Category: Recommendations/Reviews

I’m not sure how I first became aware of Kenny Werner’s new CD, Lawn Chair Society. It might have been through a magazine ad, or possibly through an online New York Times review of a recent performance by the quintet. I have dug Kenny Werner since my early 20’s when he played with Mel Lewis’ Jazz Orchestra, so the idea of a Kenny Werner CD was interesting to me, but then I read that the band was Chris Potter, Dave Douglas, Scott Colley, and Brian Blade, and that interest ramped up a couple of levels. These guys are all favorites of mine. Interestingly, the album was produced by Lenny Picket. Yes, that Lenny Picket.

The album starts off in a manic kind of vibe. It is energetic in a way that is almost nervous. I like it. It has the kind of energy that won’t let my body be still. It’s not necessarily a funky dance thing, just an energy that causes me to move my body. There are electronic elements to this music, and in the liner notes Werner refers to it as his first “electronic voyage.” I don’t know if I would call it an electric album though. The heart of the music is acoustic, and the electronics are just one of the colors present. It at times calls to mind Douglas’ Keystone, and Potter’s Underground. I almost hate to even draw those comparisons, because someone will think they sound nothing alike, but they evoke similar vibes for me, and I think if you like Underground or Keystone, you will dig Lawn Chair Society.

While much of the album has the frenetic energy I mentioned above, there are a couple a drastic departures from that vibe. The fourth track, “Uncovered Heart”, is beautiful and sensitive with an arresting melodic presentation from bassist Colley. The ninth track is entitled “Loss”, and that is what it sounds like. It is deep and dark and moving. This flows into the trance-like “Kothbiro”, which closes the album with a slow and gradual journey from the dark back into a brighter place, then on to a peaceful conclusion. I realize that this may make the album seem a bit bipolar, but it really rides a nice organic curve that takes it to all of these spaces.

Full Disclosure: I didn’t buy this CD, but was given a copy by the promotion firm that is handling this release. It arrived unexpectedly, but serendipitously, because earlier that day I had thought to myself that I needed to order a copy of this CD.

Another recent eMusic grab is Alvin Fielder Trio’s A Measure of Vision, with Chris Parker and Dennis Gonzales.

I have had the pleasure of meeting and visiting with Alvin several times in New Orleans. He is always wonderfully sharing with his time and knowledge. Most of my exposure to his playing has been in groups with Kidd Jordan. He sounds great with Kidd, they have a long history and a real musical empathy. It is nice to hear Alvin in a different context however. It has let me experience other aspects of his musicianship.

I bought Ab Baars Quartet’s Kinda Dukish some time ago, but haven’t taken the time to write about it. It is pretty abstract for big chunks of time, then comes in for some standard jazz devices that are almost old school cliche. It’s a nice mix, and scratches a bunch of different little itches.

Rob Mazurek’s Exploding Star Orchestra’s We Are All from Somewhere Else is a new eMusic pick up for me. It is very good, and Mazurek has the excellent taste to have three of my fellow Lucky 7s on the band: Jason Adasiewicz, Josh Berman, and Jeb Bishop. Jeb sounds like those low long tones have been paying off ;). This disc is full of rich textures with cool grooves and some mesmerizing trance spaces.

Live at Barbes: A Review

I recently reviewed Live at Barbes by The Four Bags for the Online Trombone Journal. Check out the review here. It is an excellent CD. I highly recommend it.

Here are some choice quotes from the Cadence Magazine review of the Lucky 7s Cd Farragut.

The originals are interesting, the ensemble plays loose or very tight depending on the needs of the moment and the solos are inspired. …You may already know Jeb Bishop’s work with Vandermark, Brotzmann, etc. The presence of Albert brings out the best in them both.

The ensemble plays a raucous, yet controlled form of Jazz that has some of the joy of old New Orleans style yet is thoroughly Post-Bop in its inflections.

The opening piece, “Stitch,” is a microcosm of all that is strong in this band. Swinging ensemble, an interesting head, a dynamic rhythm section that builds intensity in response to the heat of some great solos.

This is modern ensemble Jazz of the highest caliber. Grab this one!

You read what the man said…

King Bolden’s often has a pretty eclectic mix of patrons. Last night that eclectic mix included French Quarter regulars who had been there watching big screen NFL playoffs all day, and the hard core New Orleans free jazz fans, who were there to hear Han Bennink.

The performance was scheduled to start at 8 PM. I got there right at 8, hoping I hadn’t missed the start. Han was sitting behind his drums, and the Colts/Pats game was being projected on the wall. It was the beginning of the fourth quarter and I was told that the concert wouldn’t start until the game was over. That was the bad news.

The good news was that the volume from the TV was off, and there was a Lee Morgan record playing. Han just sat and played along with Lee, et al. for much of the next hour. That was an interesting insight.

The concert started about 9. The small room was pretty crowded. The enthusiastic music fans had crowded around the drumset which sat in the middle of the floor. Only the 10 or 12 people closest to Bennink could really see him, but the sound was pretty good throughout the room. He played about a 45 minute set of solo drumset. It was all based in steady pulse, if not overtly grooving. The performance was engaging and not overly serious. The whistle/sing along of “Whistle While You Work” was fun. He also told the talking frog/drummer joke.

King Bolden’s is on North Rampart Street. If you look out of the window of the club, you see Congo Square, the historical significance of which was not lost on Bennink.

The second half of the concert was a duo with Bennink and Kidd Jordan. Due to uncontrollable family obligations, I only heard the first few minutes of this, and it seemed like it was going to be pretty happening.

From the Jan/Feb 2007 issue:
Jazz | JazzTimes Magazine CD Reviews

The creative music scenes of Chicago and New Orleans join forces in the Lucky 7s septet, presented here live and raw. Neatly balancing abstraction with fat, chewy grooves, the band gleefully stomps through compositions by co-leaders Jeb Bishop and Jeff Albert, pulling back occasionally for stark atmospherics or somber ensemble sections. Jason Adasiewicz’s cool vibraphone work adds an intriguing extra dimension to the second-line rhythms and ballsy horns in this dynamic north-south summit.

I have acquired a lot of music in the past couple of months, and have intended to write about much of it, but the going has been slow.

I will start with a great new CD on Delmark, by my Lucky 7s colleague Keefe Jackson. Ready Everyday is the new album from Keefe’s band Fast Citizens. It is a pleasing balance of composition and freedom. The band is excellent. Frank Rosaly and Anton Hatwich provide a great feeling drive and swing, and the improvisations are excellent.

I have to give some props to the other member of the Lucky 7s on this album, cornetist Josh Berman. I know Josh is bad from playing with him, but everytime I hear him on something new, I dig his stuff even more. That’s also an indicator of Keefe’s sucess as a bandleader; he puts the musicians in situations that allow them to shine. Check out Ready Everyday, it is well worth it.

Selecting Christmas music in my house is usually the source of some great disgreement. I like all the freaky jazz versions of Christmas tunes, which my wife thinks are way too weird, and the stuff she likes, I think is way too cheesy.

We always end up finally agreeing on the Charlie Brown Christmas soundtrack.

It has been reissued with 4 alternate takes and groovy new packaging.