Wednesday, January 7, 2009

Kind of Blue is 50 and its important we take a minute to salute a classic

November 6, 2008
Kind Of Blue Certified 4x Platinum
FOR IMMEDIATE RELEASE

Still The Best Selling Jazz Album. Ever.

MILES DAVIS PROPERTIES, LLC & COLUMBIA/LEGACY CELEBRATE THE R.I.A.A. CERTIFICATION 4X PLATINUM OF KIND OF BLUE AND RELEASE OF THE 50TH ANNIVERSARY COLLECTOR’S EDITION – KIND OF BLUE


(NEW YORK)Miles Davis Properties, LLC and Columbia/Legacy recently celebrated the R.I.A.A. certification 4X platinum of landmark jazz album KIND OF BLUE , and the release of the 50th Anniversary Collector’s EditionKIND OF BLUE – with a cocktail party at the Beekman Hotel Penthouse (Top of the Tower), that was attended by key Davis alums Jimmy Cobb, Lenny White, Wallace Roney and producer George Avakian among others.

The event also paid special tribute to legendary drummer Jimmy Cobb, the last surviving member from the KIND OF BLUE sessions, with the presentation of a custom made snare drum by Innovation Drum commemorating the 50th Anniversary of KIND OF BLUE.

Event sponsor Wente Vineyards showcased The Nth Degree, a handcrafted, limited production wine poured by Karl Wente, and Russian Standard Vodka served guests the popular specialty drink “Kind of Blue” martini with cavier.

KIND OF BLUE is the #1 best-selling jazz album of all-time and is ranked #11 on Rolling Stone’s 500 Greatest Albums of All Time.
Miles Davis Properties, LLC is run by the heirs of Miles Davis, who include Erin Davis (son of Miles), Cheryl Davis (daughter of Miles) and Vince Wilburn, Jr. (nephew of Miles).



(Pictured Left-to-Right):
Vince Wilburn, Jr.; Erin Davis; Nell Mulderry, Product Director, Kind of Blue 50th Anniversary Collector’s Edition; Jimmy Cobb; Steve Berkowitz, SVP of A&R Legacy Recordings; Cheryl Davis and Adam Block, SVP, General Manager Legacy Recordings.
Photo credit:
Daniel Root.

Monday, January 5, 2009

thrice - the alchmey index EPs



The farther away I get from mainstream rock, the closer I get to Thrice. Sometimes they seem to be the missing link in my record collection between the glory days of alternative rock gone by and the threatening pace of the college/indie scene. Always inventive but not necessarily progressive, the post-hardcore band has taken on two large-scale projects in the last two years: a set of EPs themed around the elements, and a live double-disc surveying most of the band's work since 2003.


The EPs, packaged in pairs, hit the mark when it comes to sticking with a theme. Rather than grouping their newest material into vaguely associated batches, Thrice seem to be taking this experiment rather seriously. I use the term "experiment" because the identity of the band is altered, turned inside out, and sometimes even compromised as they take an additional step past the digital tweaking and power choruses of Vheissu.

Fire comes closest to representing the Thrice of "old", perhaps exploiting the edgiest of timbres the band can produce to characterize the subject of the EP. "Burn the Fleet" deserves a special mention as being a perfectly crafted pop song, usually out of place in the music of Thrice, that stands mightily and clumsily at the back end of this otherwise vicious disc. The cool electronic vibes of Water are where the overarching problem with the Alchemy Index EPs begins to surface: while the musical terrain pulses with timbres that keenly represent each of the four elements, the lyrical subject matter starts to get contrived and a bit troubling to the listener. As achingly beautiful as the music can be over the second EP, especially in the haunting "The Whaler," there are times that these tunes become a group of sea shanties for the 21st century.

Air finds a much less cringeworthy batch of songs balanced on rather light textures, impressive for a band that normally packs an intense aural punch (yes, that is actually a celeste you're hearing!). The third volume certainly achieves the most in a sense of flow and connection among its six tracks, an area where the other three EPs are not as strong. While the first two volumes seem to perplex Thrice at times, Air is constantly creative and resourceful: the band sounds like they are careful in just how much they dig into the digital toolbox and keep the sound of the rock band in primary focus. Like the other EPs, this one ends with a startling amount of inward contemplation, perhaps a brief glimpse at just how vulnerable the next Thrice full-length could be.

The most reaching of these experiments, and ultimately the only one that can really be viewed as a failure, is the final volume of this collection. The band's conception of what would make the earthiest sound, "backcountry" instruments like mandolin, acoustic guitars, and a piano they seem to have pulled from a western saloon, comes off as a parody of a hokey indie act. It isn't a strong look for Thrice, although it is worth mentioning that the cover of "The Earth Isn't Humming" saves the EP for a flickering moment, especially in hindsight of hearing the boring version presented on their new live disc. Ultimately, the EP finds a queasy rally cry in "Come All You Weary" before sputtering out in the vocally over-layered "Child of Dust".

If nothing else, the Alchemy Index EPs are telling of the varied talents of Thrice as a band that seeks a new sound each time they retire to the studio. Almost five years removed from the tunnel-vision hypermelodia of The Artist in the Ambulance, they are due for another record of such strength and weight. Which of the various directions explored in these past few records hold the future of Thrice is yet to be seen.

Thrice - The Alchemy Index, Vol. 1: Fire
3 1/2 breadsticks (out of 5)

Thrice - The Alchemy Index, Vol. 2: Water
2 3/4 breadsticks

Thrice - The Alchemy Index, Vol. 3: Air
4 breadsticks

Thrice - The Alchemy Index, Vol. 4: Earth
1 1/2 breadsticks

Wednesday, December 31, 2008

from a blog i follow: This Shape of Jazz:http://thisshapeofjazz.blogspot.com/

December 31, 2008

"The Night of The Cookers" - Freddie Hubbard

As we all know, the passing of Freddie Hubbard has tragically occurred this week. He was a true legend and the jazz world will be sad to see him go. He played his trumpet with an incredible amount of passion, and weather it was a ballad or an uptempo track, you could always hear it. He was also incredibly universal, stepping out of his element with avant-garde on Ornette's Free Jazz and Dolphy's Out to Lunch, and a hard bop soldier for Art Blakey's Jazz Messengers, as all as a sideman for more post bop-esq recordings with Bobby Hutcherson and Andrew Hill -- this is just a conservative list of what he was able to achieve, and he was successful with all of it.

The Night of the Cookers: Live at Club La Marchal
was originally issued in two volumes on Blue Note. A dual disc CD reissue appeared containing the whole set which I was able to pick up used way back. I believe it may have been the second Hubbard album I obtained with him as a leader. This is an interesting set and I was not really prepared for it being the jazz novice that I was years ago. The compositions are long, requiring a serious ammount of stamina and attention, and the recording quality is fairly good.

The best thing about this recording is Lee Morgan and Hubbard playing off of each other. Having two of the best trumpeteers from the 60s is a rare treat for the ears.
Pensativa is the first track clocking in at over 22 minutes. Its aesthetic resembles sort of a coctail party sound; smooth and mellow. Big Black's rhythms on the congas and James Spaudling's flute playing are a perfect complement to Hubbard and Morgan as well as Harold Mabern's vamping on the keys. Following this tune is the classic composition Walkin'. Filled with energy and excellent accompaniment by Pete La Roca on drums. The solos are powerful and extensive. Two thirds into the track the Morgan, Hubbard, and Spaudling trade forths with La Roca and Big Black.

I enjoy the second half of this date the best.
Jodo, a composition written by Hubbard, is fierce on its intent, and Hubbard and Morgan take advantage of that with their solos. About nine minutes into the track, you can hear Hubbard trying to direct Spaudling's alto solo by playing quick cord vamps. The band returns to a more mellow, repetativie tune with Breaking Point, also written by Hubbard, to end the set. With a grooving chord progression the tune can make anyone at least tap their foot without them even realizing it.
1965 - Blue Note.
Freddie Hubbard - trumpet; James Spaulding - alto saxophone, flute; Lee Morgan - trumpet; Harold Mabern - piano; Larry Ridley - bass instrument; Pete La Roca - drums; Big Black - congas.

Monday, December 29, 2008

just for laughs...love nick


http://www.youtube.com/watch?v=jHjFxJVeCQs

An Overload of Records

So this week I decided to write a little bit of whats been on my mind as opposed to another "get this CD because it kicks ass" post.
So first off if there is anyone other than my colleagues on this blog and my girlfriend who actually read this I would like to say Merry Christmas and a Happy and (coming) New Year. (Jamie behave yourself). I hope everyone was able to enjoy their holiday with the celebration of a ton of new music, I know I am.
As I am writing this I am listening to the Children's Corner Suite by Debussy and whats driving me crazy is that after all the new albums I purchased over the last week, some I haven't opened, I am listening to early 20th century music. I should be bathing in new indie music and modern jazz records that I spent my first professional salary based pay check on. I guess what I am aiming to say here is that music makes me fucking nuts. I have serious ADD when it comes to music, but I can't help but love every minute of it.
I am currently engaging my ability to read books in a great novel about 20th century music and can't help but think how everything I am listening to is all connected in some manner more in depth than the 6 degrees of Kevin Bacon.
One such genre I always obsess over is jazz. Most recently the contrasting sounds of Brian Blade's Fellowship Band and Gerry Mulligan with Chet Baker. The Fellowship Band wouldn't even be considered 'jazz' by some moldy figs but I can't help but get it out of my CD player and iTunes most played list. What I love about this band's most recent record is the interplay of all the musicians on record. In most cases the drummer has his role, the sax player, the bass, etc, etc, but I feel like there is so much more of a 'glue' that binds this bands sound together.
"There's an energy there that I can only wish to just barely duplicate with my own band and compositions. "The musical range of this group is vast, as are the influences that inform its individual members, but as a unit they sound like no one else. Their long-term working relationship has paid off handsomely here; these tunes are all bravely voiced and beautifully articulated compositions of modern jazz." (T. Jurek, allmusic.com)
Is it the time these players have spent together that makes them create such a sound, or is it because they are all sick at what they do?? Either way it drives me mad. The last time this band recorded was 8 years ago so maybe there lies some kind of answer.
The Gerry Mulligan reference is only that for the longest time I never listened to Chet Baker because I thought of him as the white Miles Davis but since lately I have been trying to broaden my trumpet playing palette and it turns out I like his playing. That and lately I have been obsessed with piano-less groups especially with trumpet. ( the album I am referring to is bari sax, trumpet, bass and drums)
Now the connection to 20th century music....nothing too deep. Just that music is suppose to make one wonder and listening to some of the music the book I am reading mentions and listening to my current jazz obsessions just make me wonder. How does it work?
We need to constantly be keeping our ears open because you never know what you're going to hear next.
Peace,
Nick

Sunday, December 21, 2008

Phil's Album Recommendations


Passion Pit - Chunk of Change EP (2008)
(Indie dance music = Valentine's Day gift? oh noes)
I don't know what it is, but somehow I've latched onto a lot of dance-type music this month. This is a really efficient EP, and it leans just far enough towards that indie quirkiness that those of us who decide to stand over by the punch bowl and nod our heads will still enjoy ourselves. Oh, and I totally lose it when "Better Things" comes on the radio. Yeah.


Gang Gang Dance - Saint Dymphna (2008)
(wtf, mate?)
Still digesting this one. Some of it is quite excellent, but there are a few lulls too. These guys were just in the DFW area; if only I had been a fan just a little sooner. Not much of the MySpace material is like this record, but it might at least give you an idea of what GGD is all about.


TV On The Radio - Dear Science (2008)
(high vocals, funky horns, opens with 50s "ba ba baaas")
This record will easily top many year-end lists, including mine too, I'm guessing. I saw some ridiculous reviews on Facebook calling this music "avant garde" or something. Wrong. Not boring? Yes. But avant garde? Nooooo.
I knew that I was mildly dissapointed with Return to Cookie Mountain, and now I know why - as good it is/was, it seems to grasp at ways to make TVOTR's music new and, while they are partially successful, the results also skew the original identity of the artist. Dear Science takes the winning formula of Desperate Youth, Bloodthirsty Babes and shifts it into hyperdrive. You can STILL stream the entire record on MySpace.


BAND TO WATCH:
GLASVEGAS

(kind of emo-y but they're from Scotland so it's all good)
Oh, this could go SO epically wrong (not on a Partie Traumatic level, but still...). Geraldine is a cute jam, but I could just see these guys turn it to a sad act in more ways than one. Their debut drops stateside in January...let's just hope I'm wrong. The good news is that the Nirvana cover is NOT on the record.





3 Albums You Should Get

Sam Rivers: Dimensions & Extensions
Sam Rivers Reeds
Donald Byrd Trumpet
Julian Priester Trombone
James Spaulding Alto Sax, Flute
Cecil McBee Bass
Steve Ellington Drums
Great Avant Garde Album. Impressive work from all players, especially Donald Byrd who usually doesn't fit in these contexts.
Tracks that Stand out:
Involution
Afflatus
Helix

MMW plays Masada Book Two
Awesome work by the trio interpreting John Zorn's music. Very focused jamming, great for anyone on the fence about MMW and John Zorn.
Tracks that stand out:
ALL
Brian Blade & the Fellowship Band: Seasons of Change
Loved the interplay between the melodic players. Jon Cowherd uses many keyboards so I was immediately sold. Fans of Kurt Rosenwinkel would like this album. Every tune is a great example of a musician whose composing sometimes seems to surpass his drumming.
Tracks that stand out:
3. Stoner Hill
8. Alpha and Omega