THE GIG

Spare Parts

New Music, Feb. 7

Tim Berne, "Snakeoil"

Miss Otis Regrets

Jennifer Taylor for The New York Times

Keith Jarrett

Carnegie Hall, Jan. 25

The Piano, at Night, with You

 

Lonely Voyage of Player, Piano and Audience

Arts & Leisure, July 3

(More on this topic here next week)

Manu a Manu

Manu Katché

Highline Ballroom, July 1

Wistful Thinking

Ralph Towner and Paolo Fresu

Italian Academy at Columbia University, March 24

Dream Music

Playlist, Feb. 28

Paul Motian, Freeway, Xiu Xiu, Good for Cows 

Joe Lovano’s Us Five

Village Vanguard, Feb. 24

Hitting the Road

Part Four of a year-end email conversation with Andrey Henkin, Peter Margasak, Ben Ratliff and Hank Shteamer. (Jump to: 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 )  

From: Andrey Henkin

 

 

Dear Nate, Ben, Hank and Peter,

I’m glad I got a later slot in this Algonquin round email. I could simply react to what everyone else has said thus far. I agree wholeheartedly with Peter in his assessment of Chicago. Having made my first trip out there for the Umbrella Music Festival in early November, I was impressed by the sort of community-building that scene of musicians engages in, something I find woefully lacking in New York.

Sure, there are circles of musicians here but I find far too few porous borders (let me book The Stone for a month and I’d bring together some interesting first-time collaborations: Peter Evans/Jeremy Pelt duo, anyone?). That said, since Obama has already displayed a penchant for plugging his adopted home state -- be it through the Olympics debacle or the just-announced plan to move Guantanamo inmates to a Northern Illinois prison -- he should listen to Peter and invite somebody new to play at the White House. My vote? The Peter Brötzmann Chicago Tentet (above). With Chicagoans, Germans and Scandinavians, it seems a perfect band to reinforce the notion of global engagement. What would Steven Colbert have to say about that, I wonder? (One other note on Chicago: Muhal Richard Abrams/Fred Anderson duo as part of the AACM concert series...one of my gigs of the year.)

 And using Umbrella as a jumping-off point, let me also echo praise lavished on Akira Sakata (left). I knew his work through Yosuke Yamashita mainly but had the chance to see him twice this year, once in Sweden in March and then at Umbrella. Both times he played with his trio of bassist Darin Gray and drummer Chris Corsano. Nate mentioned sax trios... this is the best one out there for my money. Playing free jazz well is tapping into something internal and Sakata-san has an unending wellspring.

And Chris Corsano is a drummer exemplifying musicians not limiting themselves to jazz or noise or whatever. Any of us who saw his trio with Evan Parker and Nate Wooley at The Stone in October should agree.

Segueing from Japan to debuts, check out Nobuyasu Furuya’s sax trio on Clean Feed, Bendowa. The Portuguese label releases so much and from so many high-profile artists, a disc like this can get overlooked. Darius Jones’ album was a remarkably mature debut. I forget who described him as coming out “fully formed” but I think that is an accurate assessment. And as Hank mentioned, tapping Cooper-Moore and Rakalam Bob Moses was inspired. So much so that when the band played at the AUM Fidelity showcase at Abrons Arts Center in October, Moses’ absence (replaced by the younger and more frenetic Jason Nazary) was too much for the band to overcome. And lastly on the debut thread, after years of being so impressed by John Hebert’s deliciously open concept of bass playing (learned at the proverbial knee of Andrew Hill), his debut Byzantine Monkey was a dynamic first statement.

Håkon Kornstad is probably the most interesting saxist out there these days in terms of the breadth of his projects. The duo with Ingebrigt Håker Flaten was remarkable and Dwell Time just as much. He recently played that music live at Monkeytown (which is really growing on me as a venue for this kind of music), and I am most captivated by an “avant-garde” saxist who appreciates and strives for beauty above all else:

Not to bring things down, but one instance of the supergroup that disappointed me greatly this year was the Five Peace Band, with Chick Corea and John McLaughlin. I heard the record and wasn’t very impressed and live at Jazz at Lincoln Center in April (a booking nearly as surprising as Ornette Coleman), the band seemed flat in the way only fusion bands can, which is to say, hyperactive yet hypoglycemic. Maybe Corea was tired from non-stop touring for the last couple of years but what’s McLaughlin’s excuse? Why can’t such an amazing player finally find a project that will make everyone forget about the Mahavishnu Orchestra? 

As we enter a new decade, I am encouraged by all the labels supporting jazz and “related configurations”, to borrow an WBAI term, like the aforementioned Clean Feed, Intakt, Kadima Collective, No Business and even a resurgent ECM (great albums by Miroslav Vitous, John Surman, Evan Parker) as I am saddened by New York’s demotion in terms of “Jazz Capital of the World.” In January, I am making a trip to Philadelphia to see the Circulasione Totale Orchestra, who are skipping New York on a small tour, as do most traveling musicians. Club bookers either draw from the same pool of musicians or we have the curator model, which is nice but hardly inclusive. 

Tonic remains empty and festivals held in small Austrian villages outclass anything we have here. I never have a problem choosing my Shows of the Year but find myself looking forward more and more to trips out of town.

Questions, Answers

In the unlikely event that you’re reading this blog and don’t also keep tabs on Do the Math, a.k.a. the Bad Plus web journal, maintained by pianist Ethan Iverson: do not miss the Tootie Heath interview now posted there. (Go right ahead, we’ll still be here when you’re finished.)

Iverson, whose interviewing mojo I have hailed here before, does his usual fine job of coaxing insights from an under-sung jazz legend. I won’t step on the results except to pick up where they leave off, with Tootie on Sonny: “This is what I felt about Sonny Rollins: that he could play anything I played back at me, twice as fast and twice as good.” Iverson then posts video of an “On Green Dolphin Street” recorded in Denmark in 1968. What’s above is from the same session, which can be legally obtained as part of the Jazz Icons DVD series. (Heath begins an easygoing, melodic drum solo at 6:45, though you’d be crazy not to sit through the preceding stuff first.)

And while we’re on the subject of interviews, I’d like to take a moment to plug tomorrow evening’s conversation between critic Gary Giddins and ECM Records majordomo Manfred Eicher, both giants in their respective fields (and, I’m happy to attest, both excellent practitioners of dialogue). The event is free and open to the public; details here.

Finally, a quick programming note: I will be on Soundcheck tomorrow to talk about the Vision Festival’s 28-hour marathon this weekend. The show airs from 2-3 p.m. EST, on WNYC 93.9 FM. You should be able to listen live on the website; an archive will probably appear on Friday. My host will be John Schaefer, another expert interviewer, and an open-minded fellow besides.