arial;">“Whoa! That’s it. I don’t know if there’s anything more ambitious than that…” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Me: “All I know is that only a Brazilian could have made a record like this.”<o:p></o:p></span></div>
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<b><span style="font-family: Arial;"> 2. Stan Kenton plays Bob Graettinger – “First Movement-Part 1: Entrance Into the City” from <i style="mso-bidi-font-style: normal;">City of Glass</i> (Capitol Records, LC 6577 (1951))<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><b>Presented by <a href="http://www.thomasheberer.com/" target="_blank">Thomas Heberer</a> – 10” LP – Theme: A, B & C</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">Thomas wanted to present a piece that he thought was very ambitious, especially for the billed artist. The recording was from the early 1950s and, once again, Thomas brought a rare original copy, this time on 10” vinyl record. <o:p></o:p></span></div>
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<span style="font-family: Arial;">First we heard swarming dissonant strings soon joined by some strong horns, including a saxophone section (out of place in most classical fare). The many wildly moving lines intersected and ran apart making the composition extremely atonal. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is the artist European or American?” American.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Merewitz: “Is this Stan Kenton?” Yes. Whoa…<o:p></o:p></span></div>
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<span style="font-family: Arial;">Futterman: “Ah…This is the <i style="mso-bidi-font-style: normal;">City of Glass</i> recording.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Then a swinging jazz section stormed in through the avant-garde musings. The piece was written by composer Bob Graettinger for the Stan Kenton Orchestra. Kenton would have been at the height of his popularity at this point and the fact that he took a chance to record such an advanced piece of music speaks volumes. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Thomas mentioned that he wasn’t a big fan of Kenton’s music but was interested in many of the West Coast musicians that happened to push the boundaries of jazz using elements of modern classical. There were a number of musicians that experimented in this direction, including Jimmy Giuffre, Charles Mingus, Gerry Mulligan, Dave Brubeck and Gil Evans. Thomas had tracked this record down based on a number of recommendations, including Ted Gioia’s in his book <i style="mso-bidi-font-style: normal;"><a href="http://www.amazon.com/West-Coast-Jazz-California-1945-1960/dp/0520217292/ref=sr_1_2?ie=UTF8&qid=1328812668&sr=8-2" target="_blank">West Coast Jazz: Modern Jazz in California, 1945-1960</a></i>. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Were you happy when you heard the results? Disappointed?” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Thomas: “I was happy to get the idea of what the music was about.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Turns out that the initial reaction to the music from the public was not great, though Kenton’s intensions were good. He had wanted to expand his repertory. As mentioned before, Kenton was extremely popular and the release of the record made the bandleader really hit a snag. Saxophonist Lee Konitz was quoted as having said that the recording “bankrupted” Kenton. His fan base lost their perception of what he was and what he did, ultimately doing him in. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“It’s Nazi music. Pompous.” <o:p></o:p></span></div>
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<b><span style="font-family: Arial;"> 3. Mahavishnu Orchestra – “Eternity’s Breath, Pt. 1” from <i style="mso-bidi-font-style: normal;">Visions of the Emerald Beyond</i> (Columbia, PC 33411 (1975))<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><b>Presented by <a href="http://www.benmonder.com/" target="_blank">Ben Monder</a> – LP – Theme: C</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">Monder: “You’ll know it right away. I just wanted to hear it played loud because I can’t at home.”<o:p></o:p></span></div>
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<span style="font-family: Arial;"><a href="http://www.stephenbuonopublicity.com/" target="_blank">Stephen Buono</a> was able to guess the recording from the introductory organ drone: “Is this Vision of the Emerald Beyond?” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Futterman: “The fusion version of Stan Kenton.”<o:p></o:p></span></div>
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<span style="font-family: Arial;">Oh, the flash! Oh, the shredding of violinist Jean-Luc Ponty and guitarist John McLaughlin. There was plenty of head nodding along to the drums of Narada Michael Walden.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Stephen: “We’re not listening to the whole thing…?”<o:p></o:p></span></div>
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<span style="font-family: Arial;">We listened to the entire A-side. Most were enjoying, but not all.<o:p></o:p></span></div>
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<span style="font-family: Arial;">Monder: “Was that corny?” Oh, no, no…<o:p></o:p></span></div>
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<span style="font-family: Arial;">Futterman broke in above the fray: “Intolerable…” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve went on to explain that he had seen the band during this period and the music didn’t click with him at all. He found the components banal and grandiose. Steve went on to try to get a consensus on why folks found the music attractive. No one had an answer. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Ben Wendel thought that it was an interesting portrait of the time, one of musical and chemical excess. It was noted that McLaughlin was not doing any drugs during this time period. The counter culture certainly had been a target for the music, though. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Buono: “The excess is great.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Many enjoyed the sound of the record: “Tapey (analog recording) and loud.”<o:p></o:p></span></div>
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<b><span style="font-family: Arial;"> 4. Tony Williams – “There Comes a Time” from <i style="mso-bidi-font-style: normal;">Ego</i> (Polydor, 24-4065 (1971))<o:p></o:p></span></b></div>
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<span style="font-family: Arial;"><b>Presented by <a href="http://fullyaltered.com/fa/" target="_blank">Matt Merewitz</a> – MP3 – Theme: A & C</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">Matt’s preamble: “It doesn’t have to fit a theme. I just wanted to play it.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">We were met by lopping guitar and rich B3 organ. <o:p></o:p></span></div>
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<span style="font-family: Arial;">I yelled Lifetime because of organist Larry Young’s instantly recognizable tone. It wasn’t exactly the Lifetime group, as drummer Tony Williams had switched guitarists: one Ted Dunbar for a John McLaughlin. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Futterman: “The record was panned and rightfully so. The album has a very appropriate title.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Steve didn’t seem to enjoy the jazz-rock/fusion mix that had won the day. The music was audacious and usually overdone, everyone was trying to be a rock star. Tony Williams was singing on the track for God’s sake. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Most present had an affinity for such things, however. The particular crowd being a generation that grew up on rock and jazz. <o:p></o:p></span></div>
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<span style="font-family: Arial;">5. <b>The Muhal Richard Abrams Orchestra– “Blu Blu Blu” from </b><i style="font-weight: bold;">Blu Blu Blu</i><b> (Black Saint, 120 117-2 (1991))</b></span></div>
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<span style="font-family: Arial;"><b>Presented by <a href="http://fullyaltered.com/fa/" target="_blank">Matt Merewitz</a> – MP3 – Theme: B</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">As a straight blues riff began to emanate from the speakers, Matt mentioned that the guitarist featured on this track was not of the same generation as the rest of the musicians. <o:p></o:p></span></div>
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<span style="font-family: Arial;">We had gotten through a fair share of the tune without anyone taking a stab at the performers. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Matt had a very satisfied look on his face, of course. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Matt: “The leader is a NEA jazz master.” <o:p></o:p></span></div>
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<span style="font-family: Arial;">Everyone remained quiet. <o:p></o:p></span></div>
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<span style="font-family: Arial;">No one was able to guess. It was pianist/composer/AACM stalwart Muhal Richard Abrams’s and the Muhal Richard Abrams Orchestra. The solo spot was given to young guitarist Dave Fiuczynski of Screaming Headless Torso fame. A very provocative choice of axe man. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The tune itself was a straight-ahead blues composition dedicated to the blues master guitarist/vocalist Muddy Waters. The music seemed far from what many would consider the typical Muhal Richard Abrams repertoire. <o:p></o:p></span></div>
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<b><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: Arial; font-size: small;">6. </span><span class="Apple-style-span" style="font-family: Arial;"> </span></span><span style="font-family: Arial;">Louis Cole & Genevieve Artadi– “Here Comes the Big One (ft. David Binney)” from <i style="mso-bidi-font-style: normal;">Think Thoughts</i> (Self Released (2011))</span></b></div>
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<span style="font-family: Arial;"><b>Presented by <a href="http://www.benwendel.com/" target="_blank">Ben Wendel</a> – MP3 – Theme: B</b><o:p></o:p></span></div>
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<span style="font-family: Arial;">Ben mentioned that this was a recent recording and he had been surprised by the appearance of this particular guest artist. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The groove heavy neo-soul was reminiscent of Brand New Heavies or Les Nubians. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“What decade is this from?” This decade. <o:p></o:p></span></div>
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<span style="font-family: Arial;">We all listened for who might be the guest. Then a wild saxophone solo erupted through the groove. <o:p></o:p></span></div>
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<span style="font-family: Arial;">“Is that Osby?” No. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Monder guessed saxophonist David Binney. Right. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Here Binney played along with his Los Angeles based friends, drummer Louis Cole and vocalist Genevieve Artadi. This particular project blended elements of jazz, electronics, funk and soul. The recording also employed a heavy hitting list of jazz luminaries to fill out the ensemble. <o:p></o:p></span></div>
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<span style="font-family: Arial;">The session was then cut short. <o:p></o:p></span></div>
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<span style="font-family: Arial;">I hope that we continue to have such a diverse group of presenters and selections at upcoming meetings. <o:p></o:p></span></div>
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<br /></div>Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com0tag:blogger.com,1999:blog-8998283771073751235.post-69279862416006826822012-01-25T22:41:00.000-05:002012-01-25T22:41:13.525-05:00Neglected Treasures - Lenny Pickett and the Borneo Horns<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2bL5bLM8ihe1mACadVvpREvuE5j7vGLtit0NBjmWWVxBRsXT6cE7oypoTVktZEpYnZQVh-7U0BK_Qpxp8BxIPKyeTElOULAxdEvMJX83Db9ykx6o9a9bcgUUcT3-zVCyAPDEPdqFo-Rk/s1600/LennyPickett_3_web_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2bL5bLM8ihe1mACadVvpREvuE5j7vGLtit0NBjmWWVxBRsXT6cE7oypoTVktZEpYnZQVh-7U0BK_Qpxp8BxIPKyeTElOULAxdEvMJX83Db9ykx6o9a9bcgUUcT3-zVCyAPDEPdqFo-Rk/s640/LennyPickett_3_web_1.jpg" width="425" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">(Image by Zak Shelby-Szyszko / Zeal Images)</td></tr>
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A couple of months ago, I presented a recording at BYOV that was new to me by a musician who certainly wasn’t. It was an LP by woodwind player extraordinaire and Saturday Night Live bandleader <a href="http://www.lennypickettmusic.com/" target="_blank">Lenny Pickett</a> called <i style="mso-bidi-font-style: normal;">Lenny Pickett and the Borneo Horns </i>(Carthage Records, 7001 (1987)). </div>
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Here’s the BYOV in question and the reaction from the crew: <a href="http://bphresh.blogspot.com/2011_10_01_archive.html" target="_blank">BYOV # 5</a>. </div>
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I had been listening to the record regularly prior to the meeting and the record hasn’t strayed from the turntable since. </div>
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The record was intriguing to me for a number of reasons apart from being a fun listen. Though Pickett has been recognized as a tremendous soloist, bandleader and collaborator throughout his varied career, <i style="mso-bidi-font-style: normal;">Borneo Horns </i>has stood alone as his only recording as a leader. The record was also a testament to its time, one of much experimentation in instrumental groupings, compositional techniques and genre mixing. </div>
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My curiosity was peaked enough that I thought I’d reach out to Mr. Pickett and see if he would give me some background on the recording. He was extremely generous and sent me an astounding amount of information concerning his development as a musician and events that led up to and through the recording. His extended quotes are italicized. </div>
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So here we go. Gonna try to shed a little light on a record that should be more well known. </div>
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<b style="mso-bidi-font-weight: normal;">Some background.<o:p></o:p></b></div>
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<b style="mso-bidi-font-weight: normal;">The Early Years<o:p></o:p></b></div>
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Lenny’s family moved to the Bay Area from New Mexico when he was two years old. His father was stationed at White Sands Proving Ground and worked on the Nike Zeus missile project for the Air Force. The family moved to Berkeley, California after, while Lenny’s father finished his graduate studies. </div>
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His first introduction to music was when he started playing clarinet at 9 years of age. Lenny had some group and private lessons in the fourth grade but remained self-taught for the rest of his musical development, except for a handful of lessons on classical clarinet repertoire and flute. </div>
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<span style="font-family: Courier;"><i>With very rare exceptions, all of my training was extremely informal. It is my belief that most music is learned through self-study. I also believe that we all learn through emulation, so no one is ever completely self-taught. In my case, formal music education just wasn't available, and I worked with what I had.</i></span></div>
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Pickett’s introduction to the saxophone came at a very turbulent time in his life. His parents split up a few years after they moved to California. Before the 8<sup>th</sup> grade, Lenny had run away from his father’s home and spent a summer in a juvenile detention center. He was living in a foster home at the beginning of the school year and, while his academic attention waned, his involvement in music became almost all consuming. </div>
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A fortunate break came when a sympathetic band teacher, a Miss Magneson, allowed Pickett to borrow and take home one of the school’s tenor saxophones. He was drawn to the sax because of the loud sound that was more suitable for the music that Lenny and his peers were drawn to, namely jazz, rock, blues and R&B. His playing became a necessity for him.</div>
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<span style="font-family: Courier;"><i>I practiced like crazy on my own. Outside in the park, in parking garages, down by the bay, up in the hills…. I got chased away and yelled at. My friends got curious about what I was up to. I had quit going to school and socially disappeared for the most part. Eventually my fellow young musicians gathered me up and included me in their bands.</i><o:p></o:p></span></div>
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Much of Pickett’s musical education came through hanging with other musicians and picking up useful tidbits from conversations, casual jams, etc. His mother’s second husband was a little known jazz trumpeter named Tommy Warren, whom Pickett was able to spend valuable time with and from whom he learned a great deal about jazz and its history. Another musical acquaintance was saxophonist Bert Wilson, who lived down the street from Pickett. </div>
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Wilson’s story should be covered in more detail. He was certainly an inspiring character as he had contracted polio as a young child, discovered jazz at 10 by listening to Charlie Parker and pursued a career in music that led him from the avant-garde scene of Los Angeles to New York (where he recorded with Sonny Simmons and James Zitro for ESP), then back to California. <br />
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<span class="Apple-style-span" style="font-family: Courier;"><i>I hung out with Bert a lot. We had 2 or 3 "formal" lessons (nothing was ever that formal with Bert), and then we spent time together. The few saxophone lessons that I had with Bert were my only lessons on that instrument. He was very accepting and welcoming to me, and though we didn't have a rigorous lesson plan, I do consider him to be one of my teachers. </i></span></div>
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About Wilson’s “experimental” bent and its effect on his pupil:</div>
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<span style="font-family: Courier;"><i>I was pretty "experimental" when I met Bert. (Ask him.) Having had no real saxophone lessons, I had figured out a lot of things on my own that weren’t part of the normal saxophone training. Bert was a perfect fit for me. I loved the freedom that Bert espoused and I enjoyed his presence. Bert is a very disciplined musician with a formidable technique. It’s through his massive ability that he can play with the level of freedom that he does. We still keep in touch.</i></span></div>
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Pickett joined the horn driven, funk group Tower of Power when he was 18 years old. The group toured two thirds of the year. They recorded their own albums and as a for hire horn section on the side, taking up much of the young Pickett’s time. Pickett gives credit to bandleader Emilio “Mimi” Castillo for helping him learn “the craft of recording through working on our album projects.”</div>
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The saxophonist’s compositional style sprouted from his experiments in the recording studio. Pickett had learned the rudiments of notation while studying the clarinet but really began composing in earnest in the mid 1970s after purchasing a modular synthesizer and 8-track tape recorder under the advisement of Dr. Patrick Gleeson (of Herbie Hancock’s Mwandishi band fame). The use of these electronic tools allowed Pickett to overdub his own woodwind lines with those of the modular synth, which could provide a vast array of sounds and textures for patient practitioners. </div>
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Pickett had been interested in the advancements of electric music from musique concrète through the more modern digital synthesizer/programming based compositions, his interest piqued by the use of electronics on popular recordings of groups like the Beatles, Stevie Wonder, etc. His study of tape music and overdubbing would become more and more important in his own musical direction, especially with the inception of the Borneo Horns. </div>
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<span style="font-family: Courier;"><i>My acoustic music is often a translation of tape music ideas into the realm of acoustic instruments. I’m interested in fluid interactions between all technologies. Pencils and score paper are examples of older technologies that had a huge impact on how western art music was created. Graphic ideas invaded what was once an entirely aural medium. I have used the direct manipulation of recorded sound and the manipulation of the graphic representation of sound fairly equally.</i></span></div>
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Pickett grasped the complexities of arranging for multiple horns through his early work with woodwind ensembles (like that of Tower of Power) and his relationships with other musicians. </div>
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<span style="font-family: Courier;"><i>Writing for wind instruments was never really a problem. My earliest playing experiences were in wind ensembles. I am also, as you may have noted, an annoying interrogator of my fellow musicians. I always try to explore the technique and mechanics of the various instruments that I am around. Over the years, I have accumulated a pretty good knowledge of how they all work. I have read up on the acoustic properties of all the instruments in the orchestra and I have studied their various notational oddities.<o:p></o:p></i></span></div>
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After a decade on the road as a member of Tower of Power, Pickett moved with his young family (including an infant son) to New York City in 1981. The move made it possible for him to settle his family in a place where there was a tremendous amount of opportunities for a professional musician. </div>
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Kathryn Rae, Pickett’s wife, had lived in New York during the 1970s, performing as a member of Andrew DeGroat’s modern dance company. DeGroat had been the choreographer for the first production of Phillip Glass’s “Einstein on the Beach.” Rae used the contacts from this production along with those stemming from her ties with one time roommate Garrett List, trombonist and booker of famed performance center <a href="http://thekitchen.org/" target="_blank">The Kitchen</a>. These connections proved helpful in Pickett’s professional musical pursuits, including his landing a part in the Saturday Night Live band. </div>
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During the early 1980s, Pickett was involved with David Bowie as an arranger and member of the touring band alongside his old friend and fellow saxophonist <a href="http://steveelson.com/" target="_blank">Steve Elson</a>. The two had known each other since junior high school and had a deep musical rapport. Bowie was in the midst of recording and touring in support of a handful of dance-oriented records, the most famous being the Nile Rodgers (of Chic fame) produced <i style="mso-bidi-font-style: normal;">Let’s Dance</i>. On the 1983 “Serious Moonlight Tour,” Pickett met saxophonist <a href="http://www.stanharrison.com/" target="_blank">Stan Harrison</a>. The triumvirate became the nucleus of The Borneo Horns. Pickett gives credit to Rodgers and Bowie as catalysts to the group’s inception. </div>
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While on tour with Bowie, Pickett began writing music for this small woodwind ensemble. It was convenient to have these two extremely talented musicians at such close proximity. The group gelled quickly and Elson, Harrison and Pickett began to tour as a unit throughout Europe and North America. </div>
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<span class="Apple-style-span" style="font-family: Courier;"><i>We also functioned as a horn section on quite a few commercial pop records in the '80s and the early ‘90s. We played a lot together and there is a crazy level of empathy and telepathy between us. We still get together from time to time. We are very good friends.</i></span></div>
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Added a short while later, the fourth member of the group was Leroy Clouden who Pickett had originally met while touring with Tower of Power but played with after his arrival in New York while sitting in at a jam session at Kenny’s Castaways in Greenwich Village. Pickett: “I thought of him immediately when I had the idea of adding a percussionist to the saxophone trio. His time is awesome.” </div>
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The music stemming from the fringes in New York during that time period was all over the map. Curious mixtures of classical, punk, jazz, dance, blues, -- you name it -- were the call of the day. The compositions that Pickett wrote for the Borneo Horns weren’t intended to play to the vanguard of trendy eclecticism; they were natural extensions of his musical personality. </div>
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<span class="Apple-style-span" style="font-family: Courier;"><i>I wasn't conscious of trying to fit into any sort of genre. I was just writing from my imagination of what I would ideally like to hear. I always hope that listeners may have similar interests, but I have no control over that.</i></span></div>
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<span style="font-family: Courier;"><i>I have played in many different situations (circus, rock tours, Broadway, bar bands, street bands, etc.), playing many different styles and genres of music. This is what freelance musicians do. I enjoy a vast array of music and I have been influenced by my own sonic experience of the world in the way that all musicians and composers are. <o:p></o:p></i></span></div>
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<span style="font-family: Courier;"><i>I enjoy adapting to the various musical circumstances that I find myself in, but when I am making up my own new music, I just ask myself: “What would I like to hear now?”<o:p></o:p></i></span></div>
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Though there were some contemporaries working along similar lines during this time, Pickett said that he hadn’t heard either the World Saxophone Quartet or ROVA until well after his work with the Borneo Horns. He wasn’t surprised that similar concepts were being explored at the time, however.</div>
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<span style="font-family: Courier;"><i>The saxophone lives in a strange world. It's neither fish nor fowl. Not brass yet not quite a woodwind. The saxophone has never been fully embraced by classical music or by the classical orchestra and, outside of the jazz world, the saxophone has a poor reputation. This can sometimes seem confining. It is, however, an amazing instrument with huge possibilities that have only been partially explored. Those groups that you mention are fellow explorers.</i><o:p></o:p></span></div>
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The music that the group performed was likened by <i style="mso-bidi-font-style: normal;">Downbeat</i> magazine to “sound like collaborations between Bach, King Curtis, Steve Reich and the World Saxophone Quartet.” </div>
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The Borneo Horns had been performing and touring for a few years before they received the attention of record producer and folk musician <a href="http://www.geoffmuldaur.com/" target="_blank">Geoff Muldaur</a>. Muldaur had heard a live recording of the group on the Columbia University radio station WKCR and had been excited by the possibility of working with the group. Pickett was put in contact with Muldaur by his good friend trumpeter Peter Ecklund. </div>
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Eager about the recording potential of the Boreno Horns, Muldaur pushed the idea to the legendary record producer <a href="http://www.joeboyd.co.uk/" target="_blank">Joe Boyd</a>. </div>
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<span style="font-family: Courier;"><i>Geoff got very excited about the project and pushed for it to happen, and got it off the ground before anybody figured out what he was up to. He had a lot to do with the choice of studios and casting the members of the larger ensemble. Geoff and I are still very good friends.</i><o:p></o:p></span></div>
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The record would be released on <a href="http://www.discogs.com/label/Carthage%20Records" target="_blank">Carthage Records</a>, a subsidiary of Boyd’s Hannibal label. The label was mainly a folk label featuring releases from the Incredible String Band, Richard & Linda Thompson and Fairport Convention. The Borneo Horns recording would be the label’s lone outlier in the world of jazz/modern/whatever. </div>
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Pickett was already well acquainted with the co-producer, Hal Wilner. Wilner had established himself as an extremely talented musical producer for recordings, film and live performance. He was also involved in music coordination (“needle drop duties”) at Saturday Night Live, where he met Pickett who was then assisting the former musical director Howard Shore. </div>
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<span style="font-family: Courier;"><i>Hal is a genius at knowing what is needed from a producer. He always provides no less than what is needed and no more. Perfect. I could not have had better help with my project. He has amazing ears.</i><o:p></o:p></span></div>
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Though the resulting <i style="mso-bidi-font-style: normal;">Lenny Pickett and the Borneo Horns</i> album was a huge experiment presenting a wide array of sounds and compositional styles, the recording process itself was rather old fashioned.</div>
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<i> </i><span style="font-family: Courier;"><i>We recorded the “Borneo Horns” album old-school-style direct to full-track stereo on a Studer tape deck. There was no possibility of “punching-in” or overdubbing to fix mistakes, but there are some edits here and there. This was the same method that classical records and jazz projects used before multi-track recording was available. Amazingly, the tempo was always rock-solid between successive takes, and the editing was incredibly easy. We recorded the project in this way to minimize tape hiss and avoid the generation loss that happens when multi-track tape is mixed to 2-track. Also, musicians perform differently when they know that they can’t easily replace their mistakes, and the ensemble effort is greatly improved. Paul Wickliffe engineered and Bob Ludwig mastered. It sounds awesome.</i><o:p></o:p></span></div>
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The majority of the album was recorded at Skyline Studios in New York City. The tape recordings used on “Solo for Saxophone and Tape” were recorded at Grog Kill Studio in Mt. Tremper, New York by engineer Tom Mark.</div>
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The album was released in 1987 on both LP and CD. </div>
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Many of the compositions on <i style="mso-bidi-font-style: normal;">Lenny Pickett and the Borneo Horns</i> were written for use in performances of David White’s Dance Theater Workshop (DTW) of New York City (now a part of <a href="http://newyorklivearts.org/" target="_blank">New York Live Arts</a>) or for specific dance festivals/events. Pickett used inspiration from innumerable sources for the creation of these soulful, infectious and rhythmic excursions. He cited these sources as especially integral: “… the Ongo music from Central Africa, the Rising Star Gospel Quartet, Sly and the Family Stone, old blues 78’s…” </div>
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All of the “Dance Music for Borneo Horns” selections on the recording were written for the DTW in January 1985. The series has continued to grow to over 40 compositions for the Borneo Horns (#4, #6 and #13 were recorded later on drummer Dennis Chambers album <i style="mso-bidi-font-style: normal;">Planet Earth</i>). The compositions that made the album were selected by producer Hal Wilner. <br />
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“Dance Music for Borneo Horns #1” was written in a sort of canon with inversions and lot of call and response between the horns. The tune featured Elson on baritone sax, Harrison on alto and Pickett on tenor. Leroy Cloudon held everything in place on trap kit.</div>
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The song is a funky, mid-paced and infectious. The music sounds as if it is a blend of New Orleans parade music and Bach chorale. A very interesting exercise on horn ensemble writing with emphasis on rhythmic movement.</div>
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The second track was a piece that most directly relates to Pickett’s work with electronics. “Solo for Saxophone and Tape” was also written for use by the DTW and captured the spirit of the 20<sup>th</sup> Century electronic music that used tape editing as compositional process. The principle sonic material was made up of overdubbed tapes that Pickett recorded at Grog Kill. The tapes included a wide range of woodwinds that were used as the harmonic bed to the track that Pickett recorded on tenor separately at Skyline. </div>
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Here’s more info on how Pickett recorded the piece: </div>
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<span style="font-family: Courier;"><i>I made the piece originally to be performed in a concert. As I remember it now, I created a recording with 7 processed slap tongued clarinets on my 8-track tape recorder, mixed it and transferred it to a ¼-inch half-track stereo tape, made a tape loop, recorded the tape loop back onto 2 tracks of a new 8-track tape, and then added another group of clarinets (double b-flat contra-bass, bass, b-flat and e-flat). I remember that I liked the idea that all of the sounds on the tape portion of the piece were made using stopped cylindrical air columns, and consequently were largely missing any even integer partials. <o:p></o:p></i></span></div>
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<span style="font-family: Courier;"><i>We remade the piece for the album, and added the flutes when the project got bumped up to 24-track tape. In that instance I used the primitive samplers that were available at the time to remake the "tape loop" on 7 separate tracks. In the spirit of this type of work, we recorded the solo live to 1-inch full-track stereo while we rolled the "tape" (in this case the 24 track master played back through the SSL console), so that the “solo” is first generation audio on the full-track master.</i><o:p></o:p></span></div>
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The taped parts were written conventionally, scored on paper and played straight through. The saxophone part was partially notated with a good deal of improvisation added. </div>
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“Dance Music for Borneo Horns #2” has the same horn set up as “#1” but includes Roger Squitero on bongos to accentuate Clousen’s traps. Pickett had known Squitero since his days in Berkeley and began to perform with him frequently after his move to New York City with the group Night Flight. The additional percussion gives the tune a certain Latin/Afro-Cuban flare. Harrison’s alto has a particularly moving segment as the lead voice. The ensemble writing is extremely strong on this trickily syncopated composition. This piece was written for performances at Jacob’s Pillow Dance Festival and the Maine Festival in 1986. </div>
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Half of the album was dedicated to pieces for a larger ensemble. Pickett had always been good at meeting and inviting new musicians to take part in projects. The additional horn players that were added were tuba virtuoso Howard Johnson, trombonist/tuba player Dave Bargeron and the great trumpet duo of Laurie Frink and Nelson Bogart. </div>
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<tr><td class="tr-caption" style="text-align: center;">Howard Johnson</td></tr>
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<span class="Apple-style-span" style="font-family: Courier;"><i>I first met Howard Johnson years before through Taj Mahal while Howard was leading the all tuba horn section for Taj. I met Taj Mahal through a mutual friend while he was living in Berkeley. I was probably 16 at the time, and both Howard and Taj were very generous with me, showing me things about their instruments and discussing technique, etc. As it turns out, Geoff Muldaur and Howard Johnson were also friends. Howard is a marvel. Few people play both brass and woodwinds with that kind of authority.</i></span></div>
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<span style="font-family: Courier;"><i>I met Dave Bargeron working in the studios as a session musician, but I also remember subbing in the Gil Evans Big Band while Dave was doing that. Dave subsequently played with me on several other projects of mine. He is one of the most versatile brass players that I’ve ever heard.<o:p></o:p></i></span></div>
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<span style="font-family: Courier;"><i>I think that I met both Laurie Frink and Nelson Bogart playing in bands on Bleeker Street. Laurie has an amazing range and has become a very important trumpet teacher. Nelson doubles on guitar and is also a music attorney (!). </i><o:p></o:p></span></div>
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“Septet #2 for Seven Winds and Percussion” was used as part of the music for Marta Renzi’s “Marriage Between Zones Three and Four” presented by DTW. Pickett wrote the piece using his saxophones, a wind-controlled synth and his 8-track recorder (he was limited to a septet because he needed the last input for the click track). This piece was the second section to a three-part piece. </div>
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<span style="font-family: Courier;"><i>There are internal sections in each of the three movements in which several musical phrases of differing lengths overlap each other and eventually resolve. This was a fairly common approach among many composers who got their training in classic electronic music studios. It mimics processes (sequencers, tape loops, etc.) that are the normal tools of electronic composition. It’s very easy to do with tape. It was a little bit tricky to learn with the group.</i><b style="mso-bidi-font-weight: normal;"><o:p></o:p></b></span></div>
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The large ensemble added an additional musician for the two “Dance Suite” pieces on the B-side, guitarist/composer Ned Sublette on banjo. Pickett had chosen the instrumentation for these pieces based on the musicians that were available for the music’s debut performances. Pickett had met Sublette through his wife’s friend Garrett List, as Sublette was frequently featured at the Kitchen. These compositions along with “Landscape” were written in February 1986 for DTW performances.</div>
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What about that banjo?</div>
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<span class="Apple-style-span" style="font-family: Courier;"><i>That's actually my banjo. I bought it so that I could get Ned to play it. Ned is a great classical guitarist with many commissioned works created for him. Consequently, he reads "fly shit". (Ned has worn many hats and has in recent years written several important books that focus on the music of the African diaspora.) I knew that he’d do justice to any idiosyncratic writing I came up with. (Ned said some of his notes looked like “upside down telephone poles".)</i></span><br />
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<tr><td class="tr-caption" style="text-align: center;">Ned Sublette</td></tr>
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<span class="Apple-style-span" style="font-family: Courier;"><i>Ned didn't love the banjo. He enjoyed the sound, but banjos are very hard to hold on your lap and it caused him some physical pain. I think the banjo is an amazing instrument. It can sound “ethnic” in a variety of ways, it is loud enough to balance acoustically with wind instruments and percussion, and it can have the same function that the single note rhythm guitar part has in a funk band. The instrument that we used is a 6-string version of the banjo. The 6-string banjo was a staple of early jazz rhythm sections. It was louder than a guitar and it recorded well on the acoustic recording equipment that was around in the 20’s. (Listen to the early Louis Armstrong “Hot Fives”.)</i></span></div>
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“Dance Suite Section D” was a short piece that featured the large ensemble in a short study that was a part of a larger piece. Listen for that very low BBb tuba and some lovely writing for the horns. </div>
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“Dance Music for Borneo Horns #4” was written as a wild imitation of circus music. The horns blow wildly before settling on the quick, jaunty carousel ride melody. Altissimo screams were unleashed in a melee of exuberance. The exceptionally wild lead up to the diminished ending segment proved to be one of the most memorable moments on the album. </div>
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“Dance Suite Section 1” contained the most prominent use of banjo and an almost pop like sensibility. The harmonic and rhythmic texture supplied by the banjo was a great addition. This piece most clearly represented the sound that Pickett would have been leaning toward with his arrangements for art-rock group the Talking Heads. Very colorful and esoteric. </div>
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The last of the featured series, “Dance Music for Borneo Horns #5” was written specifically for Stephen Petronio’s dance “Number Three.” The slinky, winding tune echoed R&B sentimentality with Pickett’s tenor as the lead vocalist. This composition was used as a feature for all the saxophonists in a solo setting. Elson’s resonant baritone solo and Harrison’s strident alto really gave a wide dynamic variety to the composition. The tempo and feel were a real departure from the majority of pieces on the album, making the piece very poignant. </div>
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The final piece on the album “Landscape” brought back the larger ensemble plus banjo. Brass swells and walking tuba bass lines provided a marching band aesthetic. </div>
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<span style="font-family: Courier;"><i>The piece is built around the melodic fragment that begins the section after the short introduction. It is mostly a development of that short motif. (Eric Richards, a composer friend of mine, has often critiqued my work over the years and he was always encouraging me to develop my music by expanding upon modest materials.) <o:p></o:p></i></span></div>
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<span style="font-family: Courier;"><i>Much of my music from the time of the Borneo Horns album uses very short phrases that are treated in a variety of ways. Sometimes I would change a rhythmic emphasis or invert a melody or use imitation in another part to sustain a simple idea over a longer period of time<o:p></o:p></i></span></div>
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<span style="font-family: Courier;"><i>I also often leave some aspect of my compositions open for improvisation. If I remember correctly, the drum parts were largely improvised. Both Roger and Leroy are great improvisers. </i><o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;">Lenny Pickett and the Borneo Horns</i> has remained the only release under Pickett’s name. It was a collection of styles and collaborators that showcased the saxophonist’s eccentric mindset and huge ambition. A record that should be more well-known. </div>
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<tr><td class="tr-caption" style="text-align: center;">(Image by Zak Shelby-Szyszko / Zeal Images)</td></tr>
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Lenny Pickett has been enmeshed in the fabric of New York music for decades. His ability to enhance any musical setting presented to him yet retaining his unique musical identity has set him apart from other talented musicians. Pickett’s love of learning, teaching and connecting with other musicians has kept him active from projects spanning genre and visibility, from the “Downtown” avant-garde to Cyndi Lauper.</div>
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<span style="font-family: Courier;"><i>The performance is usually the key to any music’s success. I believe that music can reside in one’s head, and it can be carefully and precisely written down, but until the musicians play it, it doesn't really exist. Fortunately, I have been surrounded by amazing players, and I have had the immense good fortune to encounter generous creative musicians that have freely shared their knowledge with me. <o:p></o:p></i></span></div>
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<span style="font-family: Courier;"><i>I believe that community is everything. Certainly, without community, music is nothing. I think that the value of community probably applies to everything that is worth pursuing.<o:p></o:p></i></span></div>
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I'd like to sincerely thank Mr. Pickett for taking the time to answer my questions so thoroughly. The detail he provided was extraordinary and really helped me get a handle on this material. Hopefully, the Borneo Horns sophomore record will come out soon. </div>
</div>Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com1tag:blogger.com,1999:blog-8998283771073751235.post-21335459748290976532011-12-29T15:02:00.000-05:002012-01-06T12:58:18.997-05:00BYOV - Meeting #7<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV2aEghFG01-ry4DNj8OwPGFuaHOGcqGoPciuDV8LgTAlnBxC2RpU_yXZclFPAS1LMLp6zadFljlk-mVuX2LgtQmzHJ-yKv-3CmCA2V4_VwQujN9gkhYRSTqMwNY-uiagm23Dwa6SNpwY/s1600/photo.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiV2aEghFG01-ry4DNj8OwPGFuaHOGcqGoPciuDV8LgTAlnBxC2RpU_yXZclFPAS1LMLp6zadFljlk-mVuX2LgtQmzHJ-yKv-3CmCA2V4_VwQujN9gkhYRSTqMwNY-uiagm23Dwa6SNpwY/s320/photo.JPG" width="240" /></a></div>
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The latest session of the Bring Your Own Vinyl was a special one for me. I was celebrating my 30<sup>th</sup> birthday. The group met on a crisp December 11<sup>th</sup> afternoon at Barbès. To sweeten the deal, I brought a cake. Check her out.<br />
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“Who made the cake?”</div>
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Me: “My girlfriend.”</div>
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Jim: “That’s love. Did she put those speed indicator dots on there?”</div>
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Me: “No… I did.”</div>
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Jim: “That’s psychotic.”</div>
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This particular BYOV was well attended (the cake) and had a bonus theme added into the mix. I had to add a holiday music theme. They would probably have found a way to bring some anyway.</div>
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Here’s what we had to work with:</div>
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<span style="font-family: 'Helvetica Light';"><i>a) Who was that guy? Heard a killer feature for some guy you’ve never heard of before? Bring it in. More obscure the better.</i></span><span style="font-family: Helvetica;"><o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: 'Helvetica Light';">b) Family time. Some families take trips, some play board games… Some hipper families make music. Bring your favorite track by a family band.</span></i><span style="font-family: Helvetica;"><o:p></o:p></span></div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: 'Helvetica Light';">c) Who knew he had it in him? Bring an outstanding track by a musician that stepped into the spotlight after having an established career in a group led by another.</span></i><span style="font-family: Helvetica;"><o:p></o:p></span></div>
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<span style="font-family: Helvetica;"> </span><i style="mso-bidi-font-style: normal;"><span style="font-family: 'Helvetica Light';">d) Favorite holiday jams. I don’t want to hear any Tubular Bells. You hear me?</span></i><span style="font-family: Helvetica;"><o:p></o:p></span></div>
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Once again, the submissions were treated like blindfold tests, for the most part. </div>
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Here we go…</div>
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<b>1. Dollar Brand w/ Kippie Moeketsi – “Memories of You” from <i style="mso-bidi-font-style: normal;">Dollar Brand + 3</i> (Soultown, KRS 113 (1973))</b></div>
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<b>Presented by Seton Hawkins – LP – Theme: A</b><br />
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The track began with a sedate piano introduction joined by an expressive alto saxophone. The duo had an obvious rapport and a very soulful, bluesy inflection.</div>
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The saxophonist had a very raw, natural sound. Extremely expressive. I thought that the pianist might be obvious for the guys but no one guessed. Seton was searching for the horn player’s name. </div>
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“I bet it is a black guy…”</div>
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“Is the player deceased?” Yep.</div>
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“American?” Nope. </div>
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Steve: “That’s Dollar Brand and that saxophonist that he used to play with. I don’t remember his name.” </div>
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“Dudu (Pukwana)?” No. </div>
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We had actually been discussing Dudu before the meeting began, as I had introduced Seton to Steve as our South African jazz expert. </div>
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We continued to listen. The response from the listeners was extremely positive. They all seemed to enjoy the spirit of the horn player.</div>
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Steve asked for the initials. “K – M.” </div>
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No one was able to guess, so Seton introduced us to Kippie Moeketsi. </div>
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Seton: “The Charlie Parker of South Africa.”</div>
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Moeketsi was one of the elder statesmen of jazz in South Africa. A major proponent of jazz in South Africa and one of the first players to have exposure outside of the country, garnered while on tour with the King Kong musical in London. Moeketsi was also a member of one of South Africa’s most popular, and now legendary, jazz ensembles, the Jazz Epistles. The group included a number of musicians who became legends, including pianist Abdullah Ibrahim (Dollar Brand), trombonist Jonas Gwangwa, trumpeter Hugh Masekela, drummer Early Mabuza and bassist Johnny Gertze. </div>
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This recording of this Eubie Blake standard was one of Moeketsi’s last recordings. He had become increasingly difficult to work with as he suffered from bi-polar disease and alcohol dependence. Ibrahim and his wife Sathima Bea Benjamin returned to South Africa at the beginning of the 1970s. During their stay, Ibrahim recorded a number of sides for the Gallo label, including this duet with Moeketsi. </div>
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<b>2. The Ramsey Lewis Trio – “Merry Christmas, Baby” from <i style="mso-bidi-font-style: normal;">Sound Of Christmas</i> (Argo, LPS-687 (1961))</b></div>
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<b>Presented by Zak Shelby-Szyszko – MP3 – Theme: D</b><br />
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Zak: “I’ll probably be the only one taking this theme.”</div>
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Joel: “I hope.” </div>
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I knew Zak was a Christmas music fan. He pretty much forced me to buy the Charlie Brown Christmas album last year. I don’t regret the purchase.</div>
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Zak was going to show us that there was a tradition of great jazz and blues Christmas songs out there. </div>
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He started us off with this bluesy, piano trio version of Lou Baxter and Johnny Moore’s “Merry Christmas, Baby.” </div>
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“Sounds like he’s coming from the Red Garland school.”</div>
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“Is it a Ray Bryant recording?” Nope.</div>
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“How recent?” Probably in the ‘70s (actually 1961). </div>
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No one was getting the pianist.</div>
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Zak: “He’s a really famous guy.” </div>
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Crickets…</div>
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The Ramsey Lewis Trio recorded an album of Christmas songs in 1961 for Cadet. A short album with the trio featuring bassist Eldee Young and drummer Red Holt and the addition of strings on the B-side. Ramsey could do no wrong, so it wasn’t surprising that recording a Christmas album didn’t hurt him. Wink, wink.</div>
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<b>3. Charles Brown – “I'll Be Home for Christmas” from <i style="mso-bidi-font-style: normal;">Merry Christmas Baby</i> (Big Town Records, BT-1003 ())</b></div>
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<b>Presented by Zak Shelby-Szyszko – MP3 – Theme: D</b><br />
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Zak kept the holiday hits coming. This example had wah-wah guitar and a squelchy synth.</div>
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This was undoubtedly a ‘70s recording. The slow jam production and “hi-tech” musical gadgetry was impossible to ignore. </div>
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The vocalist had a certain Lou Rawls type sound. No one was guessing his name.</div>
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The blues/R&B vocalist Charles Brown put out this rare Christmas album in the early 1970s. He had recorded another Christmas album earlier in his career at the beginning of the 1960s. Zak mentioned that his wife had a copy in Detroit and kept it as a treasure as they had never been able to find another copy (we remedied that on eBay the next day). </div>
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<b>4. Bill Evans Trio w/ Arnold Wise – “Beautiful Love” from <i style="mso-bidi-font-style: normal;">Bill Evans at Town Hall, Volume One</i> (Verve, V-8683 (1966))</b></div>
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<b>Presented by Steve Futterman – MP3 – Theme: A</b><br />
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Steve had submitted a recording featuring an artist “so obscure you wouldn’t know the name if I told it to you.” </div>
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He prefaced his submission by saying that the pianist was famous and he was looking for the one of the rhythm players.</div>
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Steve: “You’ll know the recording right away…”</div>
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Of course, these jazzers grasped Bill Evans piano playing right away. This was his live recording from Town Hall in 1966. Now it was only a matter of piecing the rest of the ensemble together. </div>
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“Obviously that is Paul Motian on drums.” Not obviously…</div>
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Robert: “Is that Larry Bunker on drums?” </div>
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Steve: “No. But who is it?”</div>
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No one had it.</div>
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“Is it Chuck Israel on bass?” Yes.</div>
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“Good bassist.” </div>
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Ted: “Apparently Paul Motian didn’t like him.” </div>
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As for the drummer, no one was able to remember his name. They went through the list of musicians associated with Evans. </div>
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Steve: “When I mention the name, you still won’t know him.”</div>
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Joel: “What’s the point of that?”</div>
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It was drummer Arnold (Arnie) Wise. Apparently, he only appeared on one other album, vibraphonist Dave Pike’s <i style="mso-bidi-font-style: normal;">Doors of Perception</i>. </div>
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Steve: “Seems like he was a competent drummer. Why didn’t he record more?”</div>
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Jim: “Must have been an obnoxious fella.”</div>
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“Are you sure that his name isn’t a pseudonym?” Not that I can tell. </div>
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Ted: “He could have died. ODed. He was hanging with Bill…” </div>
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It amazed Steve that a classic record like this could have a performer that has remained such a mysterious figure. Wise was replaced by Marty Morell, which, from the ensuing groans, must have been a bad move on the part of Evans. </div>
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<b>5. Kermit Driscoll – “Thank You” from <i style="mso-bidi-font-style: normal;">Reveille</i> (8 Records, 19/81015 (2010))</b></div>
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<b>Presented by <a href="http://joelharrison.com/">Joel Harrison</a> – CD – Theme: C</b><br />
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Joel wanted to play us music from a musician who illustrated a notable, illustrious sideman making it as a leader. He thought that this player put together and led a tremendous group.</div>
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Drums led followed by a resonant bass, then guitar and piano. The group layered a repeated phrase until they broke from one another to create a choppy rhythmic effect. </div>
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“Is it Miroslav Vitous?” No, but an interesting guess.</div>
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Joel: “You should know the guitarist. The drummer is famous and the pianist was featured in Ben Ratliff’s recent rundown of important pianists to watch.” </div>
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I definitely heard Frisell. His tone has been permanently ingrained in my brain. </div>
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No one could figure out the rest of the ensemble. </div>
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The leader was bassist Kermit Driscoll, a first call bassist and solid accompanist. The rest of the band included drummer Vinnie Colaiuta and pianist Kris Davis. </div>
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Most liked the piece.</div>
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“Very well done but not to my tastes.” </div>
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<b>6. Rufus Reid – “Habiba” from <i style="mso-bidi-font-style: normal;">Perpetual Stroll</i> (Theresa Records, TR 111 (1981))</b></div>
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<b>Presented by François Zalacain – MP3 – Theme: C</b><br />
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“Wow! Love the drummer.”</div>
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The drummer was very snappy, playing along with piano and bass. </div>
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François mentioned that this recording received a 5 star review in DownBeat when it was released.</div>
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“It doesn’t mean shit. Maybe one of you reviewed it.”</div>
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Jim: “Okay… Everything you put out from now on gets 2 stars.”</div>
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Ted guessed that the leader was bassist Rufus Reid. The trio was actually the rhythm section for Dexter Gordon’s famous 1980s Quartet. So that meant that the snappy drummer was Eddie Gladden. Ted was asked to remain mum on the pianist. Jim was able to guess Kirk Lightsey. </div>
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The record was released on the extremely well curated but now defunct Theresa label from California. François reissued <i style="mso-bidi-font-style: normal;">Perpetual Stroll</i> on Sunnyside in 1987. </div>
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<b>7. Billy Pierce – “In Your Own Sweet Way” from <i style="mso-bidi-font-style: normal;">Give and Take</i> (Sunnyside, SSC 1026 (1988))</b></div>
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<b>Presented by François Zalacain – MP3 – Theme: C</b></div>
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The next tune was a tenor saxophone solo. Steve chimed in with “In Your Own Sweet Way” immediately. </div>
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Ted: “It is someone who quotes.” </div>
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It was very quiet throughout the playback. The performance was very impressive as the player covered the breadth of the horn and maintained a nice balance between impressive flourishes and well-placed pauses. </div>
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“So when did he graduate Berklee?” (An obvious poke at the dexterity of the performer.)</div>
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François: “I guess he did. He was a sideman of Stevie Wonder at one point.”</div>
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“Gary Thomas?” No. Good guess.</div>
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François: “He was also a Messenger (a member of Art Blakey’s Messengers).” </div>
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Ted: “It is hard to recognize his language.” </div>
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“He sounds very Osby-esque.” </div>
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“Not very personality filled.”</div>
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Ted: “Depends on what kind of personality you like.”</div>
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No one was able to guess Billy Pierce. </div>
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François recorded a number of releases of Pierce during the 1980s and 1990s. </div>
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Pierce has been the head of the jazz faculty at Berklee for some time now and has been highly regarded by many, especially saxophonists. </div>
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<b>8. Branford Marsalis w/ Wynton Marsalis - “Laughin’ & Talkin’ (With Higg)” from <i style="mso-bidi-font-style: normal;">Romare Bearden Revealed</i> (Toshiba EMI, 66230 (2003))</b></div>
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<b>Presented by <a href="https://tedpanken.wordpress.com/">Ted Panken</a> – CD – Theme: B</b><br />
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Ted brought in a recording done by members of the same family. The recording had a quartet of tenor sax, trumpet, bass and drums. </div>
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The tune was a jangly, swinging and faintly avant-garde. </div>
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“Are all four members of the same family?” I’m not going to comment.</div>
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“The Moffett family?” No.</div>
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“Dewey and Josh Redman?” No. “Ah fuck… there is only one sax.” </div>
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“What label is this on? SteepleChase?” No. </div>
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“Is it Ornette and Denardo Coleman? The trumpeter is as bad as Don Cherry.” Hmm…</div>
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“Was it Chico Freeman when he could play?” No. </div>
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“Is it Kidd Jordan and part of his family?” No. But these guys are in the same tradition as the Jordan family. </div>
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“Graham Haynes?” An emphatic no. </div>
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We were stumped but we should have gone with the most obvious. It was Branford and Wynton Marsalis. Maybe we were stumped because this seemed to be outside of Wynton’s comfort zone. Branford had always had this side to his playing but his classicist brother not so much. The tradition that Ted implied was the New Orleans family tradition, as the Marsalis family have been the largest and most revered. </div>
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The rest of the band was bassist Eric Revis and drummer Jeff “Tain” Watts. This was actually Tain’s composition, a tribute to the drum legend Billy Higgins. </div>
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Great recording. Group sounded great. Might have to track the whole album down.</div>
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<b>9. Jimmy Raney & Doug Raney – “Stolen Moments” from <i style="mso-bidi-font-style: normal;">Stolen Moments</i> (SteepleChase, SCS 1118 (1979))</b></div>
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<b>Presented by Robert Futterman – LP – Theme: B</b><br />
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The tune “Stolen Moments” was guessed instantly by Jim and Richard. Both admitted to listening to Oliver Nelson’s <i style="mso-bidi-font-style: normal;">Blues and the Abstract Truth</i> at least once a week. </div>
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The recording was done by two guitarists, along with bass and drums. </div>
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Zak: “Is it the Montgomery Brothers?” No. </div>
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Robert: “I didn’t mean to pick an obscure record. I just went to the basement and pulled something out. I hadn’t heard it in something like 20 years.” </div>
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Steve: “One of the guitarists has a Jim Hall like tone but with a different technique.” </div>
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Steve was ultimately able to guess that this was Jimmy Raney and his son Doug‘s recording from 1979. This was the second recording that the two had done together. It was interesting to hear the similarities between the two. The other players on the album were bassist Michael Moore and drummer Billy Hart. </div>
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<b>10. Blind Lemon Jefferson – “Christmas Eve Blues” from <i style="mso-bidi-font-style: normal;">Christmas Eve Blues / Happy New Year Blues</i> (Paramount, 12692-A (1928))</b></div>
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<b>Presented by <a href="http://www.oranetkin.com/">Oran Etkin</a> – MP3 – Theme: D</b></div>
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We heard an old, old blues recording of a vocalist with guitar. </div>
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“Is this in English?”</div>
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Steve was able to guess Blind Lemon pretty quickly. </div>
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Oran gave a pretty in depth overview of Blind Lemon’s career.</div>
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Jefferson had established himself as a leading voice in the blues genre in the 1920s. He was one of the few blues vocalists to write his own material instead of only playing the handed down blues classics. </div>
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To record this 78 r.p.m. record, the producers had to track Jefferson down in Dallas where he was working menial jobs. The recorded the sides right there on a portable recorder. </div>
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Apparently, the recordings sold extremely well. Jefferson became one of the most popular and successful black commercial artists. </div>
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<b>11. Carla Bley w/ Karen Mantler – “Funnybird Song” from <i style="mso-bidi-font-style: normal;">Tropic Appetites</i> (WATT Works, WATT/1 (1974))</b></div>
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<b>Presented by <a href="http://lamentforastraightline.wordpress.com/">Jim Macnie</a> – MP3 – Theme: B</b></div>
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Jim’s first selection was a quick and quirky number. A quaint melody sung by a woman and child. A mother and daughter it turned out. </div>
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We were able to guess pianist/composer Carla Bley and her daughter Karen Mantler rather quickly. </div>
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<i style="mso-bidi-font-style: normal;">Tropic Appetites</i> was a fun record. A bunch of guests and strange popish tunes from the master songstress. This tune also featured a vocal from tuba / baritone sax player extraordinaire Howard Johnson. The record was released on Carla and her then husband Michael Mantler’s WATT label, later distributed by ECM.<br />
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<b>12. John Carter – “Morning Bell” from <i style="mso-bidi-font-style: normal;">Night Fire</i> (Black Saint, BSR 0047 (1981))</b></div>
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<b>Presented by <a href="http://lamentforastraightline.wordpress.com/">Jim Macnie</a> – MP3 – Theme: C</b></div>
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Jim prefaced this selection by saying that he had originally heard this tune in a shop in Boston during the early ‘80s and had always been struck by its beauty. </div>
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The tune had a lovely traded melody between clarinet and flute with bass and drum accompaniment. </div>
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I guessed James Newton on flute and figure it had to be Carter on clarinet. The rhythm section was bassist Roberto Miranda and percussionist William Jeffrey.</div>
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Carter was one of those guys that received most of his notoriety outside of playing. He was an important educator in Texas and California and got his first recognition after a couple of Ornette-esque recordings on Bob Thiele’s Flying Dutchman label. He then began releasing his own recordings with cornet player Bobby Bradford, a former Coleman sideman, on their own record label, Revelation Records. </div>
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Jim has been a proponent of these West Coast avant-garde musicians. There has been a fair share of interest coming back to these guys as Mosaic last year reissued some very out of print Carter / Bradford recordings on Revelation from the 1970s (definitely recommend picking that collection up). </div>
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Tremendous stuff.</div>
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Joel: “Nice underdog call…” </div>
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<b><span style="font: normal normal normal 7pt/normal 'Times New Roman';"><span class="Apple-style-span" style="font-family: Times; font-size: small;"><b>13.</b> </span> </span>Lijadu Sisters – “Life’s Gone Down Low” from <i>Danger</i> (Afrodisia/Decca, 278.150 (1976))</b></div>
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<b>Presented by Richard Gehr – CD – Theme: B</b></div>
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Richard decided to forgo the blindfold test and just introduce us to the two sisters recorded here. </div>
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The Lijadu Sisters were former members of Fela Kuti’s group in Nigeria. When drummer Ginger Baker came to Nigeria, he discovered the two vocalists and decided to recruit them for his group Salt (he also began a romantic relationship with one of them). </div>
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Steve mentioned that he saw the group live in 1972. </div>
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Richard interviewed the sisters who now live in Harlem (a recent move from their former Brooklyn residence of nearly 30 years) around the recent reissue of this recording. <a href="http://www.villagevoice.com/2011-12-07/music/the-lijadu-sisters-reclaim-their-catalog/">Get the full story here.</a> </div>
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“Life’s Gone Down Low” was a slow song off the 1976 Decca recording. The beat was reggae influenced rather than the typical afrobeat that would have been expected. It was interesting to note that the record’s producer “Biddy” Wright played all the parts on the recording apart from vocals. </div>
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The song was later co-opted by rapper Nas on <i style="mso-bidi-font-style: normal;">The Prophecy Vol. 2</i>.</div>
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<b>14. Steve Grossman – “The Sixth Sense” from <i style="mso-bidi-font-style: normal;">Some Shapes To Come</i> (PM, PMR-002 (1974))</b></div>
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<b>Presented by Me – LP – Theme: C</b></div>
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I decided to bring a real barnstormer for my selection. </div>
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The group heard a massively funky drummer with a strong bass and rhythmic Rhodes. Then came a loud, modally based tenor sax. A very, very 1970s jazz-rock recording. </div>
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“Is the guy we’re listening for the leader?” Yeah.</div>
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Ted: “He sounds familiar. The name is on the tip of my tongue.”</div>
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“Billy Harper?” Nope.</div>
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“Pee Wee Ellis?” Uh, uh. </div>
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“This is a black guy, right?” No.</div>
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Steve was able to guess Steve Grossman. </div>
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I told them they might have guessed some of the accompanists if they had kept listening to the long track. A little over half way through the track a very recognizable synth sound begins to come out in a solo. Mr. Miami Vice himself. Jan Hammer. </div>
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Jim: “That’s disgusting.” </div>
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Me: “Gotta love that.” </div>
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The group was surprised to hear that it was percussionist Don Alias on trap kit. It was Gene Perla on bass. This was one of the handful of records that Perla released on his own label, PM (Perla Music). </div>
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I had known Grossman’s earlier work before finding this record. His main employment came under the electric groups of Miles Davis and with Elvin Jones’s stellar groups of the early to mid ‘70s. </div>
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Hammer also came through the ranks as a sideman, first with Sarah Vaughan and Elvin then as a member of the Mahavishnu Orchestra. </div>
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Perla had a similar trajectory. After his formative years with Woody Herman and Thad Jones/Mel Lewis Band, he went on to play alongside Hammer with Sarah Vaughan and Elvin Jones. He became involved with the jazz-rock sounds of the 1970s with Hammer, Alias and Grossman in the group Stone Alliance. </div>
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It was the ‘70s, man… </div>
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<br /></div>Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com0tag:blogger.com,1999:blog-8998283771073751235.post-47646483015173632122011-11-30T18:33:00.001-05:002011-12-01T16:06:43.751-05:00BYOV - Meeting #6<i>A month since my last post!?! That sucks. I have been working on a few pieces. They have required some interaction and some research. Hope to have at least one of them up within a week or two.</i> <br />
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<i>Once again, it is that time of year. I did manage to escape that web on Black Friday.</i><br />
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Sometimes things just don’t go your way. I had been concerned about attendance for our sixth installment (Nov. 20) because of a slight change in time, 1pm instead of the usual 3pm. Then it had to be a gorgeous, warm and sunny Sunday afternoon. Recipe for disaster. I should have wished for a black Sunday...<br />
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To top it off, my friendly relationship with my MacBook ended when it decided not to work at all that afternoon, thus making it impossible to play CDs. Fine, fine… The show must go on. And it did to a smaller crew than usual. But what we lacked in size, we made up for in spirit!<br />
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We had one theme for BYOV #6: <br />
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<i>Everyone's an expert. Presenters should bring a recording they find best represents the work of an artist they feel that they really get. Then explain what makes them so special. Mariah Carey's biggest fan? Bring your favorite track by your gurl. Bix Beiderbecke gets you revved? Haul out your 78s. Be prepared to defend your choices. We have some critics hanging around.</i> <br />
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Before we played any music, there was a long discussion covering a wide range of musical topics. It began with Steve Futterman inquiring if anyone had seen any live music over the previous week. He and his brother Robert had been to see Chick Corea at the Blue Note, both with differing but altogether positive reviews. I admitted not being much of a Corea fan, at least not since his earlier works on Blue Note or ECM (I don’t think I said so much but hope it was implied). <br />
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Sorry to sidetrack but some of this will come up again later…<br />
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Anyway… This led to a discussion of musicians and their choices of musical direction. David Sanborn’s name came up rather quickly. Most of us had a huge respect for his abilities as a saxophonist but not in his choice of material. It has been interesting to note that many saxophonists from the past couple of decades were weaned on Sanborn and hold him in the highest regard. Discussion entered on where he had played in some more “interesting” musical settings. There were his recordings with Butterfield Blues Band, Stevie Wonder, Tim Berne and the Gil Evans Orchestra.<br />
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As I typically present last, I was asked to present first and as fate would have it the first recording happened to be of that aforementioned Gil Evans Orchestra (which happened to include Mr. Sanborn). <br />
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<b>1. Marvin “Hannibal” Peterson w/ the Gil Evans Orchestra – “Zee Zee” from <i>Svengali</i> (Atlantic SD 1643 (1973))<br />
Presented by Me – LP</b><br />
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I knew that these guys would guess this track immediately, after all that talk. I put the needle to the groove and as soon as those low brass tones came in: <br />
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“Those first notes…” <br />
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Everyone knew that it was Evans and the Orchestra. I believe Steve guessed that it was the Svengali recording. Though I had thought of presenting Evans, I was more concerned with the soloist on this particular track.<br />
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Then came that trumpet.<br />
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Robert: “Is that Hannibal?” <br />
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Yes, sir. Marvin “Hannibal” Peterson, aka Hannibal Marvin Peterson, aka Hannibal Peterson, aka Hannibal, aka Hannibal Lokumbe. <br />
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I had been juggling the names of a few musicians for my submission, including Mr. Evans, as his arranging work (particularly his later stuff) has been some of my favorite material for years. I decided to go with Hannibal because I thought that he really deserved to be recognized as both an impressive instrumentalist and composer, though he seemed to have disappeared long ago. <br />
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“Zee Zee” was an Evans original composition that was essentially a harmonic bed of eerie, moody low tones. The focal point of the song was an extended trumpet solo by Hannibal. This performance has gone on to become the most well known example of the Texas born trumpeter’s playing. <br />
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Steve: “That track was a gift from Gil.”<br />
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Robert: “Man… I haven’t heard that track for a long time. I must have it on vinyl.”<br />
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Hannibal presented a well-defined tone and boundless ideas on the trumpet along with a brute force that really cut through the loose arrangement of Evans. <br />
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Hannibal was born in 1948 and started on the trumpet during his early teens. He quickly started his own ensemble, the Soul Masters, which backed many soul and blues greats as they toured throughout Texas. He attended North Texas State University for two years before moving to New York in 1970. Hannibal then joined up with Rahsaan Roland Kirk before settling in with Evans as a principal soloist for nearly 10 years. He later went on to perform in groups led by Pharoah Sanders, Roy Haynes and Elvin Jones.<br />
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While Hannibal was being featured in these various settings, he also maintained his own ensembles that featured his unique compositional voice. Most famously with his Sunrise Orchestra.<br />
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<b>2. Hannibal Marvin Peterson & The Sunrise Orchestra – “Movement 1. Forest Sunrise B. Song of Life” from <i>Children of the Fire</i> (Sunrise Records 1944 (1974))<br />
Presented by Me – LP</b><br />
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I brought this one along just to give a taste of where Hannibal had begun as a composer and music conceptualist. <br />
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Children of the Fire was a larger ensemble piece that was written by Hannibal and arranged by the talented David Amram. The album also was produced in part by his employer and biggest fan, Gil Evans. <br />
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The pieces on the record were written in tribute to the children of Vietnam and presented a feast of eclectic folk sensibilities alongside a strong dose of spiritual jazz. The outcome wasn’t far from where Don Cherry was at the same period with the <i>Eternal Rhythm</i> and JCOA recordings. Peterson might have been a stronger trumpet soloist, however. <br />
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The 1970s saw a handful of other releases from Hannibal and more pared down versions of the Sunrise Orchestra, mostly on the Japanese Baystate, German MPS and Enja labels. From the 1980s on, Hannibal’s releases began to be entirely theme oriented. <i>The Angels of Atlanta</i> was a tribute to the victims of racism-fueled bombings of Atlanta. <i>One with the Wind</i> and <i>African Portraits</i> dealt with the African diaspora and how it has been dealt with in modern American history. His latest release <i>Dear Mrs. Parks</i> (Naxos, 2009) was a commission from the Detroit Symphony Orchestra that celebrates the contributions and cultural legacy of African Americans, including that of Mrs. Rosa Parks. <br />
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Steve heard a Freddie Hubbard influence on Hannibal’s solo playing along with the obvious references to Strata East and Charles Tolliver. <br />
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“I called this stuff ‘acoustic fusion.’ Blending jazz, Eastern and African influences with soul and blues.” <br />
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Jason discussed the lack of depth that much spiritual jazz had. His example: a 1970s performance of Pharoah Sanders at Keystone Korner in the Bay. He said that the entire thing had been very predictable and that Pharoah had even left the stage after he was done soloing, as if it had only been routine. Many such performances were equally fomulaic. <br />
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I was asked where I found the record. I had picked it up at <a href="http://jazzrecordcenter.com/">Jazz Record Center</a> in midtown at a pretty unbelievable price ($25). Great shape, too. This led to a long diatribe about the record market and how it has been shaped over the past 20 years or so. I should expound about that topic at length at some point. <br />
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<b>3. Paul Desmond Quartet – “Jazzabelle” from <i>The Paul Desmond Quartet with Don Elliott</i> (Fantasy 3-235 (1956))<br />
Presented by <a href="http://www.sunnysiderecords.com/artist.php?id=421">Jeremy Udden</a> – LP</b><br />
<br />
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<br />
I’m so proud. Jeremy brought an LP. <br />
<br />
We heard an alto sax and what seemed to be a trombone playing in a quartet with bass and drums, quite unusual instrumentation for a quartet that seemed to be dating back to the 1950s. <br />
<br />
“Is it Brookmeyer?” Nope. Head scratching…<br />
<br />
The trombone being the quirkier of the two lead instruments, everyone tried to go for that first.<br />
<br />
“It is a valve trombone, isn’t it?” <br />
<br />
Not a trombone, valve or otherwise. Hmm…<br />
<br />
Once the saxophone tone got settled, I guessed Paul Desmond. The correct guess. <br />
<br />
We all agreed that Desmond had an amazing sound and ability on the alto, even though: “Miles said alto shouldn’t be played that way.” <br />
<br />
Robert: “I didn’t think Desmond could play a solo of that length.”<br />
<br />
Jeremy had to tell us that it was Don Elliott performing on a mellophone. <br />
<br />
The tune had a particularly intriguing section that featured a fugue in counterpoint between Desmond and Elliott. Apparently the section had been fully improvised. <br />
<br />
That brought Jeremy to mention what he finds as Desmond’s most important contribution as a musician besides his peerless tone: Desmond’s completely compositional direction. Everything that Desmond did was in service to the overall composition. Even his improvisations were extensions of the theme. <br />
<br />
Steve: “It its own way, that is some outrageous drumming.”<br />
<br />
The drummer was credited as Joe Chevrolet (a pun on his actual name, Joe Dodge) in the notes penned by the comedian Mort Sahl. Funny. The drummer took a very minimalist role, especially while comping solos, as he mainly focused on the rim of the snare. <br />
<br />
Sahl had been a prominent comedian in the Bay Area, where Desmond had emerged. A bigger celebrity than Desmond, apparently. It was interesting to note that on the record sleeve, Sahl had quite a bit of room for his own material and even gets a choice photo placement (there wasn’t one for the leader). Rumor has it that Desmond later slept with Sahl’s wife and the friendship was ended. Touchy.<br />
<br />
It was also interesting that Desmond didn’t feature a pianist in his ensemble. He was after all most well known for his work with a pianist, Dave Brubeck. Jeremy thought there might have been an agreement with Brubeck that if Desmond released a recording of his own that there wouldn’t be a piano. <br />
<br />
We did listen to another track from the same album, “Sacre Blues.” It featured a very uncharacteristic solo from Desmond including a venture into the altissimo register of the horn. <br />
<br />
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<br />
Though Desmond didn’t receive the respect that he should have from younger generations of saxophonists, he still managed to make an impression on some rather diverse players, including Anthony Braxton. It shouldn’t be surprising then that, as Jeremy mentioned, one of Desmond’s biggest influences was a “jump” style saxophonist named Pete Brown. Quite a stylistic distance from where Desmond ended up. <br />
<br />
“If there was an underground poll, he’d be in the top three saxophonists.” <br />
<br />
Desmond had an obvious jazz/pop appeal and some wondered if he hadn’t been the David Sanborn of his generation. <br />
<br />
Jeremy had mentioned that Jerry Bergonzi had said that he never really got into Desmond but had told him, “It takes balls to play that way.” <br />
<br />
<b>4. Ruby Braff – “Royal Garden Blues” from <i>Bravura Eloquence</i> (Concord 423 (1990))<br />
Presented by Steve Futterman – MP3</b><br />
<br />
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<br />
Steve presaged his selection by stating, “This was the best trumpeter of the past 40 years besides Hannibal.” <br />
<br />
The ensemble featured here was a trio of trumpet, guitar and bass. The trumpeter’s facility was pretty extraordinary. Comments were made regarding his breadth of range and dexterity throughout registers. <br />
<br />
We needed some hints from Steve. He told us that the trumpeter’s career spanned back to the 1950s.<br />
<br />
“Still alive?” No. <br />
<br />
Steve: “Apparently, he was the most ornery guy in jazz.” <br />
<br />
“He was from Boston and white.” <br />
<br />
No one could guess. <br />
<br />
Jeremy knew the tune and was impressed with the arrangement: “Kinda like a little big band arrangement.” <br />
<br />
No one could guess.<br />
<br />
Braff was born in 1927 in Boston. His music career began while he was still very young, in the 1940s, with his real foray into the jazz world beginning in the 1950s. He was well regarded in the jazz community for his ability as a trumpeter in the Louis Armstrong fashion and gained respect as he had been a young white guy able to hang with the black guys. It was interesting that he dedicated his life to the pursuit of an Armstrong ideal, as it wasn’t a popular choice when he was trying to make a name for himself.<br />
<br />
Steve found that his most confident playing could be found on his recordings from his peak, much later in his career, from the 1970s to 1990s. As he wasn’t a writer, his recordings found him flexing his chops on well-known jewels like this featured on a 1990 Concord session. <br />
<br />
“What does Wynton think of Ruby?” <br />
<br />
Steve: “Can’t say that I’ve seen a word written about it.”<br />
<br />
This got us into our monthly rant on Wynton. <br />
<br />
Speaking of which, had you heard that Jazz @ Lincoln Center has decided toopen new locations around the world, including Dubai?<br />
<br />
<b>5. Maze featuring Frankie Beverley– “While I’m Alone” from <i>Maze featuring Frankie Beverly</i> (Capitol C2-91244, 1977)<br />
Presented by Zak Shelby-Szyszko – YouTube.com</b><br />
<br />
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<br />
Zak can always be counted on to derail the jazz express. This time he was able to use the magic of the internet to give us a soul group that many of us had never explored.<br />
<br />
Steve: “Is that ‘What You See, Is What You Get’?” No…<br />
<br />
We heard a rather breezy, bass heavy groove. A tenor with a slight rasp comes in with a wordless, scat-ish vocal. <br />
<br />
“Donny Hathaway?” An emphatic no – at least from Zak and myself.<br />
<br />
Hints? <br />
<br />
Zak: “From the West Coast.”<br />
<br />
“Group with a band name or the name of the featured vocalist?”<br />
<br />
Zak: “It is a band with a featured vocalist.”<br />
<br />
“What year?”<br />
<br />
Zak: “1977.”<br />
<br />
Me: “I’m embarrassed to say I don’t recognize the vocalist, Zak.”<br />
<br />
Steve: “Can we have the singer’s initials?”<br />
<br />
Zak: “FB.” <br />
<br />
No one had it. <br />
<br />
Zak gave us a break – Maze featuring Frankie Beverley. Beverley and Maze had originally come from Philadelphia where they performed as the Butlers. They didn’t quite gel with the “Philly Sound” made popular by Gamble & Huff so they moved to California where they changed their name to Raw Soul. <br />
<br />
The group’s break came when they were introduced to Marvin Gaye, who had them tour as an opening act. He also suggested the group change their name to Maze. <br />
<br />
“While I’m Alone” was the group’s first hit single from their debut album. Not their biggest hit, by any means. Zak also played the group’s “Happy Feelings” from the same album to see if we had heard it. <br />
<br />
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<br />
Though some of us liked the tune, some thought it kind of boring. <br />
<br />
“Sounds like a vamp looking for a tune.”<br />
<br />
“There didn’t seem to be a hook.” <br />
<br />
Zak mentioned that the group still toured and sounded good when they played in Brooklyn last summer. He felt that they should have been better known in their prime but they were never able to break through into the white mainstream, though they had a similar sound to that of the extremely popular Earth Wind & Fire. <br />
<br />
<b>6. Steve Lacy – “The Uh Uh Uh” from <i>Dreams</i> (Saravah SH 10058, (1975)<br />
Presented by Jason Weiss – CD (Couldn’t play – computer meltdown)</b><br />
<br />
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<br />
Jason had seen baritone saxophonist/Lacy devotee Josh Sinton’s group Ideal Bread play this tune a few nights before our meeting. He decided to present Lacy as he had been a big fan of the soprano saxophonist for years and had conducted many interviews with him, which he later presented in a fine collection (<a href="http://www.amazon.com/Steve-Lacy-Conversations-Jason-Weiss/dp/0822338157/ref=sr_1_10?ie=UTF8&qid=1322696373&sr=8-10">here</a>). <br />
<br />
“The Uh Uh Uh” featured a typically strong Lacy melody alongside an ensemble featuring a more subdued Derek Bailey, who avoided playing his more typical language of squiggles for one that was a little more approachable (I still hear some clangs). The tune was a tribute to the late guitar legend Jimi Hendrix, who’s music Lacy was familiar with via a long relationship with Gil Evans (we come around, yet again). <br />
<br />
Jason looked back to this period of Lacy’s career as one of the better ones. Though he played in many different situations, his own groups were pretty well established. Lacy had always looked to establish long term relationships with musicians he played with, most notable were his relationships with Mal Waldron and Roswell Rudd. This period was also before he added vocals to his music, which alienated some fans. <br />
<br />
The fan base for Lacy’s music has been large and dedicated. Jason himself has been involved with a particularly devoted gang of Lacy aficionados, including four Frenchmen. They have been trading recordings of Lacy’s for years. He remembered meeting a European couple that would come to New York on their vacation to hear every set of Lacy’s annual, week-long stand at Sweet Basil. <br />
<br />
Jason’s own fondness for Lacy’s music stemmed from the saxophonist’s singular sound and writing. Lacy’s soprano sound was completely unique. He was possibly the only saxophonist to fully identify with the smaller horn and never got caught up in using the horn in a purely “Eastern” esthetic, as many doublers would in the future. Lacy was also a creative composer who wrote memorable themes with melodic hooks and plenty of repetition. The songs have stood out.<br />
<br />
Jason: “Just like with Monk. I can remember the tune but not the name of the tune.” <br />
<br />
In interviews that he conducted with Lacy, Jason was able to learn about Lacy’s writing style. Lacy would write with lyrics in mind, which Jason thought added another dimension to the music. <br />
<br />
Jason: “I like to compare the vocal to the instrumental version of Lacy’s songs. I prefer the instrumental.” <br />
<br />
Lacy’s wife and collaborator Irene Aebi would typically take the vocal duties on these tracks later on. Her voice has been equally heralded and derided for decades. <br />
<br />
Robert: “My wife has always made me stop the record when she heard Irene and, believe it or not, Abbey Lincoln.” <br />
<br />
Strange bedfellows…<br />
<br />
Lacy created his own brand of art song while putting others’ words to music. Jason mentioned that most of his meetings with Lacy were spent talking about books. This tradition has been kept alive recently by a number of musicians. Some that came to this group’s collective mind were John Hollenbeck, Frank Carlberg and Sam Sadigursky. <br />
<br />
Steve: “Do you think that Lacy recorded too much?”<br />
<br />
Jason: “I almost think he did.”<br />
<br />
Lacy has been one of the most prolifically recorded jazz musicians ever. The race between him and David Murray could be very close. The amount of recordings could be seen as a sign of the times he lived in. Much of his income derived from recording sessions from numerous independent European labels during the 1970s, where the music was more appreciated. <br />
<br />
“Is he an inimitable figure?”<br />
<br />
Jason: “Yes and no.” <br />
<br />
Jason explained that Lacy’s work on the soprano stood alone. Listening to Lacy’s soprano had ruined him for other saxophonists that have taken up the instrument, mostly on the side. Lacy had mastered the horn as others merely added it to their repertoire. <br />
<br />
We discussed the best starting points for Lacy newbies. Most thought that starting with his early recordings and easing your way in might be best, the same strategy might prove to be helpful in tackling the music of Cecil Taylor. Another method would be listening to Lacy interpret tunes of well-known composers, which he did quite often. He was recognized as one of the best interpreters of Thelonious Monk and Herbie Nichols and did some interesting interpretations of Ellington, as well. <br />
<br />
Example below.<br />
<br />
<b>Steve Lacy - "Prelude to a Kiss" from <i>10 Of Dukes + 6 Originals</i> (Senators Records SEN 01 (2002))</b><br />
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Next BYOV will be on Dec. 11th. Come get some cake. <br />
<br />
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<br />Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com0tag:blogger.com,1999:blog-8998283771073751235.post-65794072323286568162011-10-20T21:57:00.000-04:002011-10-21T15:42:09.368-04:00BYOV - Meeting #5October 16th presented us with another lovely fall day in Brooklyn. For my part, I enjoyed the great outdoors by lugging my trusty turntable and quasi-reliable computer to Barbès for the 5th installment of Bring Your Own Vinyl. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipDxbT7PF3ooeN3MjNKx7i3AMlXXcDqrRD4o8kQVkG4K5uqcl5RRKM7-7oaXVuGDsAbRTzXhI-YE9oAXd-UYv9yPF3X3oolkQaQ5vzgeXXilRaMruEQUCS4Y_mFt-XXCHo7_hFVHp5PwU/s1600/104_3357.JPG" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="300" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipDxbT7PF3ooeN3MjNKx7i3AMlXXcDqrRD4o8kQVkG4K5uqcl5RRKM7-7oaXVuGDsAbRTzXhI-YE9oAXd-UYv9yPF3X3oolkQaQ5vzgeXXilRaMruEQUCS4Y_mFt-XXCHo7_hFVHp5PwU/s400/104_3357.JPG" /></a></div><br />
I should really consider renaming it Bring Your Own Digital Music Format, as I was the only vinyl presenter. But no… I will persevere.<br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6YELDg2cpG1Y6EHkP7HP1Fh-8TUup063XEWKWh12_LgaSBRRMzfSXbvDUtIXvFYVhhLb3L6hTs_hL92vI7fj-2SRxkHvrqyLWH89DW4t1tC4Ln8Sof7kH85rPpAS1wNK3F83lsbaWCbs/s1600/104_3360.JPG" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="400" width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6YELDg2cpG1Y6EHkP7HP1Fh-8TUup063XEWKWh12_LgaSBRRMzfSXbvDUtIXvFYVhhLb3L6hTs_hL92vI7fj-2SRxkHvrqyLWH89DW4t1tC4Ln8Sof7kH85rPpAS1wNK3F83lsbaWCbs/s400/104_3360.JPG" /></a></div><i>How we get down.</i><br />
<br />
We had an interesting slew of themes for this meeting. A couple that provided some real verbal jabs and parries. <br />
<br />
Here were our themes:<br />
<i><br />
a) All by myself… Memorable solo performance. One person and his/her art.<br />
<br />
b) Getting’ modern. Musical masterpieces from the 1990s and/or 2000s.<br />
<br />
c) What’s so special about that? Play and discuss a time-honored favorite you feel is overrated.</i><br />
<br />
Of course, as anyone might imagine, both the modern masterpieces and overrated themes could prove to be contentious. “Modern masterpieces and overrated pieces could be the same category,” quipped Mr. Panken. <br />
<br />
<b>1. John Escreet – “Wayne’s World” from <i>Consequences</i> (Posi-Tone 8042, 2009)<br />
Presented by Zak Shelby-Szyszko – Theme: B – MP3</b><br />
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<br />
Zak was reluctant to call any recent recording a masterpiece but was happy to bring in a recent recording that he was extremely impressed by. <br />
<br />
We heard an angular, very modern piano trio. The pianist’s movement seemed to emerge from a post Andrew Hill sentiment. Good writing and improvising. <br />
<br />
Pianist was the leader? Yep.<br />
<br />
Matt Shipp? Nope. Craig Taborn? Nuh-uh. Marilyn Crispell? No. <br />
<br />
Jason Moran? Nope. <br />
<br />
Then came the horns. Hmm… <br />
<br />
When did the record come out? About two years ago. <br />
<br />
“Is it going to be a headslapper?” I asked. You know, the exasperated slap to the head. Duh! <br />
<br />
“Maybe not for the leader. For the rest of the band…” <br />
<br />
Then came an alto solo. Ted Panken slapped his head first. “Binney.” <br />
<br />
No one was able to guess the leader, so Zak spelled out the band. The pianist/composer was John Escreet, UK raised, NYC based upstart along with an excellent supporting cast: drummer Tyshawn Sorey, trumpeter Ambrose Akinmusire and bassist Matt Brewer. Very nice stuff. <br />
<br />
Zak explained that it might be a little presumptuous to call it a masterpiece but he had been very impressed with Escreet’s innate ability to incorporate the more outré musical concepts of the avant-garde without leaving melody behind. Escreet’s balance of out and in really has set the bar high over the past couple years for both piano technicians and composers. <br />
<br />
Most dug the composition and stated that they had intended to delve into his music earlier. <br />
<br />
<b>2. Randy Weston – “PCN” from <i>Ancient Future</i> (Mutable Music, 2001)<br />
Presented by <a href="http://www.invertedgarden.com/">Eric Benson</a> – Theme: A – MP3</b><br />
<br />
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<br />
Eric played us a nice piano solo. The pianist took his time, first focusing on the low end of the instrument. A very bluesy solo that definitely swung and highlighted some tinge of modality. <br />
<br />
The first guess was Abdullah Ibrahim. “No. He wouldn’t have played those blues based things. It is Randy Weston,” posited Mr. Panken.<br />
<br />
Correct. <br />
<br />
The recording came from a double CD from Mutable Music. The release contained two solo performances, one a new recording from June 2001 and the other a reissue of <i>Blue</i> (1750 Arch Records, 1983). This track was from the 2001 performance. <br />
<br />
There was some discussion of where the earlier recording could have come from. François had thought it might have been a part of the Owl Records catalog. Owl had released a couple of Weston solo records in the 1980s. <br />
<br />
<b>3. Bill McHenry – “Art/Omi” from <i>Graphic</i> (Fresh Sound New Talent 056, 1998)<br />
Presented by <a href="http://www.simonjermyn.com/">Simon Jermyn</a> – Theme: B – MP3</b><br />
<br />
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This piece was prefaced by Simon: “Maybe not a masterpiece but a piece I like. Nothing flashy…” <br />
<br />
The piece featured a quartet of tenor sax, guitar, bass and drums. The performers obviously had a strong rapport. Both sax and guitar were familiar to my ears. <br />
<br />
McHenry and Monder. A very resonant pairing that has been successful for over a decade. The bass player had to be Reid Anderson, as he had played on most of Bill’s Quartet recordings. The drummer was the odd man out for me as I only have this group’s recordings with Paul Motian. This drummer definitely was not Motian. <br />
<br />
Simon cleared the fog. The drummer was the esteemed Gerald Cleaver. <br />
<br />
Futterman: “When has Cleaver ever played at this speed?” <br />
<br />
I had mentioned Ben Monder’s immediately recognizable sound and Joel asked me what it was that I heard. Hard to describe Monder’s tone. There’s a very full bodied, warm and charged (more suitable word than electric) sound. <br />
<br />
Ted mentioned that he enjoyed the “simple melodies” that McHenry presents. “It is refreshing.” <br />
<br />
<b>4. Jerry Gonzalez – “Jackie-ing” from <i>Rumba Para Monk</i> (Sunnyside 1036, 1989)<br />
Presented by <a href="https://tedpanken.wordpress.com/">Ted Panken</a> – Theme: B – CD<br />
</b><br />
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<br />
When we finally get the CD playing on the computer (Ted’s a PC man), the group heard a strong percussion segue into a written horn section. Everybody’s feet were moving. <br />
<br />
Ted was surprised to have seen François at the meeting. He said that he would have brought something else if he had known. François knew this piece backwards and forwards, of course. My job depended on me knowing this one, so I stayed quiet. <br />
<br />
No one else was guessing, though. <br />
<br />
Francois to Steve: “You have it.”<br />
<br />
“Do I?”<br />
<br />
“C’mon! You don’t even have to pay!” <br />
<br />
Francois was only too happy to blurt out the leader of the ensemble, Mr. Jerry Gonzalez. <br />
<br />
Ted chose this recording because he felt that it was one of the best 10 CDs of the past 25 years. The record had also inspired two generations of Latin/Spanish American musicians as it drew the blueprint of a successful integration of jazz and folkloric music. The record had been name checked by many of today’s jazz/Latin music stars, including Dafnis Prieto, Miguel Zenon and Edward Simon.<br />
<br />
“Ray Barretto said <i>Rumba Para Monk</i> is the top,” added Francois. <br />
<br />
Steve wondered what Ted thought of Jerry’s trumpet playing. Ted said that while Jerry may not be virtuosic on trumpet, he definitely has great ideas that make his playing stand apart. He also credited Jerry’s global perspective, as he is equally proficient in jazz and Afro-Cuban genres, whether playing trumpet or congas. <br />
<br />
Ted also made sure to mention brother/bassist Andy Gonzalez and drummer Steve Berrios whose contributions to the music couldn’t be ignored, especially as prominent members of the Fort Apache Ensemble. <br />
<br />
The group also discussed the dialog between these New York raised musicians and Cuban musicians. François mentioned that while Jerry travelled to Cuba, he had been reticent to play with the Cubans, this was the holy land for him and he was paying his respects. Ted was surprised since many of the Cubans that had shown up in the States in the 1980s were so focused on the music of Michael Brecker and Chick Corea that they left most of the folkloric elements to the wayside in favor of musical pyrotechnics. <br />
<br />
Ted: “If anyone thinks this is overrated, that’s okay. But I don’t.”<br />
<br />
Some technical aspects were cleared up. Jerry did use some overdubbing as he performed both on congas and trumpet. Andy Gonzalez had mentioned to Ted that they had to change the songs to make the clavé work.<br />
<br />
Definitely a classic recording in the sphere of Afro-Cuban jazz.<br />
<br />
<b>5. Paul Motian Trio – “It Should’ve Happened a Long Time Ago” from <i>TrioIsm</i> (JMT 51412, 1994)<br />
Presented by Steve Futterman – Theme: B – MP3</b><br />
<br />
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<br />
Joel got Motian’s trio just as soon as Steve got the music playing. Besides the fact that Joel has been extremely familiar with Motian’s music, this group has had an instantly identifiable sound since its inception. <br />
<br />
Steve called the Trio a game changer. A group with a musical concept that had never been done before. <br />
<br />
But how was it different? <br />
<br />
“Swing isn’t present. Their use of space. The non-virtuosic element… Almost like ‘Nefertiti’ (Miles Davis composition). It is all mood.”<br />
<br />
Joel queried, “What about the Giuffre Trio from 1961? This idea wasn’t new.”<br />
<br />
The famed Giuffre Trio was well known for abandoning the drums with the ensemble of woodwind player Giuffre, pianist Paul Bley and bassist Steve Swallow approaching improvisation from a very introspective, chamber music like angle. <br />
<br />
Here Motian had his drums and Bill Frisell’s electric guitar but for the most part this trio was taking off where Giuffre had landed.<br />
<br />
Joel: “I pretty much agree with you… It’s fun to argue.”<br />
<br />
The Trio was a departure for Motian. Ted pointed out that his earlier trio had been more pulse oriented when he had saxophonist Charles Brackeen and either Jean-François Jenny Clark or David Izenzon on bass. <br />
<br />
Zak stated that with the focus on the use of space and mood, this recording sounded like a soundtrack to a film. But he missed the film. Steve made mention of guitarist Ry Cooder’s soundtrack work and how he may have influenced or been influenced by Frisell. <br />
<br />
Some thought this music would only work for them when they were in the proper frame of mind or mood. “When the planets align, this music could be transcendental.” <br />
<br />
Joel thought that these thoughts were dismissive. “This music doesn’t need anything.” I agreed wholeheartedly, this configuration being one of my favorites regardless of genre. <br />
<br />
Joel also made it clear that Motian’s music has melodic purpose of a higher order. He expressed dismay at all these new musicians, especially in the rock and classical/new music canons, that use drones upon drones that have become unbearable to him. “They’ve forgotten what melody is. I blame Steve Reich. And Philip Glass”<br />
<br />
<b>6. Meredith d’Ambrosio – “By Myself” from <i>By Myself</i> (Sunnyside, 2012)<br />
Presented by <a href="http://www.sunnysiderecords.com/">Francois Zalacain</a> – Theme: A – MP3</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2mzT_I3fFWGrAIvkPpYr3HxCg0l48h-eNqr9eP6plBwhvB7fPf9oKuJh3RD1k8puJFFgn-U4KI6uTuj-hor8NLvQH3Stup5IuJhlqegxnPMB53XsutvpgvF0gjktPqCkGzpjkq_0blUY/s1600/016728128520.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="360" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2mzT_I3fFWGrAIvkPpYr3HxCg0l48h-eNqr9eP6plBwhvB7fPf9oKuJh3RD1k8puJFFgn-U4KI6uTuj-hor8NLvQH3Stup5IuJhlqegxnPMB53XsutvpgvF0gjktPqCkGzpjkq_0blUY/s400/016728128520.jpg" /></a></div><br />
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<br />
The piece began with an austere solo piano intro then joined by a female vocalist. We heard some comments that François wasn’t going with the solo theme. He just leaned back and smiled. Obviously, we were listening to a double threat: pianist slash vocalist.<br />
<br />
Steve was listening intently. “What is the tune…?” After a moment of brain wracking, Steve got the tune. An Arthur Schwartz and Howard Dietz penned ballad.<br />
<br />
Joel commented on the beautiful piano playing. No clue who the performer was.<br />
<br />
Was she American or European? “You know the accents better than I do,” replied the wily François. <br />
<br />
“C’mon, Ted…”<br />
<br />
“Performance anxiety…”<br />
<br />
There were no guesses to the artist. François introduced the group to one of his favorite vocalists, Meredith d’Ambrosio, and an upcoming solo recording.<br />
<br />
Francois told the story of how he had initially came across Meredith. During the early 1980s, François’s good friend Daniel Richard manned one of the best record stores in France, Le Mondes du Jazz. While visiting, Daniel played François a Japanese import of Meredith’s <i>Lost in His Arms</i>. Francois fell in love and tracked her down. He has released all of her recordings since.<br />
<br />
<b>7. Red Mitchell – “I’ll Be Seeing You” from <i>Simple Isn’t Easy</i> (Sunnyside 1016, 1984)<br />
Presented by <a href="http://www.sunnysiderecords.com/">Francois Zalacain</a> – Theme: A – MP3</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBqS5LZpVLSzdgzfAi74jlq5QoWlJS3no4z6ZNvpKkFf_7eoSPArhu88IOOFjYc2KX9GdPT0CB8ewKJ5VI7-b6TIRDyRcCTTE66oR_MrAde4Z6qD4BqvUWgVEPIpQ_X9UQEcmeMwxt-iE/s1600/016728101622.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="400" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBqS5LZpVLSzdgzfAi74jlq5QoWlJS3no4z6ZNvpKkFf_7eoSPArhu88IOOFjYc2KX9GdPT0CB8ewKJ5VI7-b6TIRDyRcCTTE66oR_MrAde4Z6qD4BqvUWgVEPIpQ_X9UQEcmeMwxt-iE/s400/016728101622.jpg" /></a></div><br />
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<i>The tune is in the first three minutes. The rest is an interview with Mitchell.</i> <br />
<br />
François kept the hits coming. <br />
<br />
The music began with a trumpet solo over a 1950-ish jazz ensemble. A male vocalist accompanied what the trumpet was doing note by note with a rapid, inventive and mostly comic lyric. Pretty astounding as the syllables fell in with the quick pace of the trumpet.<br />
<br />
There were again some complaints that this wasn’t a solo piece. The complaints died down after the vocal fireworks began. <br />
<br />
Steve was able to guess that it was trumpeter Tony Fruscella’s trumpet solo on “I’ll Be Seeing You” with bassist Red Mitchell singing his own lyrics along with the solo. <br />
<br />
Steve mentioned how much he enjoyed Fruscella’s work because he was a tremendous improviser and particularly this solo because he never touches the head (the song’s melody). <br />
<br />
François told the story of where the idea to record this germinated. He had originally seen Red Mitchell perform at the Nice Jazz Festival. As an encore, Mitchell had come out on stage with a tape recorder and placed it near the microphone as he sang along with this recording. It blew everyone away. After moving to New York, François became familiar with Mitchell at Bradley’s and asked him to do a solo recording under the stipulation that he would do this piece. They placed it as a bonus track on the album Simple Isn’t Easy.<br />
<br />
This recording also had a story that included my favorite movie director, Stanley Kubrick. Sometime after the release, François received a call from one of Kubrick’s assistants who mentioned that the director had heard this recording on the radio while driving in France. The assistant asked if François would send a copy over, he did. End of story. But hell, it was a personal favor to Stanley Kubrick. <br />
<br />
<i>Okay. Here was where the meeting got a little more interesting… A little more controversial. <br />
<br />
FYI – None of the statements below are representative of the sentiments of the entire group. We were happy to let the criticism fly. Being that some of the individuals depend upon these musicians’ work for their livelihood, I’ve decided to keep the comments anonymous, unless otherwise noted. Some present decided not to comment on some of the following selections.<br />
<br />
Guess you’ll have to come to a meeting to catch everything uncensored.</i><br />
<br />
<b>8. Keith Jarrett Standard Trio – “Four” from <i>My Foolish Heart</i> (ECM, 2007)<br />
Presented by <a href="http://joelharrison.com/">Joel Harrison</a> – Theme: C – CD</b><br />
<br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdn7DcKhBLlOWzaXEbVGwa7_En7AKy9ZV8f1zWmI0BdoKvPKI9rTHUrDv50FBKmnJiFdRyYR11TZraWq8iYrFz2UQ-Bytop3ipCVKsUSR6lVAwLiY0yOd3zM_4m3ff_XHqJBNQlPviqMc/s1600/1cac808a8da014ee930c5110.L.jpg" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="400" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdn7DcKhBLlOWzaXEbVGwa7_En7AKy9ZV8f1zWmI0BdoKvPKI9rTHUrDv50FBKmnJiFdRyYR11TZraWq8iYrFz2UQ-Bytop3ipCVKsUSR6lVAwLiY0yOd3zM_4m3ff_XHqJBNQlPviqMc/s400/1cac808a8da014ee930c5110.L.jpg" /></a></div><br />
“Just throw this one on. The first song. You’ll know it in 10 seconds,” prefaced Joel. <br />
<br />
“DeJohnette is the culprit! He’s too busy and the time is poor,” remarked one of our critics. He also guessed the Jarrett Trio with bassist Gary Peacock and drummer Jack DeJohnette. <br />
<br />
Joel had decided to pick on Keith Jarrett on the first “overrated” selection. <br />
<br />
“When was this? After his illness?” <br />
<br />
A while after his illness.<br />
<br />
Joel took issue on a number of points. The trio did not sound inspired, they played poorly and, to top it off, Jarrett wrote that this was the greatest achievement of the Trio in the liner notes (he has proclaimed the same in many liner notes before and since). <br />
<br />
The fact that Jarrett hadn’t recorded any original compositions since the mid-1980s became a sore point with many former followers. This particular trio had been doing “the same old thing” for years. The lackluster performances don’t deserve the credit enthusiasts give, “or a private jet for that matter.” Some thought the lack of enthusiasm in performance might be due to the fact that the group was playing for a paycheck rather than creating an artistic statement. <br />
<br />
Needless to say, there were a number of Jarrett fans present that defended the pianist to the end (namely Ted and François). Nonetheless, no member of the trio escaped unscathed. Here are some anonymous thoughts:<br />
<br />
“Peacock is grossly overrated.” <br />
<br />
“I know some bass jokes about him. Something to do about walking… I can’t remember them now.” <br />
<br />
So why have these guys become icons? Obviously, the Trio’s past output (collectively and individually) has been deemed classic. Their past successes have kept them on their economically advantageous path. <br />
<br />
“Like Sonny Rollins… Is he the greatest saxophonist living?”<br />
<br />
“When he is on, he can play a lot of saxophone…”<br />
<br />
“Okay… But is he really the best right now?”<br />
<br />
“Maybe not. But I’ll continue to go to see him. Same with Jarrett.”<br />
<br />
<i>Here’s when I cut in with my selection. Totally off topic, naturally.</i><br />
<br />
<b>9. Lenny Pickett – “Solo for Saxophone and Tape” from <i>Lenny Pickett with the Borneo Horns</i> (Carthage Records, 1987)<br />
Presented by Me – Theme: A – LP</b><br />
<br />
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<br />
I threw on the LP as everyone’s blood pressure was still high.<br />
<br />
We heard what seemed to be a woodwind ensemble playing a rather dancing, pointillistic composition with a tenor saxophone feature. It was actually a tenor solo over prerecorded tapes that the player had made using various clarinets.<br />
<br />
Joel: “This doesn’t count!”<br />
<br />
Me: “Sure it does. Someone asked if the solo could have overdubs at the last meeting. I said sure.”<br />
<br />
Joel: “So… If I made a MIDI orchestra with me on top, that would have been cool?”<br />
<br />
Me: “Guess so…”<br />
<br />
The guesses started adding up. Eddie Harris? Julius Hemphill? David Murray?<br />
<br />
First hint: Originally from the West Coast.<br />
<br />
Vinny Golia? Bennie Maupin? Arthur Blythe? Is this the Microscopic Septet guys?<br />
<br />
Next hint: You can see him live every Saturday night. - Crickets.<br />
<br />
Every Saturday night... Live… On television… – Nothing. <br />
<br />
I let them off the hook. Lenny Pickett has been the musical director of the Saturday Night Live band since 1995. Prior to that, he had been a member of the legendary Tower of Power funk outfit out of the Bay area and had participated in many of the “downtown” scene’s projects of the 1980s. He had also arranged on recordings by artists as diverse as Elton John, the Talking Heads and Cyndi Lauper. Along with his work at SNL, he has been a part of the music department at NYU for a number of years.<br />
<br />
“He sounds like Sanborn there.”<br />
<br />
Me: “I thought you guys would get it when he plays his high register and bluesy R&B stuff.”<br />
<br />
Joel: “This was barely, barely, before smooth jazz.”<br />
<br />
Steve: “He was definitely influenced by the World Saxophone Quartet.”<br />
<br />
Joel: “They’re also overrated.”<br />
<br />
There the discourse went into saxophonist who might or might not be overrated.<br />
<br />
“What about Joe Lovano?”<br />
<br />
Ted’s eyes got really big. <br />
<br />
François: “No. Lovano isn’t overrated. He might be overexposed.” <br />
<br />
Too much of a good thing?<br />
<br />
<b>10. Ahmad Jamal – “It’s You or No One” from <i>Ahmad Jamal at the Pershing, Vo. 2</i> (Argo PS-667, 1961)<br />
Presented by Steve Futterman – Theme: C – MP3</b><br />
<br />
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Steve: “Here’s a guy close to Jarrett. I don’t get it. I think he’s boring.”<br />
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Then came a fluttery, tuneful piano trio recording. <br />
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“Ahmad Jamal isn’t overrated,” came the quick response from Ted. “This may not be his best performance. Put on "Poinciana." He plays a lot of piano on that. (…) He was Miles’ favorite pianist.”<br />
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Steve: “What did Miles hear? Space…? Who cares?”<br />
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“He heard them live”<br />
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Steve: “This is live… I always hear about his orchestral feel on the piano. What does that mean?” <br />
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“It is in the arrangement. His attempt to use the entire ensemble and the full piano to orchestrate all the parts that he hears in his head.”<br />
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At this point, the speed at which the conversation continued was kind of a blur. Forgive me for not catching it all. Here’s the gist.<br />
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“You can’t talk about Jamal without talking about the trio.”<br />
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“He’s not taking chances. What’s the twinkly stuff he’s doing?”<br />
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“He can play a ton of piano. Listen to the Blackhawk sessions. He plays a ton of piano there.” <br />
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Zak: “I think he’s the most distinctive pianist since Monk. He can play with this beauty and then surprise you with these bombs. Maybe not rhythmic bombs, but things that really surprise you. He really mixes it up.”<br />
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“His live shows are a circus now. He just plays on autopilot. He just throws random things in.”<br />
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“I’m not even listening to this stuff. It is music that I can ignore.”<br />
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“Well, why did eight famous pianists show up and sit in the front row at his last gig? Why?”<br />
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Steve: “I don’t know. I don’t get it.”<br />
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François described the French reception to Jamal. They weren’t very favorable at the outset. <br />
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Steve: “I don’t get Oscar Peterson, either.”<br />
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“What about Hank Jones?”<br />
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“Eh…”<br />
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François: “I didn’t know you were French!” <br />
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<i>I’ll have to bring a recorder for the next meeting. </i><br />
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<b>11. Noah Preminger – “Where or When” from <i>Before the Rain</i> (Palmetto, 2011)<br />
Presented by Zak Shelby-Szyszko – Theme: B – MP3</b><br />
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Before we adjourned, Zak played another piece by a “young guy that I’m impressed with.” <br />
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The piece was a tenor sax and piano duo ballad. The tenor had a well-worn sound that everyone enjoyed hearing. <br />
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I guessed that it was Noah along with Frank Kimbrough. <br />
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Zak was struck by the performer’s mature sound at such a young age. That’s a big compliment in the jazz world. Ted mentioned that there was a Lovano influence in Noah’s playing and that he also cited Dewey Redman as one of his musical heroes. <br />
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Many in the room thought that a player’s ability to play a ballad really was the litmus test to whether they could hang. Trumpeter Roy Hargrove was mentioned as a “youngster” that had the ability to really emote on a ballad. <br />
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Ted and François concurred. Roy had a distinct advantage of playing at the legendary Bradley’s in New York. The club was a famous hang for legendary musicians and aficionados. Hargrove would have to play in front of the leading jazz musicians of the day on any given night. This experience hasn’t been duplicated since Bradley’s closing. It had been a huge part of Roy’s development along with many other players of his generation.<br />
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Though this concluded the musical aspect of the afternoon, conversation kept up on the development of younger musicians, who of these younger musicians were overrated and why the “jazz police” had kept them in the spotlight. <br />
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<b>12. Joe McPhee – “Cosmic Love” from <i>Sound on Sound</i> (Corbett vs. Dempsey, 2011 (late 60s/early 70s)<br />
Presented by <a href="http://destination-out.com/">Jeff Golick</a> (in absentia) – Theme: A – MP3</b><br />
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Though he couldn’t make it due to familial obligations, Jeff told me that it would be remiss not to have a Joe McPhee solo track thrown in. <br />
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<br />Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com1tag:blogger.com,1999:blog-8998283771073751235.post-51590408229402755822011-10-10T21:11:00.000-04:002011-10-10T21:12:46.894-04:00Records AMG Forgot - The Gambian/Norwegian Friendship Orchestra<b>The Gambian/Norwegian Friendship Orchestra – <i>S/T</i> – Odin Records – LP 06 – 1983</b><br />
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<i>I love when fusions of jazz and world music work. There is a multitude of varied mash ups with varying effectiveness. The most successful seem to be those of cultures that rely heavily on improvisation and/or rhythmic devices, Indian and African music being the most prevalent. Personally, I find that I gravitate toward the music of the South African expats (most notably Abdullah Ibrahim, Chris McGregor, Johnny Dyani, and co.). The blend of kwela and jazz has a particularly celebratory and lively feel, which is easy to love. <br />
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That being said, I’m always open to other attempts to see if they are up to snuff. Seems that the Europeans have always been more willing to bridge the divide between cultures, especially Scandinavians. While in Norway last month, I came across this record at a cool record shop in Bergen called Samleren (<a href="http://bphresh.blogspot.com/2011/09/excavation-norway.html">wrote about it here</a>). I’ll admit that I was a little hesitant as the early 80s were awkward years for jazz and world music. Overall, I think that this mixture of Gambian folk/drum music and European jazz works pretty well. </i><br />
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Background:<br />
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Norway has been a jazz loving nation ever since the music hit the European shores. Norwegian jazz musicians realized the importance of unity within their ranks early on, developing the Norsk Jazzforbund (Norwegian Jazz Foundation) in 1953 as a means to promote Norwegian jazz and creative music artists in Norway and beyond its borders. In 1980, the Jazzforbund began to receive national funding that allowed them to create a Norwegian Jazz Archive and Odin Records in 1981. <br />
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Odin was created to feature and publish the work of Norwegian jazz musicians. It was the first such label in Norway and released some great, eclectic recordings during its 13-year existence. Early releases included musicians that have since become well known through associations with creative music giant ECM, including Jon Balke, Nils Petter Molvaer and Arild Andersen. (Most of the releases can be found on CD or for digital download at <a href="http://www.curlinglegs.musiconline.no/shop/displayLabel.asp?id=73">www.curlinglegs.no</a>.)<br />
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The Gambian/Norwegian Friendship Orchestra was created in 1982 under the guidance of Bergen based pianist/bandleader Knut Kristiansen and Gambian vocalist/percussionist Zahir Helge Linaae. Kristiansen had been deeply involved in the Bergen jazz scene for some time. He led a number of ensembles including the Bergen Big Band. In 1981, the Wollof Music Ensemble performed at the Voss Jazz Festival where Kristiansen met Linaae, a leading member of the ensemble. <br />
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In 1982, Kristiansen and Linaae embarked on a study trip to Gambia. There, the two traveled the country and recorded music that would be transcribed for the ensemble. In addition, some music was transcribed from other sources, including recordings made by British ethnographers in the 1940s and 1950s of Ghanaian Ewe music. The resulting collaboration used elements of the Wolof (the largest ethnic group of Senegal) and Mandinka (the largest ethnic group in Western Africa) folkloric music. <br />
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The G/NFO was organized at the suggestion of the president of the Norsk Jazzforbund, Rolf Grundesen, who then scheduled the group to perform at the 1982 Bergen Jazz Festival. With the help of the Norwegian Cultural Council, The Fund for Performing Artists and the Association of Norwegian Song and Music Organizations, the G/NFO was able to meet at Bergen’s Grieghallen on October 2, 1982 on the 10th anniversary of the Bergen Jazz Forum (the city’s largest jazz club/presenter). <br />
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The group was built around a Gambian percussion/lute ensemble that featured Ebou Secka (voice, halam, tamma), Kabirr M’Bye (sabar), Zahir M’Bye (sabar), Segou Camara (djembi), Demba Jobarteh (kora, bass drum), Miki N’Doye (djembi, sabar, congas) and Linaae (calebass, djembi, sabar). Norwegians filled in the remainder of the rhythm section and wind section. The musicians were Erik Balke (soprano, alto sax, flute), Olav Dale (soprano, tenor sax, flute), Vidar Johansen (soprano, tenor, baritone sax), Stein Holdhus (trumpet), Per Jørgensen (trumpet, cornet), Harald Halvorsen (trombone), Ole Thomsen (guitar), Sveinung Hovensjø (electric bass) and Kristiansen (conductor, piano, Prophet 5 synth, timbales). <br />
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The music:<br />
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“Prayers (Songs of Daru Rilwan)” is based on Kristiansen’s account of and subsequent recording of a Muslim New Year celebration at a Mosque in Daru Rilwan, Gambia. The music echoes the chants and singing of the ceremony. There is a definite Middle Eastern feeling as the piece remains in a minor key and the ensemble remains staid and reverential throughout the theistic sounding piece. Soprano sax emulates the musette tone and the collective horns repeat a minor motif. The piece is mostly written with only a bit of improvised trombone near the end from Harald Halvorsen. The horns build toward a rhythm section climax. <br />
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Transcriptions of music from the Ghanaian Ewe tribe are the basis for “Adzida Dance.” The original recordings are from the British musicologist Arthur Morris Jones ‘s collection. The somber tenor sax of Olav Dale briefly states the theme before horns and percussion set a dancing pace. The horns play the melody in unison with exclamations similar to that of the “hot jazz” orchestras of the 20s and 30s. This is a tenor feature with some very expressive playing from Dale as the percussion ensemble exerts energy. There is a “jazzy” interlude as the percussionists shift into a more swing rhythm along with a more traditional harmony as Dale keeps veering more out. Then back into the thick of percussion. The tamma (talking drum) holds the focus as master percussionist Ebou Secka takes off over a percussion vamp. This is a varied yet impressive and energetic performance.<br />
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“Drum Ensemble” features only the percussion ensemble. The drum choir displays a mastery of multi-rhythmic interaction in two different African drum traditions, Wolof and Mandinka. Mandinka djembe (a midsized, wooden drum played by hand and made from the Lenge tree) drumming is featured first, performed by master drummer Segou Camara with accompaniment by Miki N’Doye, Linaae and Demba Jobarteh. This intensely driving section has a strong established pattern with the interwoven djembe interjections thrown in by Camara. The Wolof section seems a bit less structured, or more obliquely structured, as the drums seem to all play differing parts. This section also features twins Kabirr and Zahir M’Bye playing in tandem. Pretty amazing display by all. <br />
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Vocals are present in the danceable “Serre Takka Ma/Mambo Ibo.” The title is said to mean “darling, marry me” and the song has a very rustic quality. Ebou Secka’s halam (small, 5-string lute) and vocals are front and center. The percussion builds up intensity until horns and piano come in with a salsa flavor. The Wolof drumming lends itself well to the sounds of Afro-Cuban inspired jazz, the reason the band switches gears. Stein Holdhus takes a nice trumpet solo, which is followed by a piano solo by Kristiansen. This is a crowd pleaser for sure, but maybe not an authentic or successful blend between the two cultures.<br />
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“Haleli Etoile” is named after the Senegalese band Etoile de Dakar that was formed by Youssou N’Dour in 1979, and was extremely popular in the region, including Gambia. The group blends native percussion and performance practice with those of modern pop (no drum kit, only native percussion). The Etoile de Dakar’s popularity meant that Kristiansen heard the music frequently while in Gambia. He arranges this piece for the ensemble keeping the ostinato rhythm patterns, making the dance tune infectious. The melody is catchy like the best pop tunes. Per Jørgensen’s great, improvised cornet intro leads into the ensemble melody with Erik Balke’s alto acting as the lead vocalist with a choir of other horns. Balke sounds reminiscent of David Sanborn on this one. Not a bad thing. Vidar Johansen has the final solo on tenor. This is probably the strongest ensemble performance on the record.<br />
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Jali Demba Jobarteh’s kora is featured at the beginning of “Massani Sise,” a Mandinka folk song. The lovely lute playing is accompanied by the percussion ensemble, a very authentic performance of this piece. Demba’s vocals are resonant against the sparse accompaniment. The percussion starts to pick up as the guitar and bass come in. The horns begin a repeating motif that emulates the arpeggiated kora lines. There is a little of that slick 80s electric bass and guitar sound (I’m hearing the echoes of Sharrock’s Enemy Records stuff, dunno), though the solos aren’t bad at all. Vidar Johansen takes a soprano sax solo as the ensemble picks up intensity toward heroic climax. <br />
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The Wolof title of “Jelli Kai Nu Wagtan” expresses a sentiment that music no longer finds itself bound by isolation and tradition, instead it continues to mix with other traditions to make new music. This piece is in three parts and blends two separate musical traditions: the African and European. The introduction uses a medieval musical cadence, the Landini cadence (basically a Major 6th cadence used in medieval choir music). It is easy to hear. Seems as though lots of European musicians use these medieval musical devices (e.g. Surman, Garbarek, etc.). Soprano and tenor sax add a little color to a pretty tight harmonic sequence, which is pretty but not very inspired. Musical sign of the times? The second section is based on the Wolof music tradition and comes in immediately after the horns stop. The percussion and vocals are seemingly loose but become more and more focused. Much more enthusiastic. The drums then slow as the horns return for the concluding section, a playing of “Ormen Lange,” a Norwegian folk tune with close harmony and a catchy melody. Kind of a grab bag of ideas but not bad. <br />
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Conclusion:<br />
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G/NFO played this and a number of other gigs in Norway, including a nationally televised broadcast. Odin Records released the self-titled recording in 1983, which even had limited distribution in the States (though I’ve never seen a copy here). I couldn’t find any evidence that the group lasted any longer than that year. <br />
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Kristiansen was awarded the Norsk Jazzforbund’s Buddy Award in 1983 for his efforts in jazz and world music. He has maintained a steady career in Norway, but by no means prolific. His few recordings have been mostly tributes to Thelonious Monk. <br />
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Percussionist Miki N’Doye released a record similar to that of the G/NFO called Joko (ACT, 2002). He has also been a part of pianist Jon Balke’s Batagraf ensemble that has used elements of Western African music and has a couple of records out on ECM. <br />
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Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com0tag:blogger.com,1999:blog-8998283771073751235.post-86505421132827878762011-09-23T12:15:00.001-04:002011-09-23T14:20:15.983-04:00BYOV - Meeting #4September can be beautiful. Sunday the 18th was a beautiful day in Brooklyn with sun and cool temperatures. Even so, a dedicated group of jazz aficionados still took to the dimly lit backroom of Barbés to enjoy what turned into an inspired afternoon of mostly jazz with classical music inspiration. <br />
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Here were the themes the presenters had to work with:<br />
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<i>a) I know you got soul! Bring your most heart wringing, emotion pulling tracks. We want to feel it.<br />
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b) Classical-ish. Selections should be music that either uses instrumentation or techniques typical to the classical genre. Chamber groups, Third Stream, strings, etc.<br />
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c) Mangled covers. Well known songs that get the Picasso treatment.</i><br />
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Sometimes you can tell what will be the most popular theme. The group definitely fell into the classically inspired / third wave theme. There were, however, a couple different takes and thoughts on what works most successfully when bringing classical forms or classically trained musicians to work with those of jazz.<br />
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Once again, all the selections were done as blindfold tests. <br />
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On with the show…<br />
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<b>1. Billy Childs – “A Man Chasing the Horizon” from <i>Autumn: In Moving Pictures</i> (Artists Share, 2010)<br />
Presented by <a href="http://joelharrison.com/">Joel Harrison</a> – Theme: B – CD</b><br />
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This was a lovely, long and varied composition that seemed to vacillate between jazz and classical with equal ability. A long introductory section that featured a prominent soprano sax had the first guesses to see whether it was related to Oregon because of the Paul McCandless overtones. “Ralph Towner on piano?” <br />
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Lush strings accompany the woodwinds before a brief piano feature. This would be the only way to identify the pianist as the leader of the group. “Only pianists can write like this,” Joel opined. <br />
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Ed Simon? No. Danilo Perez? Nice guess. But no… <br />
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The rhythm section was given. Bassist Scott Colley and drummer Brian Blade powered this ensemble. Finally, someone mentioned the West Coast residency of the leader. Mr. Adam Kolker then guessed Billy Childs. <br />
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The song was a nice example of what could be achieved between a blend of classical and jazz elements. The use of all these structural and expressive elements led to a composition that contained many shifts in mood, color and texture. Maybe too much? <br />
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“This song never ends…”<br />
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“It sounds like an all acoustic version of Weather Report. Or ELO…” <br />
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Joel wanted a consensus on whether we considered this truly “Third Wave.” I think everyone agreed that it was. I did mention that I found it interesting that the instigators of the Third Wave movement (Gunther Schuller, John Lewis, etc.) really made a point of coming at the music by way of jazz. Most of the pieces that were written or arranged on the Jazz Abstractions record (check # 11) were classical arrangements of jazz pieces, mostly by Monk. Most practitioners have now taken the opposite approach, using elements of jazz (improv, rhythmic devices, etc.) within a classical framework. Evolution happens…<br />
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<b>2. Classical Jazz Quartet – “Blues à la Russe” from <i>Play Tchaikovsky</i> (Kind of Blue 10011, 2006 – Recorded 2001)<br />
Presented by Steve Futterman – Theme: B – CD</b><br />
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“No extra credit for guessing the composer,” remarked Steve as he plugged in. <br />
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We were hit with an extremely swinging quartet tune with a strong vibraphone lead. The quartet also included piano, bass and drums. Vibes player was the odd man out, so the identification process began with him.<br />
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Lionel Hampton? Red Norvo? More contemporary. <br />
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Too upfront to be Modern Jazz Quartet… Joe Locke? Nope.<br />
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Stefon Harris? Yep. The next sequence of identification was pretty impressive. Someone got Lewis Nash on drums. François pieced Kenny Barron in on piano. No one guessed the bassist, Mr. Ron Carter. <br />
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The ensemble gave an obvious nod toward the MJQ based on their choice of instrumentation and choice of classical themes. Regardless, some thought it had nothing to do with classical music as the group arranged the Tchaikovsky theme to the service of jazz changes for blowing solos. François maintained that the use of familiar material was “utterly commercial,” as buyers were sure to know the themes from Tchaikovsky’s Nutcracker. <br />
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The playing was great and the arrangement was fun but the combination of classical and jazz never really took. The two genres never really co-existed. The ensemble had made a modern jazz tune using the theme from Tchaikovsky. <br />
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Gave the group some good talking points.<br />
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<b>3. Jimmy Giuffre – “Jesus Maria” from <i>Fusion</i> (Verve V-8397, 1961)<br />
Presented by <a href="http://www.thomasheberer.com/">Thomas Heberer</a> – Theme: B – LP</b><br />
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Thomas’s track was identified right away. The distinctive sound of Jimmy Giuffre’s clarinet along with Paul Bley’s piano and Steve Swallow’s bass has been imbedded in the ears of most progressive musicians and fans for generations. <br />
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“The best thing is that it swings…” <br />
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Giuffre’s was intense music that really pushed the limits of what was considered jazz but never abandoned the most important principles. <br />
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This particular Giuffre trio has been placed on a pedestal. The group’s interplay and dynamic range was completely unique at the time of their existence. Giuffre had been a lonely experimenter on the West Coast, finding opportunities every so often to lead ensembles through his inventive music. <br />
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This particular Trio played an important role in free improvisation as it approached freedom with restraint and poise. The classical overtones came from their attempt to work as a chamber ensemble of sorts. <br />
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Soon after he released a handful of recordings with Bley and Swallow in 1961 and 1962, Giuffre abandoned the music industry to teach because of the lack of opportunity to present his more advanced musical forms. He resurfaced at the beginning of the 1970s. <br />
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Steve Swallow was only <strike>18 years old</strike> 20 years old at the time of the Fusion recording. Amazing to think that he had such advanced vocabulary at that time. Obviously, he was very serious about the music and his own direction. Swallow switched to electric bass very early on. Apparently, he was so steadfast in his switch that he passed up opportunities to play with his hero Thelonious Monk and what would be a high profile gig with Keith Jarrett to pursue his muse. <br />
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<b>4. The Dave Brubeck Octet – “Fugue on Bop Themes” from <i>The Dave Brubeck Octet</i> (Fantasy EP 4003, 1951)<br />
Presented by <a href="http://www.sunnysiderecords.com/">François Zalacain</a> – Theme: B – 10” Red Vinyl LP! </b><br />
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Oh… Pretty… Clear red vinyl ten inch. Sorry… Just so aesthetically pleasing. Cover looked nice, too. Love that aggressive modern look of the ‘50s. <br />
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Larger ensemble without a clear lead player. The clarinet was a real standout as it weaved in and out of the other woodwinds. <br />
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Benny Goodman? Nope. C’mon!<br />
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Harrison, “I’ve heard everything George Russell ever put out. This isn’t him.”<br />
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Mr. Futterman asked if it wasn’t West Coast clarinetist Bill Smith’s date possibly with Dave Brubeck on piano. Pretty good. <br />
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This was an early recording of Brubeck and his Octet that included Bill Smith, vibraphonist/drummer Cal Tjader, trumpeter Dick Collins, bassist Jack Weeks, trombonist Bob Collins and saxophonists Paul Desmond and Dave Van Kriedt. This particular composition was recorded in July 1950. One of Brubeck’s first recordings with Desmond, their collaborations would become legendary in years to come.<br />
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Brubeck was always interested in classical form and used many classical techniques in his compositions. “Fugue” utilized counterpoint writing between the horns. This was a pretty successful marriage of the two idioms that came out right after the Miles Davis’s Birth of the Cool sessions that ushered in the wave of classical thought in jazz.<br />
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Interesting that the West Coast of the late 1940s had so many characters that played a part in the development of Third Stream thought. Brubeck, Gil Evans, Giuffre, Gerry Mulligan… <br />
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“Ah... The years of bebop counterpoint!” <br />
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<b>5. David Holland / Barre Phillips – “Song for Clare” from <i>Music From Two Basses</i> (ECM 1011, 1972)<br />
Presented by Jason Weiss – Theme: A – CD</b><br />
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Jason decided to present us with a soulful performance. I won’t deny the track’s power. <br />
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Low string duet. Slow paced with nice apathetic interplay. <br />
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Is it a single artist? Maybe overdubbed? No.<br />
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Fred Hopkins and Deidre Murray? Interesting guess… But no. <br />
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Miroslav Vitous? Nope.<br />
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No one was getting it. Hint given was that one of the performers was from the US and the other was not. <br />
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Michael Bates guessed Dave and Barre.<br />
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Surprised that no one picked up on the recording earlier. I’ve found that many record collectors (whether jazz fans or not) began their ECM and/or jazz collections with this duo record. Pretty strange, no? <br />
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Great piece that showed fantastic rapport between two amazing musicians that have very different approaches to the same instrument. <br />
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Barre Phillips has become a BYOV fav, apparently.<br />
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<b>6. John Coltrane (Alice Coltrane) – “Peace on Earth” from <i>Infinity</i> (Impulse! AS-9225, 1972 (1965-66))<br />
Presented by Me – Theme: B – LP</b><br />
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Controversy! <br />
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Nobody batted an eye when the lush, modal strings came streaming from the turntable. The descending harp lines and full swathes of the orchestra sunk in without trouble. <br />
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Then that familiar saxophone sound came in. Eyes bugged, eyebrows raised. The group kept listening.<br />
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Futterman, “Is this Alice Coltrane with Ornette Coleman?” One out of two. <br />
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“C’mon… It’s on the tip of your tongues, guys,” I urged. <br />
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Is that John? Yep. The group looked a little shocked. <br />
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In 1972, John Coltrane’s widow Alice decided to honor her husband’s memory by making a tribute album. She took unreleased recordings that the legendary Coltrane Quartet had made from 1965 to 1966 and recorded her own orchestral arrangements to accompany them. This essentially created a remix of the original compositions. She even went so far as to add members of her current ensemble to the compositions, most notably subbing Charlie Haden’s bass parts for those of Jimmy Garrison. <br />
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Upon release, this album was seen as heresy among John Coltrane devotees. Still is, I found. Though the opinions of the overall performance were mixed.<br />
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“We don’t know where Trane would have gone but this album presents a foreign conception to where he was going at the end of his career.”<br />
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“This is some new age bullshit.” `<br />
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“This is a revolutionary album. It is essentially one of the first uses of remixing.” <br />
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Personally, I found the recording well done. Who else could have touched the musical legacy of Trane other than his wife (also collaborator) and kin? Who’s to say that she didn’t know where he was planning on taking the music next?<br />
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The group’s main issue was that the album came out under Trane’s name, not that of Alice. Impulse!’s last ditch attempt to cash in on the Trane’s legacy on the label? Probably. <br />
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“The jazz police say ‘hmmm…’”<br />
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<b>7. Mark Feldman – “Xanax” and “Kit Suite (Kit / Les Tenebrides / Murmur)” from <i>Book of Tells</i> (Enja ENJ-9385 2, 2001)<br />
Presented by <a href="http://outsidesources.org/">Michael Bates</a> – Theme: B – CD</b><br />
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Michael played a selection by a wonderfully advanced string quartet. He mentioned that two of the musicians were improvisers while the other two were not. <br />
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One of the lower string voices had the lead in the ensemble. Turned out to be the cello. <br />
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We needed more hints. <br />
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Based in New York City. A more recent release. <br />
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Is the cellist Erik Friedlander? Yep. Hmm… Who else could be in the ensemble? <br />
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Joel, “Is it Mark Feldman? I don’t hear the usual Feldman licks.” <br />
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It was Feldman and his record. The other musicians on “Xanax” included viola player Joyce Hammann and violinist Cenovia Cummins. <br />
Michael played us the “Kit Suite” so we could hear the more distinctive side of Feldman with his fast high register moves that grace the works of the Aracado Trio, the Masada String Trio, various ensembles with pianist Sylvie Courvoisier and the John Abercrombie Ensemble. Feldman has a reputation as a virtuoso string player and master improviser. <br />
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Gotta get that one. Michael mentioned that it was an Enja release that didn’t get much distribution in the States, his copy being one of the few that made it over the pond. I found it available digitally on iTunes and Amazon. Get it and dig it.<br />
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<b>8. Joe Maneri / Joe Morris / Mat Maneri – “What’s New” from <i>Three Men Walking</i> (ECM 1597, 1996)<br />
Presented by <a href="http://www.oranetkin.com/">Oran Etkin</a> – Theme: A, B & C – CD</b><br />
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Mr. Etkin decided to go for the triple: all the themes in one selection. <br />
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The most distinct voice on the track was a slippery tenor sax that seemed to dip and rise within each note. There was also the pointillist attack of a guitarist and what seemed to be a legato bass. <br />
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I knew that I’d heard that tenor tone before. Wracked my brain and buzzed in with Joe Maneri, the microtonal woodwind player and major improviser. That meant that the trio had to be his son, viola expert, improviser extraordinaire Mat Maneri and long time collaborator, guitarist, master improviser Joe Morris. <br />
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I had thought that the low register was Morris on bass but it was really Mat playing low on the viola. There were times where Joe and Mat’s instruments couldn’t be discerned from one another. <br />
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I heard similarities between this and the Giuffre Trio, played earlier. The Maneris and Morris are almost an extension of the Giuffre Trio legacy from 30 years before. Both groups are without percussion, have woodwind leads, tonal ambiguity and a typically restrained approach that could veer at any point. The main difference seemed to be that the Maneri ensemble had more focus on the use of nonlinear tones in their communication, and maybe a tad larger vocabulary than that of Guiffre. <br />
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The listening group was struck by the tones that Joe and Mat were able to pull from their respective instruments. <br />
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“Man… That’s fucked up. And I mean that as a compliment…”<br />
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This was a cover, after all. A well disguised rendition of the standard “What’s New”. <br />
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Oran, “It was also played rather soulfully, no?” <br />
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Okay, Oran. You got the points for the triple. <br />
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<b>9. Dan Tepfer / J.S. Bach – “Variations 8-10” & “Reinterpretations 8-10” from <i>Goldberg Variations / Variations</i> (Sunnyside 1284, 2011)<br />
Presented by <a href="http://www.benwendel.com/">Ben Wendel</a> – Theme: B – MP3</b><br />
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<i>"Variation 8"</i><br />
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<i>"Improvisation 8"</i><br />
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<i>"Variation 9 - Canon at the Third"</i><br />
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<i>"Improvisation 9 - Thirds"</i><br />
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<i>"Variation 10 - Fughetta"</i><br />
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<i>"Improvisation 10 - Fuguelike"</i><br />
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Disclaimer: Yes – Sunnyside Records was well represented. Not only by the members of the discussion group but also in this selection. The selection was an upcoming release picked because it fit the classical meets jazz theme so well. <br />
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Pretty sure that most folks in the room knew who this was. We let the uninitiated try to suss it out. <br />
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The first piece played was in the baroque style of Bach. Obviously one of the Goldberg Variations. This was followed by a short improvisation that used elements from the source Variation to make a new unique composition. <br />
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Jean Michel Pilc? It isn’t Uri Caine… <br />
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They couldn’t guess. <br />
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François expounded on the story behind Tepfer’s project to record all of the Goldberg Variations alongside his own “variations” of the Variations. Got your head around that? <br />
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Over the past year, Dan has been going into the Yamaha piano show room in NYC recording the Variations and his own improvisations. All 31. He recorded 62 separate tracks for the upcoming CD. Pretty amazing stuff. <br />
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Discussion focused on if this might create any controversy between classical and jazz music buffs. Seems that folks would probably be used to the idea of musicians challenging the idea and past forms of these master composers. It wasn’t as if Tepfer ignored the original material. It would be presented alongside his “remixes”. <br />
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Glenn Gould’s own interpretations of the Goldberg Variations were controversial but this was over 50 years ago. I would think that the classical world would accept any project trying to vivify the work of Bach and that extend his legacy. <br />
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“Bach… The Coltrane of classical music…”<br />
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<b>10. Bobby Previte – “Open World” from <i>Pushing the Envelope</i> (Gramavision 18-8711-2, 1987)<br />
Presented by <a href="http://lamentforastraightline.wordpress.com/">Jim Macnie</a> – Theme: B – CD</b><br />
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Jim put it on and Thomas Heberer named Previte right away. <br />
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What a unique and immediately identifiable style. Previte has been one of my favorite composers for some time. <br />
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“But what sounds classical here?” queried Joel. <br />
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Jim admitted his classical ignorance but stuck to his guns. Previte came up when the Downtown scene was still in its prime. A place where genre wasn’t important, it was about the intent of the music. “A time before minimalist composers were superstars…” <br />
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Improvisation was just as important as composition to many practitioners and composition could be anything. Look to the music of George Lewis, Elliot Sharp and John Zorn for further evidence. Jazz with metal, Morricone soundtracks with electronics, disco with banjos… Eclecticism was at its height. <br />
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Here’s where the New Music versus Classical debate reared its head. <br />
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Maybe the composition doesn’t have the typical traits of classical pieces but there was certainly a lot of thought put into the form. This concentration on the composing aspect puts Previte’s work in a unique place away from the jazzers. Weiss mentioned the tonalities that Previte made use of that were much more varied than what many at the time were using in composition.<br />
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Previte’s mastery of both improv and composition has been well documented, especially on the now defunct Gramavision label. There was a moment of silence for the beloved label. The catalog has held up as one of the strongest of the time period and definitely should be made available once again. Can’t argue with the cast of characters: Previte, Anthony Davis, Bob Moses, John Carter, Billy Hart, etc., etc. “With Gramavision, I had found a label that made sense…”<br />
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Mr. Jonathan Rose - If you are reading, please, please consider getting these important documents back into circulation. Even if only digitally. We’d be happy to help.<br />
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<b>11. Ornette Coleman w/ Gunther Schuller – “Abstraction” from <i>Jazz Abstractions</i> (Atlantic SD 1365, 1960)<br />
Presented by Joel Harrison – Theme: B – CD</b><br />
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This was the official beginning of the Third Stream. <br />
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The two previous “streams” were classical and jazz, of course. Composer/French horn player Gunther Schuller had been on both sides of the coin. He had begun his career early as a horn player for the American Ballet Theatre, then the Cincinnati Symphony Orchestra and the Metropolitan Opera Orchestra. He then ventured into jazz, performed on what was perhaps the closest marriage of the two genres up to that time, Miles Davis’s Birth of the Cool. <br />
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Along with pianist John Lewis, Schuller started the Jazz and Classical Music Society, which attempted to bridge the two genres into a style that he christened the Third Stream. <br />
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The first appearance of the Third Stream on record came from this 1960 Atlantic LP. “Abstraction” is a piece composed for nine musicians, including soloist Ornette Coleman (who I imagine had no written part). Apparently, the rest of the piece was notated but sounded very much improvised.<br />
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Impressive piece that made our conversation possible. <br />
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<b>12. Jerry Butler – “Giving Up on Love” from “I’ve Been Trying / Giving Up On Love” Single (Vee Jay VJ 588, 1961)<br />
Presented by Steve Futterman – Theme: A – MP3</b><br />
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Steve wanted to finish the session with a song that “made him cry.” We indulged him. I didn’t see any tears. <br />
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The Iceman. Mr. Jerry Butler. A former member of the Impressions who went on to have a successful solo career that included “Giving Up on Love.” <br />
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Steve was always impressed at Butler’s ability really go for it but has the class to hold it back. “He’s kind of like Billy Eckstine with an R&B esthetic.” <br />
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Nice way to end the afternoon. <br />
Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com0tag:blogger.com,1999:blog-8998283771073751235.post-89633994004098154502011-09-15T08:59:00.000-04:002011-09-15T16:49:40.144-04:00Excavation - Norway<i>Two weeks back, I went on a trip to Norway with my father. We were visiting the land of our forefathers and celebrating our birthdays, 30 and 60 respectively. Yeah, yeah… I copped the idea from a Visa commercial from a few years back. Don’t worry, though. We were able to maintain our Norwegian heritage unlike the unfortunate Swedes of commercial fame, though a hotel clerk mentioned that our last name was “almost” Norwegian (we’re missing a K before the J, evidently). <br />
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Anyhow… A trip wouldn’t be complete without at least an attempt at record perusal. I was able to track down the last record shop in Bergen and a mighty Oslo record haven. </i><br />
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<b>Bergen</b> <br />
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The pearl of Norway. What a beautiful city. We hiked up mountains, ate reindeer sausage and scoffed at the prices of miniature troll statues. We came across a random junk shop that had some records but the good stuff was “not priced yet.” We also came across a CD/DVD/video game chain that had a fairly wide selection but outrageous prices. <br />
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Norway was an expensive place. After discovering that prices of CDs are on average around NOK 189 or roughly $36 (CDs are a petroleum product, after all), I didn’t think that I’d find collectable vinyl at decent prices. I was pleasantly surprised, however. I had to ask around if there was a record store and a used bookseller hipped us to Samleren. <br />
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<b>Samleren – Nygårdsgaten 33 – 55962540 </b><br />
<a href="http://www.samleren.no/">www.samleren.no </a><br />
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Samleren translated to English would be “collector.” The shop was a small one filled with used records, CDs and DVDs. The collection was separated into three rooms. The first was dedicated to vinyl, a large collection of rock with some jazz, world and hip-hop. The second room held their used CD offerings along with metal and Scandinavian vinyl sections. The last room held the Norwegian vinyl selection and DVDs. <br />
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Samleren was a fun store to shop. The vinyl exclusive room had many releases you’d expect to find in a well curated rock shop. The exceptional selections were to be had in the specialized rooms. The Scandinavian sections were fun to rifle through. They were separated into Swedish, Danish and Finnish. I didn’t have a clue who any of the artists/bands were, aside from Abba. It would have been fun to go through with a fine-tooth comb and listen to a bunch to see what was interesting. There was no listening station but the extremely friendly proprietor was happy to let me listen to some selections. <br />
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The Norwegian selection was huge, especially in the folk. I steered toward the Norwegian jazz/jazz-rock section since I was more familiar. I was able to find a handful of nice things on the ODIN label that I hadn’t seen before. <br />
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Our helpful host (I forgot to get his name) was full of random info. I asked him for recommendations in Norwegian rock and new wave to which he responded that Norwegian music was sub par compared to Danish and Swedish, except for the folk music (Norwegian folk was far superior). The production value was apparently higher in Sweden and Denmark. He wasn’t able to help with jazz recommendations but asked a local shopper to point the way. Jan Garbarek, naturally. <br />
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We were also privy to a history lesson. Believe it or not, <a href="http://en.wikipedia.org/wiki/Leif_Ericson">Leiv Eiriksson</a> (famed Viking explorer, son of Bergen native Erik the Red and first European discoverer of North America) brought whale trapping techniques to the Native Americans thus helping them survive. <br />
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Apparently, the lesson was an important one as Mr. Samleren relayed that two Norwegian tourists were thanked by a New York based tribal leader on a visit to a reservation. Hmmm… <br />
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Needless to say, this shop was a lot of fun to hang in. There was a ton of unfamiliar music and the prices were fairly good. My selections ranged in price from NOK 20 to NOK 130 ($4 to $24). Much better than any CD prices found. <br />
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<i>The Haul:<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipEPQGpyN3zEp5Pkjkn5z8kEVgEgOfo58YNXr2Cwjq-9CVzcjKoY-8lq5KhdwiD9RB48FHVYXKqUzYin3ttpVb2nVjaYbeScgcjbdpzuvsqRvS-qAFjyZ4soLv_u6xBm7zzlfAuPr5CkA/s1600/DSCN6590.JPG" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="300" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipEPQGpyN3zEp5Pkjkn5z8kEVgEgOfo58YNXr2Cwjq-9CVzcjKoY-8lq5KhdwiD9RB48FHVYXKqUzYin3ttpVb2nVjaYbeScgcjbdpzuvsqRvS-qAFjyZ4soLv_u6xBm7zzlfAuPr5CkA/s400/DSCN6590.JPG" /></a></div><br />
1. Herbert Joos - Daybreak - JAPO - 60015 - LP - 1977 (Cool orchestral jazz)<br />
2. The Gambian/Norwegian Friendship Orchestra - S/T - Odin - LP 06 - LP - 1982 (Blend of Gambian and progressive big band music)<br />
3. Masqualero - S/T - Odin - 4008 - LP - 1983 (Hip progressive jazz from Norwegian super group including Jon Balke, Nils Petter Molvaer, Tore Brunborg, Arild Andersen & Jon Christensen)<br />
4. Kai Martin & Stick! - Simmama - Silence Records- SRS 4688 - LP - 1983 (Well done Swedish new wave - <a href="http://www.discogs.com/artist/Kai+Martin+%26+STICK!">wanna read something weird?</a>)</i><br />
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Location: 8/10 (Small city, man. Walk)<br />
Price: 7/10<br />
Stock: CD = 7/10 - LP = 8/10<br />
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<b>Oslo</b><br />
<br />
Oslo showed the most promise for records. The biggest, most cosmopolitan town in Norway, afterall. I had already done a bit of research and I knew that there was a shop dedicated to jazz and a good half dozen shops that had used records. We were limited on time so I was only able to hit a couple of them.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWhF_NfUtt0OkO1RYJNt_REBsjzuoEh7KnfzBgHN09M9IASdGPySpvxq12_02GB18toSBxMgUvXf0Y16cCuKweVq_iR7YzpZbr-Z5V1W37glJT55v3CZKYoauy2q_dmoQSUjIBSKlYqKc/s1600/DSCN6331.JPG" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="400" width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWhF_NfUtt0OkO1RYJNt_REBsjzuoEh7KnfzBgHN09M9IASdGPySpvxq12_02GB18toSBxMgUvXf0Y16cCuKweVq_iR7YzpZbr-Z5V1W37glJT55v3CZKYoauy2q_dmoQSUjIBSKlYqKc/s400/DSCN6331.JPG" /></a></div><br />
<b>Bare Jazz – Grensen 8 - +47 22 33 20 80</b><br />
<a href="http://www.barejazz.no/">www.barejazz.no</a><br />
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It took a minute to find Bare Jazz. We found the shop in a little alley about three blocks from our hotel on Karl Johans gate. Tucked behind a couple of boutiques and hipster coffee hangs, Bare Jazz has been the place to shop for jazz in Oslo for some time. <br />
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The prices! Oh, the prices! I didn’t see anything under NOK 198 ($38)! Amazing. I would be interested to know what the average income in Norway is. Maybe I don’t want to know…<br />
<br />
Anyway… The store had a fabulous selection of jazz CDs from all over, especially of the Scandinavian. Vinyl selection was small and almost entirely new stock. There were a couple things that were original press in mint condition, some ECM and Stan Tracey’s Steam label. <br />
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Sadly, all I got at Bare Jazz was a strong Americano from the coffee bar upstairs.<br />
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<b>Råkk og Rålls – Akersgatan 39 – 22412312</b><br />
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Just around the corner from Bare Jazz, we found Råkk og Rålls, Oslo’s largest used record store. The shop was less than a block to Karl Johans gate and about 50 meters from the Grand Hotel, right in the center of Oslo. Upon pleading, my dad gave me an hour. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzzvw3FKsu270N8Xf-MyfFCKtfUMl5PYiLjh1nR-T4GUUjIWR5ifRY3qsLcydt4WIY26JcqK9ijEqXSoEVkgV7LZPbhRyCDckbL53pIKBBA3CDL-Z2Z8SwIeQflitARPWJfJOsn9zTF0E/s1600/DSCN6327.JPG" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="300" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzzvw3FKsu270N8Xf-MyfFCKtfUMl5PYiLjh1nR-T4GUUjIWR5ifRY3qsLcydt4WIY26JcqK9ijEqXSoEVkgV7LZPbhRyCDckbL53pIKBBA3CDL-Z2Z8SwIeQflitARPWJfJOsn9zTF0E/s400/DSCN6327.JPG" /></a></div><br />
The shop was big. Three stories cluttered with ephemera and stacked with records, CDs and DVDs. I could have easily spent all day. RoR obviously specialized in the many varieties of rock. Stores like this could potentially have a gold mine of jazz/avant-garde stock at low prices. My favorite. <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiafO8Njp4sI4-xJ1i39MQruj5C8WsdQ1S4wJs1xIGp87iSpwy-XYC8fr9480ki6P7LJAWCHG8MGC1_7244tLcIflzg7voqxm1d8Ea8RfSvAxcc1L_HfjzKjpHBCvc8LRqM36GQYJzUswU/s1600/DSCN6326.JPG" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="300" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiafO8Njp4sI4-xJ1i39MQruj5C8WsdQ1S4wJs1xIGp87iSpwy-XYC8fr9480ki6P7LJAWCHG8MGC1_7244tLcIflzg7voqxm1d8Ea8RfSvAxcc1L_HfjzKjpHBCvc8LRqM36GQYJzUswU/s400/DSCN6326.JPG" /></a></div><br />
I had read some reviews of poor customer service. I didn’t need much help and was directed to the jazz section after inquiring. Maybe the directions were given a little apathetically. The jazz section was downstairs at the back of the store and separated into two groups: Traditional and Modern. I went through both sections as I kept seeing some infiltration of mods into the trad majority. No big deal.<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjgKFXHFNfRgPHDB9LmrVrA1dEmwULlZraWshdK_zC5JyAqwtufyGRkYNaYEHlZAqLKqqwIcay0Uz3W7YbbLdGJdctSFrjRcby4etl-SXRL3ME-aLc0JjCvM6vBacUZKvn5Ufp4ohAdIg/s1600/DSCN6322.JPG" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="300" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjgKFXHFNfRgPHDB9LmrVrA1dEmwULlZraWshdK_zC5JyAqwtufyGRkYNaYEHlZAqLKqqwIcay0Uz3W7YbbLdGJdctSFrjRcby4etl-SXRL3ME-aLc0JjCvM6vBacUZKvn5Ufp4ohAdIg/s400/DSCN6322.JPG" /></a></div><br />
The selection was great. I was able to find two ECM releases that had never been reissued, another ODIN release and a weird out Polish recording. I had to cut myself off. <br />
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Another complaint I read seemed to have been about high prices. In the land of high prices this should be expected. I couldn’t vouch for the prices on rock and pop stuff but the jazz things that I found were less than I’d expect to pay for them in the States, whether on eBay or in a shop. I was a happy boy. <br />
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I really liked the shop and would have enjoyed spending more time but it wasn’t only my vacation. Onward to Vigeland Park! <br />
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<i>The Haul:<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPVTsmqVgLA-_VbiITrCWgZvUxuJgYVYQZ3hzqCWoB19QzNgYKNlZIprBkV0cLQjsuG31t5DnJdl6owhuh_kYk9M83c3vmRB74obFtN8oHLLB-GeN6aFL-eDXwKfAiz4YcqIsNzQgIm44/s1600/DSCN6591.JPG" imageanchor="1" style="margin-left:1em; margin-right:1em"><img border="0" height="300" width="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPVTsmqVgLA-_VbiITrCWgZvUxuJgYVYQZ3hzqCWoB19QzNgYKNlZIprBkV0cLQjsuG31t5DnJdl6owhuh_kYk9M83c3vmRB74obFtN8oHLLB-GeN6aFL-eDXwKfAiz4YcqIsNzQgIm44/s400/DSCN6591.JPG" /></a></div><br />
1. Karin Krog og John Surman - Freestyle - Odin - 4017 - LP - 1986 (Cool minimalist vocal and synth/percussion/reed duets)<br />
2. Barre Phillips - Music By... - ECM - 1178 - LP - 1980 (Excellent progressive stuff)<br />
3. LASK - S/T - ECM - 1217 - LP - 1981 (Interesting trio with Ulrich Lask, Meinholf Bauschulte and Maggie Nicols that borders on new wave)<br />
4. Priest & Big Cork - S/T - Muza/Polskie Nagrania - Z-SX 798 - LP - 1987 (Cool Polish small ensemble)</i><br />
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Location: 9/10<br />
Price: 7/10<br />
Stock: CD = 7/10 - LP = 8/10<br />
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<b>Stavanger</b><br />
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Kind of a bust. Stavanger was rainy and cold. We were convinced not to climb Preikestolen (the reason we had gone) and had plenty of time to waste. <br />
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<b>Vinylpalass – Kongsgata 36 – 40 57 04 58</b><br />
<a href="http://www.vinylpalass.no/">www.vinylpalass.no</a><br />
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Where were you? We passed the store at least four times. It was never open. I had been on their website and the selection certainly looked interesting. <br />
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Being the only game in town, the store would definitely have made a sale and we would have been able to escape the rain for a little while. Oh well. Fit the pattern for Stavanger perfectly. <br />
Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com0tag:blogger.com,1999:blog-8998283771073751235.post-733625022461191752011-08-24T13:41:00.003-04:002011-08-25T12:21:00.709-04:00BYOV - Meeting #3On a rainy, rainy Sunday, August 14th, a handful of brave souls (geeks) gathered in the back of Barbés for the third meeting of BYOV. Though the group was small, the discussion, music selections and opinions were all strong. Personally, I really enjoyed the frank discussion we were able to have. Not to mention, we heard our most obscure record to date… Read on, read on…<br />
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Here were our working themes, BYOVites:<br />
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<i>a) Favorite duo performances. Two musicians, one stage. No holds barred. Well, no genres barred.<br />
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b) Unusual instrumental combinations. Mouth harp and tuba? Orchestra and helicopter? Bring your fav bizarro combinations.<br />
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Left field pick...<br />
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c) Blast from the past! Fav old-timer coming out of retirement or mixing it up with youngsters.</i><br />
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As you’d probably expect, there were a bunch of duo selections. Many presenters pulled a double and provided a selection covering two themes, mostly duos and unusual instrument combos. Only one old timer showed up, but on two different selections. Every selection was presented as a blindfold test. <br />
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Here goes!<br />
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<b>1. Anthony Braxton / Richard Teitelbaum – “Behemoth Dreams” from <i>Time Zones</i> (Arista Freedom AL1037, 1977)<br />
Presented by <a href="http://blog.adlermusic.com/">David Adler</a> (in absentia) – Theme: A & B – MP3</b><br />
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Our new friend Steve Futterman quickly buzzed in with Braxton followed by a Teitelbaum assist from Macnie. <br />
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Braxton had to show up. Had to. Couldn’t think of another musician that has performed in so many different configurations on such a wide array of instruments. <br />
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This composition from September 16, 1976, recorded at Bearsville Sound in Woodstock, NY, showcased Braxton on contrabass clarinet and Mr. Teitelbaum on Moog synth. “Behemoth Dreams” was dedicated to the composer/installation artist Maryanne Amacher. <br />
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An odd mixture of timbres and textures. The Moog provided sounds from low rumble to ringing high tones while Braxton’s clarinet resonated with a very gruff, woody tone. The ideas were plentiful on this long track.<br />
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This got us talking about a bunch of stuff, especially Braxton and the Arista Freedom label. The label was in a unique position as it was able to release very advanced, “difficult” music through a major label’s distribution chain. The 1970s were a time of musical glut that allowed daring individuals an opportunity to release music that wouldn’t otherwise get into the mainstream marketplace, even though financial success wouldn’t be realized. It definitely helped kick start the careers of some of the artists affiliated. Maybe Steve Backer or Michael Cuscuna would like to weigh in? <br />
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The effect on the music world was interesting. The availability of these distinctive musical streams had direct influence on new music of all types and music culture in general. Avant-garde music in Rolling Stone reviews and record store chains? Would Pere Ubu sound like Pere Ubu without these records having been available in cutout bins everywhere? <br />
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<embed src="http://www.box.net/embed/84h6muofmh082cn.swf" width="250" height="25" wmode="opaque" type="application/x-shockwave-flash" allowFullScreen="true" allowScriptAccess="always"><br />
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<b>2. Vinny Golia – “Eye My” from <i>A Gift for the Unusual: Music for the Contrabass Saxophone</i> (NineWinds 0239, 2004)<br />
Presented by Richard Gehr – Theme: A & B – CD</b><br />
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Another low horn player we had to guess. Too fleet of finger to be a tuba or sousaphone. Darker than a bass or bari sax. <br />
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Everyone started going through mental checklists of low woodwind players. Scott Robinson? J.D. Parran? Braxton? <br />
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No one got Vinny on Tubax (a type of contrabass sax). I was able to guess Wayne Peet on piano due to his association with Vinny and Los Angeles residency. <br />
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Golia has been playing a huge array of woodwinds for the majority of his career. This piece came from a record that featured him entirely on this big daddy sax. <br />
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Great, great track featuring a unique instrument. Off kilter piano work and obscenely low tones.<br />
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<embed src="http://www.box.net/embed/8sl4dpivn114az9.swf" width="250" height="25" wmode="opaque" type="application/x-shockwave-flash" allowFullScreen="true" allowScriptAccess="always"> <br />
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<b>3. Django Reinhardt & Rex Stewart & His Feetwarmers – “Finesse” <br />
Presented by Steve Futterman – Theme: B – MP3</b><br />
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A cornet theme was played over a quiet and fairly subdued set of guitar changes. Clarinet followed the cornet before the guitarist took his solo over what seemed to be a simple brush on snare.<br />
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Django was obvious on guitar. We heard Rex Stewart play a warm cornet. Billy Taylor played a loping bass. So what was the odd instrument? Barney Bigard was featured on clarinet and… suitcase? Yep. Brushes on suitcase. <br />
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Steve mentioned that this was recorded in April of 1939 while Duke Ellington was on tour in France. This performance was an impromptu session where the musicians had to utilize whatever they had lying around in a hotel room. Excellent under the circumstances, no? <br />
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<a href="http://www.youtube.com/watch?v=btmxwZW41UA">Hear it here.</a><br />
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<b><br />
4. Anthony Braxton / Taylor Ho Bynum – “All Roads Lead to Middletown” from <i>Duets (Wesleyen) 2002</i> (Innova 576, 2003)<br />
Presented by <a href="http://destination-out.com/">Jeff Golick</a> – Theme: A – CD</b><br />
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As Mark Jackson would say, “There goes that man!” <br />
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Mr. Heberer got Braxton from his intonation and phrasing. Good ears. Mr. Etkin assured us it was an alto sax. Cornet guesses included Bobby Bradford. Golick saved us from further mining by giving Ho Bynum away.<br />
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Braxton has been a professor at Wesleyan (in Middletown, Connecticut) for some time. He has helped turn out a fine crop of young composers, improvisers and performers, including his featured duet partner, cornetist Taylor Ho Bynum.<br />
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No strange instruments played here. The alto sax brandishing Braxton and Ho Bynum swung through as “jazzy” a selection as I’ve heard either perform. <br />
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It was interesting hearing Braxton in a more “jazzy” vein. It gave a better perspective on how far his experiments and developments have expanded the music. The jazz tradition may have been left behind but it has managed to stay in the rear view. <br />
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Our Braxton discussion continued. Earlier, I had asked what everyone’s favorite Braxton recording was. Seemed that most preferred Braxton’s earlier projects, his recent ones deemed a little difficult to relate to. There was also mention of the strength added while performing with his peers rather than students. Though many of his students have become highly esteemed peers at this point. <br />
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There was certainly an appreciation for what he had done, especially in his concepts. But most were attracted to his early leader recordings or as a sideman, reigning it in to “yield to friends.” The collective fav was Dave Holland’s <i>Conference of the Birds </i>(ECM, 1973), a solid classic. <br />
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Another question came up. As challenging and isolated as his music has been, would it be considered as significant if it had been performed/composed by someone other than Braxton? A cult of personality? Brought us back to the Arista Freedom’s influence and the benefits of the label's wide availability during the 1970s.<br />
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But really who would have been better? The mold was broken after Braxton. How could you hate his professorial image and wildly imaginative ideas? He was a perfect face for the new avant-garde. An intriguing dude whether you listen or not. <br />
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<b>5. Archie Shepp / Horace Parlan – “Backwater Blues” from <i>Trouble In Mind</i> (SteepleChase SCS-1139, 1980)<br />
Presented by Zak Shelby-Syszko – Theme: A – MP3</b><br />
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Shepp was a fire music man. Untempered. His unique voice was especially suited for going for gusto. A loose, gutbucket sound. Completely unique. <br />
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The lovely music that he made with pianist Horace Parlan on four records from the late 1970s and early 1980s (<i>Goin’ Home</i>, <i>Duo Reunion</i>, <i>Trouble In Mind</i> and <i>Mama Rose</i>) was unexpected. While Shepp always had a link to the blues, these duo sessions were the most revealing testaments to that heritage. Parlan came from more mainstream stock, having come up playing with the likes of Dexter Gordon, Stanley Turrentine and Charles Mingus.<br />
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Though his embouchure remained loose, Shepp’s sound was more focused here than on many other performances (immediately noticeable). Without much fanfare, Parlan’s spare accompaniment set Shepp up beautifully.<br />
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<b>6. Misha Mengelberg – “Instant Composition 5/VI/’72” from <i>Eric Dolphy, Misha Mengelberg, Jacques Schols, Han Bennink playing: Epistrophy, June 1, 1964 in Eindhoven, Holland</i> (ICP 015, 1974)<br />
Presented by <a href="http://www.thomasheberer.com/">Thomas Heberer</a> – Theme: A & B - LP</b><br />
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Wow. Wow. The rarest record we’ve heard thus far. The only way to hear this has been on original vinyl or rips. The record has gotten to be a pretty costly. Hopes/plans for ICP reissues have surfaced and continue, though no immediate plans. <br />
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Very proud to say I had the correct guess: Mengelberg and a parrot. Unfair advantage as I had just read about it in <a href="http://www.amazon.com/New-Dutch-Swing-Kevin-Whitehead/dp/B000HWZ2OA/ref=sr_1_2?ie=UTF8&qid=1314204864&sr=8-2">Kevin Whitehead’s <i>New Dutch Swing</i></a>. <br />
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Little background. Mengelberg’s girlfriend at the time owned a gray red-tailed parrot named Eeko. The pianist and bird didn’t get along as they were both vying for a lady’s attention. Conversations would end up in duels of escalating volume. <br />
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Mengelberg being Mengelberg decided to utilize the bird. He began whistling jazz tunes/licks around Eeko. The bird picked up on these easily enough. This track was recorded on June 6, 1972. Mengelberg played a fairly straight jazz piano with Eeko as the soloist. Remarkable thing was that the bird was able to keep up. Eeko even seemed to hear the changes. A prime example of the Dutch Dada-esque esthetic, allowing the absurd to mingle with the commonplace. <br />
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Voted “the track of the day.” Worst joke of the day: “This one was recorded in Polly-phonic.” Yuck, yuck, yuck…<br />
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<b>7. Aliou Fane / Daouda Sangare / Djuru Diallo – “Dougou té mogoké Nalamayé” from <i>Kamale Ngoni: Kelea – Mali </i>(Indigo/Label Bleu, 1987)<br />
Presented by <a href="http://www.oranetkin.com/">Oran Etkin</a> – Theme: B – CD</b><br />
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Of course, any African recording using indigenous instruments would have sufficed for unusual instrument combinations. Our African music expert found a track with an unusual instrument within the realm of unusual instruments. <br />
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The doso n’goni has been a sacred instrument in Malian culture. A hunter’s harp, 6-string kora, which contained power only to be used in sacred rites. The use of the doso n’goni in “secular” music has been strictly forbidden.<br />
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To combat this ban, the younger generation of musicians created a smaller version of the instrument called the Kamale N’goni (which means “young man’s harp”), featured on this track. The other instruments present were Karinyan (metal guiro played by scraping) and a wooden flute. <br />
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Oran mentioned that this development was akin to the “rock and roll revolution of Mali.” He also gave examples of how serious Malians have been in regard to their beliefs and rituals. While in Mali, Oran witnessed a summit of hunters from all over the region, the first of its kind, held in a soccer stadium. The summit was big news, generating concern over the dangerous accumulation of too much magic, which could have spelled disaster. <br />
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Talk of the doso n’goni led us to Don Cherry. His playing of the instrument would have been looked on as sacrilege. Definitely wasn’t a virtuoso, which didn’t help his cause. Heberer pointed out that though Cherry wasn’t a virtuoso on many of the instruments he tackled, he could make each work enough to communicate effectively to audiences, a rare musical talent. <br />
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<b>8. Richard Davis / Jack DeJohnette – “Watergate” from <i>Song For Wounded Knee</i> (Flying Dutchman FD 10157, 1973)<br />
Presented by Me – Theme: A – LP</b><br />
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“Beautiful so far…” Early guesses were: “South African?” Nope. “3D Family?” Uh uh… “Fred Hopkins?” Sorry…<br />
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Hints followed. Domestic release. Produced by Bob Thiele. On Flying Dutchman… Okay. Richard Davis. <br />
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<i>Song For Wounded Knee</i> was an eclectic recording led by Davis alongside a trio featuring guitarist Joe Beck and drummer Jack DeJohnette released in 1973. “Watergate” was a duo piece with the drummer. The entire album had explicit political overtones (check the song titles). It was the ‘70s, man. <br />
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Both Davis and DeJohnette played beautifully on the track. Extremely resonant and poignant. <br />
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Davis has been highly regarded in the worlds of jazz and popular music forever. He’s gotten props from Bruce Springsteen (invited on stage) and less props from Van Morrison (played on Astral Weeks but was never in the same room). <br />
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Oran mentioned he had had similar experience with Wyclef Jean, having played on gigs and recordings while never actually meeting Jean in person. Mr. Big Stuff…<br />
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<b>9. Marshall Allen / Joe Morris – “Particle Physics” from <i>Night Logic</i> (RogueArt ROG-0028, 2010)<br />
Presented by <a href="http://lamentforastraightline.wordpress.com/">Jim Macnie</a> – Theme: A & B – CD</b><br />
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Jim had to wrestle with the computer to get the CD going but it was well worth the trouble.<br />
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We initially heard strange low electronic drones and bowed bass. The gurgling, surging tones traversed from low hums to high squeals. The bass player really went for some testy harmonic ideas before finding a walking line as flute took a more balanced melodic approach. <br />
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No one was able to guess who these guys were. <br />
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The featured musicians were Sun Ra Arkestra leader/reedist Marshall Allen and bassist Joe Morris. “Particle Physics” featured Allen on flute and Electric Valve Instrument (EVI). The recording was part of a trio session at Roulette in NYC on July 26, 2009 that also featured pianist Matthew Shipp.<br />
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Allen has been performing with his EVI for years. The instrument was conceived like an electric trumpet with three valves and a twisting octave valve (range of 7 octaves). Naturally, he has typically used tones of the spacey variety.<br />
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<a href="http://www.youtube.com/watch?v=HHlWaWYfjYY">EVI lesson from the master.</a><br />
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<b>10. Michael Moore / Fred Hersch – “The Sad Bird” from <i>This We Know</i> (Palmetto, 2008)<br />
Presented by <a href="http://lamentforastraightline.wordpress.com/">Jim Macnie</a> – Theme: A – CD</b><br />
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We had so much fun with the last one, we decided to let Jim go again. <br />
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The musicians on this selection were guessed pretty quickly. We did have one of Moore’s ICP band mates with us, although Hersch was uncovered first. <br />
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The moody piece began with a ruminative piano from Hersch with Moore’s languid clarinet floating over the top. Moore presented a little more outside the box style here. Heberer mentioned how both come from different traditions, though originating from the same place. <br />
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Moore and Hersch had studied together at New England Conservatory. Moore, originally from California, moved to Amsterdam and became involved in the Dutch improv music scene, a unique European musical flavor. Hersch has made quite a career for himself being at the helm of the US jazz piano tradition. <br />
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The two musicians together sounded like they were speaking the same language but with different dialects. Very nice blend.<br />
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<b>11. Max Roach ft. Coleman Hawkins – “Driva’man” from <i>We Insist: Max Roach’s – Freedom Now Suite</i> (Candid CJM 8002, 1960)<br />
Presented by Steve Futterman – Theme: C – MP3</b><br />
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“Too beautiful… Turn it off.” Abbey Lincoln, whew… Breathtaking. <br />
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<i>We Insist</i> was Roach’s moving suite written for the Centennial of the Emancipation Proclamation and was easily the most politically volatile jazz recording of its time. It was also a collection of all stars, young and old. Booker Little, Julian Priester, Olatunji and our old timer, Coleman Hawkins.<br />
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Steve was amazed that Hawk recorded this album with a bunch of musicians half his age and managed to fit in so well. He didn’t do any more than was required, an embellished melody and a brief solo. He was another part of the arrangement, as if Abbey had passed the baton. <br />
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Hawk’s presence was important. He gave an air of authenticity and authority on a relatively young label’s most alienating recording. He helped to create a masterpiece. <br />
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A tremendous result.<br />
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<b>12. Sonny Rollins ft. Coleman Hawkins – “Yesterdays” from <i>Sonny Meets Hawk!</i> (RCA Victor LSP-2712, 1963)<br />
Presented by <a href="http://www.thomasheberer.com/">Thomas Heberer</a> – Theme: C – CD</b><br />
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“Driva’man” set this one up well. <br />
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Tenor colossus Rollins was a tremendous fan of Hawk. This recording came out a year after Rollins’s return to performing. He had taken a break to regroup from the arrival of Ornette Coleman. After woodshedding for two years, he was playing at his peak.<br />
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Rollins apparently was a neurotic mess around Hawk. His playing was a little jittery, but this kept the energy up. Hawk was on his toes and managed to maintain the energy that Rollins instigated. Each played off the other fantastically; e.g., Rollins solo concluding trill led seamlessly into a Hawk solo. It got to be that telling the two players apart became difficult.<br />
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Another stone classic. <br />
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Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com1tag:blogger.com,1999:blog-8998283771073751235.post-34091929572019552562011-08-18T22:23:00.000-04:002011-08-22T17:50:26.063-04:00Records AMG Forgot - Phillip Wilson Trio - Fruits<b>Phillip Wilson Trio – <i>Fruits</i> – Circle Records – RK 14778/10 – 1978 </b><br />
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<i>I’ll keep this tread of late ‘70s percussionist led sessions going for a minute. I originally read about this recording in a very complete book about South African ex-pat bassist Johnny Dyani, <a href="http://www.booktrader.dk/books.html#mbizo"><i>Mbizo</i> by Lars Rasmussen</a>. The book is a great collection of interviews, testimonials and remembrances of this tremendous musician. Anyhow… A number of interviewees mention Dyani’s incredible playing on Fruits, so the record was in the crosshairs. I managed to track</i> Fruits <i>down on a random browse at A1 Records in NYC. Not typically the best spot to find specific items but it happened to be in the Ws for $15. Home it went. </i><br />
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Background: <br />
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Percussionist Phillip Wilson was born in St. Louis, Missouri on September 8, 1941. His first foray into the world of professional music was alongside St. Louis based organist Sam Lazar on his album <i>Playback</i> from 1962. Upon moving to Chicago in the mid ‘60s, Wilson helped found the Association for the Advancement of Creative Musicians (AACM) and was enlisted in the initial lineup of the Roscoe Mitchell Quartet (which would soon become the Art Ensemble of Chicago). <br />
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In 1967, Wilson joined the Paul Butterfield Blues Band and went on to record three albums with the band for Elektra (<i>The Resurrection of Pigboy Crabshaw</i>, <i>In My Own Dream</i> and <i>Keep On Moving</i>). He was involved in the band’s performance at Woodstock where his and saxophonist Gene Dinwiddie’s “Love March” got its first performance. Shortly thereafter, Wilson and Dinwiddie started the group Full Moon alongside former Butterfield member Buzz Felton. The group released a self-titled recording on Douglas in 1972. <br />
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<a href="http://www.youtube.com/watch?v=cQP5Waj_jdQ"></a><br />
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Meanwhile, Wilson’s involvement with the AACM and the related St. Louis based Black Artists’ Group (BAG) scenes continued. He was featured on saxophonists Julius Hemphill’s classic <i>Dogon A.D.</i> (Mbari, 1972), Anthony Braxton’s <i>Town Hall 1972</i> (Trio Records, 1972) and Hamiet Bluiett’s <i>Endangered Species</i> (India Navigation, 1976). Wilson’s collaborations with Lester Bowie began in Roscoe Mitchell’s group and continued throughout the rest of Wilson’s career. <br />
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It was Wilson’s involvement with Braxton and saxophonists David Murray and Frank Lowe that helped generate the trio featured on <i>Fruits</i>. <br />
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Wilson had known trumpeter Wadada Leo Smith since the inception of the AACM in 1967. The two began playing together regularly as members of the Anthony Braxton Quartet (the group also featured Dave Holland on bass) in 1976. Their first recording together was a major work by the composer/reed master, <i>Creative Orchestra Music 1976</i> (Arista – AL 4080). Wilson and Smith would record the following year on a session led by Frank Lowe, <i>Doctor Too Much</i> (Kharma - PK-2). <br />
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David Murray had enlisted Wilson to play with his ensemble in June 1976. The two records that followed that year were recorded performances at two different loft spaces and in studio, <i>Flowers for Albert</i> (India Navigation – IN 1026) at Joe Lee Wilson’s Ladies’ Fort on the June 26th and <i>Low Class Conspiracy</i> (Adelphi – AD 5002) at Sam River’s Studio Rivbea on May 14 then June 29 at Blue Rock Studio. <br />
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In January of 1978, Murray toured Europe with an ensemble that included cornet player Butch Morris, drummer George Brown and the South African ex-pat bassist Johnny Dyani. Dyani had been living in Europe since the mid-1960s when he and the rest of the Blue Notes jazz quintet went into self-exile. Since that time, Dyani had had many fruitful collaborations with former Blue Notes (drummer Louis Moholo, trumpeter Mongezi Feza and Chris McGregor and his Brotherhood of Breath), Turkish percussionist Okey Temiz and pianist Dollar Brand. Three different LPs were made of the Murray group while on tour. <i>Last of the Hipman</i> (Red Records – VPA 129) and <i>Let the Music Take You</i> (Marge – 04) were both recorded on the same night of Jan. 30th in Rouen, France. <i>Interboogieology</i> (Black Saint – BSR 0018) was recorded in early February in Milan, Italy with the addition of Marta Contreras on vocals. <br />
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Mr. Murray would have to weigh in on whether he recommended Dyani to Wilson. I haven’t been able to find out. I decided to let the degrees of separation do the talkin’. <br />
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Regardless… Wilson assembled the trio featuring Smith and Dyani for a performance at the Northsea Jazz Festival in Den Haag. The performance was on July 14, 1978. The record was produced by Rudolf Kreis for Circle Records, a small German label that recorded mostly progressive jazz from 1977 to the mid 1980s. <br />
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<i>Fun fact – Dyani had just recorded with Louis Moholo on his <i>Spirits Rejoice</i> album for Ogun only a week previous. A track from that session was played at BYOV #2. </i><br />
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The album: <br />
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“Electricity” starts the set off at a clip, the drummer setting the pace. Dyani’s fast pizzicato plucks go up and down the fret board as Wilson’s light hi-hats keep the momentum. Smith’s strong vibrato-less tone fills the melodic role as the piece pushes on. The bass is high in the mix and Dyani takes advantage as he really wrestles tones out. The dialog between Smith and Dyani is intriguing. The call and response sections are of interest as the two develop an interesting dialog. <br />
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This is pure energy music with a free pulse allowing the musicians to really invest in their own sound. Smith keeps the energy up and texture dense with thick swathes of sound. The communication is good. Wilson plays the accompanist role until the middle where he commands a solo that starts at mid intensity and builds, rollicking along. Dyani returns with a solo letting the harmonics ring from his instrument with runs through the registers. It isn’t about intonation and melodicism as much as it is about sound creation, rhythm and texture. <br />
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Smith joins back with a blustery tone. The last couple minutes are interesting for the gear shifts, each soloist gets a chance to drive. The bass begins to walk, steering toward the conclusion, then slows with loud twangs as Smith ends with a long tone and Wilson’s cymbal splash. <br />
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“Leo’s Tune” is a melody written by Smith. It has a more restrained and thoughtful nature. Smith’s long tones and haunting altissimo are contrasted with a minimal drum part and off beat low strums from the bass. The meditative quality and restraint create a nice balance to the firey “Electricity”. <br />
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The group begins to diverge as Smith takes the solo lead. Wilson is in his own world with very subtle hits, mild hints of swing on the hi-hats. Dyani throws in some of his fleet fingered tricks from time to time before he takes his solo. He remains focused on the various sounds that he can emit with his strumming before slowing into a blues-ish strolling line. Wilson begins his solo with rolling snare into an off kilter bounce. The high-pitched bass introduces the ostinato plucking and Smith’s return to the melody. This is a really lovely piece. <br />
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The b-side starts off with what is perhaps Dyani’s most intense performance on wax, Wilson’s “F & L”. He starts off with some incredibly nimble finger work and bent notes. Dyani is really the engine here as Smith plays a long tone melody and Wilson stays in the background until the main dancing melody comes in. Dyani’s muscles are flexing as he hints at a bass line but continues to deviate favoring his own fireworks. <br />
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Smith begins his solo over Dyani’s funky, distorted (?) bass line. The form keeps switching from quick jam to free space. Definitely a head nodder. Smith sounds strong with his unbroken but arresting tone. Wilson’s drumming keeps with a funky snare hit with off beat ride cymbal work. Dyani finds all sorts of wild, yet minimalist, percussive ideas to mess with. Some pretty left field. <br />
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Hip-hop heads should definitely look to this for some pretty nutty bass tones. Dyani’s unique sense of groove and physicality on the instrument are on full display. Wilson shows his command of time by bringing his solo down to bare essentials, quick resonant hits on this drum or that, slow builds, a cymbal hit… Dyani brings us back (who else?). Very, very cool piece. <br />
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Wilson’s “Death Ain’t Supposed To Be Negative” closes out the disc. Wilson’s unaccompanied drums start off a mid pace groove. Dyani and Smith are quick to start up with minimal plucks and thoughtful bluesy blasts. Smith’s raw tone is especially nice here as he begins to pick up intensity into a gallop. The waltzy tempo set by Wilson dances along nicely as Dyani frames the piece with a descending line, his most harmonic playing on the disc. He also tries different rhythmic phrases on the line. <br />
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Smith and Dyani remain in the front of the mix. Smith’s poignant solo breaks off as Dyani comes in with his thrummed tones following the basic form, descending and descending. His bass hums. A very simple yet resonant (in more ways than one) statement. Wilson’s solo finds him a little busier as his snare and cymbals start to sing. He remains within the jazz lexicon throughout with flourishes of out stuff. Smith comes in plaintively. Very controlled end to this one. <br />
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Fruits is an interesting live recording that serves the sidemen more than the leader, mostly because of the recording volume. Maybe I’m just listening for him but I think that Dyani sounds the most involved. Overly busy? I wouldn’t say so. Perhaps a drummer with an opinion can tell me otherwise. Smith sounds great as usual. So maybe not an essential recording but a great one for fans of Dyani and Smith.<br />
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***<br />
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Both Wilson and Dyani’s stories are sad. <br />
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After another eight years of recording and touring, Dyani passed away on October 24, 1986 after a performance due to a throat hemorrhage. He was already in poor health with a diagnosis of Hepatitis B. He continued playing with his full intensity until the end. <br />
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Wilson continued to record and perform with a number of artists, including Bill Laswell, Elliott Sharp and Fab 5 Freddy (!). His regular gig was being the drummer in the various ensembles of Lester Bowie. On March 25, 1992, the drummer was murdered by Marvin Slater near his home in the East Village, New York City. Slater was arrested but never gave a reason for the murder. <br />
Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com0tag:blogger.com,1999:blog-8998283771073751235.post-53567731731818977042011-08-07T21:02:00.000-04:002011-08-12T12:15:23.947-04:00Records AMG Forgot - Pheeroan ak Laff - House Of Spirit: "Mirth"<b>Pheeroan ak Laff – <i>House Of Spirit: “Mirth”</i> – Passin’ Thru – PT 4238 – 1979 </b><br />
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<i>I was extremely happy to find this record at the Domino Record Shack in NOLA last month. I hadn’t heard it before but was familiar with ak Laff’s work with Henry Threadgill, Sonny Sharrock and Oliver Lake (who produced this record on his own label). I’m a big collector of the loft jazz guys. This was the first record to get thrown on the turntable when I got back. <br />
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Backgroud: <br />
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Percussionist Pheeroan ak Laff (Jan. 27, 1955) got his start performing in and around his hometown Detroit at a young age. He performed in a variety of musical settings including jazz, funk, gospel and R&B. In 1975, ak Laff moved to New Haven, Connecticut where he was introduced to the music of Wadada Leo Smith by reed player (now minister and Emory University professor) Dwight Andrews. He became a member of Smith’s New Dalta Ahkri and can be heard on the ensemble’s record <i>Song Of Humanity</i> (Kabell 3, 1976). <br />
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Through his work with Smith, ak Laff was introduced to Oliver Lake. Lake had already established himself as a mover in the world of progressive jazz as a founding member of the St. Louis based Black Artists Group and then relocating to New York City in the ‘70s to become fully immersed in the burgeoning loft/spiritual/Afro/avant-garde (take your pick) jazz scene. In 1977, Lake became a founding member of the World Saxophone Quartet alongside Hamiet Bluiett, David Murray and Julius Hemphill. <br />
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Ak Laff followed Lake back to New York where he became a member of Lake’s ensemble that included guitarist Michael Gregory Jackson. He appeared on recordings by both Lake and Jackson, along with one apiece from pianists Anthony Davis (another New Haven connection) and Amina Claudine Myers. He also appeared regularly at loft gigs, most notably at Ali’s Alley (his mentor Rashied Ali’s performance space) where he also lived when times were a little rough. <br />
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Lake released his first recording on his Passin’ Thru label in 1974. The record called, incidentally, <i>Passin’ Thru</i> (PT 4237), recorded on May 18, 1974 in Paris, featured a Lake solo saxophone concert with added prerecorded synth by Ivan Pequeno. <br />
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Ak Laff’s association with Lake proved fruitful as it allowed him to make his first recording under his own name, the solo percussion record <i>House Of Spirit: “Mirth”</i>. The record was recorded by Randy Alder at Blank Tapes Studio in NYC on February 6 and 13, 1979, with touch ups at S&S Studio by David Baker. <br />
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The album: <br />
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Though <i>Mirth</i> is a solo percussion record, ak Laff’s melodic sense shows up immediately. “Ayin Of Love” opens with a solemn whistled theme that sounds more Morricone than Moye. The overdubbed percussion follows with a catchy, sing-song chant. <br />
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This humanizing element is missing from many solo percussion recordings and makes this a particularly listenable record. With the Arabic title, tribal drumming, chanting, et al, there is an obvious tie to the Afro/spiritual jazz music scene that had established itself during the 1960s and was still prominent in the loft scene. <br />
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“Ayin” (Arabic and Hebrew for eye) features an off-kilter, quick duple meter backbeat as ak Laff layers percussion over the top. Using his kit, congas, bongos, tambourine and shakers, ak Laff’s wafting textures constantly phase in and out, much like the polyrhythmic drum music of Western Africa. There’s use of some phasing to get kind of a spacey effect, especially on the tambourine. The piece also seems to be in sections focusing on different percussion, beginning with hand drums then shakers/tambourine and finally the drum kit. The repetitive vocal chant is extremely effective in keeping the music tuneful. <br />
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There are two short percussion improvisations on the a-side, “Tzaddi Vau” and “Michelle Del ‘America De Sud’”. The track listing on the record jacket and the label are out of order, as long as the track lengths (which are also way off) are supposed to identify the tunes. At least I think this is the case. I’m going with my gut rather than the liners. Oh, indie jazz labels… <br />
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“Tzaddi Vau” is a spirited kit exploration with a lot of snare, floor tom and cymbal work. It sticks to a dancing 4/4 beat that allows ak Laff a lot of freedom to sound off with some of his most aggressive playing on the record. “Michelle” is a little more offbeat as ak Laff develops a slinky groove playing mostly on the rims of his drums before trying the different timbres he can create with his toms and snare while manipulating with his drum sticks against the skins. This is the last track on the a-side. Both of these are over far too soon. <br />
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The other “longer” track on the a-side is “Jarawa”. It starts with quiet focus on tom and floor tom rolls as ak Laff creates a simple melody between tuning of the drums. A single live track, his Eastern influenced chants accompany his drumming simultaneously. His melodicism is well displayed as the lower drums sing as much as his voice. Jarawa refers to a native black tribe that inhabited the Andamanese Islands in the Bay of Bengal, thus the Asian flavor. (I believe ak Laff’s chanting “jarawa” somewhere in there, which makes me think that is the “Jarawa” rather than “Michelle” as shown on the label.) <br />
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“Freedom” begins the b-side with a full out, traditional, gospel chorus. Ak Laff’s multi-tracked vocals are great. Shows his connection with the gospel and R&B traditions. Funky to boot. A gong smash breaks up the congregation for another kit based improvisation. Here he sticks to his toms and hi-hat for the most part, quietly at first but building momentum. Was that some swing I heard in there on the hi-hat? Think so. The volume and intensity mount as the full kit begins to be utilized. Towards the end comes the more clave inspired off beat. <br />
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Ak Laff writes about “Freedom” and its meaning in the album notes. He wants the listener to remember the “bravery of people who have come through many a trial by fire and tribulation by earth.” Here he refers to the descendants of the African diaspora and, more specifically, in dedication to his cousin Douglas Jackson who had died in Vietnam. The record was meant as a celebration of the spirit of these people. Bringing us to the album title, which is explained thus: “the drum is a house of spirit” and mirth comes from “this understanding and product of such an influence.” <br />
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The final track is called “3 In 1” and is a funky, samba-esque march. The wood block accents are cool additions along with the offbeat bottle taps. This is a busy piece as he expands the trap kit with these small percussion elements and his vocal outbursts. There is an obvious 4/4 framework established by the loose hi-hat and kick drum. Ak Laff covers the full range of his instrument on “3 In 1,” playing all over the kit. The percussion quiets down with the hi-hat fading. Then ak Laff’s soulful vocals break over an overdubbed vocal harmony ostinato of “I’m just passing through…” There’s some very soulful vocal stuff in there. What a cool way to end the record, connecting with the listener with some vocals and a quiet nod to the label.<br />
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I like that ak Laff remains grounded during recording. He doesn’t try to flummox the listener with a bunch of crazy time signatures. The polyrhythmic build up is enough to keep attention and asses shaking. He does use some studio tricks but in order to add a human element to music rather than taking it over the top. His overdubbed vocals and percussion lend to more listenable recording for folks that would be familiar with more popular types of music like soul, gospel and blues. He really tries to tie in his African heritage with the African American musical tradition, which he pulls off without it seeming insincere. <br />
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I’ve heard that <i>House Of Spirit: “Mirth”</i> will be reissued in late September on the great <a href="http://www.souljazzrecords.co.uk/discography/?l=14">Soul Jazz / Universal Sound</a> reissue label. I would recommend picking it up.Bret Sjervenhttp://www.blogger.com/profile/17460706245562166422noreply@blogger.com1