The Intersection: Parov Stelar

The Intersection is an occasional feature on jazzmusic24 that looks at artists that blend jazz with electronica (a tradition pioneered by none other than Miles Davis on such classic recordings as On The Corner).
This week's focus is Parov Stelar

Close your eyes and listen to the music of Parov Stelar, Austrian DJ, producer and head of Etage Noir Recordings, and you can easily picture yourself sitting in some posh boutique hotel lounge, sipping a pomegranate martini and thinking about that hottie you met at the club the night before. You invited him/her to join you here in the lounge this evening. Will (s)he come? Who cares... as long as you can groove to Parov's stellar blend of jazz- and swing-spiked house and breakbeat grooves.

Parov has four full-length albums (not to mention a "best of") and many EP's and singles. The most recent album is Coco, which continues to mine catchy samples from obscurity and revitalize them with modern beats and grooves.

jazzmusic24 caught up with Parov via email this week to find out why his grooves swing.

How did you get hooked on using jazz/swing samples?

Because the recordings from that time sound so great! You can feel the groove, and the mood is like nothing else in today's recordings. You can´t simulate it with a plug-in.

How do you select the samples?

Sometimes it feels like the samples actually select me : ) It´s not always so easy; you might already have the groove, but no sample fits. It´s a bit like picking up a woman in a bar -- it depends on whether the right one is there and wants you too.

Why jazz/swing and not something else (soundtracks, soul, rock)?

It´s more about the sound than about the genre. Not surprisingly, I love to listen to jazz, but not exclusively.

Who are your favorite classic musicians?

Well, it´s obvious, I think some musicians influence me so much that you can hear it in my music -- not always just with the sound, but with their attitude or with the mood of their work. I think Art Blakey is a great example.

Who are your favorite contemporary acts?

There are so many, but right now you can find a lot of tracks by Riva Starr in my playlist.

What makes your latest album Coco your best album so far?

Coco is a mixture of all stylistic elements I´ve been using so far. A special kind of work exhibition (as there are not old but new works), and a collage of the different moods of my soul. It sums up the whole "Parov Stelar" vibe but also leaves enough perspective for upcoming things.

What's next for Parov Stelar?

I am working on a new EP which will be released in may. And, together with the A.G. Trio, I´m working on revitalising Etage Noir Special, the electro sublabel of my label Etage Noir. Also, in the next months, there will also be a lot of concerts and DJ-sets.

Kenny Garrett: Bebop Into The Future

Kenny Garrett (sax; b. 1960)

Detroit born Kenny Garrett learned a lot as one of Miles Davis' session and touring band members during Miles' final years (1987 - 1991). He has also played with Woody Shaw (a major influence), Freddie Hubbard, Geri Allen and Art Blakey to name a few. His style has always been compared to Sonny Rollins, Sonny Stitt and definitely John Coltrane. But while the influences are there, Kenny Garrett has managed to create his own path and voice over the course of 15 albums. Garrett has shown himself to not only be a solid performer but a versatile one as well. He incorporates raw soulful grooves into his repertoire regularly, which makes many of his albums quite adventurous as well as refreshing.

There is a very solid block ('92 - '96) in which Garrett was prolific, thought-provoking and in clear grasp of his what he wanted to deliver to the public. For anyone, the albums Black Hope, Threshold, Triology and Pursuance (all on Warner Brothers) are all worth seeking out. For me these are 4 star albums of the highest order.

My personal favourite, Triology (Warner Brothers, 1995) is a fantastic record performed by a young artist that showed a myriad of ideas. The strength of his performance as well as his trio featuring Kiyoshi Kitagawa, Charnett Moffett (bass), & Brian Blade (drums) made Triology a worn out CD in my house for almost two years. The album included a nice mixture of standards and originals, all played with fresh verve and distinctive virtuosity. Standards like "Night And Day" & "Giant Steps" glide well against Garrett's own "Wayne's Thang" and "Oriental Towaway Zone" with true honour and respect to the foundations of jazz. The main thing for me has always been that some of the standards are very challenging to perform as a trio (without piano or trumpet) especially Coltrane's "Giant Steps," and towards the end of the album Dave Brubeck's "In Your Own Sweet Way," but Garrett's trio pull this off with great ease and beauty.

Triology, among the aforementioned albums, is perfect for any music lover (jazz fan or not). Hope you dig them.

Polar Bear: ...to everyone--WAKE UP!

Polar Bear (group)

Mark Lockheart (sax)

Peter Wareham (sax)

Sebastian Rochford (drums)

Tom Herbert (bass)

Leafcutter John (electronics)

If you are looking for the future of jazz, Sweden, Norway and England are places you should be right now. Polar Bear are among a long list of bands from the UK "collective" scene originating with two jazz communities, F-ire and Loop, that are truly reshaping the Jazz to come (that's me taking liberties on Ornette Coleman, sorry).

Polar Bear is the slightly calmer twin of Acoustic Ladyland (featuring two of its founding members), who released my favourtie album of 2009, Living With A Tiger. I originally discovered Polar Bear while waiting for a flight at Gatwick Airport. I was in an airport HMV store and found their first album for just 3 quid. I had read about them in a couple of magazines on my trip but couldn't find anything until I got to the airport. I decided for 3 quid, what the hell. It was the best 3 pounds I had spent on the entire trip and I have been a fan ever since.

Polar Bear may exist in a similar world as Acoustic Ladyland but they are carving out a jazz palate that is still adventurous but stays within the traditional idiom. Led by drummer Seb Rochford, the group is a formidable unit with staggering talent that grows with each record. They have recorded three critically acclaimed albums that are a must for all jazz fans. Polar Bear's first three albums Dim Lit (Babel), Held On The Tips Of Fingers (Babel) and Polar Bear (Tin Angel) all capture a young band that is inventive beyond its years but also one that wants to continue to push the envelope to see what else can be done.

Their 2008 self-titled album lays in some quiet grooves for emotional effect while still keeping their post bop adventurous edge as on as songs like "Sunshine" and "Leafcup". Then, there are great combinations of the avant garde and electronics as heard towards the end of Polar Bear with the song "Sounds Like A Train To Me". A truly original band displaying the creative tendencies you normally would see in an artist like Dave Douglas or Jason Moran, if this isn't Polar Bear's year to finally breakout in the U.S., I will be extremely pissed off.

The London based quintet, release their 4th album, Peepers (Leaf Label) on March 1 and it delivers a clear statement to the rest of the jazz community--wake up and start doing something new!

This is probably my album of the year. Yes I realize we are only two months into a new year but when you make an album like this, everyone needs to step back and take notice. Peepers moves open step ahead of their previous efforts. Peepers has a heavier sound and more descriptive elements as apparent on songs like "Drunken Pharaoh" and "A New Morning Will Come". The always reliable Polar Bear kinetic, experimental energy is still there as evident with "Scream," and "Want To Believe Everything".

With Peepers, Polar Bear have made an album that combines their distinctively British qualities, American influences and European experimentalisim into one cohesive vision that for me is absolutely phenomenal. Of the records you buy this year please, please, please make Peepers one them. HIGHLY RECOMMENDED.

Polar Bear are also offering a FREE download of the titled track, Peepers. You won't be disappointed. And finally, check out their new video for "A New Morning Will Come."

Atomic: Challenging The Nature Of Things

Atomic (band; formed 1999)

Fredrik Ljungkvst (saxophones, clarinet)

Magnus Broo (trumpet)

Paal Nilssen-Love (drums)

Ingebrigt Håker Flaten (bass)

Håvard Wiik (piano)

Swedish-Norweigan band Atomic has established itself as one leading bands in Europe. While on first listen you might think this is a free-wheeling avant garde group; you quickly notice that there is a more than just Ornette Coleman and John Coltrane influences going on here. They use these influences as a platform for even more creative explorations. The band is truly a set of equals. All the band members have a say in the writing process which makes each of their albums a solid experience from beginning to end. With 5 albums under their belt, not to mention the individual albums and studio sessions each member contributes too, Atomic are becoming one of the preeminent bands in Europe. The bands improvisational style is similar to that of The Vandermark Five. But where V5 uses sheer force to make its point, Atomic reacts with subtle yet crafty stories making their case in more cerebral form. It's an intriguing mixture of low key personalities and wide arrangement of ideas that come together beautifully.

I really don't have a favourite album. It's been really hard to choose. The last two albums (Retrograde and The Bikini Tapes (both on Jazzland Records)) are three CD sets and not for the uninitiated. If I was pressed I would say go for their debut, Feet Music (Jazzland) which will build the foundation for you. This is free jazz but with a modal structure and direction that you will find ultimately enjoyable.

Sidsel Endresen: That Nordic Voice

Sidsel Endresen (voice)

Photo: C.F. Wesenberg

Sidsel Endresen has been a fixture on the European scene for over 20 years. She has released only a few albums under her own name (eight at last count). She is definitely an artist that might define her music as world (World the genre). While aesthetically the music may be grounded in European jazz--use of sparse arrangements and electronic atmospherics and abstruse lyrics, Sisdel Endresen has created a body of work which is truly original, impressive and influential.

In recent years she has been working with the well-known pianist Bugge Wesseltoft who has surrounded her lyrics mystic with modest yet highly emotional instrumentation. Endresen's albums are more an exploration of voice as instrument than the instruments supporting her. While don't expect everyone to get her I believe she is someone more people need to know about and hear for yourselves. She has also worked with fellow Norwegian, Nils Petter Molvaer and the pairing of her hypnotic voice and Molvaer's muted/electronically tempered trumpet is truly astounding. Those of you familiar with Nusrat Fateh Ali Khan, Sheila Chandra, Diamanda Gallas and combining that with the jazz experiments of Joni Mitchell might also find Sidsel Endresen quite rewarding.

For me the most accessible album might be Out Here. In There. (Jazzland). Out Here. In There. features a nice blend of both Sidsel's folkish/jazz tinged vocal treatments and Bugge Wesseltoft's excellent electronic work as shown of tracks like "Heartbeat", "Survival Techniques" and "Hav". A moody little record that is both engaging and sophisticated.

Sidsel Endresen is an artist reaching beyond rhythmic structure and forcing the listener to view things outside of their comfort zone. This minimalistic approach has made her one of the most soft-after performers and teachers in Europe and a cult figure here in states. I won't try to explain it anymore than that. Take a listen and let me know what you think.

THE HIGH COST OF CANCER IS UNNECESSARY

WHAT REALLY IS THE CAUSE OF ASTRONOMICAL COSTS IN HEALTHCARE?

“Even patients with so-called "good" employer-provided insurance may face co-payments, co-insurance, deductibles over multiple years and coverage restrictions. The average medical debt for cancer patients with private insurance at the start of their illness was $35,878 in 2005, according to a 2005 Harvard University study of the causes of bankruptcy.

Cancer-care costs are rising at a rate of 15% per year, almost three times as fast as health-care costs overall, and the newest cancer medications cost thousands of dollars per month.”

http://www.marketwatch.com/story/surviving-cancer-and-keeping-your-nest-egg-intact-2010-02-04?pagenumber=1

AND THIS IS JUST “AT THE START”. FROM THE SAME ARTICLE:

“In 2007, doctors discovered breast cancer in then-47-year-old Roseanne Nabhan. The Portage, Ind., woman underwent 28 weeks of radiation therapy and a lumpectomy to remove the malignant tumor and today she is free of her cancer -- but not her medical bills.

“Of about $60,000 in total costs, her insurance, a catastrophic-coverage individual plan, only paid $3,500. "I spoke to everyone at the radiation center and was really upset," Nabhan said. "I told them I'm a waitress/bartender who earns $18,000 a year, what can I do? I can't hand over my entire income."’

HERE IS AN ALTERNATIVE SOLUTION:

ALTERNATIVE MEDICINE. MAYBE IT IS TIME TO REALLY CHANGE THE SYSTEM. SO FAR, ALL ANYONE IN THE GOVERNMENT HAS DONE IS TINKER WITH THE SAME OLD MEDICAL MACHINE, TRYING TO GET MORE MILEAGE OUT OF A POLLUTING, DIRTY ENGINE THAT IS INEFFICIENT AND INEFFECTIVE.

WHAT WE NEED IS, TO ALLOW OTHER MORE INNOVATIVE MEDICAL TECHNOLOGIES TO HAVE AN HONEST CHANCE TO COMPETE. SO FAR, THE FDA, THE AMA AND OTHER VESTED INTERESTS HAVE MANAGED TO SUPPRESS ALL EFFECTIVE NEW MEDICAL THERAPIES IN THIS COUNTRY. SOME COUNTRIES LIKE GERMANY, WHILE NOT ENDORSING NEW AND EXPERIMENTAL MEDICAL TECHNOLOGIES, STILL ALLOW THESE TO BE USED IF THE TREATING PHYSICIAN SO CHOOSES, E.G. OZONE, RIFE, ETC.

“Insurers generally cover IV treatments upfront, but oral agents, which cost $5,000-$6,000 per month, fall under prescription benefits which some policies dictate that the patient pay the pharmacy and wait for reimbursement.”
http://www.marketwatch.com/story/surviving-cancer-and-keeping-your-nest-egg-intact-2010-02-04?pagenumber=1

DOES INSURANCE REALLY COVER THE COSTS? CAN IT CONTINUE TO DO SO IF WE STRAIN AN ALREADY FALTERING SYSTEM? AND WHAT OF THE SIDE EFFECTS AND THE DAMAGE THAT THE CURRENT INVASIVE AND DESTRUCTIVE THERAPIES PRODUCE? MANY ALTERNATIVE THERAPIES LIKE OZONE AND RIFE HAVE NEXT TO ZERO SIDE EFFECTS? AND THE COST?

“I think we can agree that $224,725 is a lot of money! If you add the amount I paid to the amount that insurance paid, you'll see that the cancer centers received about 62% of what they billed. In some cases, insurance paid all of the billing. In most cases, they paid 50-70%. In a few cases, I have no idea how the provider is able to operate, as insurance paid only 15% of the billed amount!”
http://www.alixnorth.com/what-does-it-cost-have-cancer

THE COST OF TREATING A CANCER PATIENT WITH OZONE OR RIFE THERAPIES IF SELF ADMINISTERED CAN BE LESS THAN TWO THOUSAND DOLLARS? EVEN WITH A REPUTABLE ALTERNATIVE DOCTOR, THE COST IS NEGLIGIBLE COMPARED WITH CHEMO, SURGERY OR RADIATION. ANOTHER REASON WHY THERE IS SO MUCH RESISTANCE FROM THE ESTABLISHMENT----MONEY!

“Ron Paul is one of the few physicians serving in Congress, and one of even fewer Congressmen who are trying to decrease government involvement in your health care.

In terms of your health, Ron Paul:
• Wants to expand your ability to use alternative medicine and new treatments
• Opposes legislation that increases the FDA‘s legal powers
• Believes the government should never have the power to force you to get vaccinations”
http://articles.mercola.com/sites/articles/archive/2010/02/06/interview-congressman-ron-paul-on-health-care-bill.aspx

THE PEOPLE NEED TO KNOW THAT THERE ARE INEXPENSIVE, EFFECTIVE ALTERNATIVES TO THE CURRENT MEDICAL SYSTEM WAY OF DOING THINGS, ESPECIALLY DOCTORS. IF THEY ARE REALLY DEVOTED TO CURING THEIR PATIENTS AND NOT JUST ETERNALLY SUPPRESSING SYMPTOMS WHILE IGNORING CAUSES, THEN THEY WILL WELCOME THIS. RIGHT NOW, THE MEDICAL SYSTEM IS CRUMBLING UNDER ITS OWN WEIGHT. IT NEEDS CHANGE, REAL CHANGE. WE ARE DRIVING IN THE WRONG DIRECTION AND NO AMOUNT OF TINKERING WITH THIS PRESENT SYSTEM WILL MAKE THINGS BETTER. WE HAVE TO CHANGE DIRECTIONS AND GO TOWARD WHAT WORKS. WE HAVE TO OPEN MEDICINE TO THE SAME INNOVATIVE REVOLUTION THAT HIGH TECHNOLOGY HAS ENJOYED. WE NEED TO STOP ALLOWING VESTED INTERESTS TO RESTRICT MEDICAL RESEARCH IN AREAS THAT CONFLICT WITH PRESENT GIANT FINANCIAL INTERESTS OR WE WILL CERTAINLY GO THE WAY OF THE ROMAN EMPIRE AND OTHER SOCIETIES THAT FELL VICTIM TO THE GREED AND AVARICE OF ITS OWN CITIZENS AND LEADERS.

SOME GOOD SOURCES OF INFO:

RIFE THERAPY
http://www.rifeenergymedicine.com/


OZONE THERAPY
http://oxygenmedicine.com/


COSTS OF CANCER
http://www.cancer.org/docroot/MIT/content/MIT_3_2X_costs_of_cancer.asp


WHAT DOES IT COST TO HAVE CANCER? AND GOOD ARTICLE
http://www.alixnorth.com/what-does-it-cost-have-cancer

Thelonious Monk: Yin/Yang at the Five Spot

Thelonious Monk
Live In New York Vol. I
(Explore Records)
Charlie Rouse (sax)
Ahmed Abudl-Malik (bass)
Roy Haynes (drums)

As some jazz fans may know, the legendary Five Spot Club in New York was the center for many a historic performances from the Thelonious Monk Quartet in 1958. A ban of performing in New York City due to a previous drug charge had been completed and Monk had just finished up a date at the Newport Jazz festival the prior month. The first dates were in August with his standing trio of Ahmed Abdul-Malik (bass), Roy Haynes (drums) adding fiery saxophonist Johnny Griffin. These dates have been preserved on two great albums In Action (OJC) and Misterioso (OJC).

In late September of '58 Monk was looking for a new saxophone player as Griffin had decided to continue on with his own band. Griffin and Sonny Rollins both told Monk to hire a young cat out of Washington D.C. named Charlie Rouse. And the rest would be history. Charlie Rouse was one of most underrated saxophonists of his generation. He melded incredibly well to Monk sometimes complex compositions.

The Five Spot would be Charlie Rouse's first performance with Thelonious Monk and it is astounding. The recording, is rough from the sound quality perspective (this would really only be for the collector) but the playing is unbelievably tight and on fire. There very few miscues that many would notice during this date. The band pushes each other to reach some incredible highs throughout the night including Monk staples "Rhythm-a-nig" and "Friday The Thirteenth". While this date is historic for being the first date of Charlie Rouse it is Roy Haynes playing that also steals the show.

Fast, slow, fast. Intense, beautiful and soaring. The album feels the way a live "bootleg" should (club noise, announcements, muffle, fizzle and a lot of talking by Monks companion at the time who recorded the date) and it's great to seat and listen to loud. I always loose myself in the sound and the atmosphere whenever I listen to it. Live In New York isn't the album I would recommend to anyone that isn't a die-hard Thelonious Monk fan; but if you are it worth seeking out and its not expensive at all. A really cool document that closes out an interesting period during '58 where Monk would meet his yin to his yang--marvelous stuff.

The footage below is much later but it highlights how well Monk and Rouse sounded together.

Tomasz Stanko: In From The Shadows

Tomasz Stanko (trumpet; b. 1942)

Tomasz Stanko is one of the premier European trumpeters on the scene today. He acknowledges and relishes in his Miles Davis influence whenever he is asked. But when you listen to his albums or see him live you realize there is something much more going on here than just an appreciation of the late legend. He is truly starting break away from the comparisions.

Tomasz Stanko began his career in the apprenticeship of fellow Polish composer and musician Krzysztof Komeda, known to most of the world as the composer of many of Roman Polanski's best psychological thrillers like Rosmary's Baby and Knife in the Water. These were haunting soundtracks, but (in the case of Knife) they were also beautiful jazz albums typified by the elegance of Tomasz Stanko's trumpet.

Tomasz Staknko has released a number of albums since the late 60's. For the uninitiated I would recommend you go straight for the collection entitled Selected Recordings (ECM). Selected Recordings covers a good amount of the material he has done with his long standing relationship with ECM Records.

The new album Dark Eyes (ECM) is nothing short of brilliant. The album is highlighted by a new band that marvelously constructs Stanko's vision of sparse but evocative rhythms into an enjoyable investigation of sound and emotion. The addition of guitarists Jakob Bro has added a new element to Stanko's usually calm and consistent quartet. I had always felt that Tomasz Stanko's devotion to Miles was running into a brick wall on his last two records but Dark Eyes has a whole new voice and direction that I have been enjoying for a few months now. The title track "The Dark Eyes Of Martha Hirsch" is fantastic. It's origins stem from a painting exhibition he visited. Stanko has also included two compositions from the legendary musician/composer, Krysztof Komeda. While including Komeda material is nothing new for Stanko it is the cohesion of the band that has makes these two tracks ("Dirge For Europe" and "Etiuda Baletowa No.3") standout for me.

The fresh lineup change has really breathed new life into Tomasz Stanko's writing. The album's mixture of Stanko's excellent attention to the detail of every note as well as a fresh ideas his new band have incorporated makes Dark Eyes my favourite Tomasz Stanko album in years.

In addition, I hope you would take the time and investigate the following albums for the sublte dark beauty of Tomasz Stanko throughout the years.


Balladyna (ECM; 1975) A phenomenal album with solid production work. Quiet but still very inventive at a time when many other artists (Europe and America) were trying figure out how to combine fuse jazz and funk together into something rhythmic for the masses. This is not that type of record. Stanko's solos on this record highlight his influence as well the attention to beauty that Chet Baker always demonstrated in the studio.

Bluish (Powers Brothers; 1991) While there are a couple of albums from the 80s I could mention, the majority of that period is disappointing to me but Bluish--done with a European line up including Arlid Anderson (bass) and Jon Christensen (drums) is fantastic and moves from dark introspection to lively inspiration with tremendous precision. Each of these musicians are known as highly revered masters in the jazz community. Bluish is just one example of their great work together.

Leosia (ECM; 1996) This is one of the best jazz albums of the 90s and probably Stanko's best album. Also featuring an all European quartet including drum legend Tony Oxley. All of the album shines due to the individual performances, and it sounds like there is no true leader as Stanko allows the band to have complete freedom but you see that he is always the link that holds the session together.

Soul Of Things (ECM; 2001) After a brief three year hiatus from 98-01, Tomasz Stanko returned with a new younger quartet of Polish performers for the album that I think might be the best introduction for anyone unfamiliar with his work. This is a slow melodic session for which all the members are in complete harmony. Its an album that you have to sit down and listen to all the subtleties that wind there way through this magnificent recording. Soul Of Things is by far the album I have most recommended to my friends time and a time again. If you do get into any of these album please let me know your thoughts.

Leon Parker: The World Is A Drum

Leon Parker (drums, percussion; b. 1965)

With an idea of explore how far one can take rhythm within and outside jazz, Leon Parker has shown that imagination, creativity and aesthetic can erupt in the smallest and sparsest of places. Leon Parker use of percussion's and drums was different from the onset. To me he must have been influenced by the late, great legend, Billy Higgins. He did a great bit of gigging in the New York scene before getting a gig with Columbia records which saw him becoming one the most talked about musicians during the '90s heyday for jazz scene. At the time artists like Wynton and Branford Marsalis, Roy Hargrove, Christian McBride, Jeff "Tain" Waits, Charlie Hunter and others were stepping into the gap left by Miles, Monk, Dizzy and others.

While there were certainly a wealth of jazz drummers at the time ("Tain" being one of the most high profile) none seemed to be doing something different, original and rewarding like Parker. Leon Parker worked as a sideman with fellow artists such as Dewey Redman, Charlie Hunter, Dave Kikoski, Sam Newsome to name just a few. His albums seemed to combined the natural elements of modern jazz but his use or lack there of of most of his drum kit (using just the cymbals at times) gave the music a "world" or African atmosphere.

His debut album, Above & Below (Epicure) featured a jarring but funky versions of Monk's "Beshima Swing," "Epistrophy" and some very cool percussive work on Dizzy's "Caravan". Parker is also helped on his debut by some even more impressive work from Mark Turner, Joshua Redman and David Sanchez (sax), and the always enjoyable Jacky Terrasson (piano). This is an impressive and inventive debut that is unavailable at the moment but you may be lucky enough to find it at some better used record stores.

His next two albums, Belief (Columbia, 1996) and Awakening (Columbia, 1998) grow on the concepts from the debut but incorporate more percussion and world music themes. Belief starts is with a really cool Caribbean themed "Ray Of Light" that set a nice groove for the album. It has a nice balance of bop and world influences that take the album one step ahead from Above & Below. You can really start to hear Parker coming into his own as a leader and composer on Belief. Awakening while starting off funky levels out with another Caribbean drum tinged "It Is What It Is" and slide you into the lovely, spiritual journey of "Mother Earth". Awakening might take a few listens as it seems Parker might have been given a great deal of freedom in this recording. The emotion and ideas come alive and well worth the experience.

It would take until 2001 for Leon Parker to record another album, The Simple Life (M) which was emulates Parker's diverse talents by being recorded in various settings (live, studio, and even on the street). It includes some wonderful by Monk again as well as a few reimagined originals from the Belief album. Leon Parker's music has a rhythm and tone that is spiritual, haunting and beauty all within the short period of listening to just one album. He is a real talent that I hope starts to record more frequently. Check out the great live work with Jacky Terrasson's band.

 

Dexter Gordon: The Long Tall Legend

Dexter Gordon (sax; b. 1923 - d. 1990)

The Classic Blue Note Recordings

Dexter Gordon was raised in California and learned clarinet, alto and tenor saxophone by age 15. He got two big breaks in 1944 when he performed with the legendary Flectcher Henderson and then Louis Armstrong's band. He would also learn a great deal lyrically from saxophonist Lester Young. Gordon became a sought after musician and the technical grasp and creativity gained from Young made him one of the leading artists in the '40s and early '50s. Standing at over 6ft, Dexter Gordon loomed large on the scene (hence the nickname "Long Tall Dexter"). He would also become a major influence on Sonny Rollins and John Coltrane. His recording career was long and spanned a number of famous labels (Savoy, Dial, Prestige, Blue Note and Columbia to name a few).

The first Gordon album I heard was Our Man In Paris (Blue Note, 1963). It featured mostly standards -- as was typical of the era -- but it was the sheer confidence and forceful execution of Gordon's horn playing that captured my attention. The album is also driven by the incomparable Bud Powell on piano along with Pierre Michelot (bass) and Kenny Clarke (drums) filling out an exciting rhythm section. This was a sort of comeback album for Gordon as he was slowly rebuilding his career in Paris at the time, though he never truly lost his chops.

Gordon's career with Blue Note was stellar. There is a wealth of albums that are worth owning but I think most people should really gravitate to a great collection, entitled The Classic Blue Note Recordings. This is covers a good chunk of albums recorded between '61- '65 and includes a lot of the best known recordings. Gordon was incredibly prolific during this period. His playing was fully bodied and emotionally in tune with every note. For me its felt no clearer than on the lovely and powerful "I'm A Fool To Want You" and the one of the best versions of "Don't Explain" you'll hear (next to the original from Billie Holiday). I don't think many people could go wrong with this one.

Dexter Gordon would continue recording some very consistant and always amazing records for the next 3 decades. He made stellar comback in the late '70s with true document of jazz Homecoming: Live At The Village Vanguard (Columbia) which would send his career to yet another level of success. He would later go on to star as a jazz musician in the movie 'Round Midnight which also garnered an Academy Award nomination. A musician who has performed and influenced generations of future legends, Dexter Gordon's career is one of beauty and distinction that is almost unpararlleled. The Classic Blue Note Recordings is the perfect place for you to start to hear a legend in his prime.

Gerald Clayton: Two-Shade

Gerald Clayton (piano; b. 1984)

Two-Shade (EmArcy)

Gerald Clayton is a well experienced pianist with an excellent grasp of tradition. He has worked under and with some of the best musicians of recent years including Kenny Barron, Benny Green, Mulgrew Miller and his father and uncle John and Jeff Clayton (bass and sax respectfully). For me Clayton's style is more reminiscent of Benny Green in that he can be exciting and playful but with the agility to create a passionate and highly emotional atmosphere with his ballad work.

Gerald Clayton served in Roy Hargrove's band for the trumpeters most recent recordings (Earford and Emergence). This is were I first heard him and was struck at how mature his playing sounded. On Two-Shade (EmArcy), his debut as leader, he shows no signs of fear. One of the earliest tracks on disc, "Trapped In A Dream," demonstrates his musicianship and writing with rich reward. He can play it big as well; with his trio stretching out on the slightly funky groove of "Two Heads One Pillow." My favourite track, "Peace Of The Moment," is a ballad that exhibits a melodic beauty and inventiveness that many of his contemporaries cannot even construct.

The majority of the album are Clayton originals excluding two tracks (Cole Porter and Dizzy Gillespie standards) and they are truly noteworthy. His trio consisting of Joe Sanders (bass) and Justin Brown (drums) also show great command and fellowship within Clayton writings. Clayton develops a voice quickly with Two-Shade and its a wonderful journey to travel on with him and his band.

Two-Shade is a marvelous debut that is not only enjoyable and memorable, it has made a statement that Gerald Clayton is a dynamic performer and composer and may reach the next level faster than we might think. Highly recommended.

Oscar Peterson: The Gentle Giant Of Jazz

Oscar Peterson (piano; b. 1925 - d. 2007)

Considered by many to be one of the greatest jazz pianists ever, the Canadian born Oscar Peterson deployed an highly enjoyable, inventive and improvisational style that captured the hearts of audiences for a half century. You can put Peterson in the same category as Bud Powell, Thelonious Monk, Bill Evans and Art Tatum as the true legends and innovators of jazz piano. Just as Gillespie's and Armstrong's gregarious style entertained audiences on record and in concert, Peterson demonstrated his style's similar panache and great dexterity. Peterson's legacy might touch more younger pianists than we will ever know (artists such as Benny Green, Diana Krall, Gerald Clayton and Cyrus Chestnut).

The legacy is solidified through the treasure trove of material that is available. And while that is fun for some of us jazz fanatics to global trot in search of as much as we can, some of you may just want the basics. Let me first say you probably wouldn't go wrong with any Oscar Peterson record. His ability was greatly influenced by Art Tatum and Nat Cole but he really gained significant recognition after a performance at the legendary Carnegie Hall in 1949. This led to a long career with Verve Records and hundreds of recordings including classic trio sessions with Ray Brown (bass) and Ed Thigpin (drums) as well some outstanding solo dates.

And while Peterson did record for a number of other labels, the bulk of the best known dates were for Verve and MPS (out of Germany). Peterson was not only an incredible performer but he was also an astounding composer, the latter of which seems to not be discussed that often. Many in the jazz circles have decried that Oscar Peterson was just an interpreter of recordings and not an innovator. I highly disagree with this assumption. While I missed my one and what would turn out to be the last opportunity to see Oscar Peterson in 2007, I'm sure I would have seen the magnificent beauty of a Peterson live show, but I would have also witnessed the immaculate dedication to his writing and the precision of his technique.

In addition to the aforementioned trio sessions, Peterson also recorded lovely dates with trumpeter Clark Terry, Dizzy Gillespie, Milt Jackson, Stan Getz, and a few years prior to his passing, Benny Green - an artist I think holds the mantle high for Peterson. If you have been interested in Oscar Peterson and didn't know where to start I would highly suggest an import compilation entitled Piano Moods: The Definite Oscar Peterson (Universal). Piano Moods covers great material on Verve and MPS from '59 - '71 and includes a nice selection of trio, quartet and solo performances. Another good compilation is The Song Is For You (Verve) which covers a large portion of the American Songbook (Irving Berlin, George Gershwin, Cole Porter, Duke Ellington and more)--very enjoyable.

And lastly, the one compilation that might be the easiest to find is Perfect Peterson: The Best Of The Pablo and Telarc Years. Perfect Peterson condenses things to the sum of the most important tracks but also covers the label material after Verve. This could be a complete overview but I think by picking up all three (there's very little overlap) you do get the full picture of an artist who was also in command. Oscar Peterson is definitely one the pillars of jazz and you really should check him out if you ever get the chance.

Happy Valentine's Day

Diverting from the script today. In honour of the manufactured holiday called Valentine's Day, I wanted to celebrate the best the way I could.

Everyone...I give you...PUBLIC IMAGE LIMITED and "The Flowers Of Romance."

San Francisco Jazz Collective: History & Beyond

SF Jazz Collective (group; 2004)

Founded in 2004, SF Jazz Collective is a non-profit collective (usually an octet) of rotating musicians (young and old guard). It's main members have been founder Joshua Redman, vibe legend, Bobby Hutcherson along with pianist, Rene Rosnes, Matt Penman (bass), Miguel Zenon (sax), Eric Harland (drums) and new members each season.

Some (including myself) have called it the West Coast version of Jazz At Lincoln Center, but that all-too simplifies it, and does not do this incredible ensemble justice. Unlike JALC's over-reliance on Wynton Marsalis and the New Orleans heritage, SF Jazz Collective has dedicated each year's performances to different legendary composers (Coltrane, Coleman, Hancock, Shorter among others).

In addition, SFJC members also perform their own original material commissioned specifically for the ensemble. The collectives first two releases are widely available (SF Jazz Collective and SF Jazz Collective 2) and include music of Ornette Coleman and John Coltrane, respectfully. The ensemble has since recorded seven albums (double and triple CD length) of material that is available exclusively through the SF Jazz Collective website. SFJC perform an annual residency that each of the aforementioned CDs is culled from. They also tour (mostly California and selected European dates) annually. The current lineup includes Joe Lovano (tenor saxophone), Dave Douglas (trumpet), Renee Rosnes (piano), Miguel Zenon (alto saxophone and flute), Matt Penman (bass), Robin Eubanks (trombone) and Eric Harland (drums).

Each album is truly fantastic and a real joy to hear how they reinterpret some classic material. I have yet to get the chance to see the group live (although I do own a DVD featuring Thelonious Monk material) but that is not the same as being there. If you are in the San Francisco area you should definitely take the opportunity to check them out - and drop us a line when you do. The group's CDs are a little on pricey side but some of them are either two or three CDs and the material you get makes it well worth the purchase.

It's an undeniably skilled and unique ensemble forging a new direction while maintaining the history of the elders. SF Jazz Collective is a group you should all experience.

King Crimson and Improvisational Jazz

King Crimson (Current Lineup)
Robert Fripp (guitar, soundscapes)
Adrian Blew (guitar, vocals)
Tony Levin (bass)
Pat Mastelotto (drums)
Gavin Harrison (drums)

To many music fans King Crimson is the quintessential prog-rock band, and rightfully so. Since they exploded onto the scene in 1969, the on-again/off-again band -- led by guitar wizard and mastermind Robert Fripp -- has made beautifully sinister music together by melding rock distortion with jazz-inspired improvisation. Yes, some of their early work can sound dated (anyone up for 11 minutes of mellotron misery in "The Devil's Triangle"?). But even some of their most gargantuan numbers (the sublime "Starless" for example) deliver jazz-rock bliss to your ears. If you've ever had the punishing pleasure of hearing Crimson perform live then you can attest to the near telepathic power of the band's ensemble playing and the impressive improvisational gifts of many of its members.

King Crimson's lineup has changed numerous times during the past 40 years. In its early years, the changes happened with virtually every album, with Fripp as its mainstay. It all began with Crim's groundbreaking psych-prog debut In the Court Of The Crimson King (DGM) and its most jazz-like track "21st Century Schizoid Man," which takes some stylistic cues from the free jazz and fusion styles that were fashionable at the time.

Crimson's studio and live recordings from 1969-74 (their most prolific, tumultuous and interesting period) frequently demonstrate the band's improvising jazz model with quasi-spiritual overtones that would normally be associated with the work of Pharaoh Saunders (e.g. The Creator Has A Master Plan) and Miles Davis (e.g. Bitches Brew). A live Crimson album recorded in '72 and available on through the band's website even features a beautiful version of a Saunder's piece that you should definitely seek it out.

The band's improvisational direction strengthened during the '73-'74 period when Fripp was joined by drummer Bill Bruford, bassist/vocalist John Wetton, violinist David Cross and (temporarily) percussionist Jamie Muir. The albums Larks Tongues in Aspic and Starless and Bible Black (all now available on Crimson's own label DGM) clearly demonstrate how Crimson evolved from psych-prog experimentalists to a peerless performing group. This is best heard on the 1974 album Red (DGM). It features some stellar ensemble performances from the core unit of Fripp/Bruford/Wetton with outstanding guest spots from Mel Collins and Ian McDonald on sax, Marc Charig on cornet, and Robin Miller on oboe. The album begins with the title track, which served as a template for later Crim lineups, and is followed by one of my personal favorites "Fallen Angel," and the completely improvised "Providence." Throughout the album, Bruford in particular displays his spectacular drumming chops with true jazz feeling, particularly on "One More Red Nightmare."

Turmoil and disagreements between band members led to Crimson disbanding after Red. However, they reformed at the early '80s, armed with a new lineup featuring Fripp, Bruford, the versatile, inventive Adrian Belew on guitar/vocals and Tony Levin on bass/stick. This lineup focused more on Belew's songcraft and a twin-guitar sound than progressive jazz-rock chops. Although improvisation wasn't the focus during the '80s, the band's music still demonstrated each member's musical gifts. Readers who attended college during the '80s may remember the modest hits the band had with "Elephant Talk," "Heartbeat" and "Sleepless."

After breaking up in the mid '80s, Crimson returned in the mid '90s with a six-piece, but its lineup continued to morph over the next two decades. I remember asking Adrian Belew at a concert during the '90s if the reunion rumors were true and he remarked that "Robert hasn't called me yet. But I'm in if he calls." Shortly thereafter they had recorded THRAK (DGM), an album that married the hard-hitting sound of the mid '70s with the songcraft of the '80s, and in concert the band didn't shy away from improvisation.

With dozens of studio and live recordings available, the King Crimson novice has a wealth from which to choose. It would be a silly and monumental task to acquire each and every one. (I'm still trying to do that from the live perspective.) If you are new to Crimson, I suggest starting with The Condensed 21st Century Guide To King Crimson 1969-2003 (DGM). This rewarding collection was compiled by Fripp himself and is a great way to become acquainted with the band. For those who want a taste of the band's live improvisational chops, try the mid '90s live collection Thrakattak, which is 100% improv.

(This instalment presented by both editors and King Crimson fanatics Vern and Kristopher)

The Giants Of Jazz

The Giants Of Jazz

Live In Europe 1971

(Gambit Records)

Dizzy Gillespie (trumpet)

Thelonious Monk (piano)

Sonny Stitt (alto & tenor sax)

Kai Winding (trombone)
Art Blakey (drums)
Al McKibbon (bass)

This is one of those "I wish I was there" type moments. The Giants Of Jazz as it was billed, toured Europe and Asia. This wasn't the first time some of these musicians had worked together (Gillespie and Stitt worked together regularly as did Monk and Blakey). At this point in their lives, each musician hadn't fully entered into the twilight of their careers but their milestone albums had all been recorded.

They may have been considered "elder statesmen" but they were still smokin' hot during this time. The tour was the brain-child of the powerful Jazz producer, George Wein; Each member of the band put aside their current projects for the tour. You would think that a band of this magnitude would have all sorts of personality conflicts--there were none.

The tour was sort of a comeback for Thelonious Monk who had been in a semi-retirement but felt compelled to join the supergroup. Monk actually sounds like he never left the scene. The dates spanned two years and have been bootlegged in various forms but never truly complete. The most recent release of material includes performances from three shows (Warsaw, Milan and Boblingen); These dates are smokin as well as surprising.

There is the expected overshadowing of the band by the buoyant Dizzy Gillespie on trumpet. Monk does an amazing job on the rendition of Gillespie's material in particular "A Night In Tunsia" and "Woody 'N You." Blakey's precision is spot on; especially on the solo during "A Night In Tunsia" on the Milan date. In turn, the band does a beautiful and delicate balancing act with the Monk penned pieces of "'Round Midnight" and "I Mean You." Don't be surprised if you find yourself moving along to the stellar thread Al McKibbon performs on bass throughout (specifically Blue n' Boogie).

The real stars of these dates are actually Sonny Stitt (sax) and Kai Winding (trombone), as their work carries enormous weight throughout each date. As some of the playing from Monk and Gillespie sometimes seems subdued at points, that might have been only to let the two legendary horn men work their magic...and they do with excellent results.

The Giants Of Jazz Live In Europe 1971 is one of those true gems of a find--if you can find it. It's not a very expensive two disc set, so if you're looking for a real document and an unbelievable lineup that I don't think could ever be matched by today's artists, be on the lookout for The Giants Of Jazz. The title sometimes varies but most recently it has been attributed to Dizzy Gillespie & Thelonious Monk.

Below is a video from that tour. I do believe this exists on DVD which would be awesome to own.

Keith Jarrett: Koln and the ECM Legacy

Keith Jarrett (piano, b. 1945)

The Koln Concert (ECM; 1975)

2009 marked the 40th anniversary of ECM (Edition of Contemporary Music) Records, the eclectic and ethereal label from Munchen, Germany. The label exemplifies the beauty of performance and production. For days I have been trying to figure out my top ten ECM albums but it was getting too difficult and I thought it might end up looking more pompous than insightful. So I thought I would stick with one of the ECM albums I come back to time and time again. The one that always conjures up a deep emotional response. Keith Jarrett The Koln Concert (ECM) is a haunting and emotionally stark recording. Keith Jarrett is probably the most important pianist of the last 50 years.

The Koln Concert is a significant moment for ECM as the album would go on to sell millions. While a lot of the history behind this release talks about how the piano is horrible and not in tune, I have always felt this album shows the delicacy and reflectiveness of Keith Jarrett's compositions. Jarrett sounds like the great classical composers of Shostakovitch, Bach and even Schoenberg.

From the first and second movements, I have always been moved - they move beautifully up and down the scale like speed racing your friends on bikes all the way home before dinner. While the entire concert is a study in improvisation, the third and fourth movements show how that improvisation can be alluring and angelic and paint a lasting memory on the psyche for years to come. To me this is the statement record for Keith Jarrett. This is the album that say Keith Jarrett has now stepped into the same pantheon as Miles, Coltrane, Monk, Powell, Gillespie, et al.

I said a few weeks ago that I had been listening to The Vienna Concert quite regularly but I have always loved The Koln Concert for how it leaves an indelible mark for the love of jazz in your ears, heart and mind. Here's to ECM's 40 anniversary and the lush genius of Keith Jarrett's The Koln Concert.

Small bit of trivia: Do you know the very first ECM album released?