For those who missed out. Australian jazz minimalists played two phenomenal shows back in January of this year. The Necks and the venue the performed at The Issue Project released a free download of the one of the sets a few months ago. Just recently The Necks and Issue Project again release a set from the following night. This is again available as a Free NECKS LIVE Download. If you haven't checked out the necks before this is a good way to get into them for free. And then once you're hooked you can spend your weeks paycheck hunting down all their albums.
For more on The Necks check out the JazzWrap archives.
With the abstract, quirky beauty of Robyn Hitchcock mixed with the delicate romanticism of Blossom Dearie, Jane Siberry and Kate Bush and a last dash of early Kronos Quartet, Denmark's, Little Red Suitcase is a blast of refreshing cool air in 2010. Hard to categorize, Little Red Suitcase span the spectrum of jazz, alternative and avant garde. Utilizing unfamiliar song structures and vocal dynamics, the duo layer their music with delicate touches of both improvisation and straight forward emotion--all resulting in an amazingly interesting and different listening experience.
Those of you not familiar with Kate Bush might also reference Tori Amos (I am no Tori Amos fan but the comparisons might help). Little Red Suitcase's use of improvisation definitely stems from their work in jazz and classical circles of Denmark.
They have recorded two albums, the most recent, Temporarily Out Of Order (Suitcase Records) is a fine blend of minimalism abstract poetry and sad demented love song. "Sailor's Song" is a beautiful tribute of one waiting for their lost love to return played with delightful genre bending brilliance. "Today I Woke Up" and "Rainy Holidays" are both examples of Little Red Suitcase's quirky, whimsical lyricism and perfect pitch musicianship. Both Borchert and Setien were classically trained and it is shows throughout Temporarily Out Of Order. Little Red Suitcase delivers (I think) some sleek feminist quirkiness on the puzzling, funny, yet very inventive "Before It's Gone" which demands that woman follow their dream.
Temporarily Out Of Order follows builds upwards and out from the duo's debut, They'll Learn Much More Than We'll Never Know, which is also worth seeking out. Little Red Suitcase may not be for everyone but they deliver something that at least more lyrically and vocally eclectic than most of what's out now for music fans. The video below is a little rough and raw (all I could find) so you might want to check out there myspace page to listen to more. Little Red Suitcase is well worth discovering. If you are in the U.S. (at least on the east coast) you might want to check them live. I think seeing them will be even more convincing.
Dave Stapleton (piano) Between The Lines (Edition Records) Ben Waghorn (sax) Jonny Bruce (trumpet) Elliot Bennett (drum) Paula Gardiner (bass)
I haven't heard Dave Stapleton's previous albums (two to be exact) so I hope my thoughts here are somewhat on the mark. Stapleton's classical training and a strong dose of Herbie Hancock is apparent throughout his new release, Between The Lines (Edition Records). The album starts with the melodic drone of "October Sky" and then really kicks into gear with the funky psychedelic rhythms of "Horn" obviously the focal point for the Bruce and Waghorn, whom both shine brightly on here and throughout Between The Lines. "Horn" is really killer and set a perfect fresh and exciting tone for the rest of the session.
While the rest of the British jazz community is stretching the boundaries of the avant garde, Dave Stapleton is using the tradition and improving upon it. This is really, really compelling stuff from a band that has definitely been together awhile and knows each other inside and out. "Socks First" shows the delicate nature of the band some truly exquisite simpatico as each member features prominently. The titled track, "Between The Lines" starts with some lovely playing by the rhythm section and some understated piano work from Stapleton. A lovely number for those you wishing for a glass of wine with your jazz.
Lots of funky interplay take place on "Wig Wag" between Paula Gardiner (bass), Jonny Bruce (trumpet) and Ben Waghorn (sax) which could be placed along side some of the better moments of Jools Hollands or mid-period Branford Marsalis works. Fun, exuberant exchanges with lots passion built into ever note. "Under The Cherry Tree" is the band performing a lovely ballad in the vein of Keith Jarrett and Sonny Rollins and moves with great ease taking the album to a wonderful conclusion with "Images" a sparse romantic number highlighting Stapleton's classical tradition on piano and again some great work from Waghorn.
Between The Lines is definitely a contemporary masterpiece among a vast array of Miles Davis, John Zorn, Andrew Hill, Cecil Taylor influenced avant garde that permeates British/European jazz at the moment. For American audiences Between The Lines is a fresh and exciting and you might not find something this well structured yet adventurous from a band in the U.S. all year long. Highly, Highly Recommended.
Many artists from rock to world to jazz owe a huge debt to Brain Eno. Brain Eno is mainly known for his collaboration/production work with David Bowie, Talking Heads, U2, James and more recently Coldplay, but he was also an original member of the late 70s rock band, Roxy Music. Eno arguably, single-handedly created the genre "ambient". The term refers to the relaxing almost ethereal nature of the music as it surrounds or envelops you.
Almost 35 years on from his groundbreaking album Discreet Music (Virgin), his fourth studio album at that point, his influence can felt and heard throughout jazz. Discreet Music utilizes his already superior use of electronics as well as classical training to form an album of free flowing texture and beauty.
Just as Miles Davis' experiments during the late 60's and '70s cast a large shadow over every jazz artist since, Eno's theories and techniques have spawned a new generation of artists to push the boundaries before they even step into a studio to record. Artists such as Arve Henriksen (trumpet), E.S.T. (group), Ken Vandermark (saxophone) and Brad Mehldau (piano) all while not completely influenced by Eno have combined aspects of his "Oblique Strategies" into their music.
Discreet Music is one of those records that is considered a cornerstone of modern music today and it's definitely reccommended listening. Below is an interesting interview that will give you insight into Brian Eno and what he means to music and multimedia.
Unfortunately known mostly as a session man (mainly with Wynton Marsalis and then Branford Marsalis' bands), Kenny Krikland was one of the most sought after pianist of the 80s and 90s. Highly regarded for adding a big dynamic to the aforementioned groups, Kirkland was influence by fellow piansts, Herbie Hancock, Kenny Barron and saxophonist Wayne Shorter. Kirkland got his start in the mid-seventies playing with jazz violinist, Michael Urbaniak and then later with ex Weather Report bassist, Miroslav Vitous.
Kenny Kirkland began playing with Wynton from '81-'85 providing providing many exquisite moments to Wynton's earliest recording (including Wynton's self titled debut and the classic Black Codes). Kirkland left Wynton's band to join former Police lead singer, Sting on touring and for the recording of Sting's first solo record, The Dream of Blue Turtles. The band also included Wynton's older brother Branford. While his association with Sting was brief it obviously raised his profile immensely. Kirkland and Branford both left the band shortly after a massive world tour in support of the release.
Returning back to the jazz scene, Kirkland would join Branford Marsalis permanently from '86 onward. The miraculous and unbelievable thing is Kirkland after all these years had never recorded an album as leader. It wasn't until 1991 that Kirkland would release, Kenny Kirkland (GRP Records). While long in coming it was a fantastic and beautiful album featuring mixture of self penned numbers and covers (Thelonious Monk, Ornette Coleman and Wayne Shorter). The album starts with the formidable "Mr. J.C." with some great work from Branford (sax), Charnett Moffett (bass) and Jeff "Tain" Watts (drums). The albums was a supergroup of nineties jazz talent; in addition to the aforementioned, Christian McBride (drums), Jerry Gonzalez (percussion), Steve Berrios (drums), Andy Gonzalez (bass), Don Alias (percussion), Roderick Ward (sax) and Robert Hurst (bass) all featured on selected tracks.
Another track "Chance", a trio piece with McBride and "Tain" displays the tonal beauty of Kirkland on the piano. Kirkland also tackles the Monk standard, "Criss Cross" with some interesting Latin arrangements that works surprisingly well if at first seems a little jarring. The album does cover a lot of ground, mixing different themes (bop, straight ahead contemporary and Latin) but it does show the breathe and depth of Kirkland's thinking.
This wonderful debut would be Kirkland's only album. He would continue to do session work and playing in Branford Marsalis' band throughout the nineties. In the winter of 1996 Kirkland was found dead in his apartment in New York. It was a devastating blow for the jazz community. Branford would later record and dedicate the album Requiem in Kirkland's honor. Kenny Kirkland was an amazing young talent who was only beginning to come into the peak of his power but his self-titled debut is well worth seeking out as a document of what he provided jazz history.
So here's one of those situation where I was truly confounded over what to do.I'm not a huge Wynton Marsalis fan but I immensely respect what he has done for jazz over the last 30 years. Wynton's discography is enormous and therefore it is impossibly for anyone to know where to start. I have spoken about this before and I would highly recommend that you pick up the compilation, Popular Songs: The Best Of Wynton Marsalis (Columbia) which covers not all but a decent cross section of pieces that will give both the jazz fan and newcomer a good understanding of what Wynton is all about.
My real focus today though is on a seven disc set recorded over a four year period (1990-1994) at the legendary New York jazz club. Live At The Village Vanguard (Columbia) is really for the jazz purist. It embodies three different sets of Maraslis bands and covers a tremendous amount of ground. While this is by no means a comparison to the great and legendary performances recorded at the Vanguard (i.e. Sonny Rollins or John Coltrane) or any of the classic Miles/Coltrane era recordings--it is still a solid document of the most popular jazz musician/historian of the last 30+ years. These are straight ahead hard bop dates so there isn't allot of the deep New Orleans mantra that permeates so much of Wynton's material. At times the dates remind me of the young Wynton during his brief period with Art Blakey & The Jazz Messengers.
Live At The Village Vanguard is pretty by the numbers when it comes to the structure and tone. The bands are tight and play heavy and vigorous. Since its 4 dates and seven disc you can expect nice coverage of Wynton's career up to this point. There is material from his phenomenal fourth album, Black Codes (Columbia; 1985), the Southern trilogy, Soul Gestures In Southern Blue (Columbia; 1988)and the brilliant Citi Movement (Columbia; 1992) in addition to a number of Thelonious Monk covers. For me there isn't a standout of disc in the set but it more the about the performances that have you saying--wow! There is obviously some great solo work from Wynton throughout but one of my favourites is on the Monk cover "Four In One" which Wynton is really smokin'. A Wynton staple "Cherokee" (written by Ray Noble) is featured twice. While not varied both version are still exquisite. There's also some beauty, buzzing work by the entire band on Ellington covers "Play The Blues And Go" and "In A Sentimental Mood".
It's hard to tell anyone in this financial environment that this boxed set is worth picking up (it is relatively cheap) but if you see it used that is probably the best bet for anyone including the casual jazz fan. It's a lot of music but it is played at the highest order and I think that would out way most concerns.
Wynton is still difficult proposition for most jazz fans (myself included) but there are a solid two handful of albums in his catalog that you should definitely take spin with and you should count Live At The Village Vanguard as one of them.
New York mainstay, Dave Douglas is one my favourite trumpeters of the current generation. He is arguably in the handful of musicians who are consistently making challenging and diverse music year after year. Many of my friends feel for this reason he really isn't that creative or originally. Some have said he's like Bowie or Madonna--a chameleon--who becomes whatever their attached to at the moment. Well that might be a good analogy, I think with all three they end up producing some amazing material with whatever might interest them at the moment. And you can't say that about most musicians from any genre currently.
Dave Douglas has worked in various settings; ensembles, quintets, quartets and big bands. He is also a member of another of another New York native, John Zorn's Masada, who are consistently performing and releasing stellar material that confounds critics and listeners alike.
One of the best things I've always enjoyed about Dave Douglas is his live performances. And nowhere else is the originality and technique more apparent than when his quintet performed a six night residency at another one of my favourite jazz clubs in 2006, The Jazz Standard in NYC. I was only in attendance at one date but over the span of six night Douglas debuted new material as well performed critical tracks from a series of albums during that time (The Infinite, Strange Liberation and Meaning and Mystery).
The entire residency was recorded and released as downloads only his own label website, Greeleaf Music, but they later released a 2 disc set that is perfect for the casual fan. Live At The Jazz Standard (Greanleaf Music) is in essence a new album since it features mostly the new material that Douglas had been working on and performing during the residency.
This a group that Douglas has been working with for years so their interaction is impeccable. One of the other amazing things about this set is that Douglas chose to perform on cornet which for the non jazz listens may not make a difference but it what it essential does in this setting is allow the rest of the band to come to forefront.The work by longtime collaborator, Uri Caine (organ) is fantastic and some of the solo work from both Douglas and Donny McCaslin (sax) is truly delirious. These recordings will have going back forth from your Miles electric era to Dave Douglas albums all weekend long.
While most of the tracks will hark back to that golden era of Bitches Brew, Silent Way and Jack Johnson there is no denying that Douglas carves his own stone with songs like "Navigations," "Indian Point," "Seth Thomas," and the lovely blues-inflected "Leaving Autumn". Live At The Jazz Standard also features what is becoming a standard for Douglas "A Single Sky"-- an expansive piece that he has done is various incarnation, more recently on his big band album entitled A Single Sky (Greenleaf Music).
Live At The Jazz Standard is funky, blissful, cerebral and smoothly effective. Dave Douglas is one of the few musicians who can absorb themes and truly create something new and original every single time out. While I would advise die hard jazz fans to download all the dates (definitely expensive--I hope you have a job), everyone else should for sure check out the two disc version of Live At The Jazz Standard for a musician who continues to push jazz forward.
