¡El Jefe!

10 May
2012

S [side 2]
Cecil Taylor Unit
Nicaragua: No Pasaran
Nica : 1984

CT, piano; Jimmy Lyons, alto sax; William Parker, bass; Rashid Bakr, drums; André Martinez, percussion; Brenda Bakr, vocals.

Chilly Jay Chill: This is one of Cecil’s rarest records, a live date in Willisau from 1983. It sits between the wonderful solo joint Garden and the classic big band Winged Serpent on the official release list. An especially great period for Cecil. 1980s REPRESENT.

Drew LeDrew: That said, the recording itself isn’t exactly pristine and perhaps it’s not one of Cecil’s best? Still, plenty of enjoyment.

CJC: So what makes a great Cecil recording for you?

DLD: Tough question. It breaks down to some extent into solo vs. group performances.

CJC: It must be hard to capture the extreme detail and energy with his groups. His Blue Note and HatHut recordings really benefit from the studio environment and high production values. This record is definitely rawer, but maybe the intense ritualist vibe of the performance couldn’t be recreated as well in more pristine and airless conditions.

DLD: On the “good Cecil group” tip, I think in addition to recording conditions, there’s got to be a minimum of folks who get his concept and aren’t fighting against the flow. This doesn’t tend to be a big problem overall, and this is perhaps his best capital U unit: William Parker, Jimmy Lyons, Rashid Bakr. There is definitely a voodoo/ritualistic vibe happening — the poor fidelity only adds to the sense of things somewhat out of control. Cecil goes Santeria?

CJC: It also has the vibe of a bootleg, a super high quality one, but maybe that’s why this record isn’t so well known. I wonder if Cecil had anything to do with the name of the record and the unusually direct political slant to the song titles which spell out the Sandinista acronym?

DLD: Given the lack of any overt political statements within Cecil’s immense catalog, it seems highly likely that this was a release of dubious legality that had its politics superimposed from without. Which does raise the question: what, if anything, does his music say? Or mean? Or transmit? The closest analogy I’ve been able to come up with is that it combines particle physics — looking very intently at very small pieces of matter — with cosmology/astronomy — an effort to encompass the totality of everything. We always seem to end up a long way from the shore! Also: dancing. And sure, architecture.

CJC: It’s easy to imagine that Cecil might’ve been sympathetic to the Sandinista cause, but I agree his music can’t be pinned down the merely political. “The totality of everything” – that sounds right. And maybe one of the reasons his music generally requires so many notes? Or as the documentary about him says: All the Notes. His music — especially live — is so immersive and requires such total focus that afterwards I can’t tell if 30 minutes have passed – or two hours. Richard Foreman’s best plays also suspend my ability to accurately locate myself in time, perhaps suggesting another way to experience the flow of life and unlocking something in our perceptive abilities?

William Burroughs thought language was infected and words couldn’t transmit dissident ideas because they were immediately absorbed back into the corrupted system. So he used cut-ups to try and hack into the source code of language itself. Maybe that’s the same effect that Cecil’s music has – it hacks into your senses and demands you experience it in a different way. Perhaps, in the largest sense, that’s a political ploy? Not to deny his musicality either, of course….

DLD: Speaking of words, what do you make of the vocals? Not generally a part of the Unit, I don’t think, excepting Cecil’s own exhortations. Gotta be a tough gig, and I actually think the singer (drummer Bakr’s wife?) acquits herself quite well.

CJC: Apart from Jeanne Lee and some of the torch songs and chants injected into Sun Ra’s tunes, I’m not usually a fan of vocals in this context. But she’s nicely woven into the overall musical fabric and plays a big part in generating that ritualist vibe.

DLD: I’m not a native speaker, but “No Pasaran” means “no parasols,” right?

CJC: I see those Spanish lessons have been paying off.

 

FMP Archive Edition: Cecil Taylor’s “Almeda (To Matie)”

7 May
2012

Cecil Taylor, 1999. Photo by Dagmar Gebers.

In the past, we’ve been proud to make available FMP titles that have languished out-of-print for many decades. But now FMP is going a step further – digging into their vaults to release exceptional music that’s never been previously available!

We couldn’t be more excited to be the exclusive purveyors of the “FMP Archive Editions,” and there’s no better musician to launch the series than legendary pianist, composer, and bandleader Cecil Taylor. It’s also timely, since there’s a remarkable celebration of Taylor’s music in New York City happening this month — featuring tribute performances by other pianists and several solo shows by the maestro himself. Scroll down for more on that.

Almeda (To Matie) features a previously unreleased concert by Cecil Taylor’s band from November 3, 1996. His large ensemble work has never been documented enough, so this is an especially welcome addition to his discography. The first three tracks feature different permutations of the group essaying musical variations of the theme. Although Cecil doesn’t play on these tracks, they offer a prime opportunity to focus on his skills as composer and bandleader.

The entire piece pulls together in the 36-minute final track, featuring Taylor at the piano, along with five horn players, Tristan Honsinger on cello, Dominic Duval on double bass, and Jackson Krall on drums. Cecil leads the band through a storming but nuanced number that launches the Berlin audience to its feet. You’ll likely have the same reaction.

Cecil Taylor, 1996. Photo by Dagmar Gebers.

As mentioned, Taylor is being feted later this month in New York, with a series of shows in his honor, and a couple of solo performances from the man himself (seemingly sold out already). Billed as “A Celebration of the Maestro,” the multi-part festival kicks off with two nights of performances by Vijay Iyer, Amina Claudine Myers, Craig Taborn, and Amiri Bakraka at the Harlem Stage Gatehouse Tuesday and Wednesday this week. This is an awesome gathering of some of our favorite pianists from the generation(s) that followed Taylor; if you have any questions about Cecil’s influence on the current crop of musicians, it’s telling that several of the hottest and most respected young pianists are paying tribute. Taylor is appearing solo — an increasingly rare event — on Thursday night, 17 May, also at the Harlem Stage, and again on Saturday, 19 May, at the Issue Project Room in Brooklyn.

Anyone just coming to this story now would do well to check out Ben Ratliff’s great interview and profile of Taylor, which ran in last week’s New York Times. Then maybe listen to/buy Almeda (To Matie), above — or perhaps Celebrated Blazons – catch the films screening at the Anthology Film Archives on 22 May, and just keep your ears and eyes open. Cecil Taylor is worth celebrating in whatever form you can find him.

LOST TONES: Funk Dumpling;
or, “Today’s Special”

27 Apr
2012

MOON OVER MOSCOW
FARMER ALFALFA
HOME IS WHERE THE HEARTH IS
Perry Robinson 4
Funk Dumpling
Savoy : 1962

PR, clarinet; Kenny Barron, piano; Henry Grimes, bass; Paul Motian, drums.

Welcome to LOST TONES which features tracks from hyper-rare recordings that aren’t available anywhere else on the web. These treasures are courtesy of George Scala, who runs the invaluable Free Jazz Research site. He’s generously shared them from his amazing archive so they can be enjoyed by more than just collectors. Each selection is something that we unequivocally love and feel deserves a wider audience.

FINE DINING
- Here  you go. Check your coats? Your server will be by in a moment.

- Hi, my name’s Bix and I’ll be taking care of you tonight. Tonight’s special is the “funk dumpling.” The chef has prepared the pastry with hand-rolled dough in the traditional Chinese manner. He’s added a unique filling that’s a distinctive mix of free jazz, soul, bebop, and rhythm and blues. He describes the taste as a complex groove with hints of melody and harmony underneath. It’s quite delicious. I don’t think you’ll be disappointed.

WHO WAS USING THE WORD FUNK IN 1962?
The album title is just one of the ways that this remarkable album was ahead of its time. It’s an extremely early and often overlooked example of mixing adventurous jazz with soul grooves — while also drawing on bebop, cool jazz, and Indian music. Not to mention an increasingly rare stab at making a jazz album center on the licorice stick (cf. Leonard Feather’s Nov 1961 article in Down Beat, “The Clarinet in Jazz…What Happened?”). Basically, it’s a precursor of many of the interesting musical developments that would transpire over the following decade and a half.

 

“SUPERBLY HIP”
In the album’s liner notes, Tom Wilson (later to record Bob Dylan) claims that “Perry Robinson is single-handedly resuscitating the jazz clarinet.” Robinson, whose father was a noted film composer, discusses how many of his influences were modern tenor sax players including John Coltrane and Sonny Rollins. He notes how the complex “Home Is Where the Hearth Is” is similar to Coltrane’s “Giant Steps,” only slower. “Farmer Alfalfa” penned by Henry Grimes, his collaborator on the session, evokes Trane, Dolphy, and Ornette, while also referencing soul music. “Superbly hip,” Wilson calls it.

PERRY SEZ
The history behind this album album is interesting and a good case study of the problems jazz musicians faced at the time. It’s detailed in a short chapter from the breezy and entertaining book Perry Robinson: The Traveler by Perry Robinson & Florence Wetzel. We’ve reproduced scans of the pages below, which we recommend reading in full. Some highlights:

Learn how how Robinson signed the exact same contract as Bird, not realizing this screwed him out almost his rights; how he adapted the folk tune “Midnight Over Moscow” and tried to convince Savoy they should release it as a single; they never did and it later became a massive hit for a British ensemble  instead; how, despite the surrealist cover art, the musicians didn’t turn on before the recording (though Robinson did later trip with Mrs. Tom Wilson); how the 19-year-old Kenny Barron came to be part of this “effortless” and “magic” session.

  

Hope you enjoyed today’s special. Let us know in the comments. 

Flying Solo on SAJ Air

20 Apr
2012

We are thrilled to roll out the next three digital releases from FMP. These are solo joints from sister label SAJ, only previously available on LP. They join the Evan Parker/Barry Guy duo Incision (SAJ-35), also recently available for sale at the D:O Store.

The first features tall John Tchicai, from 1977. At the time, this solo album convincingly made the case for John Tchicai as a great saxophonist and flutist. Unfortunately, few heard it! Unfortunate, as the performances are full of sinuous repetitions, memorable melodies that emerge and recede, and trance-like riffs. It contains an Indian-inflected flute piece reminiscent of Don Cherry, and a terrific duo with Albert Mangelsdorff. Throughout, Tchicai erases the line between composition and improv – in real time.
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A split LP, one side each for cellist Tristan Honsinger and bassist Maarten van Regteren Altena, in live performance (duh). Side A features Honsinger at his most unfettered and unpredictable, unleashing startlingly fluid cello lines alongside whoops and hollers. Side B showcases Altena’s more percussive, jabbing, and patient approach — though he’s not above a cheeky duet with a metronome!
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Emery, 1987. Photo by Dagmar Gebers.

Dubbed one of the world’s finest guitarists by numerous critics, James Emery remains unknown to many listeners. The solo Exo Eso is one of his absolute masterpieces and a perfect place to make his acquaintance. Imagine Derek Bailey with more of a through line and you’re halfway there. Emery draws on a deep arsenal of sounds — sparse scrawls intercut with startling flourishes; fluid torrents of notes played with abandon; moments of delicate hushed beauty. Exo Eso is never predictable and never stints on pleasure.

Brass Fantasy

16 Apr
2012


LA LEGGE E’UGUALE PER TUTTI
VORTEX WALTZ
Laboratorio della Quercia
Laboratorio della Quercia
Horo : 1978

Alberto Corvini, Enrico Rava, Kenny Wheeler, trumpet; Danilo Terenzi, Roswell Rudd, trombone; Massimo Urbani, Steve Potts, alto sax; Steve Lacy, soprano sax; Tommaso Vittorini, baritone sax; Evan Parker, soprano & tenor sax; Maurizio Giammarco, soprano & tenor sax, flute; Frederic Rzewski, Martin Joseph, piano; Irene Aebi (“Aeby”), Tristan Honsinger, cello; Kent Carter, Roberto Bellatalla, bass; Noel McGhee, Roberto Gatto, Paul Lytton, drums, percussion.

Imagine the audience. They’ve gathered on a hot July night in Rome and sit facing a 20-piece orchestra of such formidable firepower — American jazz masters such as Lacy, Potts, Rudd, and Aebi, European improv titans including Wheeler, Parker, Honsinger, and Rava, plus composer Frederic Rzewski (of the great Coming Together) thrown in for good measure — it’s hard to properly absorb the enormity of the moment.

Sorry, did we say orchestra? This configuration calls themselves a laboratory — and though none of them are wearing lab coats a la Lester Bowie, they’ve gathered on this night for some serious experiments with sound. They’ve chosen to use the largest possible canvas for their explorations, breaking out eleven horns for its impressive frontline. But despite its sprawling membership, this laboratory proves expert at using space.

Sorry, did we say sound experiments? That sounds so dry and daunting — and these tunes are nothing of the sort. The theorems this laboratory tests involve the audience’s pleasure, stretching and remolding and occasionally breaking conventional forms in order to find new ways to pump excitement into, well, let’s not be ashamed to use the word: Jazz.

You won’t be sorry to click on “La Legge,” a dramatic 6-minute march full of scattered solos. Halfway through, the players vocally count off as the tune veers into more swinging and abstract terrain before being absorbed by the melody. It goes by like a breeze — and it’s a bagatelle next to the 15-minute “Vortex Waltz.” That piece opens with a solo from Roswell Rudd that’s slowly engulfed by the collective. The waltz part comes in the patient ebb and flow of interplay, while Evan Parker’s roiling solo brings the vortex. Throughout there’s a cohesive texture, internal logic, and pointed restraint. They could have rung down the heavens or blown a hole through the audience, but instead they drop pure science.

What’re some of your favorite big band pieces and/or sonic laboratories? Tell us in the comments. 

The Unheard Brötzmann

12 Mar
2012

Photo by Dagmar Gebers

LOTSA BRÖTZ: We’re proud to introduce four key albums that have languished in obscurity for too long.

Like his formidable playing, Peter Brötzmann’s sprawling discography is a force unto itself. Along with fellow titans such as Anthony Braxton and John Zorn, his albums constitute a rich musical universe unto themselves. But after a while, it’s natural to wonder: How many Brötzmann albums do I really need? The answer is likely a lot more than you think.

Although best known for his blitzkrieg saxophone attack — which his most famous albums like Machine Gun and Balls faithfully represent — he’s too often pigeonholed for that fiery approach. There are many  aspects to his playing and his far-flung collaborations; these are filled with inventive soundscapes, deft and playful improvs, beautiful and tart lyricism, and a variety of compositional approaches.

A few corners of Brötzmann’s music remain largely undiscovered. A handful of prime sessions that showcase unusual sides of his work — pieces with viola and banjo; tunes inflected with tango and folk music; simulations of looped rhythms; homages to Ornette Coleman — have fallen through the cracks. Known to hardcore fans, these albums were waxed by FMP but fell out of print before they could make it onto CD. They’ve been eclipsed by more famous and widely available recordings. But because of their outlier status, some of these albums now sound fresher than his better-known offerings.

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1977: Half A Dog Can’t Piss 

The first duo album between Brötzmann and Han Bennink finds them a playful mood, showing off their virtuosic range with forays into viola, piano, clarinet, and even banjo! Their musical interactions are deft and constantly surprising, like brilliant magicians who move effortlessly from one astonishing trick to another.

“What these two kindred spirits can do with their instruments is astounding.” — Cadence

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1981: Kellers/Brötzmann

Brötzmann pairs with the young drummer and vibraphonist Willi Kellers, laying down two longer tracks that continually morph in surprising ways.

“In phases reminiscent of Eric Dolphy, ['Edelgard'] creates a tension which discharges only briefly. ‘Helaas Maar’ makes South American tango music and folk songs resonate like flirtatious rock ‘n’ roll sax. From these references, the drums roll in free passages, which evolve into joyous, almost danceable pieces. An exciting album.” — Pro Und Kontra

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1987: GO-NO-GO

The fitting title refers to that moment in a missile launching when the operation must either be cancelled or allowed to continue towards completion. There’s a sense of no turning back with these explosive saxophone duets, in which Brötzmann and Alfred Harth veer between intense blowing, textural explorations, and a beautifully off-kilter lyricism.

“It’s exciting music, thoughtfully programmed to ensure that the sound of two solo reeds doesn’t grow monotonous. At a few moments, like the weirdly beautiful ‘Owls Hoot,’ they find a unique lyrical tang. This refreshingly unslick sax music.” — The Wire

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1989: In a State of Undress

This rare quartet date offers yet another facet of Peter Brötzmann’s music, showcasing him in a relatively straight ahead context which evokes Ornette Coleman’s classic band of the ’60s. There are sweet playful melodies, intertwined rhythms, and terrific horn playing courtesy of Manfred Schoof.

“Manfred Schoof leads an excellent quartet through ‘In A State Of Undress.’ The operative reference here is the Ornette Coleman quartet, circa 1965-1970. Schoof, with errant hero Peter Brötzmann on alto saxophone, bassist Jay Oliver and drummer Willi Kellers, play at an effervescent pulse, with Schoof and Brötzmann taking off together on sweet, playful melodies independent of the rhythm. Every shot here is a great one.” — Ben Ratliff, CODA

We hope you’ll check out these revelatory albums.

Just What It Says:
Don Pullen Plays Monk

6 Mar
2012

WELL, YOU NEEDN’T
IN WALKED BUD (alt take)
Don Pullen
Don Pullen Plays Monk
Paddle Wheel : 1984

DP, piano.

Dear C,

Do you ever get tired of the sound of your own voice? We’re starting to get weary of our words, or maybe better put, we’re getting weary of the tone of them. Sometimes it feels like we’re constantly throwing our hands in the air and crying “Hosanna!” over each album we feature here. There’s no shortage of lost treasures that have languished in obscurity and richly deserve their moment of  praise — but we wonder if our accolades have started to lose some of their value. If a sort of inflation is setting in.

We were thinking of you when we pulled out our dusty copy of Don Pullen Plays Monk and how much you’d dig it. We were all ready to go into “Hallelujah!” mode about one of your favorite pianists tackling the work of another, about how Pullen’s bravura mix of delicate sensitivity and careening abandon was misunderstood upon release, about how there have been so many Monk tributes over the years but few as bracing and beautiful, about how–

But ultimately we couldn’t do it. Since you’ve moved away to the West and we don’t see you every other day in the ‘hood, we’re less inclined to raise our voice and gesticulate wildly about our latest discovery. We don’t get to talk enough period and maybe the hyped-up excitement feels like an unnecessary indulgence. So we’re talking to you now with the actual sound of our voice, a little tired but still present.

We’re saying: These tracks made us think of you.

We’re saying: We hope you’ll give them a few spins.

We’re saying: Baby, enjoy.

Love,
The Boys From D:O

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Buy this wonderful record.

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