mills

My name is Mills Baker; I write about love, culture, art, religion, mental illness, philosophy, memory, politics and the rather random.

My Photo Blog
Flickr / Videos
Facebook / Twitter
Email / Archive


Posts tagged jazz.
[Flash 9 is required to listen to audio.]

Sidney Bechet - When the Saints Go Marching In

Last week I made explicit my wish that Saints games not be so heart-stopping as the victory over Miami was; once again, the universe has demonstrated that at best it is indifferent to my desires. Last night, Abs even got into the game, experiencing roughly the same palpitations during the final quarter that I did.

As happy as I am for the Saints to be 7-0, I’m happier to share some Bechet.

[Flash 9 is required to listen to audio.]

Louis Armstrong- When the Saints Go Marching In

With apologies to my estranged but fondly-missed sister Katiebakes, I think I’ll begin posting a different version of this song every time the Saints win; I should hope to exhaust my reserve of covers by the end of the season, but one never knows with this team from the City that Care Forgot.

Up next: Sidney Bechet.

“You can’t steal a gift. Bird gave the world his music, and if you can hear it you can have it.”
Dizzy Gillespie defending another musician from accusations that he stole Charlie Parker’s style, quoted by Jonathan Lethem in an essay on the effect very contemporary ideas like copyright and plagiarism have on creative culture. Jazz is an excellent example of an artistic form that depended on free exchange of styles and ideas; it would have been killed by what Lethem rechristens copyright: usemonopoly.
“If [official segregation] is a nightmare no longer, Armstrong’s shining trumpet certainly contributed to the wake-up call. But there is only so much art can do against injustice, and the blues, from which jazz took flight, were an embodiment of the sad truth that much beauty begins as consolation for what can’t be mended.”

Clive James, on the role jazz played in American history. I think this is very beautiful, and not solely because I love jazz; it’s also a sound appraisal of where art stands in relation to justice: it can provoke shifts in mass consciousness that assist change, but it is just as important as a source of meaning when injustice reigns.

More jazz!

My friend S. just alerted me to the Kickstarter-funded album Kind of Bloop, billed as “An 8-Bit Tribute to Miles Davis’ Kind of Blue.” More on the genesis of the album, which features the classic tracks rendered in NES-style bleeps and bloops, can be found at Waxy.org.
Another interesting take on this album is Eddie Jefferson’s vocalese arrangement of “So What.” The first time I heard it I thought I was hallucinating. Jefferson would compose lyrics to set with instrumental melodies, and so sang verses with Davis’ trumpet solos. It’s quite amusing.
Above is the 8-bit take on the album’s iconic cover. (Update: Kind of Blue is fifty-years old today; it was the second jazz album my dad shared with me).

My friend S. just alerted me to the Kickstarter-funded album Kind of Bloop, billed as “An 8-Bit Tribute to Miles Davis’ Kind of Blue.” More on the genesis of the album, which features the classic tracks rendered in NES-style bleeps and bloops, can be found at Waxy.org.

Another interesting take on this album is Eddie Jefferson’s vocalese arrangement of “So What.” The first time I heard it I thought I was hallucinating. Jefferson would compose lyrics to set with instrumental melodies, and so sang verses with Davis’ trumpet solos. It’s quite amusing.

Above is the 8-bit take on the album’s iconic cover. (Update: Kind of Blue is fifty-years old today; it was the second jazz album my dad shared with me).

[Flash 9 is required to listen to audio.]

Duke Ellington - Bluebird of Delhi

I admire successful efforts to fuse straightforward symbolism with rigorous aesthetic development in music. Symbolism is challenging: sometimes performing a bluebird’s song before dissolving into the cacophony of Delhi works. Sometimes, trying to make train sounds with your snare drum sounds like you don’t know how to speak a foreign language and are trying to draw what you mean.

More on Ellington, whose Far East Suite is among the best albums ever made, can be found here.

[Flash 9 is required to listen to audio.]

Charles Mingus -  II B.S.

From Mingus Mingus Mingus Mingus Mingus, this track swings as hard as anything I’ve heard; jazz that actually inclines me to headbang is usually awesome.

Tags: jazz mingus music
[Flash 9 is required to listen to audio.]

Kenny Garrett (with Pat Metheny) - Latifah

From Garrett’s excellent tribute to John Coltrane, Pursuance, this track features Garrett and Metheny going fairly berserk. Metheny’s guitar is processed to sound rather like a saxophone, which I found at first slightly silly but which, I now think, works extremely well in this piece.

I’ve posted some of Kenny Garrett’s work before; almost everyone I’ve played this song for just adores it, and it’s one of my favorites.

[Flash 9 is required to listen to audio.]

Keith Jarrett - Opening

This live performance is one of the darkest and most overwhelming pieces of Jarrett’s catalog, and is best appreciated at extraordinary volume in pitch blackness; if it can be arranged, rain is appropriate as well; and if one is truly committed, one could do no better than listening to it during a storm at sea. I offer it as partial repayment to S. Stratodrive for his many contributions to my library.

(See here for other Jarrett posts).

[Flash 9 is required to listen to audio.]

John Coltrane - Olé.

Hero John Brissenden mentioned jazz flutist Eric Dolphy recently, and I was reminded of one of the first albums my father ever shared with me: John Coltrane’s Olé. The title track remains my absolute favorite song of his, for all sorts of aesthetic and emotional reasons, and I’ve listened to it as much as anything in my life.

You might like it. The personnel on this song are astounding: Coltrane, Eric Dolphy, Freddie Hubbard on trumpet, McCoy Tyner on piano, Elvin Jones on drums, and two bassists: Art Davis and Reggie Workman.

Note among the various miracles of this song: the bassists solo simultaneously, one plucking and one bowing (in separate channels), before Coltrane returns into the mix and unleashes a kind of fury I adore.

[Flash 9 is required to listen to audio.]

Keith Jarrett - Excerpt from Vienna Concert, Part I.

Taking an excerpt from the Vienna concert is like showing a two-minute clip of one’s most cherished movie, or reading three pages from one’s favorite book, or perhaps like having a long-distance relationship.

But Part I, which is available in its entirety here, is 41 minutes long; in its astonishing perfection, too, it can require more attention than is reasonable to request. I hope, perhaps absurdly, that this excerpt appeals; I think Jarrett is one of the finest musicians of our time.

(And here are some previous videos and comments about him).

[Flash 9 is required to listen to audio.]

Gonzalo Rubalcaba -  Well, You Needn’t.

Since Nudawn enjoyed Art Tatum’s almost inhumanly dextrous performance of Gershwin, I thought I post Gonzalo Rubalcaba’s version of this Thelonius Monk standard. I tend to dislike excessively flashy, technique-oriented stylists, but I find Rubalcaba to be just barely on the right side of showmanship: he uses his remarkable skills to achieve textural and propulsive playing that turns the piano -already a combination of drum and string- into something like a percussion section.

It’s one of the only Monk covers I’ve ever liked, because Rubalcaba actually expands on Monk’s staccato style by making it even more aggressive, more geometric.

Tags: music jazz
[Flash 9 is required to listen to audio.]

Art Tatum - Someone to Watch Over Me. Although Gershwin’s authoritative rendition of this song is strongly connected in my mind with Woody Allen’s Manhattan, Tatum’s virtuosic performance is my favorite, possibly as it counteracts its sentimentality with technique.

One has to do whatever is required to avoid being maudlin. And Tatum is customarily astounding; in addition to his various accolades from Horowitz, Waller, Gershwin, and more or less everyone who’s heard him, he is also honored -I just learned- to have “the smallest perceptual time unit in music” named for him: the Tatum.

John Coltrane - My Favorite Things (1961).

One of the first albums I can remember my father giving to me was “Ole,” by John Coltrane, which -perhaps because the tracks are all so long- hasn’t the popularity in his oeuvre that I feel it should.

Searching for clips of those songs on YouTube was fruitless (I’ve never even heard a live performance of them), so I settled for this excellent performance of “My Favorite Things,” which shares some harmonic elements with “Ole” and features some of the same personnel: Eric Dolphy, McCoy Tyner, Reggie Workman (but not Art Davis), and Elvin Jones.

(Apologies for so many posts in one night).

[Flash 9 is required to listen to audio.]

Alice Coltrane - Journey in Satchidananda.

John Coltrane’s very talented widow Alice Coltrane was a serious disciple of spiritual guru Swami Satchidananda, to whom she dedicated this album. She plays harp, which is always lovely to hear, and is joined by solid personnel including Pharoah Sanders.

Excellent and odd.