All Your Jazz » contemporary jazz

Wynton Marsalis’ Call To New Orleans Jazz: What’s missing from contemporary jazz?

drumminfabe — Tue, 03 Nov 2009 11:14:50 +0000

Wynton Marsalis describes the layout for upcoming shows at Jazz At The Lincoln Center, laying out that they will be doing his music for three days. Elements of jazz that he remembers back in New Orleans were to be added to the music (choirs, singing, jazz tap) that he said were not a part of modern jazz. Here, a short discussion about bringing these elements back to “modern jazz.”

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About The Video

In a recently posted YouTube video, jazz trumpeter – and now artistic director of Jazz At The Lincoln Center – Wynton Marsalis mentioned the lineup to be presented October 29th-31st, 2009. In his description of the songs to be performed, he pointed out that they would be playing music that he has written in the past for this three day period.

Jazz At The Lincoln Center has always performed music of all artists and styles, but when you’re the artistic director, I guess you have the say in what gets played. That’s a great idea, and Marsalis’ music sure does bring in the crowds.

What was interesting about the YouTube video presentation was that toward the end, Marsalis talks about the different elements that he wanted to put into the shows – elements or choirs and jazz tap. He mentioned that this was similar to what he group up with in New Orleans, and he wanted to bring these elements – things that you don’t typically have in modern jazz – back into view.

Commentary

That got me to thinking about a couple different questions:

(1) When and why did these things begin to disappear?
(2) Is it right to try to “get those elements back into modern music”?

Marsalis commented that he remembers these things as being crucial parts of the jazz scene when he was growing up in New Orleans. Maybe it was just jazz at the time, and it’s something that is not done as much any more. Or maybe this is purely unique to New Orleans jazz. After all, while we can put the label of “jazz” on a lot of music, there are still different categories – and even subcategories – of jazz. But he’s right, these elements have seemed to sneak out of the mainstream.

As for “getting those elements back into modern music,” well that’s something a little different. If there are different categories of jazz, and these types of elements happen to be unique to New Orleans jazz, why try to infuse them into “modern jazz.” Don’t get me wrong, I like New Orleans jazz, and I love Wynton Marsalis’ compositions, but is he trying to force something that should be left alone?

If we are not talking about elements unique to New Orleans jazz, then might we be talking about the direction that jazz has taken in its natural evolution? I really like the idea of bringing back some of these elements, especially for sentimental reasons, but the idea of bringing them back to modern jazz caught my attention, and I had to comment on it. It doesn’t seem like the elements mentioned by Marsalis are conducive to “modern jazz” – whatever may fall under this loosely defined category. I guess it just doesn’t seem natural. Your thoughts?

Original Video at jalc.org

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Jazz Pianist Max Haymer Releases “Pickpocket Witness”

jazzman — Mon, 15 Dec 2008 10:13:35 +0000

Los Angeles-born pianist Max Haymer may not be familiar to you, after all the young 22 year old musician does not have much of a discography. If the music on his newest album Pickpocket Witness is any indication of what we can expect from Haymer in the future, then prepare to brace yourself because you’re for a treat. Offering a repertoire of original contemporary jazz presented in a dynamic straight ahead fashion, Haymer performs like a wild man on the keys pounding them into submission on the title tune and demonstrating his piano chops in style.

Performing with a trio that include bassist Nick Schaadt and drummer Cale Giachello, the group play seven exciting new charts starting off with the riveting “No Dice” where the pianist quickly establishes himself leading the music and playing in a crisp lighting speed mode that grabs your attention from beginning to end. Haymer is essentially an assertive player but also displays a lighter side as found on his beautiful ballad “Silver Dawn,” a soft cushy number that Haymer treats with tenderness as drummer Giachello uses the brushes.

Other highlights on this dynamic recording include the sophisticated “Asymmetry,” “Groove Sensei” where bassist Schaadt takes his turn in the spot light with some nice bass line work, “Webs” an intricate piece of music that challenges the listener and finally “Goodnight” one of the lighter jazz numbers that features the pianist for one final time leaving a lasting impression.

Nick Halley Releases “Barnum Hill”: Contemporary jazz drumming at its best

jazzman — Tue, 02 Dec 2008 01:06:15 +0000

Jazz drummer and world percussionist Nick Halley recently released his debut recording, Barnum Hill. Showcasing the talents of rising jazz stars Matt Brewer (bass) and Adam Niewood (saxophones), the traditional jazz framework is expanded in this album to encompass the wild sounds of percussion from around the world, 20th century classical music, and the great pipe organ played by Paul Halley.

Nick Halley spent a year in Brazil studying percussion with masters Marcio Bahia, Oscar Bolao and Pedro Lima as well as performing with Viradouro, one of Rio’s top samba schools. He returned to New York City to attend The New School University’s jazz and contemporary music program, and entered into long-lasting musical friendships with some of the great young musicians in New York’s ever-evolving jazz scene. Nick tours and records with groups ranging in style from traditional Scottish and Irish to gospel, jazz, Brazilian and popular music.

He has performed with artists as wide-ranging as Oscar Castro-Neves, Paul Halley, Maucha Adnet, Chris Norman, Suzie LeBlanc, Theresa Thomason, Rhonda Larson, Café, and Jamey Haddad. When not on tour, Nick is currently based in Halifax, Nova Scotia apprenticed to his father, Paul Halley, as organist and choral conductor at the University of King’s College, St. George’s Anglican Church, and the Atlantic School of Theology.

He directs workshops in percussion, music theory, and Brazilian, North African, and South Indian rhythm. The new recording of original music, Barnum Hill, can be heard and purchased at cdbaby.com.

Artist: Nick Halley
Album: Barnum Hill
Released: October 21, 2008

Don’t Miss Brian Blade And The Fellowship Band In San Francisco

jazzman — Fri, 26 Sep 2008 07:39:28 +0000

Event:
Monday, September 22nd
Yoshi’s
San Francisco, CA

Yoshi’s in San Francisco will host drummer and composer Brian Blade & The Fellowship Band Monday, September 22nd. The band includes pianist/composer Jon Cowherd, bassists Chris Thomas, alto saxophonist and bass clarinetist Myron Walden, tenor saxophonist Melvin Butler, and of course drummer Brian Blade.

Boasting their latest album Season of Change, the band is climbing toward the top of the jazz charts, recording hit after hit on a must have CD. The chemistry of the band is one of their greatest assets, having been together recording and touring for many years, and it has shown as they have been praised as one of contemporary jazz’s most respected ensembles.

Brian Blade:

Brian Blade was born on July 25, 1970 in Shreveport, Louisiana. In 1988, Brian moved to New Orleans to attend Loyola University. It was at this time that Brian would become friends with Jon Cowherd. Both Brian and Jon were able to study and play with most of the master musicians living in New Orleans, including: John Vidacovich, Ellis Marsalis, Steve Masakowski, Bill Huntington, Mike Pellera, John Mahoney, George French, Germaine Bazzle, David Lee, Jr., Alvin Red Tyler, Tony Dagradi and Harold Battiste.

There were many inspiring musicians living and visiting New Orleans who helped Brian in his development. Some of these friends are Chris Thomas, Peter Martin, Nicholas Payton, Antoine Drye, Martin Butler, Delfeayo Marsalis, Joshua Redman, Harry Connick, Jr., Gray Mayfield, Marcus Roberts, Victor Goines and Daniel Lanois.

In 1998, Brian and Jon Cowherd began recording their own music with the group Fellowship. The band members are Chris Thomas, Myron Walden, Kurt Rosenwinkel and Melvin Butler. Since 2000, Brian has been part of the Wayne Shorter Quartet with Danilo Perez and John Patitucci.

Brian Blade grew up in Shreveport, then New Orleans, where he distilled the unique drumming styles and musical heritage of the nation’s spiritual underbelly into a powerfully swinging percussive trademark. Nurtured under the watchful eyes of Ellis Marsalis and New Orleans Dixie-drum masters Johnny Vidacovich and Herlin Riley, Blade learned to find his ‘knit in the blanket’ of sounds and styles.

[Source: www.brianblade.com]

Tickets:
8:00 pm – $16
10:00 pm – $10

Yoshi’s
1330 Fillmore
San Francisco, CA
www.yoshis.com

“Legends Tour” Artists To Release New Recording: Sanborn, Clarke, Miller, and Wooten Featured

Mike — Mon, 11 Aug 2008 20:32:07 +0000

Tuesday, August 12, is a big day for contemporary jazz fans. It’s the day that several legends will drop new music – and all of them on two recordings. In fact, four of the five artists who were on the Legends tour about a decade ago are on them.

You’ve read the review – now it’s time to experience three bass masters collaborating on one recording. S.M.V. – Stanley Clarke, Marcus Miller, and Victor Wooten – together on Thunder.

David Sanborn is back with an album that likely will serve as a highlight in his career. What upfront was to funk, Here and Gone might be to soul and blues. Sanborn pays homage to the music that inspired him, especially the music of Hank Crawford. “Hank was the great saxophonist and arranger for Ray Charles in the 1950s and early ’60s, and his arrangements and playing were central to me in forming my ideas about what music was and should be,” states Sanborn. “He had such a wonderful economy in what he did: He didn’t waste any notes, and there was nothing superfluous about his playing.”

To help realize the vision he had for this recording, the saxman brought in some names: Christian McBride and Steve Gadd are the rhythm section and Eric Clapton sings and plays “I’m Gonna Move to the Outskirts of Town.” Also contributing are Joss Stone, Sam Moore, Gil Goldstein, Russell Malone, and Wallace Roney. I didn’t receive an advance on Here and Gone but I did hear three cuts. I don’t know if it’s a word but I’m describing it as “rootsy.” I mean, it’s Sanborn playing the style that influenced him, and it doesn’t sound like it’s a slick, overly polished record.

[Source: contemporaryjazz.com]