What Jazz are you listening to now?

[SimonNZ]

Buddy DeFranco and Oscar Peterson - Play George Gershwin (1954)

[San Antone]

Samo Salamon, guitar
Drew Gress, bass
Tom Rainey, drums



excerpt from the review on AllAboutJazz

Samo Salamon has been compared to everybody from Ben Monder, John Scofield and John Abercrombie, to Sonny Sharrock and Tal Farlow. This list, referencing a group of guitarists that have little in common, will leave plenty of people scratching their heads, but it points to the fact that this young Slovenian guitarist knows no bounds. Salamon seems intent on avoiding any one label, as proven by his string of albums in the new millennium, mixing European and American artists with great results.

The music on Almost Almond covers a lot of ground, moving from gritty, distorted lines to spacious sonic pastures, and Salamon couldn't have asked for a more flexible and creative rhythm team. Bassist Drew Gress and drummer Tom Rainey have worked together in some highly creative environments before, most notably with saxophonist Tim Berne, and here they combine freedom and focus in a way that few teams can match. Multiple pieces on this album reflect a duality, where the music can simultaneously be viewed as a trio performance and three solo performances at the same time. In other places, these musicians leave no doubt that they are charting the same course.

Back when I was breaking into the New York jazz scene, during the '80s, I jammed at Armon Donelian's apartment with Tom Rainey, and some other horn players - a real treat.  Rainey is a great drummer, and Drew Gress is one of the best of the bassists currently making it.

[San Antone]

Speaking of Fred Hersh, Marc Johnson, and Joey Baron, this is one of my favorite recordings from the Fred Hersch Trio:

Yes; I haven't heard it, but I would think it cannot be anything but good with that line up.  Thanks for pointing it out.

I have since found out that this recording was Fred's first session as a leader, OOP and only available used.  In the process I read a great (long) article of Ethan Iverson interviewing Fred Hersch, a fascinating story of his journey. 

[Mirror Image]

Yes; I haven't heard it, but I would think it cannot be anything but good with that line up.  Thanks for pointing it out.


I have since found out that this recording was Fred's first session as a leader, OOP and only available used.  In the process I read a great (long) article of Ethan Iverson interviewing Fred Hersch, a fascinating story of his journey.

Great, thanks! I'll check this article out sometime tomorrow.

[San Antone]

Tim Berne's Snakeoil: Incidentals



Tim Berne: alto saxophone; Oscar Noriega: clarinet, bass clarinet; Ryan Ferreira: guitars; Matt Mitchell: piano; Ches Smith: drums, vibraphone, percussion, timpani. With David Torn: guitar on Hora Feliz (intro) and Sideshow (outro)

Hora Feliz - 10:26
Stingray Shuffle - 7:36
Sideshow - 26:01
Incidentals Contact - 10:48
Prelude One / Sequel Two - 9:18

Incidentals continues Berne's experimentation in expanding aural soundscapes, bringing the alto saxophonist/composer to a wider audience without compromising his unique approach.

"The group functioned as a quartet on its debut and subsequent Shadow Man (2013). With the release of 2015's You've Been Watching Me, guitarist Ryan Ferreira joined clarinetist Oscar Noriega, pianist Matt Mitchell and drummer/percussionist Ches Smith. Guitarist David Torn, who recorded with Berne on his own ECM outing, Prezens (2007) has produced this and the previous two Snakeoil albums, and also plays on two tracks here."

"The five compositions were penned by Berne with the exception of "Prelude One/Sequel Too," where he shares writing credits with Mitchell. "Hora Feliz" opens darkly, with low reeds and Mitchell's restrained piano hanging in the ether until Smith, almost imperceptibly, picks up the pace and the playing becomes more free and open. "Stingray Shuffle" hints at classicism early on, descending into controlled chaos later. "Sideshow" is a twenty-six-minute magnum opus of intricacy with dramatic changes in dynamics, multiple textures, and interwoven degrees of intensity. Smith smoothly guides the transitions, culminating with Torn's guitar coming into the process as the piece draws to a vivid close. "Incidentals Contact" is more abstract and raucous than the previous pieces and features stand-out contributions from Mitchell and Noriega. "Prelude One/Sequel Too" opens with off-kilter melancholia but builds in strength, only to return for a contemplative close." (AllAboutJazz)



I never worked with Tim Berne but met him through his sister Betsy, must have been around 1982/3.  I think (it was over 30 years ago and I my memory might be playing tricks) he was using Mike Formanek, who ended up helping out big time after my upright had gotten stolen - hooking me up with a Czech bass in New Jersey, which was actually a much better instrument than the one I'd lost. But I seem to remember that Mike had the bass chair covered then; but then again I could be wrong - it's not like I was soooo good that Tim would have used me in any event.  Anyway, you often hear about the cut throat nature of New York but while it is very competitive and you have to have your shit together, playing-wise, to have any chance at making it - the community of musicians can be very supportive. 

So, Betsy was a visual artist, painter, and we were both working at a huge law firm as proofreaders.  All the proofreaders were writers, actors, painters, etc. (met some really cool folks at that job, which also had other perks), people the law firm thought had other things going on and would not care about the deals they were reading and wouldn't use the info in nefarious ways (mostly that was true, however there was one working in word processing who was arrested for insider trading while we were there).

We'd pair up, one reading to the other looking for spelling and grammar errors, but mainly just shooting the breeze since there was a lot of down time.  When Betsy learned I played upright bass she mentioned her brother.  I've followed his career with interest ever since; great musician and composer.

[San Antone]

Brad Mehldau
The Art of the Trio, Vol. 4: Back at the Vanguard

This live recording captures exactly how vital and impassioned Mehldau's playing is. Working with bassist Larry Grenadier and drummer Jorge Rossy, he turns these songs -- including three originals, one Miles Davis number, two standards, and Radiohead's "Exit Music" -- inside out, finding the heart of the song, and exploring a bewildering array of variations of the themes and chords.

[king ubu]

I dunno, I can't explain it but Peacock just seems kind of light weight to me.  Jarrettl can lapse into navel gazing and Peacock is the perfect bassist for that kind of thing.  There are much better bassists, imo, Marc  Johnson, Scott Colley, and good friend of mine who unfortunately passed away in 2009, Dennis Irwin, those names just jump out.  Speaking of Marc Johnson he and Joey Baron have made some great trio recordings with Enrico Pieranunzi.  There's a new guy Thomas Morgan, who's also really good.

Of course we don't have to (and can't  ) agree on all counts, and it's obvious that you're deeply into jazz, which is great! But still, Peacock to me is a great musician, much more interesting that Marc Johnson, whom I perceive as a very consistent, yes, an excellent musician, but personally just one that rarely grabs my attention. Colley probably falls into that same category for me, as does Larry Grenadier from roughly that age/period. Thomas Morgan I don't know all that well yet, but he and also Ben Street are noteworthy, I guess.

And Irwin - again, I don't know him all that well, but he made some really nice albums! I've got him, among others, on discs by Johnny Griffin, John Scofield (the Sco/Lo band ... some excellent rhythm sections there: Haden/DeJohnette, Johnson/Stewart, Irwin/Stewart, and then HoFo of course), Ted Brown, Mike LeDonne ... and of course Joe Lovano. He also was with Blakey but that period of Blakey's I haven't yet really covered, it's roughly the first dozen years that I'm really into and have almost all the albums.

If you ask me about current favourite bass players, let me think ... I enjoy Eric Revis' albums on Clean Feed a lot (don't think I've heard him live, if yet it was a long time ago), John Lindberg is great (saw him live with Wadada last year, know him mainly from CDs), Drew Gress too (saw him live a few times, with Marc Copland/Ralph Alessi for instance), but also some freer players like John Edwards from England or my homeboy Christian Weber (you might check out the Eskelin-Weber-Griener trio disc on Intakt, it's excellent - saw that band live and it was even better). And we already mentioned Stephan Crump ... too bad he uses this silly travel instrument for touring, I'd love to hear him on a real double bass some day.

I guess it's different things we look for with bass players, different qualities or different areas of focus ... going back in history, Mingus would be my all time favourite, followed by the likes of Haden, Watkins, Ware, Hopkins, Favors ... it's the deep combined with the surprise I guess (not sure Watkins surprised often, but I just totally love his feel and sound - nothing against Chambers, but he's not a real match to my ears).

Probably I forgot half a dozen other favourites now (and you'll notice that Peacock doesn't quite make the cut into the very favourites, there'd be other names popping up first, i.e. Richard Davis, Art Davis, Pettiford, Workman, McBee, Buster Williams ...)

Oh, one more thing: Enrico Pieranunzi - true, his albums with Johnson/Baron are great! And Baron is right on the money there, too. However, all things considered, Pieranunzi is probably a bit too boring for my taste - which is a silly statement, but I'm not sure what it is, too much Bill Evans, too much elegance, not enough excitement somehow.

Either way, enjoying the discussion!

--



Thead duty - before, a first spin to Wadada's impressive new guitars (yup, plural: four of them!) album, now revisiting the one by Sirius, which I'm really enjoying.

[king ubu]

...
And we already mentioned Stephan Crump ... too bad he uses this silly travel instrument for touring, I'd love to hear him on a real double bass some day.
...

Actually I was mistaken I think ... we have not, must have been elsewhere! His trio with Kris Davis and Eric McPherson has an excellent new album out on Intakt (click). And he's terrific with Vijay Iyer's trio (of which, shame on me, I only know the ECM album so far, got to jump into the shallow waters that is ACT - their design already keeps me away - and get at least some of their Iyer discs!)

[San Antone]

I guess it's different things we look for with bass players ...

On this we can agree.   

Mingus would be my all time favourite, followed by the likes of Haden, Watkins, Ware, Hopkins, Favors ... it's the deep combined with the surprise I guess (not sure Watkins surprised often, but I just totally love his feel and sound - nothing against Chambers, but he's not a real match to my ears).

Probably I forgot half a dozen other favourites now (and you'll notice that Peacock doesn't quite make the cut into the very favourites, there'd be other names popping up first, i.e. Richard Davis, Art Davis, Pettiford, Workman, McBee, Buster Williams ...)

First let me say that every name in your post is an excellent bassist and musician, to use the term musicians use, they are monsters. 

But, that said ...

I have never placed much emphasis on Mingus as a bassist.  His significance is as a band leader and composer.  Much like Scott Lafaro ruined many bassists who could replicate his virtuosity but not his sound, feel and time, Mingus was a dead end as far as someone to emulate.

From your list I think Charlie Haden is one of the best, and disagree 100% about Paul Chambers, whom I consider probably the best complete bassist.  Ever. I also like Wilbur Ware a lot, especially his work with Sonny Rollins.  Henry Grimes is another very interesting bassist mainly because of the guys he played with.

I think the difference might be based in our respective points of reference: yours appears to be European and that of an appreciator; mine is as an American and (formerly) active jazz musician.  The primary quality that are demanded in a real-life group situation is not an ability to solo. What a good bass player is appreciated for are to first, play in tune, to play good time, have a big sound and an intuitive choice of notes during the solos by the other band members (most importantly in tandem with the pianist) which are unpredictable but obviously right.  The absolutely least important aspect of being a professional jazz bassist is (what I prefer to be) the occasional solo. 

This lesson was brought home to me during a week at Sweet Basel's when I was fortunate enough to play a gig with Louis Hayes.  One of the scariest experiences of my life.  It was real in a way that being beaten up is physical and real.  By the end of that week my entire orientation as a bass player changed (for the better) and I truly began to "play the bass" - and not act like a horn at the bottom.

Not mentioned in any of this discussion is Sam Jones - another bassist right up there with Paul Chambers - and Ron Carter.  Those three are - for me - the most important bass players,

[king ubu]

On this we can agree.   

Cheers! Enjoying this discussion a lot!

First let me say that every name in your post is an excellent bassist and musician, to use the term musicians use, they are monsters. 

But, that said ...

I have never placed much emphasis on Mingus as a bassist.  His significance is as a band leader and composer.  Much like Scott Lafaro ruined many bassists who could replicate his virtuosity but not his sound, feel and time, Mingus was a dead end as far as someone to emulate.

From your list I think Charlie Haden is one of the best, and disagree 100% about Paul Chambers, whom I consider probably the best complete bassist.  Ever. I also like Wilbur Ware a lot, especially his work with Sonny Rollins.  Henry Grimes is another very interesting bassist mainly because of the guys he played with.

I think the difference might be based in our respective points of reference: yours appears to be European and that of an appreciator; mine is as an American and (formerly) active jazz musician.  The primary quality that are demanded in a real-life group situation is not an ability to solo. What a good bass player is appreciated for are to first, play in tune, to play good time, have a big sound and an intuitive choice of notes during the solos by the other band members (most importantly in tandem with the pianist) which are unpredictable but obviously right.  The absolutely least important aspect of being a professional jazz bassist is (what I prefer to be) the occasional solo. 

This lesson was brought home to me during a week at Sweet Basel's when I was fortunate enough to play a gig with Louis Hayes.  One of the scariest experiences of my life.  It was real in a way that being beaten up is physical and real.  By the end of that week my entire orientation as a bass player changed (for the better) and I truly began to "play the bass" - and not act like a horn at the bottom.

Not mentioned in any of this discussion is Sam Jones - another bassist right up there with Paul Chambers - and Ron Carter.  Those three are - for me - the most important bass players,

Regarding perspective, I really grew up on classic modern jazz, Blue Note albums, Miles, Coltrane, Monk, Sonny, Dolphy, Mingus ... I very much appreciate a bassist able to provide a bottom, but I also like when he combines that with something going beyond (i.e. John Edwards is an amazing accompanist, he can really hold a band together yet he brings excitement to it, too ... I heard him in so many different settings, including solo btw, and I am always amazed again. Either way, I'm definitely not looking for virtuoso playing from bassists, but I enjoy it when they bring that component to it, too (I'm not too big on LaFaro really ... he lacks to oomph I also want to hear with bass players). Another favourite, or make that two: the South African giants, Harry Miller and Johnny Dyani. (Miller/Moholo is one of my all-time favourite rhythm sections because they are so perfect in combining the oomph with a wild groove that starts dancing in my head when I merely think of their names.)

Mingus as a bassist: there are albums on which he is really killing as a bassist, I feel - the 1959 Bohemia/Nostalgia thing with the new Handy/Ervin frontline for instance - but of course you're correct. I also fully agree on the dead-end, which also applies to his music. The Mingus Big Band works surprisingly well, somehow it does quite succeed in keeping the fire burning, but ultimately you can't really try and play his music or develop from there. So about that we agree again, fully.

Chambers is personal thing - I'd never say he's not an outstanding bassist, he's just not a personal favourite. Sam Jones on the other hand, that huge sound, the time ... he and Louis Hayes (as an amateur musician - saxophonist - I can somewhat relate how scary, and yet how great, that gig must have been! Wow!) form one of the finest unsung rhythm teams in jazz, with Cannonball. They're making it sound so simple, but that's pure deception.

Carter again is not a favourite of mine, but I like his playing on many albums (including all the material with Miles) and on some I really do love his contribution.

Btw, what do you think of Stephan Crump?

[San Antone]

Cheers! Enjoying this discussion a lot!

Me too.   

I'm not too big on LaFaro really ... he lacks to oomph

Marc Johnson and I were at North Texas State University together and we stayed in touch throughout the time he was with Bill Evans.  I happened to sit down with them one night when they were on break and Bill told me that the recordings never captured Scottie's full tone or presence.  Apparently he had oomph.     What a great loss.

Btw, what do you think of Stephan Crump?

His name is completely new to me.  Who's he played with?

[king ubu]

Marc Johnson and I were at North Texas State University together and we stayed in touch throughout the time he was with Bill Evans.  I happened to sit down with them one night when they were on break and Bill told me that the recordings never captured Scottie's full tone or presence.  Apparently he had oomph.     What a great loss.

That's very interesting! And yes, of course a terrible loss, at that young age ... too many died way too young in those days, speaking of car accidents most notably also Clifford Brown (and Richie Powell along him ... alway's loved Richie Powell's touch a lot, although he's of course no real match for his genius brother - but there's not much of a point in such comparisons).

His name is completely new to me.  Who's he played with?

He's been with the Vijay Iyer trio for a while (several albums on ACT and ECM), and with Iyer's Sextet, too (its ECM album is one of my favourite jazz releases of the year).

Other than that I mainly know his Intakt releases: two in duo with Mary Halvorson (saw that duo - as well as the Iyer trio - live as well), one with Steve Lehman, a mighty good trio disc with Ingrid Laubrock and Cory Smythe, and the latest one by his trio with Kris Davis and Eric McPherson, a live recording that was just released and is excellent I find, a very spontaneous affair.

[San Antone]

He's been with the Vijay Iyer trio for a while (several albums on ACT and ECM), and with Iyer's Sextet, too (its ECM album is one of my favourite jazz releases of the year).

Other than that I mainly know his Intakt releases: two in duo with Mary Halvorson (saw that duo - as well as the Iyer trio - live as well), one with Steve Lehman, a mighty good trio disc with Ingrid Laubrock and Cory Smythe, and the latest one by his trio with Kris Davis and Eric McPherson, a live recording that was just released and is excellent I find, a very spontaneous affair.

Well, that's embarrassing, I guess I have heard him since I've listened (apparently superficially) to Vijay Iver's recordings (but not that much since he's all over the place stylistically and I've never gotten a handle on who he is as a pianist).  Whatever; I must not have noticed the bass player's contribution but will go back and make a point to listen more closely.  I'm not a fan of what I've heard from Mary Halvorson, which is from some years back.  I know she has a following, but her sound struck me as cerebral and without swing. 

I can't believe I've made several posts about bassists and failed to mention Dave Holland - a great, great, musician, band leader and bassist extraordinaire.  One of my personal faves.  Rufus Reid, another not well known guy who was huge in NY and influenced many players.  Some others not well known but highly respected Ratzo Harris; Wayne Darling; Harvey Swartz; James Singleton (New Orleans); and way too many to mention.

[king ubu]

Well, that's embarrassing, I guess I have heard him since I've listened (apparently superficially) to Vijay Iver's recordings (but not that much since he's all over the place stylistically and I've never gotten a handle on who he is as a pianist).  Whatever; I must not have noticed the bass player's contribution but will go back and make a point to listen more closely.  I'm not a fan of what I've heard from Mary Halvorson, which is from some years back.  I know she has a following, but her sound struck me as cerebral and without swing. 

No problem, I can relate to both ... took me a while to figure out that Crump is pretty amazing, but those Intakt albums (not the one with Davis/McPherson!) are rather, yes, cerebral, I guess ... that's the Halvorson/Laubrock/Rainey connection there, which I remain ambivalent about, too, but have seem some fantastic live sets (Halvorson in trio and with Laubrock/Rainey, too ... and Laubrock with Sleepthief, both with Braxton etc. ... lots of interesting stuff there, but no hard feelings if someone's not into any of that).

However, check out "Break Stuff" (the Iyer Trio's ECM album) and most importantly Iyer's current ECM release, "Far from Over" with the sextet! Those are both outstanding in my book!

I can't believe I've made several posts about bassists and failed to mention Dave Holland - a great, great, musician, band leader and bassist extraordinaire.  One of my personal faves.  Rufus Reid, another not well known guy who was huge in NY and influenced many players.  Some others not well known but highly respected Ratzo Harris; Wayne Darling; Harvey Swartz; James Singleton (New Orleans); and way too many to mention.

Okay, Holland, of course! Though his own albums as a leader kind of got boring to me over the years. The early ones are excellent though and I have no doubt he's still a great bassist. He is on the new Anouar Brahem disc on ECM, too, and that's another very nice surprise among the many good jazz releases of this year.

Rufus Reid I've heard on many albums but rarely paid attention to what he actually does (which is not necessarily a bad thing, though I love to follow bassists when listening to some album repeatedly, guess I should do more of that with him!) - Darling, Swartz and Singleton I only heard occasionally and on CD only, Harris is a name I've heard, but not sure I ever heard him play.

Mentioning Harvey S. brings up Cameron Brown (the other duo partner of Sheila Jordan's) ... though he again is not exactly a favourite - but he's great in that duo and elsewhere on record (again, never saw him live - that's one of the bad things about living in Europe, when musicians happen to appear somewhere, if you can't make it that night, it might have been your only chance ... and many don't get any gigs over here at all, of course).

--

EDIT: Thread duty, since I just changed the disc ... revisiting the latest in the excellent series of albums Tom Harrell has put out on Highnote:



Speaking of fine bass players, Ugonna Okegwo (who probably had his first "come to fame" gig with Jacky Terrasson's trio in the 90s - their take of "Love for Sale" with the bass-line of the Headhunter's "Chameleon" is still galores of fun!) has been a trusted cohort of Harrell's for many years - when I saw the quintet many years ago (already with Okegwo, but I think everybody else was different back then), they did a couple of duos which were amongst the highlights of the night.

[San Antone]

Vijay Iver Trio with bassist Stephan Crump and drummer Marcus Gilmore



I decided to listen to this trio as a result of the previous discussion. Not much swing going on here. 

[San Antone]

Vijay Iver Trio with bassist Stephan Crump and drummer Marcus Gilmore



I decided to listen to this trio as a result of the previous discussion. Not much swing going on here.

Gave up on Vijay and went to two by Tony Malaby first The Signal Maker with Tom Rainey and Mark Helias (someone we didn't mention before, but excellent) and then Adobe with Paul Motian and Drew Gress.



Much better.   

[SimonNZ]

^i thought Iyer's Historicity was a particularly fine album.

now:



Ray Draper - The Ray Draper Quintet featuring John Coltrane (1958)

[San Antone]

One of my favorites of 2017

Nightfall
Quercus
April 28, 2017



Combines my love for folk ballad singing and the ECM soundscape.  Only borders on jazz.

[king ubu]

Gave up on Vijay and went to two by Tony Malaby first The Signal Maker with Tom Rainey and Mark Helias (someone we didn't mention before, but excellent) and then Adobe with Paul Motian and Drew Gress.
...
Much better.   

Alright ... maybe you'll find Crump somewhere else over the years. And true, Helias is excellent. Saw the trio live once but am somewhat ambiguous about Malaby. Also saw Helias in trio with John Surman and Pierre Favre - and that was plain amazing (it was Favre's concert and he was free to put together a band with guys he wanted to play with).

Played these two for the first time:



Both in more than tolerable sound, but alas the piano of Tete Montoliu's is a bit too far back on the Griff & Lock (which has an odd cover as it's clearly Griff and Lock and not Griff with a guest or something). Lots of fire on that one, and an excellent ambiance in the club that comes across very well on the recording. The Shaw is poised, his playing impressive as ever, the band in excellent shape (Turre, Miller, James, Reedus). Two winners.

I also have the Hubbard and Baker on the piles, probably will play them tomorrow or over the weekend. Didn't yet get the Elvin Jones and Dizzy Gillespie (nor any of the blues/soul ones).

[Alek Hidell]

Here's a couple I've been listening to lately:



Bean is superb as always. A fine album - I have it as a download only so I don't know the details, but it's obviously put together from different sessions (hence the album title, I guess ), including a couple of live tracks at the end.

The Walcott I've actually not finished listening to yet. This is a sound that's not likely to appear in jazz again - very much of its time - but of course, given that lineup, it can't be anything but good.