THE GIG

Another (Live) Top 10

Pop and Jazz Concert Highs of 2011

(With Jon Pareles, Jon Caramanica and Ben Ratliff)

Miles from the Vault

Miles Davis, Live at the Apogee

Arts & Leisure, Sept. 11

Art Transplants

Playlist, Aug. 21

Sam Yahel, Frank Ocean, Blitzen Trapper,

Motif with Axel Dorner, Newport Jazz Festival

George Wein on the Airwaves

 

A while back, I interviewed George Wein for a 14-minute segment on the BBC radio show Jazz on 3. It aired and was archived online for a week, though I forgot to check for it. My producers kindly dropped a disc in the mail, and the conversation struck me as worth sharing. 

George Wein Interview (Jazz on 3) 

One thing that may strike you about the interview -- as it struck Jez Nelson, the host of Jazz on 3 -- is just how much credit Wein gives to the emergent generation, musicians like Darcy James Argue, Rudresh Mahanthappa and Miguel Zenón. Some of this, for an audience-seeking promoter, is merely a matter of adaptive survival. 

But some of it reflects a recent change in Wein’s outlook, which Ben Ratliff hit upon earlier this year. “It’s the way you listen to music,” explains Wein in the clip above. “I’d go out and hear musicians and I didn’t think they were playing the real jazz. I was looking for something I wanted to hear. I stopped doing that. I stopped looking for something I wanted to hear; I started looking for something the musician wanted to play, which I should have been doing years ago.” 

If that last part sounds familiar, perhaps you heard Wein say it at some other point over the last 60 years. He said something awfully similar at Newport in 1956, as Sam Stephenson recently reminded us in his Jazz Loft Project Blog. (By the way, Sam: I am fairly certain George would chuckle at those other comments today, especially the one about Armstrong playing at less than one-tenth of his potential, a common, misguided view among connoisseurs at the time.)  

I’ll leave it at that, except for the usual disclosure about my relationship with Wein. That of course is one reason why I haven’t weighed in on the value of his festivals, though it hasn’t prevented me from passing judgment on individual concerts.

P.S. -- Thus stipulated, the CareFusion Jazz Festival Newport, which Wein addresses toward the end of our conversation, will run from Aug. 6 to 8. More here.

P.P.S. -- And if you’re seeking more recent commentary from Wein, he also spoke with Scott Simon of NPR’s Weekend Edition. This clip aired in June.

 

The Oughts, Meet the Dustbin

Part Six 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: Nate Chinen

 

Hey guys,

I was supposed to come up with the next link to this chain over the weekend, but snowfall and football turn out to be wicked procrastination-boosters. I do have some thoughts, though, beginning with this quotation:

“When you look at the history of jazz, everybody who made significant contributions to that music never really saw it as a kind of music. Anybody who can shed that preconception of what jazz is or is not, or should be or shouldn’t be, and can just approach it as human endeavor, I think will find something to resonate with here.” -- Vijay Iyer  (via EPK )

The polls and picks are mostly in, and it looks like Iyer just might have had the consensus choice for best jazz album of 2009. Ben, you had his Historicity as your top dog, irrespective of genre (more on that in a sec). A casual perusal of the 50 JazzTimes critics’ ballots shows that only one voter, editor-in-chief Lee Mergner, had it quite so high -- but also that it appears on 12 total ballots, the same tally as Joe Lovano’s Folk Art, which came in just ahead at #1. 

I’m no numbers-cruncher, so I won’t pursue that gauntlet further. But I’ll gladly pick up another one, the one Iyer throws down in his statement above. Throughout this roundtable so far, we’ve heralded artists who make their way without most of the old hang-ups, ducking the heavy drag of genre obligation. 

Reflecting on that fact this weekend, I got to thinking about this first decade of the new century, and what it has meant for jazz, in some loose sense. Others have done this recently, including my man David Adler, who provides a kind of personal tour on his blog. Over at the Slate Music Club, my model for this email exchange, there was a subplot concerning the best handle for the 2000s, which has been known in some starchy circles as “the Aughts.” Carl Wilson kicked around a few ideas, settling on “the Singles” -- part nod to “Single Ladies,” part acknowledgment of the iTunes-abetted devaluation of the album. But since that trend doesn’t really apply to jazz, here’s another possible option: “the Oughts.” (Indulge me here for a minute, guys.)

 Remember how this decade began? So much agita over definitions! On the one hand we had imposing cultural arbiters (right) telling us what jazz ought to be: blues-based, swinging, firmly rooted in the African-American idiom. On the other hand, there was the countervailing response, which spoke to a Balkanization of jazz, literally and figuratively (cf., the Knitting Factory). At that end of the spectrum, the thinking was that jazz ought to be open-ended and exploratory, not so serious all the time. (Maybe their version was the Naughts, or the Nots.) Of course this is a wildly reductive take on the “jazz wars,” itself a wildly reductive term. 

The point is that we can now survey the Oughts in terms of a cycle of action and reaction. For much of the last decade, jazz was a pendular protectorate, swinging (or not) back and forth between entrenchments, toward some contested new center of truth. Look at Historicity -- or, for that matter, at Folk Art, which resides so comfortably in today’s modern mainstream only because that center has shifted. (Whether we can all admit it is another story.)

I’m not saying that Lovano is inventing a new syntax, or even that Folk Art is more “adventurous” somehow than, say, Congo Square. (We could play this game all day.) But I am indeed arguing that the “preconception of what jazz is or is not, or should be or shouldn’t be,” to borrow Iyer’s formulation, has buckled enough to allow for a wealth of new shoots coming up through the cracks. And there’s no zero-sum game anymore: you can dig Håkon Kornstad and Joe Lovano, the Bad Plus and James P. Johnson, Wynton and Dave. 

If I had to designate a jazz artist of the decade, it would probably be pianist Jason Moran, who has gone out of his way, again and again, to deal with jazz tradition in an honest and personal way. (No accident that Moran is the present-day artist who closes Jazz, the new Giddins-DeVeaux book. Marsalis held down that spot in Jazz, the Ken Burns film and ultimate Oughts artifact.)

There’s one more thing to be said about Moran and Iyer -- and Iverson, whom we’ve also invoked, and Darcy James Argue, whom I can’t believe we haven’t. Each of these musicians has taken it upon himself to articulate his own ideas: about his music, about his influences, and about much more besides. Hank, you shouted out Iverson’s interviews at Do The Math; I’m guessing you’ve already seen his latest bit of jazz criticism too? And has everybody read Iyer on Monk (and physics!), Steve Lehman on spectral music, and Argue, just today, on Bob Brookmeyer? Hard to keep up with it all, right? And just think, we haven’t even gotten to Wynton’s Facebook notes. Has there ever been more transparency, more dialogue, more open-source debate, in all of jazz history? 

I’ll end with a photo: the Vijay Iyer Trio backstage at Newport this summer, with drummer Billy Hart and WBGO producer-host Josh Jackson. What’s good about jazz in 2009? You’re looking at it. One facet of it, anyway.

 

That’s it for my hand in the roundtable, fellas. I’ll pass the aforementioned gauntlet your way, keeping in mind that the holidays loom. Farewell to the Oughts and all that; Hello to whatever’s rounding that corner!

Across Space and Time

 

Playlist, Dec. 6

Beyoncé, Blakroc, Daptone Gold, Newport Jazz, Supersilent

 

Newport From the Vaults

 

Update: Hear here.

I haven’t heard much noise around the recent news that Wolfgang’s Vault, the online concert repository, has acquired the rights to recordings from the most glorious years of the Newport Jazz Festival. This surprises me a bit. The initial batch of music, available as a free stream or reasonably priced download, consists of full sets by Dakota Staton, the Count Basie Orchestra (with Joe Williams and Lambert, Hendricks & Ross), and Art Blakey & the Jazz Messengers, all from 50 years ago. As Ben Ratliff notes in the piece linked above: “There are chillingly good performances in the 1959 crop, from half-inch three-track tapes mixed for stereo, made with stage microphones that pick up the nuances of the drums and the growls of the band members.” And more, much more, is apparently on the way.

Newport in Pictures

Back from Newport, with the pictures to prove it. This was my first time prowling around with a camera, which was both fun and a bit daunting. (To call me even an amateur photographer would be charitable.) For more official coverage, check the NPR package, which comes complete with audio. Some of my shots are after the jump; the festival will be the subject of my next JazzTimes column.

Festivals, Meet Your Sponsors

[Update: More from Ben Ratliff and NY1]

 The news is sure to spread in more polished form once we’re finished gawking at the Jackson memorial, but in the meantime here’s the gist of today’s announcement by George Wein: he has a sponsor not only for this year’s Newport festivals, but also for a series of events that includes New York in June 2010.

Up the Lazy River

I’ll be away from all things computer-related through the holiday weekend, but wanted to leave up something fitting. Here’s a celebrated set by Louis Armstrong and his All-Stars from July 7, 1958.

 

Pops wasn’t really born on the Fourth of July, but that’s what everyone thought back then, and it still seems fitting enough to be true. I love everything about this clip. The languor-turned-frenzy of the band. The sociological crowd-reaction cutaways. Jack Teagarden. And of course the mighty Armstrong, in frankly stupendous form. Set aside 10 minutes and watch the whole thing. Or, if you don’t own it, track down a copy of Jazz on a Summer’s Day. (Start here.)

More to come on the blog next week. Happy Fourth of July.