Avant Music NewsFT.com has a nice article on Mr. Grimes.
Scroll down a discography of the great jazz bass player Henry Grimes and you come across something quite singular. A major league recording career that starts in 1957 and revolutionised jazz bass stopped suddenly, on December 18 1966, before resuming in 2003.
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From Free Jazz:
Peter Brötzmann, Marino Pliakas, Michael Wertmüller – Full Blast/Black Hole (Atavistic, 2009)
Peter Brötzmann, Peeter Uuskyla, Peter Friis Nielsen – Noise Of Wings (Jazzwerkstatt, 2009)
Eddy Prévost – Invenio Ergo/Sum (Matchless, 2009)
Massimo Magee, Amos Manne, Lee Noyes – Sax, Bass, Drums (Array, 2009)
Zé Eduardo Unit – Live In Capuchos (Clean Feed, 2009)
JD Allen – Shine (Sunnyside, 2009)
Charles Gayle Trio – Our Souls (NoBusiness, 2009) ***½Wednesday, December 2, 2009
Samuel Blaser Quartet – Pieces Of Old Sky (Clean Feed, 2009) ****½Tuesday, December 1, 2009
Lucien Dubuis Trio & Marc Ribot – Ultime Cosmos (Enja Records, 2009) ****
From Roulette NYC:
Composer/string instrumentalist Jessica Pavone is “one of the busiest young performers on the city’s creative music scene,”. Here at Roulette on Tuesday, November 10th she celebrates the Tzadik release of “Songs of Synastry and Solitude”; a collection of songs for string quartet influenced by an interest in the simple beauty of folk songs, the ghosts of all things lost and Leonard Cohen’s encouragement to live outside this world.
From Philly’s Ars Nova Workshop:
In 1961, Down Beat magazine published a review of a John Coltrane performance referring to the music as “anarchistic” and as “a horrifying demonstration of what appears to be a growing anti-jazz trend.” This review documented one of the most controversial moments in the history of jazz: the advent of Free Jazz or “The New Thing.” Anti-Jazz: The New Thing Revisited, celebrates the 50-year trajectory of Free Jazz. The series, while bearing in mind landmark contributions such as Ornette Coleman‘s Free Jazz and John Coltrane’s Ascension, is a glimpse at the current state of the phenomenal Free Jazz continuum featuring many of the founding visionaries and iconoclasts – including the Sun Ra Arkestra, Bill Dixon, Bobby Bradford and the Art Ensemble of Chicago – along with an emerging generation of distinguished instrumentalists.
Saturday, October 31, 8pm
SUN RA ARKESTRASaturday, December 5, 8pm
BILL DIXON AND EXPLODING STAR ORCHESTRASaturday, January 30, 8pm
CIRCULASIONE TOTALE ORCHESTRASaturday, March 6, 8pm
ART ENSEMBLE OF CHICAGO
From the Squid’s Ear:
Jim Haynes:
Sever
(Intransitive)Mika Vainio:
Aineen Musta Puhelin (Black Telephone of Matter)
(Touch)EKG (Kyle Bruckmann & Ernst Karel):
Electricals
(Another Timbre)Szilard Mezei Wind Quartet:
We Were Watching The Rain
(Leo)Barry Guy London Jazz Composers Orchestra With Irene Schweizer:
Radio Rondo
(Intakt)Joe Morris / Simon H Fell / Alex Ward:
The Necessary And The Possible
(Victo)Offonoff!:
Slap and Tickle
(Smalltown Superjazzz)Normand Guilbeault Ensemble:
Live at Upstairs 2008. Hommage a MingusDouglas, Dave & Brass Ecstasy:
Spirit Moves
(Greenleaf Music)Lee Konitz and Martial Solal:
Star Eyes, 1983
(Hatology)
Seattle’s Earshot Jazz Festival is previewed.
As usual, the annual Earshot Jazz Festival (through Sun Nov 8, various venues, see http://www.earshot.org for details) boasts too many temptations for even the most succumbing fan to cover. Fans of the avant must not miss a double bill of two duos, Matthew Shipp/Joe Morris and Peggy Lee/Saadet Türköz (Thurs Oct 22, Seattle Asian Art Museum, 8 pm, $16). By turns poetic, harsh, knotty, lyrical, and abstruse, Shipp continues the legacy of Cecil Taylor by fragmenting the various styles of jazz into a kaleidoscopic, sometimes breathtaking unity. Guitarist/bassist Morris not only boosts Shipp’s flights into the sonic stratosphere but helps the pianist stay aloft in an irregular, interesting orbit with explosive modulations, silence, and unexpected riffs.
A review of these recent performances from NYTimes.com:
Opening with a scrupulous fanfare and closing with an outbreak of anarchy, the Brooklyn Big Band Bonanza fulfilled much of its promise at the Bell House on Monday night. It was a gathering of three upstart ensembles — the Secret Society, the Industrial Jazz Group and the Bjorkestra — that share the standard dimensions of jazz big bands without a lot of the standard inhibitions. Stretching to about four hours, the program laid out several different angles of attack, running the gamut of intelligence and taste.
From NYTimes.com:
MUHAL RICHARD ABRAMS AND FRED ANDERSON/MARK TAYLOR QUARTET (Friday) In addition to being a venerable pianist and composer, Mr. Abrams is an architect of the Association for the Advancement of Creative Musicians, which presents one of its periodic New York concerts here. Performing with Mr. Abrams is the saxophonist Fred Anderson, a peerless veteran of the Chicago jazz scene; also on the program is a quartet led by the French horn and mellophone player Mark Taylor. At 8 p.m., Community Church of New York, 40 East 35th Street, Manhattan , aacm-newyork.com; $25, students $12. (Nate Chinen)20091015
BLUIETT (Saturday) This veteran baritone saxophonist — also known by his full name, Hamiet Bluiett — has always advanced an agenda of blustery incantation. His presence in a small combo like the one heard here, with Kahil El’Zabar on percussion, is heavily, intensely physical. At 9 and 10:30 p.m., Sista’s Place, 456 Nostrand Avenue, at Jefferson Avenue, Bedford-Stuyvesant, Brooklyn , (718) 398-1766, sistasplace.org; cover, $20. (Chinen)20091015
? BROOKLYN BIG BAND BONANZA (Monday) Organized by the composer Darcy James Argue and presented by the upstart promoters Search and Restore, this Monday showcase includes three ambitious young groups working with the palette (but not the parameters) of the traditional big band: Mr. Argue’s Secret Society, Andrew Durkin’s Industrial Jazz Group and Travis Sullivan’s Bjorkestra. Pound for pound, it’s the bargain of the week. At 7:30 p.m., Bell House, 149 Seventh Street, Gowanus , (718) 643-6510, thebellhouseny.com; $15. (Chinen)20091015
BROOKLYN EXPERIMENTS (Sunday) This relatively new series shines a spotlight on left-of-center jazz groups, like those featured here: the Mike Baggetta Quartet, led by its namesake guitarist and featuring Jason Rigby on saxophones, Eivind Opsvik on bass and George Schuller on drums (at 9 p.m.); and the Nate Radley Trio, another guitar-led enterprise, with the bassist Matt Pavolka and the drummer Dan Weiss (at 10:30). Rose Live Music, 345 Grand Street, Williamsburg , (718) 599-0069, roselivemusic.com; $10. (Chinen)20091015
EVAN PARKER (Friday) Mr. Parker, a titan of the British jazz avant-garde and one of the leading saxophonists in his idiom anywhere, has been in residence at the Stone every night this month so far. He closes shop with two characteristic sets: performing first at 8 p.m. with Tim Berne and Earl Howard on alto saxophones, and then at 10 with the electronics artist Ikue Mori. The Stone, Avenue C and Second Street, East Village , thestonenyc.com; $10 for the first set, $20 for the second set. (Chinen)20091015
TYSHAWN SOREY (Friday) Mr. Sorey can play the drums with an almost brutish physicality, but also with a sense of scale and equipoise. And he has lately been producing serious results as a composer, a side of his personality that figures most prominently here. At 9 and 10:30 p.m., Jazz Gallery, 290 Hudson Street, at Spring Street, South Village , (212) 242-1063, jazzgallery.org; $15, members $10. (Chinen)
Below are a handful of links and articles on the avant goings-on at this past weekend’s Chicago Jazz Festival.
chicagotribune.com reviews the recent Fred Anderson celebration.
Eightieth birthday parties don’t get much better — or more artistically inspired — than this concert, presented as part of the “Made in Chicago: World Class Jazz” series. And though Chicago celebrated saxophonist Fred Anderson’s milestone earlier this year in his landmark South Side club, the Velvet Lounge, Thursday night’s concert in Millennium Park more closely resembled a civic event.
Jazz listeners around the world know Anderson as a visionary improviser who can create galvanic solos that bridge the bebop era and the free-jazz epoch that eventually followed.
But Anderson’s singular compositions are less well known, a situation this evening was designed to remedy — and did. One by one, musicians young and not-so-young conducted their own orchestrations of Anderson’s tunes. Each piece pointed to a different facet of Anderson’s muse and showed how subsequent generations are building on his achievements.
Avant Music News