Jazz On The Web

Big buzz circulating this week about the future of Jazz.com in the wake of founding editor Ted Gioia's decision to step away from the project. Since Ted hasn't commented yet on the future of the site (and his silent partner/investor hasn't stepped forward) any speculation is just that. Some blog posts have pondered what this means for the future of jazz on the Web—and while I gave a moment's thought to how much I'd miss Ted's vigilant aggregation of jazz posts around the world (and thanks, Ted, for picking up the occasional piece from Jazz Chronicles) if that doesn't continue under whoever takes over his job—I don't think there's great cause for alarm. While there is still no viable business model for a large, expansive site like Jazz.com, I'm convinced that there will always be enthusiastic people who want to spread their passion about the music they love.

That idea was reinforced (again) when I read Robert Hilburn's chatty autobiography, Corn Flakes With John Lennon. Like myself, and thousands of other music nerds out there, Hilburn got involved in music journalism because he saw a void. In his case, it was the early 1960s and the setting was Los Angeles, but it happens over and over, in big cities and small: you hear something that moves you and you want to share it—and your opinions and passion about it—with others.

So, while Ted Gioia's knowledge and steady editorial hand will be missed—and Jazz.com will be missed, too, if Ted's departure signals its end—I'm convinced that someone else will step up and fill the hole he leaves.

Take That To The Bank

Great news for Canada's major jazz festivals: TD Canada Trust has announced that it is extending its title sponsorship through the 2014 season. This means a strong foundation for festivals in Victoria, Vancouver, Saskatoon, Winnipeg, Toronto, Ottawa, Montreal and Halifax.

Full disclosure: I've signed on to return for a second year as the media specialist for the TD Canada Trust Ottawa International Jazz Festival. Good to see that the festival—and the others across the country—will be able to continue to build on past successes.

Best Of The Decade

I struggled with how to approach a best-of-the-decade list, shifting between simply listing the recordings that I had ranked the highest in published reviews and choosing those that I thought illustrated the most original ideas and pointed the way to new directions. In the end, I decided to go with the recordings that made me feel—and think—the most. Although I don't have any written proof, they are probably also the recordings I returned to the most often in the past 10 years. That being the case, it is probably no surprise that there is nothing on the list from the past two years, although there have been some exceptional recordings that would likely make the list if I was making it two years from now. These things need time to breathe and develop, but I must make note of some artists who didn't make the list, but whose recent recordings are moving me in ways similar to these: Vijay Iyer, John Hollenbeck, Dafnis Prieto, Miguel Zenón, Darcy James Argue, Kurt Rosenwinkel, Donny McCaslin, Mary Halvorson, Jessica Pavone, Tyshawn Sorey and Francisco Mela.

With that preamble, here are my 10, in alphabetical order.

Nels Cline – New Monastery (Cryptogrammophone) – 2006
Guitarist Nels Cline and his twin brother, drummer Alex, discovered the unique sound-world of pianist Andrew Hill when they were teenagers with huge ears. Three decades later—and finally gaining recognition from both jazz and alt-country fans—Nels employed his own distinctive sonic palette to interpret Hill’s work.

Ornette Coleman – Sound Grammar (Sound Grammar) – 2006
At least once a decade since the 1950s Ornette Coleman has released a recording that signals a new context for the human cry that flows from his alto saxophone. This time out, the setting was two bass guitars and his son’s drum kit, and Coleman illustrated how he could plumb remarkable depths of emotion in that relatively stark environment.

Dave Douglas – Witness (RCA Bluebird) – 2001
Eerily foreshadowing the rising paranoia in the wake of 9/11, while paying homage to some of the writers and activists who influenced him, Witness was both a major departure—using a large ensemble of electronic and acoustic instruments, and spoken word (performed by Tom Waits)—and a welcome extension of Douglas’s earlier works. As usual, the trumpeter was prolific and varied throughout the decade, but Witness remains the high-water mark.

Andrew Hill – Dusk (Palmetto) – 2000
Pianist Andrew Hill’s late-career comeback was one of the highlights of the decade, and this is the recording—his Palmetto debut— that announced it loud and clear. Hill’s unique writing receives superb treatment from a sextet that is deep and wise. The horn section, in particular, bristles with energy.

The Brian Lynch/Eddie Palmieri Project – Simpático (ArtistShare) – 2005
Beautifully paced and played, this was an ideal meeting of Afro-Caribbean rhythms and bebop harmony. Both the ensemble and individual parts are exceptional, and the band is studded with star players from several generations, including Phil Woods and Dafnis Prieto.

Jason Moran – The Bandwagon (Blue Note) – 2003
Pianist Jason Moran is one of the most exciting young voices to come to prominence since 2000, and this live recording—essentially the same as one of my favorite concerts from the decade—displays his idiosyncratic technique, his ability to transform hip-hop and blues into the language of improvisation, and his innovative use of recorded spoken-word material.

Maria Schneider Orchestra – Sky Blue (ArtistShare) – 2007
Bandleader Maria Schneider made several landmark recordings in the decade—any of which could be in a top 10. Sky Blue shows the most scope, and is the most personal, with gorgeous orchestrations of Schneider’s memories of her Minnesota hometown and her love of birding. As I stated in my 5-star review in DownBeat, this is the recording that should move Schneider out of the shadow of Gil Evans and into her own as a great American composer.

Wayne Shorter – Footprints Live (Verve) – 2002
Signaling the arrival of one of the most consistently exciting bands of the decade, this live recording re-established Wayne Shorter as a musical adventurer of grace and exceptional depth. The level of communication between Shorter, Danilo Perez, John Patitucci and Brian Blade was high from the beginning, and it has only improved.

Tomasz Stanko Quartet – Lontano (ECM) – 2006
Working with a trio of young Polish musicians, the much-overlooked trumpeter channels Miles Davis in the best way possible, stirring up what I called in my DownBeat review “a well-integrated set of quiet, melancholy fire.”

Cecil Taylor – The Willisau Concert (Intakt) – 2002
The audience wasn’t even fully seated when Taylor began a rhapsodic dance with an extended-keyboard Bosendorfer that he had fallen in love with. In the 2000s, Taylor’s solo concerts have been full of romance and sweet longing; this one balances between that new, gentler approach and his traditional whirlwind attack. Full of movement and light.

Keeping It Young

I was unabashedly obsessed with The Allman Brothers Band throughout the 1970s, from the first time I borrowed their debut album from my friend Myles and dropped the needle on the lacerating medley of "Don't Want You No More" and "It's Not My Cross To Bear." I was devastated when guitarist Duane Allman died on his Harley-Davidson at the age of 24, just as he was realizing his dream of breaking through to the mainstream with a band that synthesized rock, blues and improvisation with a definite Southern accent.

I dabbled in later versions of the band, but as much for social reasons (all of my close friends were Allman freaks, too) as musical ones. Perhaps because I was never lucky enough to see the original band in person, I have never been a camp follower for any of the later versions. I caught a weird hybrid of the band in 1978, when they reunited in Macon, Georgia, after several years of acrimonious separation (in fact, I was the only person in the tiny audience to tape the show—the tape resides in the band's archives) and one of their 25th anniversary shows in 1994, when original guitarist Dickey Betts was still in the band. The only time I've seen the modern lineup—with dual guitarists Warren Haynes and Derek Trucks—was the only time the band has played my hometown.

Given that context, I've been delighted with my purchase of a triple-CD set from the band's annual run of shows at the Beacon Theatre on New York City's Upper West Side last March. While the band has always been respectful of Duane Allman's memory to the point where his name has seldom been uttered onstage, during this 40th-anniversary tour the band made a point of paying tribute to him. The shows opened with an electric version of "Little Martha"—the only song in the band's extensive catalogue that is solely credited to him—and his image was prominent. During the stand at the Beacon this year, a number of musicians associated with the band were invited to sit in. While, reportedly, there were memorable highlights from the likes of Buddy Guy, the only show I really wanted to hear was from March 19, the night Eric Clapton came to play.

Clapton plays a special role in Duane Allman's short career, because—despite Allman's prolific period as a session musician—Clapton's album Layla is his best, and highest-profile platform outside his own band.

Following 11 songs by the Allmans themselves, Clapton joins the group (and Trucks' wife, blues guitarist Susan Tedeschi, for one track) for five songs from Layla and a version of "Dreams." As great as that is—and it is—what really has me stoked about listening to this recording again and again is the sound of Gregg Allman's voice. Next to Keith Richards, Gregg Allman is perhaps the most infamous drug abuser/survivor from the 1960s, and his voice is one of the finest in the blues. At his best, the man can break your heart with a simple phrase. Sadly, for too much of his career this amazing voice has been damaged by his chemical dependencies. Not here, not now. On this set from the Beacon he sounds better than at any time in his career. Not only has his voice taken on more of an edge (imagine that!) but it's more powerful, and his diction is crystal clear.

I won't even bother going into how good the rest of the band sounds; at this point in their career, that's a given. Trucks is an astounding, inspiring musician, who moves me when I hear him because he shows what Duane Allman might have grown to become had he not taken that fateful bike ride and been snuffed out when he was barely grown.

Heavy Hitting Rookie

Who gets Joe Lovano, Greg Osby, Jim Hall and Don Thompson to play on their debut CD? Only someone like drummer Terry Clarke, who has worked as a sideman behind some of the most important leaders in jazz for more than 50 years without putting his own name above the title on a CD until now.

Clarke has appeared on more than 400 recordings and circled the world with everyone from Oscar Peterson to The Fifth Dimension.

Appropriately, his first recording as a leader is called It's About Time.

First Cut

November approaches—a point driven home by the enormous, air-filled pumpkin on my neighbour's lawn—so it's time to look back over the 600 or so CDs that have found their way to me this past year and try to winnow them down to a short list of Top 10 candidates. To make this process easier, I highlight recordings that have struck me throughout the year. I don't keep a running total, though, so I'm never sure how many will be waiting come short list time.

What's this? Amazingly, there are exactly 10 things on the list. Not sure how that happened, but it's seems too good to be true.

Did I listen to fewer things this year? Don't think so. Fewer things to choose from? Absolutely, given the economic times, but not that many fewer.

Well, there's still some work to do, because I know Vijay Iyer's new disc is supposed to be a killer, so it will surely be in contention. The logistics of cross-border PR means that it hasn't reached me yet, though I do have a link to a download. So that's one. Another that is beckoning, as soon as I get through the current review assignments, is Keith Jarrett's Testament, which also promises great things.

Still, that's only 12. Funny, because it seemed like a good year. It's definitely a solid 10 so far; I'd put any one of them against anything in the past decade, and a couple have potential to be really memorable recordings years in the future. They definitely separated themselves from the pack, so some further analysis needed, but I'm happy that this year's list-making promises to be relatively painless.

Now Spinning: Stinging Strings

Jessica Pavone: Songs Of Synastry And Solitude (Tzadik) – Violist Jessica Pavone is an artist who appears able to balance multiple streams of inspiration simultaneously. Her impassioned contributions to Anthony Braxton's ensembles and her geek-girl duets with guitarist Mary Halvorson—to say nothing of several other projects that lie stylistically somewhere in between—would individually be enough for any single musician, and yet Pavone continues to find still more avenues of expression.

Taking its inspiration from Leonard Cohen's 1971 epochal Songs Of Love And Hate, Songs Of Synastry And Solitude brings Pavone together with the Toomai String Quartet for a set of 11 original compositions that are emotionally weighty and dark, yet ultimately uplifting. While there is no direct stylistic or thematic link to Cohen's songs, Pavone communicates the same sense of inevitability and universal suffering as the singer does, and leaves the listener with the same sense that there is hope in living—if only hope that daily suffering will be alleviated by the joy of song, love, spiritual enlightenment, and other forms of grace.

What was magical about Cohen's music—what made him seem so much older and wiser than either his years or his peers (save for Van Morrison, his Celtic cousin)—were the strands of music he selected to weave through his limited voice. When he decided to turn to music from literature in the 1960s, the former Buckskin Boy guitarist-turned-poet was worldly enough to pull in elements of European classical music, Greek bouzouki, Portuguese fado and Sephardic folk music. Like Bob Dylan, Cohen also delved deeply into the North American folk tradition, with all of its influence of English balladry, gospel and the blues.

Pavone and company can catch Cohen's sing-songy phrasing and the way he cuts that with a depth of emotion that reflects a lifetime of over-analysis and dread. Certain passages in songs like "Darling Options" and "Once Again" evoke Cohen's cadence, and there is a resonance in the bass strings that echoes Cohen's throaty whisper. This is measured, deliberate music that might be a love song, a prayer or just an acknowledgement that, as John Lee Hooker and Van Morrison once sang, you'll never get out of these blues alive.

In an era of celebratory rock—when even a dark presence like Jim Morrison could dance and whirl onstage—Cohen never sounded like a man who could truly let go. Cohen's music says that, even in moments of passion, one must be aware that loss and sorrow lie just around the bend, but it will be alright—life is measured over the long turn, not in individual moments. Pavone is unquestionably dark, too, but she can compose great movements of release, as on her absolutely gorgeous "Hope Dawson Is Missing." Minus lyrics, the title offers nothing but despair; musically, it seems to offer escape.


Gordon Grdina's East Van Strings: The Breathing Of Statues (Songlines) – One of the most exciting guitarists to emerge in the past decade, Vancouverite Gordon Grdina is another musician who seems to be able to effortlessly multi-task in several stylistic directions. Whether ripping it up with his wildly inventive Boxcutters or pursuing Turkish music, he is one of the innovative younger players who is carrying on Vancouver's tradition of being a great city for creative music.

His "string quartet" is anything but traditional, combining the always-inventive cellist Peggy Lee, polymathic violinist Jesse Zubot and frequent Bill Frisell collaborator Eyvind Kang. The band allows Grdina to employ both his electric guitar and oud, which he plays with tremendous energy—not so much the kind of visceral force that John McLaughlin created in his Mahavishnu Orchestra years, although Grdina can do that, too, but more of the kind of cerebral vibration that Derek Bailey or Joe Morris can generate.

Not surprisingly, given the players, The East Van Strings don't shy away from dissonance—often, violent dissonance, but there are also long passages of deep beauty. At both extremes, this is not a recording for background listening; it commands attention.

I am particularly enamoured of the title composition, a 14-minute, episodic piece that does indeed seem to breathe. Grdina's oud playing is especially expressive here, and after Lee introduces an ostinato at about the 11-minute mark it reaches a new level of beauty and emotional resonance. Elsewhere, there is mystery, with harsh winds blowing through "Santiago" as Grdina and Kang make ghostly tones, and grainy textures rising and wrapping around Grdina's unadorned guitar line on the lovely "Nayeli Joon."

As with most of Tony Reif's productions, it's all wonderfully recorded, as well.

Taylor: Stepping Out in 1958

When lists of pivotal discs (those that introduced a vital new voice or important new movement in music) are published, Cecil Taylor's 1958 Looking Ahead! is seldom included. Critics usually point to Conquistador! or later recordings like Unit Structures for proof that Taylor was taking improvised piano in a new direction.

But, Len Lyons, in his 1980 book The 101 Best Jazz Albums was onto something. He knowingly singled out "Of What" as "the most successful track" and identified it as the first obvious example of Taylor's distinctive use of clusters—"groups of notes more dense than chords, which (Taylor) introduces with a sharp, percussive attack." It certainly stands apart among six tracks as the one on which Taylor sounds like a budding iconoclast. Beginning as a duet with bassist Buell Neidlinger, the piece displays Taylor's lithe conception of movement, with sly, upturned asides and rapid, feline pounces. When drummer Dennis Charles joins, he contains himself to hi-hat and the occasional hand fills until the 4:30 mark of the eight-minute performance. Most interesting is a telling moment around 7:00, when Taylor loses the momentum of his attack but keeps the tape rolling. By 7:15 he's back in full swing again. It's a lapse in forward motion that rarely shows itself in his more-developed works, but illustrates a growing confidence with the high-wire act he was still perfecting. By his own admission, this was a time when he still felt bound by both the jazz and classical traditions, so "Of What" shines as a brave experiment. Coming a year before the clarion calls of freedom by Ornette Coleman and John Coltrane, it's impossible not to wonder how this track sounded to listeners at the time.

Elsewhere, the recording more closely fits Howard Mandel's descriptor for it: "amiable."

In his book Miles Ornette Cecil: Jazz Beyond Jazz, Mandel posits that vibraphonist Earl Griffith (notably absent from "Of What") was the co-leader of the quartet, and he certainly sounds it. The 32-year-old New Yorker, who left little trace beyond this recording, carries as much of the lead work as Taylor. He's also the composer of one track, "African Violets," a pretty, restrained piece whose strong Billy Strayhorn aura forms attractive parallelism with Taylor's "Excursion On A Wobbly Rail," his most-obvious bow to Ellington's influence on his early playing.

"Wallering" is a bouquet to Fats Waller, while the A-minor blues "Luyah! The Glorious Step"—despite its archetypal Taylor title—shows continuing allegiance to Monk.

"Toll" bears special notice for its transitional place in Taylor's early evolution. Written for his concert debut at Cooper Union in February 1958, in its first movement it hints at how he would revolutionize the percussive role of the piano, although the effect is somewhat undercut by the unimaginative rhythm accompaniment by Neidlinger and Charles. Its centre section contains a few of those delightful runs where Taylor sweeps you along, but it's the brief third movement—primarily a piano/bass duet—where he illustrates how he can conjure drama with a few deft passages.

Emerging from his chrysalis, Taylor had not quite taken on his final shape, but it was clear from Looking Ahead!—and most particularly "Of What"—that the final product was going to be a thing of beauty.

Back To Cecil

Looking back over recent posts on Jazz Chronicles, I'm shocked to see that it has been a full five months since I introduced my plan to focus on Cecil Taylor's recordings this year. He's been on and off my playlist this summer, but as we move into fall I plan to write frequently here about my process of re-discovery.

Next up: Looking Ahead! from 1958.

NEC Jazz At 40

This summer was a cruel one for the New England Conservatory (NEC); the Boston-based institution lost two of its stalwart faculty members in George Russell and Joe Maneri. Both were instrumental in making the NEC's Jazz Studies program one of the world's most respected courses of study in improvised music. This fall, the NEC begins a year-long celebration of the program's 40th anniversary.

The program began when NEC President Gunther Schuller hired saxophonist Carl Atkins to head the Department of African-American Music and Jazz Studies, the first such program at a classical music conservatory. Russell and pianist Jaki Byard were faculty members. Iconoclastic pianist Ran Blake, who had joined the NEC faculty in 1968, became the first chair of the Third Stream Department (now called Contemporary Improvisation) in 1974. Since then, faculty members have included players like Miroslav Vitous, Jimmy Giuffre, Steve Lacy, Dave Holland, Bob Brookmeyer, Stanley Cowell, Ron Carter and Danilo Perez. Ongoing big band residencies have featured a who's who of composing, arranging and conducting: Byard, Sy Johnson, Gerald Wilson, Randy Weston and Melba Liston, Slide Hampton, Jimmy Heath, Muhal Richard Abrams and Claire Fischer. Special residencies have been conducted by Cecil Taylor (an NEC alumnus) and Sun Ra.

No fewer than five faculty members—Lacy, Russell, Blake, Schuller and Miguel Zenón—have been awarded MacArthur Foundation "Genius" grants. Four—Schuller, Brookmeyer, Russell and Carter—have been named NEA Jazz Masters.

But it has been the lesser-known faculty members like Maneri and Hankus Netsky (who was named Jazz Studies Chair in 1986) who have influenced dozens of musicians behind the scenes. I've lost track of the number of young players like trumpeter Cuong Vu who have told me that Maneri changed their conception of music and helped shape their careers.

Between October 18 and 24, the NEC will celebrate the achievements of its Jazz Studies program with a series of concerts in Boston. Among those featured are Netsky (October 20), Dominique Eade (October 21), Jerry Bergonzi and Noah Preminger (October 22) and a 40th anniversary all-star band with Brookmeyer, Perez, Perkins, Blake and others (October 23). On the 24th, the Wayne Shorter Quartet (featuring Perez on piano) will perform with the NEC Philharmonia.

Next March, the celebrations move to New York City, with concerts featuring NEC alumni John Medeski, Regina Carter, Fred Hersch, Harvey Mason and Don Byron.

Roots: Occhipinti Style

Two of Canada's most creative musicians—Roberto and Michael Occhipinti—are heading to their parents' birthplace to receive the prestigious Regusani nel mondo Prize from the Sicilian province of Ragusa. Born in Toronto in 1955 and 1967 respectively, bassist/producer Roberto and guitarist Michael recently celebrated their Sicilian roots with Michael's Juno Award-nominated Sicilian Jazz Project, which Roberto produced and played on.

In addition to receiving the award, whose former recipients include actress Susan Sarandon, the brothers will perform music from the Sicilian Jazz Project in their parents' hometown of Modica. Their stonemason father, Giorgio, left Modica for Canada in 1952, and was joined by his wife Grace and children Peter and Joanne a year later.

My full biography of Roberto can be found here. Michael leads several bands and co-leads the Toronto-based big band NOJO.

Passings

Has there been such a spate of notable music deaths in the past three decades? I can't recall such a bad spell.

Some deaths, like those of the great, underrated George Russell and earth-shaker Les Paul, were inevitable, but still memorable as they signaled the passing of talents the likes of which we won't see again.

Rashied Ali was a shock, all the more so because I was in the middle of reviewing his latest recording, a live set by his quintet from Finland's Tampere Music Happening. Like fellow drummers Chico Hamilton, Roy Haynes and Jimmy Cobb, Ali seemed to defy age. Unlike those peers, though, Ali could still rumble and roar for more than an hour without a break. That's just what he did the last time I saw him play live with Sonny Fortune, when they went at it non-stop for more than 80 minutes. Ali had a terrific sense of what to play, too, as displayed on this new disc, where his band extrapolates two compositions by James Blood Ulmer. Most people who went to see Ali might be expecting something by 'Trane, but Ali was too much his own man—too much in the moment—for that.

August... Out

No proper vacation this year; not even a staycation. Unexpected, major, non-music project kicking in, however, so posts will be light—if not non-existent—until the vicinity of Labour Day.

The Lost Quartet

Until July 27, BBC 3 is featuring a long, illuminative interview of Keith Jarrett by fellow pianist Ethan Iverson. As noted by my colleague Peter Hum, the interview is most revealing on the topic of Jarrett's so-called "American Quartet," which lasted roughly from 1973 to 1977 with Paul Motian, Dewey Redman and Charlie Haden. Jarrett is quite open about the challenges the band presented to him (Redman was perpetually late and a notoriously poor music reader, and Haden was still in the throes of his injection-drug abuse) and his frustration that the quartet was only belatedly recognized for its achievements.

One thing Iverson doesn't touch on is just how hard it is to find much of the music the group recorded on eight albums. I've written about this before, but it deserves repeating that this vital music should be re-released in the best form possible. As Iverson notes, at one time—when he was a teenager—those Impulse! recordings were easy to come by in second-hand stores because, he speculates, so many people bought them on the basis of Jarrett's popular solo recording, The Köln Concert. My vinyl copies remain among the most-prized LPs of those I grew up listening to. I'd love to see them properly re-mastered and annotated by insightful listeners like Iverson and drummer George Schuller.

Will Jack Be Back?

Some lead, some follow... at least that's the usual tradition in music. For every Miles Davis—who grabbed the reins of leadership after leaving Charlie Parker's employ and only stepped back into the sideman's role a small handful of times during the following 40 years—there's a Harold Mabern or Bennie Maupin, who rarely lead a band or have their name above the title on a recording. It's a question of both temperament and ambition.

With that truism in mind, and spurred by his appearance as a partner on two current releases and a couple of Facebook posts from him about his current tour with Keith Jarrett, I began to think last night about the glory days of drummer Jack DeJohnette as bandleader.

Everyone in jazz knows DeJohnette as one of the greatest drummers of his generation, a musician who is arguably on more indispensable, influential recordings than any of his peers. Yet, likely no one younger than 40 recalls the superb bands he led for a decade beginning in the mid-'70s. You could make a case that DeJohnette was a forerunner to multi-taskers like Dave Douglas, he had so much going on. Not content just to lead his open-ended band New Directions, with Lester Bowie, John Abercrombie and Eddie Gomez, he also started a powerful two-reed group called Special Edition, with David Murray (or Chico Freeman), John Purcell and Howard Johnson in the front line. Around that time, I also caught him in Montreal with a killer band featuring Julius Hemphill.

These units put out a string of memorable recordings on ECM: New Directions (1978); Special Edition (1979); Tin Can Alley (1980); and Album, Album (1984). Not only was his writing compelling, but DeJohnette seemed to engender a unified group feel whenever he was in the lead.

In addition to being in constant demand for special projects, as well as his ongoing partnership with Jarrett and Gary Peacock in the Standards Trio, he has put out another handful of recordings under his own name, but not since the breakup of those two bands has he maintained as strong a unit or produced an album as expansive and timeless as those ECM gems (although I have a soft spot for Music For The Fifth World from 1992 with Vernon Reid and John Scofield—sort of Power Tools Lite).

Music From "Out There"

A Facebook post by music writer Mikal Gilmore this morning has me thinking about music that sounds both totally foreign and strangely familiar when you encounter it as a young listener. Gilmore was writing about Buddy Holly's "Peggy Sue," and he expertly defined it as a song that is "mystical," as if Holly "tapped into some timeless muse."

I certainly remember hearing that song (and "Not Fade Away" and "That'll Be The Day") when I was about six and wondering where this music came from. Holly's voice, the creative guitar solo, the production—all made me feel like I was listening to something otherworldly, and yet the humanity of the song struck me as completely natural, too. The fact that Holly, Elvis Presley, Gene Vincent and many of the other young rockers that my older brothers and cousin listened to as teenagers were from the American South made me think that there was something unusual down there, and started me on a long quest to explore blues and soul music.

All of this makes me wonder what contemporary music has this effect on children today. I know that it's not always obvious, because children can't easily put their finger on why something is odd-yet-attractive, and the mix of emotional responses can be disconcerting. My own children are too old now to canvass about what they're hearing now; I'll have to ask what they remember from the broad range of things they heard around our house.

I'd be interested in hearing if you have young ones who are obsessed with new artists who are making interesting noises.

Grabbing My Ears

We're into the post-festival dog days — always prime listening time. Here's what's on my playlist right now:

The Henrys — Is This Tomorrow: Lovely double CD by one of my favourite Canadian bands. Anything with Mary Margaret O'Hara gets my vote.

Steve Earle — Townes: Goes exceptionally well with the above. Someone recently opined that they like this material much better than when Townes performed it, and there's no question that Earle does his friend proud here.

Andy Milne/Benoit Delbecq — Where is Pannonica?: This material was stunning when performed live in Ottawa a few weeks ago, and the recording sounds great, although the performances sound more austere than the recital.

Matt Wilson Quartet — That's Gonna Leave A Mark: Raucous, funny, deep. What more can you ask?

Jerry Granelli V16 — Vancouver '08: Wonderful, atmospheric improvisations here. Also includes a very well-shot live DVD.

Enrico Rava — New York Days: A definite front-runner for recording of the year. I keep going back to it.

Darcy James Argue's Secret Society — Infernal Machines: Another one that I can't leave alone.

More On The Revised JazzTimes

Here's the official news release about the welcome re-birth of JazzTimes:

Madavor Media Acquires JazzTimes

With the mainstream media swamped with stories of print magazines folding, the story of the re-launch of JazzTimes magazine under new ownership by Madavor Media is a positive tale of determination and vision. On July 10, 2009, Madavor Media, a market-leading enthusiast publishing and trade-show group based in Boston, acquired the JazzTimes brand and effective immediately will resume publishing the influential music magazine and its Web site jazztimes.com.

JazzTimes was founded in 1970 by Washington, D.C.-based record-store owner Ira Sabin, who started the publication as a newsletter for his store, eventually changing its name from Radio Free Jazz to JazzTimes. The list of contributors to the magazine during its nearly 40-year history reads like a Who's Who of modern jazz journalism-including Leonard Feather, Stanley Dance, Martin Williams, Ira Gitler, Dan Morgenstern, Stanley Crouch, Nat Hentoff, Gary Giddins, Amiri Baraka, Harvey Pekar, Nate Chinen and Ashley Kahn. The publication has won numerous awards for its content and design, and the All-Music Guide has called JazzTimes "arguably the number-one jazz magazine in the world."

"We are honored to have the opportunity to expand our portfolio with this remarkable and respected publication," says Jeffrey C. Wolk, chairman and CEO of Madavor Media. "Because of our experience and industry partnerships, we are well-positioned to serve jazz enthusiasts and to build on the impressive business started by Ira Sabin."

"As an established, quality-directed, enthusiast consumer media company, we feel that Madavor Media is the perfect choice as the new steward of the JazzTimes brand. Madavor Media is a successful, growing publisher with the resources and efficiencies that will enable our 39-year-old franchise to provide expanded services to our dedicated readers and advertising clients alike", says JazzTimes publisher and CEO Glenn Sabin.

"In each issue of JazzTimes, we will continue to deliver the news and information that readers and advertisers expect from the world's leading jazz publication," says Madavor Media's VP/Group Publisher Susan Fitzgerald. "With our experience in circulation, distribution, production, and promotion, Madavor plans to take the JazzTimes brand to new heights."

Current Editor-in-Chief Lee Mergner and Managing Editor Evan Haga will remain with the publication to maintain continuity and connection within the jazz community. "For Evan and I, this is a great opportunity to reinvent the magazine in the face of so many interesting challenges," says Mergner. "And we look forward to the synergy with the other titles in the Madavor stable of publications." Jeff Sabin and Eric Adams will continue as the magazine's advertising-account representatives.

The next issue will feature a cover story on saxophonist Joe Lovano, as well as a piece by investigative reporter Marc Hopkins on the effect of the current economic climate on jazz festivals. The first issue bearing the real imprint of Madavor will be the September issue, which spotlights jazz guitar including stories on John Scofield, Nels Cline and George Benson, plus lots more. JazzTimes also publishes an annual Jazz Education Guide, filled with valuable information and material for students, parents, and educators.

Madavor Media publishes other titles and manages trade shows that are number one in their respective fields in the sports and enthusiast markets. Through its print and digital magazines, trade shows, websites, e-mail newsletters, and other partnerships across the publishing industry, Madavor offers unique ways to communicate with passionate consumers who are eager to learn more about products and events that support their interests.

Magazine Bounces Back

As reported by Ben Ratliff in the New York Times, Jazz Times will soon be back in circulation, thanks to its purchase by a Boston-based publishing company.

Editor-in-Chief Lee Mergner says the deal includes provisions to pay contributors what they are owed for past editorial contributions.

Welcome back.

Canwest "Critics" Strike Again

A week after would-be music journalist Jeff Heinrich set off a viral storm with his hatchet-job on Maria Schneider, another Canwest writer has tried his hand at music criticism and come up sadly wanting.

In today's Ottawa Citizen, Bruce Ward decides to profile Ornette Coleman from the perspective that the saxophonist/composer hasn't really done anything since 1959.

The first sign that Ward is hopelessly lost on the subject is his assertion that Coleman's work in 1959 was overshadowed by Miles Davis' Kind Of Blue. In fact, Kind Of Blue barely caused a ripple in the jazz world at the time, while Coleman's New York City debut and the first recordings by his quartet dominated the music scene that year, with reviews—pro and con—by observers as diverse as Leonard Bernstein and Clark Terry.

To ignore Coleman's output of the past 50 years, which includes some of the most important artistic statements in any genre of music, and present him as some sort of musical anomaly is way, way below the standards a major daily should be setting.