Born February 27

Dexter Gordon (1923-1990) would have been 82 today.


What I'm Listening To - February 23rd

On Joshua Redman's 2000 release, Beyond (Warner Brothers), you can already hear the funk and rock inspiration that characterizes his current funk-jazz project, the Elastic Band. However, this band is completely acoustic (Aaron Goldberg on piano, Reuben Rogers on bass, and Gregory Hutchinson on drums), while with Elastic, Redman employs Sam Yahel on organ and keyboards and Brian Blade on drums.

On "Belonging (Lopsided Lullaby)," the time signature is practically undescernable. (Is it in 7? Is it in 13?). Redman and Goldberg trade choruses, playing with ease as if it's in 4. Hutchinson thrashes the drums, propelling the music forward. On "Leap of Faith," Redman and band are joined by tenor saxophonist Mark Turner, who is often said to be influenced by Redman. (I bet the influence moves both ways.) The song starts with Redman and Turner performing a subdued duet, before the rhythm section joins in to play a melody that sounds similiar to "Still Pushin' That Rock" from Redman's electric Elastic. According to his website, Redman has his next CD coming some time this spring from Nonesuch Records.


Deep Song

As is the case at other major record labels, Verve's jazz roster is falling apart. Most of their recent releases are by smooth jazz musicians (David Sanborn) or mega-selling singers (Jamie Cullum), and then there are the never-ending reissues. However, on March 1, in a welcome exception to this trend, Verve will issue a new CD by a deserving player: guitarist Kurt Rosenwinkel's Deep Song. I was lucky enough to recieve an advance copy.

Much of Deep Song focuses on intricate arrangements, rather than the usual head-solo-head format. On songs like "The Cloister" and "If I Should Lose You," Rosenwinkel and band (saxophonist Joshua Redman, pianist Brad Mehldau, bassist Larry Genadier, and drummers Jeff Ballard and Ali Jackson, trading turns) spend more time exploring the melody than the solos. Rosenwinkel and Redman play winding, trance-like melodies over the rhythm section's quiet, intricate vamps. In this way, Deep Song is out of the Miles Davis "Nefertiti" tradition.

You can hear Rosenwinkel singing along with himself as he plays the melodies and solos. His voice is so pure, that I had assumed it had been overdubbed until cochise told me otherwise. His voice lends a meditative feeling to the music.

Occasionally, the band steps out to play in a more swinging style. On "Cake," A Rosenwinkel tune based on George Gershwin's "Let 'Em Eat Cake," the rhythm section masterfully changes the feeling under the soloists: from waltz, to march, to the pulse of a mid-1960's Wayne Shorter band.

Among Verve's new releases, Rosenwinkle's Deep Song is an anomaly in that it is actually interesting. Lets hope Verve keeps him on its roster.

Pat Metheny is Coming to Town

I'm not sure if I'm going to be able to be able to catch the Pat Metheny Group when it comes to the Kuumbwa Jazz Center on March 2, but Cassie of JazzWriter saw it in Illinois, and here's her review.


Musician's Musicians

I've been going on some transcriptions sites (saxsolos.com, Charle's McNeal's website, Pick's Place, etc.) and the modern saxophonists they transcribe are people like Jerry Bergonzi, Michael Brecker, and Bob Berg. Musicians who, with the obvious exception of Brecker, have never had a lot of mainstream popularity but have been highly respected by other musicians. Who are some other saxophonists like that? Also, I want to pick up some recordings with Bob Berg (I hear the work he did with Chick Corea was really good). Are there an particular CDs of his you would recommend?


Watson, Redman, Goldings, Villela, and McCoy

The following are the concerts and master classes that I can remember having attendeding since my last post (I might be missing some):

Bobby Watson Clinic: December 10 at Cabrillo College. Bobby emphasized practicing the way you improvise: only play patterns that you would play over a song, don't just practice for the sake of moving your fingers.

Joshua Redman Elastic Band with Sam Yahel and Brian Blade: I attended on December 28, both sets, and December 30, the late show. This was the first time I'd ever heard him lead his own band (I'd heard with the SFJazz Collective) and had never been that into him. At one point during the show onf the 30th he played a phrase in the high altisimo of his horn that was extremely melodic and powerful: most have trouble just getting the notes out. He has complete control over his instrument, as did the other members of the "Elastic" band. Sam Yahel managed to keep a funky base line going on one keyboard while soloing on another and applying sound affects with a third. My one complaint was that the music wasn't consistent enough -- I wish he had stuck more with the fusion rather than divide the time between that and the organ trio format.

Larry Goldings Trio: January 10, early show, at the Kuumbwa Jazz Center. He was with guitarist Peter Bernstein and drummer Bill Stewart. There was a really organic atmoshpere to it, like a jam session, as they played through their repertoire which consisted of standards, orginals, and Ray Charles songs. Also at the break Larry was busy hawking CDs for a certain Johnny "Bowtie" Barstow.

Claudia Villela with Kenny Warner: January 24 at the Kuumbwa. This was a show of two great performers who just didn't mesh. Claudia Villela was trying to be like Bobby Mcferrin with the vocal acrobatics, singing the bass line and drums. She's good at it, but it distracted from Kenny Warner's playing. I wish she'd just sing the song.

McCoy Tyner with Stanley Clarke and Billy Cobham: January 25, the late show, at Yoshi's. This was the best I've ever seen McCoy. The whole band was really into the music. Stanley Clarke took a bass solo that had the whole house roaring with his melodicism and virtuosity. They have played together before, and know eachother so well, that at points they changed into a latin or gospel feel withouth even exchanging a glance. Can't wait till next year.