Saturday, July 20, 2024
CD Review: Jason Stein/Marilyn Crispell/Damon Smith/Adam Shead - spi-ralling horn
Monday, July 08, 2024
CD Review: Travis Reuter - Quintet Music
Quintet Music (self-released)
Friday, June 21, 2024
Dish It Out: Remembering James Chance
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The Contortions, on the No New York compilation. Chance is pictured top left. |
Before John Zorn, before Eric Dolphy, before even Charlie Parker, the alto saxophonist that fascinated me was James Chance. I took up the alto in tenth grade and while I was starting to get into jazz, I hadn't bought much jazz other than Bitches Brew and Albert Ayler's Vibrations (which I bought within about a week of each other). Most of my record purchases were punk rock. James Chance bridged the gap between that style and jazz. In fact, he kind of bridged the gap between Bitches Brew and Vibrations.
It all comes rushing through the speakers in opening seconds of "Dish It Out," the opening track by the Contortions on the No New York compilation. Jody Harris bangs out a trebly guitar chord, which gets answered by George Scott's rubbery bass. Then Chance starts wailing in the upper register of his horn. Forget melody or harmony. It almost sounds like James chooses certain fingerings on the horn, rather than the pitch it produces. He certainly feels the groove his band is playing, which eventually includes Pat Place's yowling slide guitar and Adele Bertei's organ, which to my ears has always been a beautiful evocation of thunder and lightening. While Chance's horn sounds "wrong" on purpose, Bertei's keys seem to do something more deliberately against the grain.
Chance's vocals on the track might have been inspired by James Brown but his execution seems more like a pissed off dad. It'd be a few years before Ian MacKaye would front Minor Threat and make this level of hostility into a common vocal style. In 1978, no one sounded this rabid.
Speaking of James Brown, the Contortions final track on No New York was a cover of the Godfather's "I Can't Stand Myself." According to Bertei (I think it's in her memoir but I definitely read it online), the group had never played the song before and ran through it as a soundcheck in the studio. It chugs along on one chord, bolstered by a Harris guitar solo that tries to force a chord change (doesn't happen), climaxing with an abrasive wail from the singer that cues an equally shrill sax solo.
Could he really play, my innocent mind wondered. The only way to find out was to check out everything. Buy by Contortions. Sax Maniac by his later group, James White and the Blacks. Off-White by the same group. Some of them were pretty good. Some felt a little jokey in a dry sort of way. ("Stained Sheets" in which Lydia Lunch moaned over the phone to an incredulous, hostile James.) But what was impressive was the way his band, which at times included trombonist Joseph Bowie (brother of Lester, of the Art Ensemble of Chicago), would sound like they were just riffing away but all of a sudden they'd reach a stop-time like clockwork.
Chance put together a new version of the Contortions in the early '90s, following the re-release of Buy on Henry Rollins' Infinite Zero label. He came to Pittsburgh, playing at Luciano's Coffeehouse, which once existed down the street from Duquesne University. The backing band seemed just a tad slick (the bassist had a six-string bass) but Chance was his usual self, blowing the high F on his horn, shooting down to the low B-flat and then flopping around in the middle. It might have sounded raw or primitive but this was his thing, his sound. Notorious for picking fights with audience members in New York, he claimed at the time he had sworn off that, after one incident damaged his suit. However, a friend who was at that show claimed on Facebook this week that Chance slugged him when he got too close to the stage.
Only today did I discover, through an obit, that the saxophonist studied with the World Saxophone Quartet's David Murray prior to forming the Contortions. Chance spoke to me when I was writing a feature on Joseph Bowie for JazzTimes in 2016, an interview that had been about three decades in the making. Hailing from Milwaukee, Wisconsin, he had a love of both the Stooges and jazz of all stripes and had wanted to combine the two.
Upon arriving in New York in 1975, he immersed himself in the loft scene, playing with the Bowie brothers and drummer Charles "Bobo" Shaw. "One thing I liked about those guys is they had an obvious information of rhythm and blues in their playing," he said in our phone conversation. "Even though they were mostly playing free, a lotta times it would go into funk rhythms, even though… at the La MaMa [Theater, in the East Village], they didn’t even have a bass player usually. Or even any rhythm besides drums." He went on to talk about saxophonist Henry Threadgill and trumpeter Ted Daniel playing in James White and the Blacks.
During the conversation, it started to become clear that Chance's sound on the alto, as raw as it seemed, was a conscious choice to make him distinct in a scene of players. He might not have been playing straight - or even avant garde - jazz, but he knew it was important to have his own sound to set him apart.
Chance's last performance seems to have been pre-pandemic, according to the obit linked in his Instagram page, March 2019 in Utrecht. More recently, a gofundme campaign was started to help him deal with medical bills. When he and I talked in 2016, he mentioned that someone in Pittsburgh had expressed interest in bringing him back to town, but unfortunately it didn't happen. Chance (who was born James Siegfried) died on June 18, 2024, though cause of death was not disclosed at the time.
Thanks, James.
Sunday, May 26, 2024
CD Reviews: Matthew Shipp Trio - New Concepts in Piano Trio Jazz, Rich Halley - Fire Within
Sunday, May 12, 2024
Messthetics & James Brandon Lewis Lift the Bandstand; Thoughts on Steve Albini
The Messthetics feature Joe Lally (bass) and Brandon Canty (drums), the rhythm section of one of the best known punk bands of all time - Fugazi. It's not an exaggeration to say that, since the band set a gold standard for honesty and integrity with their music, which inspired legions of musicians. Guitarist Anthony Pirog straddles all kinds of styles of jazz and rock. James Brandon Lewis is, quite simply, one of the most inventive tenor saxophonists around right now.
With all four of these guys together, it's like a confluence of punk rock and jazz. That's obvious, but when they hit on Monday, suddenly there were no musical boundaries, no need to put a label on what they do, no chance to boil it down into easy to digest categories. If you have to ask, you'll never understand.
Sure, that's not exactly true. But the excitement that these guys delivered was on par with what Fugazi gave us, combined with the rich harmonic ideas that Lewis' Red Lily Quintet plays. There were times when Lewis was honking at the low end of his tenor, but it wasn't like the bar walking tenor players of bygone days, who were simply honking to get a reaction out of inebriated listeners. "The Time Is the Place" had urgency in the tenor solo, like Lewis had a message or an emotion he wanted to unleash. He knew what we needed.
Wednesday, May 01, 2024
GBV in Pittsburgh, April 27
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GBV vocalist Robert Pollard, with drummer Kevin March and guitarist Doug Gillard |
While waiting to get through the security check point at Mr. Small's on Saturday, my friend Tim and I met a couple of polite gents from Ottawa who had traveled to our fair town to see Guided By Voices. One of them asked how many times we'd seen them. I rolled my eyes and tried to think of an answer, and one of our new friends took that to mean "too many times to get an accurate number." But that wasn't the case. I just couldn't recall how long it's been since I last saw them.
Checking past blog entries, the only show mentioned is the 2014 appearance, where Death of Samantha opened for them. I know I saw them at least once more before the pandemic. There was the one night I was milling through the crowd, scoop pad in my hand, writing down song titles, and two people asked me, "Are you [Post-Gazette writer] Scott Mervis?" At least they recognized my line of work.
Whenever the last show was, I recall GBV figurehead Robert Pollard seeming really snockered (more so than usual) but being impressed that the set ended after exactly 90 minutes, as he predicted. It was a good night of music, but his rambling between-song patter, coupled with the wall-to-wall GBV bros, made me wonder if I needed to see them again. The last GBV album I bought was....good. But I haven't been compelled to pull it off the shelf for a couple years.
Last Saturday, April 27, peer pressure started to weigh on me. (Though the peers that talked about going are actually much younger than me.) Besides, live shows give you something that you don't get sitting at home, listening while doing something else or nodding off in your easy chair.
Mr. Pollard and the band delivered too. By the time the houselights and the p.a. music came on, approximately 135 minutes had passed since their set began. Pollard definitely had a few in him before he hit the stage (and speaking of hitting, he also took a drag off a joint that was passed to him by an audience member, after talking about the good old days of doing drugs at shows), but the desire to rock hard overpowered the desire to fall into his cups and perform that way. If you're going to sing for that long, even with breaks, it's important to maintain stamina and pace oneself, and Pollard did.
The set, naturally, cut a wide path through the band's songbook. Several Bee Thousand songs were pulled up, along with a few others from their days on Matador Records. If I was a good journalist, I might have kept count of how many songs they played, but it was hard enough maintain a spot in the crowd, amidst all the dudes raising index fingers and beer cans in the air when recognizing a song. (They'd kill me for saying this, but the way the diehard fans reacted to lyrics reminded me of the time I saw the Indigo Girls and members of the audience were acting out the words to songs.)
But I shouldn't disparage some guys who were merely having the time of their lives. No one was slamming into innocent bystanders. And, thankfully, no dudes were groping ladies during the set, at least not what I saw. (I heard reports of that at prevous shows.)
Parts of the set took me back to seeing GBV in late 1993 at the CMJ Music Marathon, just prior to the release of Bee Thousand. There was a lot buzz surrounding the band and hoi polloi like Kim Gordon and Thurston Moore were in the audience. Onstage the music made me think of an indie rock take of A Hard Day's Night. Everything was short, concise and amazing. Last week, it was fascinating to hear so many songs all in a row, all sounding tight and well-written, all of them sequenced in the set so they didn't blend together or sound like "just another GBV song." Running order is crucial in these cases, and GBV takes that seriously.
The evening also reminded me of seeing GBV mainstay Doug Gillard's band Gem a few years later at CMJ, but for another reason. That band's set made me rue the choice to forego earplugs, as Gillard and Tim Tobias played some loud guitar with a healthy dose of high end. Gillard was equally loud last Saturday and as the evening wore on, these ears got a little more sensitive to all those power chords, as well as the roars of the crowd. In my defense, it had been a long day that started early that morning, included a full day of work, dinner with Mum and little less caffeine that I would have preferred prior to getting to the show.
But it was a good time.
Due to the security line, openers the Gotobeds were, quite literally, playing the final chord of their set as I walked in the door. When Eli Kasan, their singer, asked me how that final chord sounded, I couldn't lie: it rocked.
Tuesday, April 30, 2024
Recap of the African Rhythms Alumni Quintet + Memories of Randy Weston
Friday, April 26, 2024
An Appreciation of Michael Cuscuna
On this morning, before I could get to the papers, I found a thick square box between our two front doors. The box had my name on it. IT had arrived - The Complete Blue Note Recordings of Thelonious Monk, a four-record set that was only available by mail order from the label that put it together: Mosaic. This was a major expense for a teenager, even one with a lucrative paper route. I think it might have cost about $8 per record. (Insert rimshot here.)
There was barely any time to skim the set's detailed booklet over breakfast, let alone listen to any of the records. But when I got home that afternoon, I starting poring over both the music and detailed notes about each session, stopping to even follow along in a book of transcribed Monk piano solos. I had just gotten into Monk over the last few months. Hal Willner's tribute album was my gateway; I wanted to hear it because John Zorn was on it.
After playing That's the Way I Feel Now and scratching my head several times, I purchased a few of Monk's OJC reissues. The compilation's inner sleeve mentioned Mosaic's Monk set and my dad had probably received a catalog from them with details. This almost secret/extra effort way of hearing the music seemed like an important step I needed to take.
I don't think my sentimentality is getting in the way when I say that purchasing that album was a defining moment for me, as both a musician (I still believed I was going to be a saxophonist) and as a writer (that would come later). And this is all due to the efforts of Michael Cuscuna, who started Mosaic with the late Charlie Lourie. Michael passed away last weekend and the world has lost a champion for music preservation and elevation.
Reading through those Mosaic catalogs from the '80s and '90s, it felt like Cuscuna and Lourie were as excited about these releases as listeners would be. If there was a little bit of back-patting going on, they were also quick to expound about the lengths that they would go to find the best sounding master of a session for one of their sets. That devotion made each set feel like a Big Deal. Back in the late '80s, the boxset boom had yet to really catch fire. These guys were ahead of the game and they showed how to do it right.
When CD reissues kicked into full gear in the following decade, Cuscuna became synonymous with jazz rereleases. He had already been instrumental in getting Blue Note back in business around the same time he launched Mosaic. Now he was the one rummaging through old warehouses and storage facilities (perhaps not literally, but they were similar), unearthing those gems again, discovering alternate takes or lost songs and, most importantly, figuring out what they were and from where they came. Most people might have overlooked the fact that Blue Note listed a Tina Brooks album on their inner sleeves that was never released. Cuscuna noticed it, and found the tenor saxophonist's missing session. If you unearthed something like that, you'd be clucking about it in a slick catalog too.
Cuscuna wasn't devoted to just one period of jazz music either. In one of Mosaic's most tremendous releases, he and Lourie curated the entire output of the early jazz label Commodore. Records in three volumes; each box has between 20 and 23 records. He also released Cecil Taylor's complete output for Candid Records. (If the word "complete" sounds repetitive, that's because these guys wanted each set to be comprehensive. When doing a set for the prolific organist Jimmy Smith, they had to limit it to one month.)
I didn't realize it at the time but Cuscuna also shaped my musical scope in another way. When I told my brother that my first encounter with Albert Ayler annoyed me more than moved me, he recommended buying an Ayler album, listening closely and reading what the liner notes said about this wild saxophonist. When I took his advice, the album I found was Vibrations, which had extremely insightful notes about Ayler's background and music - penned by Cuscuna. This cat had a handle on everything.
And he was not jaded or arrogant about it. He was enthusiastic. The University of Pittsburgh brought Cuscuna to town in 2011 for a lecture at the Pitt Jazz Seminar and Concert. In a phone interview prior to his arrival, he was gregarious and very open when speaking to this fanboy about his work. It was quite a confidence boost to hear that a quote from my article wound up in the Washington Post's obituary for Cuscuna. (For the record, here's the quote: "If I put out music that is really unworthy or would embarrass the artist or make an artist unhappy, then I think that’s the worst sin I could commit.")
Another quote from him appeared on the Mosaic website earlier this week, which really hit home too: "It’s the stuff that gets to you between about [ages] 12 and 25 that stays with you for life. You never absorb music in quite the same way after that.” It explains why both Monk piano solos and, heaven forbid, the lyrics to some REO Speedwagon songs are still easily accessible in my head.
Personally, Mosaic always represented the highest level of jazz collecting. Along with the alternate takes, the label made sure you knew all you wanted to know about the artists and the sessions they made. When I became a staff writer at InPgh, I felt like I had really arrived when I was able to snag some promos and write about them for the paper. It took a few years but I even got to review a couple for JazzTimes. (Several other jazz scribes were clamoring for those reviews.)
As the above picture shows, I've been able to amass many of the sets over the years. Having enough Christmas money to afford the Larry Young set made it feel extra special. Getting the Clifford Brown set from my parents for my birthday takes me back to that time. Two years ago, I found the one set I never thought I could afford - the Complete Capitol Recordings of the Nat King Cole Trio, a mind-numbing 18-disc set (the vinyl counterpoint was 27 records!). It was being sold at a chain store for less than half of what it's worth.
In my interview with Cuscuna, he mentioned that the Cole set (which was originally offered to buyers on an installment plan!) was one of the few projects where he never burned out on the artist. Listening to it, it's easy to see why. Nat was that good. Sure it's all about the music, but the presentation certainly adds to the listening pleasure.
If this piece has been more about me than the late, great Michael Cuscuna, that can be attributed to the fact that Michael really shaped the way I approach music, largely as a listener but probably to some degree as a writer. Not just jazz, he opened my ears with everything. Collecting is fun, but it's more rewarding when you can share these discoveries with people, opening them up to new sounds and new ideas that they can explore on their own.
Michael was all about that. And I'm doing my damnedest to pay it forward.
Thank you, Michael.
Friday, April 19, 2024
Jazz For Record Store Day, Part 2
At The Showcase: Live In Chicago 1976-1977
Yusef Lateef
Jazz for Record Store Day Part 1
As I type, Record Store Day is less than 24 hours away. I've always been conflicted about that day. As I say each year, every day could be Record Store Day for me. So many RSD reissues are readily available used in their original vinyl format for much less. Some new releases under utilize the available 18 to 22 minutes per side on a record, thereby blowing the package into two pricey discs.
One year for RSD, I nearly dropped $15 on a 10" 78 of the Beach Boys' "Good Vibrations." I love 78s. I kind of like the Beach Boys. I don't exactly dig that song. What the hell was I thinking, I wondered, in the present tense at that time, as I put it back. Ironically, $15 for a RSD purchase seems like a steal these days, even for a single or EP.
This year, things are a little different. Zev Feldman, the man who has a knack for uncovering unreleased sessions or finding clean copies of things hitherto available only as bootlegs, has helped to release no fewer than six albums of unearthed music for Record Store Day on his own Jazz Detective label, as well as the Resonance and Elemental imprints. Like previous Feldman projects, these come with a plethora of historical liner notes and interviews with musicians involved in the projects or others who can speak with authority on these players. All are being released on vinyl tomorrow and they'll also be available in compact disc form (my source for listening here). Leave to Feldman to come up with RSD projects that might make it worth standing in line outside of a shop early in the morning, in hopes of snagging a copy. All of them will be released on CD on April 26 too, so if you can't get vinyl, you can still hear them.
Here is my flash on three of them, with more to come.
Chet Baker & Jack Sheldon
But in the opening bars of In Perfect Harmony: The Lost Album, a different, more positive memory will come flooding back to anyone who grew up listening to the Schoolhouse Rock cartoons on Saturday mornings. The voice singing "This Can't Be Love" out of tempo with Dave Frishberg's piano is the same one that brought life to Conjunction Junction and the Bill that was sitting on the steps of Capitol Hill. That's Jack Sheldon, who sings while Chetty blows. (As an aside, he also voiced a great spoof of the Bill on The Simpsons too.)
This lost session took place in 1972 at the behest of Sheldon and guitarist Jack Marshall. Baker had been out of the business for several years, following a brawl that resulted in broken teeth and damage to his embouchure. He would launch a serious comeback a year later, but Sheldon lured him into the studio with the promise that a double trumpet/vocalist frontline meant the recovering player would only have to play half the time. Marshall, who oversaw the session at his United Audio studio and played guitar, started shopping it to labels but it was shelved when he died suddenly in 1973.
For a player who was still in recovery mode, Baker does an admirable job on his horn and his soft voice is rich with phrasing ideas. Sheldon of course is more brash in voice and horn but the way he interacts with Baker captures the camaraderie between these two. One of the 11 tracks passes five minutes, and most are way shorter, with just a few choice choruses. Marshall appears minimally, with the rhythm section of Frishberg, former Tijuana Brass drummer Nick Ceroli and especially bassist Joe Mondragon (whose feet probably got sore from all that walking) providing a steady backdrop. It might not be a revelation (though Sheldon's performance on "Historia De Un Amor" is) but it's fun.
Tuesday, April 16, 2024
LP Review: Church Chords - elvis, he was a Schlager + Anthony Pirog
Thursday, March 28, 2024
Show Review: Pharoah Sanders Tribute Band with Azar Lawrence
Last Saturday's Kente Arts program was billed as a Tribute to Pharaoh Sanders but it wound up being more than that. At moments, it also felt like a tribute to John Coltrane, at others it felt very much in the moment, less a tribute to anyone in particular and more about five A-list players coming together and creating a two-hour set that will be talked about for a long time.
The quintet at the New Hazlett Theater was led by tenor saxophonist Azar Lawrence, a close friend of Sanders who once played with pianist McCoy Tyner before creating a reputation as a leader in his own right. Fellow tenor player Isaiah Collier was his foil, drawing on a table of whistles to add to the sound of his horn. The rhythm section of Billy Hart (drums), Nat Reeves (bass) and George Cables (piano) completed the band.
Before the set started, Akmed Khalifa, who helped bring Sanders to Pittsburgh in 1969 for the Black Arts Festival, reminisced about that event, and how the late saxophonist's music was such a part of the Harambee Book Store in Homewood. So many people attended that outdoor festival that it was hard to move through the crowd, Khalifa remembered. The image of such a huge throng of people might be hard to image today at a "free jazz" show, but the sense of community could be felt in the theater. Throughout the evening, audience members responded verbally to the playing onstage. It felt like a bit much at first....until I felt compelled to do the same thing.
Cables, who could be called the consummate sideman for how many sessions he's done throughout his career, thrilled the audience with every solo (though his comping was pretty dazzling too), with an ending rush of deep ideas that he blended with the right amount of thunder. Reeves knew how to keep a vamp exciting in Lawrence's original "All In Love" and Coltrane's "Olé" in which the leader switched to soprano saxophone and the quintet nearly blew the roof off the theater, thanks to Hart's propulsive work.