Playlist Week of 2013-12-07

* Stockhausen: Prozession (Kontarsky, Stockhausen, et al.) (Candide LP)

* Charles Mingus: Mingus, Mingus, Mingus, Mingus (Impulse! CD)

* Charles Mingus: Mingus Plays Piano (Impulse! CD)

* John Coltrane: Live Trane: The European Tours (d.3-4) (Pablo 7CD)

* Dave Holland: Prism (Dare2 CD)

* Cecil McBee: Mutima (Strata East LP)

* McCoy Tyner: Song Of The New World (Milestone LP)

* McCoy Tyner: Fly With The Wind (Milestone LP)

* McCoy Tyner: Atlantis (Milestone 2LP)

* Charles Lloyd: Forest Flower: Charles Lloyd At Monterey (Atlantic LP)

* Chick Corea: Return To Forever (ECM LP)

* John McLaughlin: Johnny McLaughlin, Electric Guitarist (Columbia LP)

* Stanley Clarke: School Days (Epic/Friday Music LP)
* Julian Priester Pepo Mtoto: Love, Love (ECM LP)

* Tom Rainey Trio: Cornelia St. Café, Brooklyn, NY 2013-10-19 (AUD WAV)

* LARK (Ingrid Laubrock/Tom Rainey/Kris Davis/Ralph Alessi): LARK (Skirl CD)

* Kris Davis: Capricorn Climber (Clean Feed CD)

* Kris Davis: Massive Threads (Thirsty Ear CD)

* Dawn Of Midi: Dysnomia (Thirsty Ear CD)

* Automatic Man: Automatic Man (Island LP)

* Daryl Hall & John Oates: Do What You Want, Be What You Are (d.1-3) (Legacy 4CD)†/‡

* I Am The Center: Private Press New Age Music in America 1950-1990 (LITA 3LP)†/‡

* John Fahey: Let Go (Varrick LP)

* Grateful Dead: Family Dog At The Great Highway 4/18/70 (GDP/Rhino HDCD)

* Grateful Dead: Rocking The Cradle: Egypt 1978 (selections) GDP/Rhino 2+1HDCD/DVD)

* Pink Floyd/Grateful Dead, et al.: Zabriskie Point (Original Soundtrack) (MGM/Watertower 2LP)

* Robert Wyatt: Rock Bottom (Virgin LP)

* Gong: You (Virgin LP)

* Goblin: Tour 2013 EP (Death Waltz EP)

* Brian Eno: Here Come The Warm Jets (Island LP)

* Phil Collins: …But Seriously (Atlantic/Audio Fidelity CD)

* Toto: Toto (Columbia LP)

* Television: Marquee Moon (Elektra/Rhino LP)

* R.E.M.: Chronic Town (IRS LP)

* Gastr Del Sol: Mirror Repair (Drag City EP)

* Earth: Pentastar: In The Style Of Demons (Sub Pop LP)

* Robert Pollard: Blazing Gentlemen (GBV, Inc. LP)

* Yo La Tengo: “Super Kiwi” (Matador 7”)

* Boards Of Canada: Twoism (Warp EP) †

* Boards Of Canada: In A Beautiful Place Out In The Country (Warp EP) †

* Boards Of Canada: Trans Canada Highway (Warp EP) †

* Shpongle: Museum of Conciousness (Twisted 2LP)

* Baroness: Yellow & Green (Relapse 2CD)

* Locrian: The Clearing & The Final Epoch (Relapse 2CD)

* Locrian: Return To Annihilation (Relapse CD)

†=iPod/iTunes

‡=car

Commentary:

Although pianist Kris Davis has been active in the Downtown New York avant-jazz scene for more than a decade, it is only recently that her work has been consistently documented on record. In fact, 2013 is something of a breakout year for Davis, appearing as she does on a slew of terrific albums released in the past twelve months, including Ingrid Laubrock's latest Anti-House record, Strong Place (Intakt); Capricorn Climber (Clean Feed), featuring her own quintet featuring Laubrock, Mat Maneri, Trevor Dunn and Tom Rainey; and the debut CD from LARK (Skirl), an improvisational collective with Laubrock, Rainey and Ralph Alessi. Her most recent is a solo set out last month on Thirsty Ear’s Blue Series titled, Massive Threads—and, wow, it is a stunner!

Even with all this recent exposure, Massive Threads is not quite what I expected. The opening track, “Ten Exorcists,” utilizes a prepared piano and machine-like, repetitive rhythms to summon up the sound the buzzing of kalimbas and murmuring log drums while acrobatic right-hand figures dance around the hypnotic, splintered groove. This reminds me a little bit of what Amino Neyamani is doing on Dawn of Midi’s Dysnomia (another fantastic recent release on Thirsty Ear). Similarly evoking electronica’s trance-inducing state while remaining disciplined and thoroughly acoustic, Davis subdivides the beat into infinitesimal segments with near-superhuman expertise, with the underlying pulse variously receding and coming together as the piece gradually unfolds. Even within the wide-ranging realm of the current Downtown avant-garde, this is far away from anyone’s definition of “jazz”—and that is part of what makes it so interesting.

Of course, Davis is a classically trained pianist and composer, who has been privately exploring the works of Gyorgi Ligeti, Luciano Berio and other ultra-modernists and these multifaceted influences can be heard on tracks like “Intermission Music, “Dancing Marlins” and “Leaf-Like.” Elsewhere, quiet mediations like “Desolation and Despair” and “Slow Growing” display a profound sensitivity amidst thick harmonic complexity, effectively transcending such arbitrary delineations between “jazz” and so-called “classical” chamber music. I call it "Art" with a capital-A.

The eleven-minute title track is the centerpiece of the album. Originally composed for six pianists, Davis sounds like she has twelve hands as she executes the astonishingly complex layers of rhythm, like Conlon Nancarrow’s player piano made flesh. At times, what she is doing sounds physically impossible, with every note cleanly and exquisitely articulated. Then, just as you think the piece has ended, the music slows down in a trick of metrical modulation, moving smoothly into plaintive yet densely harmonized block chords, which bring to mind the towering tone clusters of Carl Ruggles. This is simply some of the most amazing piano playing I have ever heard—in any genre. Her impeccable technique redefines the notion of virtuosity, never getting in your face with a barrage of notes yet demonstrating astonishing independence of hands and fingers, bringing out the latent melodies in the chord voicings, while also maintaining perfect control of the damper pedal. As the volume level and intensity increases, a massive resonance builds up precipitously but never overwhelms the subtle inner details. “Massive Threads” needs to be heard to be believed.

A rendition of Thelonious Monk’s “Evidence” reinforces the notion that this is indeed a “jazz” album, regardless of what it might sound like to new ears. But it is Monk as re-conceived by Morton Feldman: sparse, quiet and beautifully dissonant, gentle clouds of notes floating on a barely perceptible beat, only cohering once in a while around the well-loved and road-worn tune. Again, her sense of touch is uncanny, never rising above a mezzo piano yet imbued with subtle dynamic shadings, which unveil the cantabile melody within. If you think these old standards are played out, listen to this and be amazed.

Thirsty Ear has really been knocking it out of the park this year, with no less than three releases which will easily make my top-ten of 2013, including the Dawn of Midi’s Dysnomia, Matthew Shipp’s latest solo set, Piano Sutras—and now Kris Davis’s Massive Threads. All three reimagine what “jazz” can be in the 21^st Century while transcending the boundaries of any genre.

Sun Ra Sunday

Even though we were both totally beat, Liz and I ventured out last night to hear Lambchop and the Matthew Shipp Trio—it was just too special an event to miss. Accurately described as “Nashville’s most fucked up country band,” Lambchop is way more popular in Europe than in the states and only plays their hometown once a year or so. And, of course, Matthew Shipp (and MaryHalvorson and all the other interesting jazz players) rarely play in the U.S.A. outside of New York – much less someplace like Nashville. Fortunately, there is a small but vibrant community trying to force “Music City” to live up to its name. But the sad truth is: an opportunity to hear either of these groups will not be happening again anytime soon so we had to seize the opportunity despite our exhaustion.

The good thing was that the venue was on our side of town, meaning an easy drive there and back. Plus, it was to be a low-key, sit-down affair. But the VFW Post 1970 is a funky place for sure and, in true southern rebel fashion, allows smoking inside. Now, I must sadly admit to being a smoker myself but the atmosphere permeated with the smell of stale tobacco and cheap beer was more than a little nauseating—especially since I was already feeling under the weather. Nevertheless, it was a sublime evening of music. Lambchop (who, much to my embarrassment, I have only recently discovered) was absolutely riveting, exhibiting extraordinary restraint and subtle dynamics to deliver their powerfully emotional songs. And the Matt Shipp Trio cooked from the get-go, climaxing with a gut-wrenching deconstruction of “When Johnny Comes Marching Home” in honor of the veterans, whose post we had invaded for the evening. While much of the crowd had come to hear Lambchop, a goodly number stayed for the out-jazz part of the program, which was nice to see.

I got a chance to speak with Matt and Whit Dickey, both of whom I briefly knew at The New England Conservatory, and it was great to see them both after many years. I gave them a copy of my CD and told Matt that his music had long been an inspiration to me—even after I had given up on performing myself. He was friendly and quite funny, just as I remember him. In all, it was another fabulous night in a long week of fabulous nights.

Now, I need some rest.

+++

What does any of this have to do with Sun Ra? Well, nothing except the connection to the jazz tradition (and the fact that Matt introduced his players as being “from outer space”). But, as you might have noticed, I have been ridiculously busy and have simply not had the time write. Moreover, the next several records in the chronology are particularly challenging, both musically and discographically, and it’s going to take some time to sort it all out. I know: excuses, excuses! Please do stay tuned.

However, I'm overjoyed to see that the long-delayed 2-disc reissue of Continuation is now available from Corbett vs. Dempsey. Not sure if this is a limited edition or not, but I'd jump on it sooner rather than later. I'll let you know my thoughts after it arrives.

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SHAMELESS PLUG DEPT.

Would you like your own copy of Rodger Coleman & Sam Byrd: Indeterminate (Improvisations for Piano and Drums)? Just click on the link below. You can also stream the entire album at our website, NuVoid Jazz Records, if you just want to check it out. Thank you for your interest and support!

Playlist Week of 2013-05-11

* Thelonious Monk: Complete Columbia Solo Studio Recordings 1962-68 (d.1) (Columbia/Legacy 2CD)

* David S. Ware String Ensemble: Threads (Thirsty Ear CD)

* Matthew Shipp: Equilibrium (Thirsty Ear CD)†/‡

* Matthew Shipp: The Art Of The Improviser (d.1) (Thirsty Ear 2CD)

* Matthew Shipp Trio: Elastic Aspects (Thirsty Ear CD)

* Mary Halvorson Quintet: Bending Bridges (Firehouse 12 2LP)

* Mary Halvorson & Jessica Pavone: On And Off (Skirl CD)

* Mary Halvorson & Jessica Pavone: Departure Of Reason (Thirsty Ear CD)

* Ches Smith & These Arches: Hammered (Clean Feed CD)

* Secret Keeper (Stephan Crump & Mary Halvorson): Super Eight (Intakt CD)

* Stephan Crump: Rosetta (Papillon Sounds CD)

* Tom Rainey Trio: Pool School (Clean Feed CD)

* Tom Rainey Trio: El Camino Real (Intakt CD)

* Ingrid Laubrock Anti-House: Strong Place (Intakt CD)

* Van Dyke Parks: Song Cycle (mono) (Warner Bros./Rhino LP)

* Grateful Dead: Dave’s Picks Vol.6: San Francisco 12/20/69 + St. Louis 2/2/70 (+)  (GDP/Rhino 3+1HDCD)

* Grateful Dead: The Palladium, New York, NY 1977-05-04 (set 2) (SBD CDR)†/‡

* Love: Black Beauty (High Moon LP)

* Pink Floyd: Animals (Pinkfloyd/EMI CD)

* Deep Purple: Made In Japan (Warner Bros. 2LP)

* Yes: Close To The Edge (Atlantic/Audio Fidelity SACD)

* U2: The Unforgettable Fire (Deluxe Edition) (Island/Universal 2CD)†/‡

* Steven Wilson: The Raven That Refused To Sing (KScope CD/DVD)†/‡

* Opeth: The Roundhouse Tapes (Peaceville 2CD)†/‡

* Opeth: Heritage (Roadrunner 2LP)

* Katatonia: The Great Cold Distance (Peacevill CD)†/‡

* Anathema: Weather Systems (KScope CD/DVD)

* Baroness: Yellow & Green (Relapse 2CD)†/‡

* Pelican: What We All Come To Need (Southern Lord 2LP)

* Pelican: The Fire In Our Throats Will Beckon The Thaw (Hydra Head CD)

* Pelican: City Of Echoes (Hydra Head CD)

* Akron/Family: Love Is Easy (Young God 2LP)

* Akron/Family: (Dead Oceans 2LP)

* Fleet Foxes: Helplessness Blues (Sub Pop CD)†/‡

†=iPod

‡=car

Commentary:

What a week! For a couple of hermits, Lizzy and I have been all over the place:

Friday, May 3: Drive to Chattanooga.

Saturday, May 4: Drive to Athens, Georgia to see Opeth (see this post for more on that).

Sunday, May 5: Drive back to Nashville.

Monday – Tuesday, May 6-7: Work extra-long days because...

Wednesday, May 8: Drive to Lexington, Kentucky to see Opeth again. Thankfully, it was a somewhat mellower scene than Saturday night in Athens. As usual, though, Opeth ruled.

Thursday, May 9: Drive back to Nashville and make final preparations for…

Friday, May 10: Host Mary Halvorson and Stephan Crump at “Indeterminacies” at the newly relocated Zeitgeist Gallery. It was an amazing event: the duo (called Secret Keeper) played an hour-long set followed by a nearly-hour-long discussion led by the extraordinary curator and writer Veronica Kavass. We had a standing-room-only turnout, thanks no doubt to Jack Silverman’s nice write-up in The Scene. The music was sublime; the sound was warm, detailed and crystal clear (engineered by my nephew, Brian Totoro); and Veronica was perfect as a moderator, bringing a deep and wide-ranging perspective on music, art, literature, film, creativity and reception which invited an enthusiastic response from the audience. Zeitgeist’s new space is drop-dead gorgeous and featured beautiful sculptures and prints by artist Greg Pond—the perfect setting for the event. In all, I can’t imagine how it could have possibly been better.

Saturday, May 11: But it’s not over yet! In a perversely tantalizing double-bill, Matthew Shipp will be performing with his trio of Michael Bisio on bass and Whit Dickey on drums along with “Nashville’s most fucked-up country band,” Lambchop. Even though I am completely exhausted, I’m really going to try to go. After all, I (briefly) went to school with Matt and Whitt and it would be great to see them. Their music has been a source of continual inspiration to me ever since.