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ETHANIVERSON.COM
Later this year, Aucoin’s book The Impossible Art: Adventures in Opera will be published by Macmillian. Then there’s Timo Andres, a true polymath, a man whose profound excellence in diverse fields — composer, pianist, home studio tech, engraver of scores — ALBUM LEAF (PAGES FROM A PIANO DIARY) During the 2020 pandemic I've been contemplating my music library. This page concerns pianists and piano repertoire in the tradition of European Classical Music. In three sections -- THE BEST OF THE BEST (LP edition)THE PIANIST'S BOOKSHELFMODERNISM ON COMPACT DISC THE BEST OF THE BEST (LP edition) My classical music LP collection used to be INTERVIEW WITH JEFF “TAIN” WATTS This conversation was done in May 2021 over Zoom and transcribed by Scott Douglass. Ethan Iverson: The only time I met Ahmad Jamal, I thanked him for all the sounds and he replied, “Well, you know, there’s a lot of great musicians from Pittsburgh.” Jeff Watts:It’s
CARLA AND OTHER MATTERS Carla and other matters. Best of birthdays to the mother of us all, Carla Bley. Carla is 85 today. A few years ago I wrote an overview for the New Yorker Culture Desk. On DTM there’s an interview — this one is pretty great, if I do say so myself. There’s always more tohear.
RIP FRANK KIMBROUGH
RIP Frank Kimbrough. Word has come that jazz pianist Frank Kimbrough has died of a sudden heart attack. A few memories: One of the very first concerts I saw in NYC in the fall of 1991 was a trio of Frank, Ben Allison, and Jeff Williams at some obscure venue in the East Village. It was really great, in part because Frank was clearlyinfluenced
STEVE REICH’S TEHILLIM Kyle Gann understands the whole of Reich’s oeuvre much better than I do, most of which doesn’t resonate with me the way Tehillim does. Gann’s pages on Reich in American Music in the 20th Century are concise, critical, and believable.. Reich’s own liner notes to Tehillim are very intellectual and generally murky. However, Paul Griffith’s notes to the reissue of Tehillim in the The ECM INTERVIEW WITH BILL FRISELL Interview with Bill Frisell. This interview took place over two days in January 2018. Thanks to Paul Sanwald for the transcription. —. Ethan Iverson: Tell us where you’re from, Bill. Bill Frisell: I was born in Baltimore, but my family moved to Denver. My father was a biochemist. He was born in Two Harbors, Minnesota, he went from Two THE BEST OF ROBERT B. PARKER Back Story (2003) A nostalgia trip is a chance for some excellent detection. The client’s eventual relationship to the truth is Robert B. Parker at his best. Cold Service (2005) Hawk is in charge, Spenser is backup. The two girlfriends discuss the two men at some length. A LITTLE LEFT HAND FROM BEN RILEY A Little Left Hand from Ben Riley. Sorry to hear of the passing of Mr. Ben Riley, one of the all-time great modern jazz drummers. While Riley might remain best-known for his 60’s association with Thelonious Monk, he played with almost everybody else as well. The Sonny Rollins Bridge sessions are famous, but the drumming is just as good on A STORYTELLER WHO GOT THE DETAILS RIGHT (Sarah and I had known Don and Abby Westlake for about three years when Don suddenly passed on New Year's Eve 2008. The first version of the following was my immediate tribute and obit. The essay was then expanded and revised when the blog rebooted in 2010. A second lighterrevision was
ETHANIVERSON.COM
Later this year, Aucoin’s book The Impossible Art: Adventures in Opera will be published by Macmillian. Then there’s Timo Andres, a true polymath, a man whose profound excellence in diverse fields — composer, pianist, home studio tech, engraver of scores — ALBUM LEAF (PAGES FROM A PIANO DIARY) During the 2020 pandemic I've been contemplating my music library. This page concerns pianists and piano repertoire in the tradition of European Classical Music. In three sections -- THE BEST OF THE BEST (LP edition)THE PIANIST'S BOOKSHELFMODERNISM ON COMPACT DISC THE BEST OF THE BEST (LP edition) My classical music LP collection used to be INTERVIEW WITH JEFF “TAIN” WATTS This conversation was done in May 2021 over Zoom and transcribed by Scott Douglass. Ethan Iverson: The only time I met Ahmad Jamal, I thanked him for all the sounds and he replied, “Well, you know, there’s a lot of great musicians from Pittsburgh.” Jeff Watts:It’s
CARLA AND OTHER MATTERS Carla and other matters. Best of birthdays to the mother of us all, Carla Bley. Carla is 85 today. A few years ago I wrote an overview for the New Yorker Culture Desk. On DTM there’s an interview — this one is pretty great, if I do say so myself. There’s always more tohear.
RIP FRANK KIMBROUGH
RIP Frank Kimbrough. Word has come that jazz pianist Frank Kimbrough has died of a sudden heart attack. A few memories: One of the very first concerts I saw in NYC in the fall of 1991 was a trio of Frank, Ben Allison, and Jeff Williams at some obscure venue in the East Village. It was really great, in part because Frank was clearlyinfluenced
STEVE REICH’S TEHILLIM Kyle Gann understands the whole of Reich’s oeuvre much better than I do, most of which doesn’t resonate with me the way Tehillim does. Gann’s pages on Reich in American Music in the 20th Century are concise, critical, and believable.. Reich’s own liner notes to Tehillim are very intellectual and generally murky. However, Paul Griffith’s notes to the reissue of Tehillim in the The ECM INTERVIEW WITH BILL FRISELL Interview with Bill Frisell. This interview took place over two days in January 2018. Thanks to Paul Sanwald for the transcription. —. Ethan Iverson: Tell us where you’re from, Bill. Bill Frisell: I was born in Baltimore, but my family moved to Denver. My father was a biochemist. He was born in Two Harbors, Minnesota, he went from Two THE BEST OF ROBERT B. PARKER Back Story (2003) A nostalgia trip is a chance for some excellent detection. The client’s eventual relationship to the truth is Robert B. Parker at his best. Cold Service (2005) Hawk is in charge, Spenser is backup. The two girlfriends discuss the two men at some length. A LITTLE LEFT HAND FROM BEN RILEY A Little Left Hand from Ben Riley. Sorry to hear of the passing of Mr. Ben Riley, one of the all-time great modern jazz drummers. While Riley might remain best-known for his 60’s association with Thelonious Monk, he played with almost everybody else as well. The Sonny Rollins Bridge sessions are famous, but the drumming is just as good on A STORYTELLER WHO GOT THE DETAILS RIGHT (Sarah and I had known Don and Abby Westlake for about three years when Don suddenly passed on New Year's Eve 2008. The first version of the following was my immediate tribute and obit. The essay was then expanded and revised when the blog rebooted in 2010. A second lighterrevision was
A FAINT PATRIOTIC BEAT George Packer tries to make sense of the current condition in The Atlantic: "How America Fractured Into Four Parts." An interesting read. I admit that — despite everything — I identify as a patriot and as an American. Particularly I identify as an American artist, a concept that I find irresistible The Packer article pairs MARK STRYKER CONTINUES CHRONOLOGY 1 day ago · Must read: Mark Stryker on Freddie Redd. Beautiful. We need Stryker's critical voice in this muisc. The previous columns were all written by myself. Thanks again to Vinnie Sperrazza for the name "Chronology," which is a great Ornette Coleman tune as well as an appropriate title for this series James NewtonJohn Scofield, SteveSwallow, Adam
ALBUM LEAF (PAGES FROM A PIANO DIARY) During the 2020 pandemic I've been contemplating my music library. This page concerns pianists and piano repertoire in the tradition of European Classical Music. In three sections -- THE BEST OF THE BEST (LP edition)THE PIANIST'S BOOKSHELFMODERNISM ON COMPACT DISC THE BEST OF THE BEST (LP edition) My classical music LP collection used to be INTERVIEWS | DO THE M@TH Django Bates Tim Berne: Part 1, Part 2, Birthday wishes Carla Bley (and the whole Bley Extravaganza) Joanne Brackeen Gavin Bryars George Cables: Part 1, Part 2 Ron Carter: Phone interview, Word Association George Colligan Bob Cranshaw Stanley Crouch Miranda Cuckson John Cumming Benoît Delbecq Robert Dennis Gerald Early Jed Eisenman Ellery Eskelin (by Jacob Wunsch) Bill Frisell STEVE REICH’S TEHILLIM Kyle Gann understands the whole of Reich’s oeuvre much better than I do, most of which doesn’t resonate with me the way Tehillim does. Gann’s pages on Reich in American Music in the 20th Century are concise, critical, and believable.. Reich’s own liner notes to Tehillim are very intellectual and generally murky. However, Paul Griffith’s notes to the reissue of Tehillim in the The ECM BILL EVANS AT THE BOHEMIA Bill Evans at the Bohemia. While reading Dustin Mallory’s dissertation on Philly Joe Jones, I was brought up short by this quote from Bill Evans, which was is from a 1979 radio interview with Ross Porter, apparently discovered by Sean Gough for his dissertation on Evans. “Somebody gave me this last year, these live dates from theBohemia
THE BEST OF ROBERT B. PARKER I turned 47 in February, so it was high time for a mid-life crisis. Rather than searching for an inappropriately young girlfriend or impulse buying a European sports car, I read all the books by Robert B. Parker starring Spenser, the tough but fair Boston private eye who saves lost souls and kills bad guys with the help with his girlfriend, refined therapist Susan Silverman, and his partner RIP STANLEY COWELL: A UNIVERSE OF MUSIC RIP Stanley Cowell: A Universe of Music. There are not too many authentic jazz heroes of Stanley Cowell’s stature left. Cowell first came to prominence in the late 60’s, when he was playing with the leading lights of the tough NYC scene. Max Roach’s Members, Don’t Get Weary from 1968 is one of Roach’s greatest albums, a sublime mixof
CONNECTOR IN CHIEF: CHICK COREA, 1941-2021 (BY MARK Chick’s technical command of the piano, honed by his deep study of classical music, particularly Bartok, Scriabin, and other 20 th Century composers, was unimpeachable. The last time I heard Chick live in fall 2019 with McBride and Blade was the first time I noticed that, at age 78, he might be losing a whiff of finger strength; the notes didn’t always pop as they typically did. A STORYTELLER WHO GOT THE DETAILS RIGHT (Sarah and I had known Don and Abby Westlake for about three years when Don suddenly passed on New Year's Eve 2008. The first version of the following was my immediate tribute and obit. The essay was then expanded and revised when the blog rebooted in 2010. A second lighterrevision was
ETHANIVERSON.COM
Later this year, Aucoin’s book The Impossible Art: Adventures in Opera will be published by Macmillian. Then there’s Timo Andres, a true polymath, a man whose profound excellence in diverse fields — composer, pianist, home studio tech, engraver of scores — A FAINT PATRIOTIC BEAT 14 hours ago · George Packer tries to make sense of the current condition in The Atlantic: "How America Fractured Into Four Parts." An interesting read. I admit that — despite everything — I identify as a patriot and as an American. Particularly I identify as an American artist, a concept that I find irresistible The Packer articlepairs
ALBUM LEAF (PAGES FROM A PIANO DIARY) During the 2020 pandemic I've been contemplating my music library. This page concerns pianists and piano repertoire in the tradition of European Classical Music. In three sections -- THE BEST OF THE BEST (LP edition)THE PIANIST'S BOOKSHELFMODERNISM ON COMPACT DISC THE BEST OF THE BEST (LP edition) My classical music LP collection used to be BILL EVANS AT THE BOHEMIA While reading Dustin Mallory’s dissertation on Philly Joe Jones, I was brought up short by this quote from Bill Evans, which was is from a 1979 radio interview with Ross Porter, apparently discovered by Sean Gough for his dissertation on Evans. “Somebody gave me this last year, these live dates from the Bohemia, it’s with Miles, and Coltrane, Paul Chambers,Philly Joe, and myself: the INTERVIEW WITH JEFF “TAIN” WATTS Interview with Jeff “Tain” Watts. This conversation was done in May 2021 over Zoom and transcribed by Scott Douglass. Ethan Iverson: The only time I met Ahmad Jamal, I thanked him for all the sounds and he replied, “Well, you know, there’s a lot of great musicians from Pittsburgh.”. Jeff Watts: It’sTAG ARCHIVES: BOOKS
The Glass Bead Game breaks down into essentially three parts: An introduction to the future world and the game, the story of Magister Ludi Joseph Knecht, and an appendix of Knecht’s own writings. The slightly pompous and comic introduction predicts the internet and CARLA AND OTHER MATTERS Carla and other matters. Best of birthdays to the mother of us all, Carla Bley. Carla is 85 today. A few years ago I wrote an overview for the New Yorker Culture Desk. On DTM there’s an interview — this one is pretty great, if I do say so myself. There’s always more tohear.
INTERVIEW WITH BILL FRISELL Interview with Bill Frisell. This interview took place over two days in January 2018. Thanks to Paul Sanwald for the transcription. —. Ethan Iverson: Tell us where you’re from, Bill. Bill Frisell: I was born in Baltimore, but my family moved to Denver. My father was a biochemist. He was born in Two Harbors, Minnesota, he went from Two THE BEST OF ROBERT B. PARKER Back Story (2003) A nostalgia trip is a chance for some excellent detection. The client’s eventual relationship to the truth is Robert B. Parker at his best. Cold Service (2005) Hawk is in charge, Spenser is backup. The two girlfriends discuss the two men at some length.RIP FRANK KIMBROUGH
RIP Frank Kimbrough. Word has come that jazz pianist Frank Kimbrough has died of a sudden heart attack. A few memories: One of the very first concerts I saw in NYC in the fall of 1991 was a trio of Frank, Ben Allison, and Jeff Williams at some obscure venue in the East Village. It was really great, in part because Frank was clearlyinfluenced
ETHANIVERSON.COM
Later this year, Aucoin’s book The Impossible Art: Adventures in Opera will be published by Macmillian. Then there’s Timo Andres, a true polymath, a man whose profound excellence in diverse fields — composer, pianist, home studio tech, engraver of scores — A FAINT PATRIOTIC BEAT 14 hours ago · George Packer tries to make sense of the current condition in The Atlantic: "How America Fractured Into Four Parts." An interesting read. I admit that — despite everything — I identify as a patriot and as an American. Particularly I identify as an American artist, a concept that I find irresistible The Packer articlepairs
ALBUM LEAF (PAGES FROM A PIANO DIARY) During the 2020 pandemic I've been contemplating my music library. This page concerns pianists and piano repertoire in the tradition of European Classical Music. In three sections -- THE BEST OF THE BEST (LP edition)THE PIANIST'S BOOKSHELFMODERNISM ON COMPACT DISC THE BEST OF THE BEST (LP edition) My classical music LP collection used to be BILL EVANS AT THE BOHEMIA While reading Dustin Mallory’s dissertation on Philly Joe Jones, I was brought up short by this quote from Bill Evans, which was is from a 1979 radio interview with Ross Porter, apparently discovered by Sean Gough for his dissertation on Evans. “Somebody gave me this last year, these live dates from the Bohemia, it’s with Miles, and Coltrane, Paul Chambers,Philly Joe, and myself: the INTERVIEW WITH JEFF “TAIN” WATTS Interview with Jeff “Tain” Watts. This conversation was done in May 2021 over Zoom and transcribed by Scott Douglass. Ethan Iverson: The only time I met Ahmad Jamal, I thanked him for all the sounds and he replied, “Well, you know, there’s a lot of great musicians from Pittsburgh.”. Jeff Watts: It’sTAG ARCHIVES: BOOKS
The Glass Bead Game breaks down into essentially three parts: An introduction to the future world and the game, the story of Magister Ludi Joseph Knecht, and an appendix of Knecht’s own writings. The slightly pompous and comic introduction predicts the internet and CARLA AND OTHER MATTERS Carla and other matters. Best of birthdays to the mother of us all, Carla Bley. Carla is 85 today. A few years ago I wrote an overview for the New Yorker Culture Desk. On DTM there’s an interview — this one is pretty great, if I do say so myself. There’s always more tohear.
INTERVIEW WITH BILL FRISELL Interview with Bill Frisell. This interview took place over two days in January 2018. Thanks to Paul Sanwald for the transcription. —. Ethan Iverson: Tell us where you’re from, Bill. Bill Frisell: I was born in Baltimore, but my family moved to Denver. My father was a biochemist. He was born in Two Harbors, Minnesota, he went from Two THE BEST OF ROBERT B. PARKER Back Story (2003) A nostalgia trip is a chance for some excellent detection. The client’s eventual relationship to the truth is Robert B. Parker at his best. Cold Service (2005) Hawk is in charge, Spenser is backup. The two girlfriends discuss the two men at some length.RIP FRANK KIMBROUGH
RIP Frank Kimbrough. Word has come that jazz pianist Frank Kimbrough has died of a sudden heart attack. A few memories: One of the very first concerts I saw in NYC in the fall of 1991 was a trio of Frank, Ben Allison, and Jeff Williams at some obscure venue in the East Village. It was really great, in part because Frank was clearlyinfluenced
ALBUM LEAF (PAGES FROM A PIANO DIARY) During the 2020 pandemic I've been contemplating my music library. This page concerns pianists and piano repertoire in the tradition of European Classical Music. In three sections -- THE BEST OF THE BEST (LP edition)THE PIANIST'S BOOKSHELFMODERNISM ON COMPACT DISC THE BEST OF THE BEST (LP edition) My classical music LP collection used to be BILL EVANS AT THE BOHEMIA While reading Dustin Mallory’s dissertation on Philly Joe Jones, I was brought up short by this quote from Bill Evans, which was is from a 1979 radio interview with Ross Porter, apparently discovered by Sean Gough for his dissertation on Evans. “Somebody gave me this last year, these live dates from the Bohemia, it’s with Miles, and Coltrane, Paul Chambers,Philly Joe, and myself: the INTERVIEW WITH JEFF “TAIN” WATTS Interview with Jeff “Tain” Watts. This conversation was done in May 2021 over Zoom and transcribed by Scott Douglass. Ethan Iverson: The only time I met Ahmad Jamal, I thanked him for all the sounds and he replied, “Well, you know, there’s a lot of great musicians from Pittsburgh.”. Jeff Watts: It’s SURELY THIS IS GOING TO WORK CORRECTLY EVENTUALLY During the 2020 pandemic I had time to consider a few successes and failures from valuable pioneers. There's nothing systematic or complete about this grab-bag, it's literally the stuff from one section of my LP shelf. Reviewed below: Friedrich Gulda, Music for 4 soloists and Band No. 1Dedicated to Eric DolphyThe American JazzEnsemble New
INTERVIEWS | DO THE M@TH Django Bates Tim Berne: Part 1, Part 2, Birthday wishes Carla Bley (and the whole Bley Extravaganza) Joanne Brackeen Gavin Bryars George Cables: Part 1, Part 2 Ron Carter: Phone interview, Word Association George Colligan Bob Cranshaw Stanley Crouch Miranda Cuckson John Cumming Benoît Delbecq Robert Dennis Gerald Early Jed Eisenman Ellery Eskelin (by Jacob Wunsch) Bill FrisellWELCOME BACK
Welcome Back. New DTM page: “Ethan Iverson plays TV themes.”. Tonight, a solo piano streaming performance from Indian Hill Music. STEVE REICH’S TEHILLIM Kyle Gann understands the whole of Reich’s oeuvre much better than I do, most of which doesn’t resonate with me the way Tehillim does. Gann’s pages on Reich in American Music in the 20th Century are concise, critical, and believable.. Reich’s own liner notes to Tehillim are very intellectual and generally murky. However, Paul Griffith’s notes to the reissue of Tehillim in the The ECM THE BREAKTHROUGH OF GERI ALLEN Geri Allen is 60 today. Happy Birthday Geri! Allen has had a long career of triumphs and remains one of the key musicians in jazz, but she may not always get enough credit for the degree of influential innovation on display A LITTLE LEFT HAND FROM BEN RILEY A Little Left Hand from Ben Riley. Sorry to hear of the passing of Mr. Ben Riley, one of the all-time great modern jazz drummers. While Riley might remain best-known for his 60’s association with Thelonious Monk, he played with almost everybody else as well. The Sonny Rollins Bridge sessions are famous, but the drumming is just as good on LOUIS ARMSTRONG AND MILES DAVIS Terry Teachout's play Satchmo at the Waldorf recently opened in New York. While obviously well-acted by John Douglas Thompson and successful with the audience, for me there wasn't enough unconditional love and respect for Mr. Louis Armstrong. This is also the theme of my essay about Terry's book on Duke, "Reverential Gesture." I didappreciate
ETHANIVERSON.COM
Later this year, Aucoin’s book The Impossible Art: Adventures in Opera will be published by Macmillian. Then there’s Timo Andres, a true polymath, a man whose profound excellence in diverse fields — composer, pianist, home studio tech, engraver of scores — BILL EVANS AT THE BOHEMIA While reading Dustin Mallory’s dissertation on Philly Joe Jones, I was brought up short by this quote from Bill Evans, which was is from a 1979 radio interview with Ross Porter, apparently discovered by Sean Gough for his dissertation on Evans. “Somebody gave me this last year, these live dates from the Bohemia, it’s with Miles, and Coltrane, Paul Chambers,Philly Joe, and myself: the ALBUM LEAF (PAGES FROM A PIANO DIARY) During the 2020 pandemic I've been contemplating my music library. This page concerns pianists and piano repertoire in the tradition of European Classical Music. In three sections -- THE BEST OF THE BEST (LP edition)THE PIANIST'S BOOKSHELFMODERNISM ON COMPACT DISC THE BEST OF THE BEST (LP edition) My classical music LP collection used to be INTERVIEW WITH JEFF “TAIN” WATTS Interview with Jeff “Tain” Watts. This conversation was done in May 2021 over Zoom and transcribed by Scott Douglass. Ethan Iverson: The only time I met Ahmad Jamal, I thanked him for all the sounds and he replied, “Well, you know, there’s a lot of great musicians from Pittsburgh.”. Jeff Watts: It’s INTERVIEW WITH BILL FRISELL Interview with Bill Frisell. This interview took place over two days in January 2018. Thanks to Paul Sanwald for the transcription. —. Ethan Iverson: Tell us where you’re from, Bill. Bill Frisell: I was born in Baltimore, but my family moved to Denver. My father was a biochemist. He was born in Two Harbors, Minnesota, he went from Two CARLA AND OTHER MATTERS Carla and other matters. Best of birthdays to the mother of us all, Carla Bley. Carla is 85 today. A few years ago I wrote an overview for the New Yorker Culture Desk. On DTM there’s an interview — this one is pretty great, if I do say so myself. There’s always more tohear.
THE BEST OF ROBERT B. PARKER Back Story (2003) A nostalgia trip is a chance for some excellent detection. The client’s eventual relationship to the truth is Robert B. Parker at his best. Cold Service (2005) Hawk is in charge, Spenser is backup. The two girlfriends discuss the two men at some length.RIP FRANK KIMBROUGH
RIP Frank Kimbrough. Word has come that jazz pianist Frank Kimbrough has died of a sudden heart attack. A few memories: One of the very first concerts I saw in NYC in the fall of 1991 was a trio of Frank, Ben Allison, and Jeff Williams at some obscure venue in the East Village. It was really great, in part because Frank was clearlyinfluenced
THE HISTORY OF THE BLUES…SCALE? (GUEST POST BY ASHER TOBIN --- If you’ve studied music formally, you probably know the blues scale given in the 1970 update to ADVENTURES IN BIG BAND MUSICOLOGY (BY JEFF SULTANOF) Adventures in Big Band Musicology (by Jeff Sultanof) This guest post is in response to DTM pages “Reverential Gesture” and “Misunderstanding in Blue” (by Darcy James Argue).”. —. Working with big band and jazz ensemble manuscript materials has long been one of my passions. Perhaps I am best known for preparing published versions ofETHANIVERSON.COM
Later this year, Aucoin’s book The Impossible Art: Adventures in Opera will be published by Macmillian. Then there’s Timo Andres, a true polymath, a man whose profound excellence in diverse fields — composer, pianist, home studio tech, engraver of scores — A FAINT PATRIOTIC BEAT 8 hours ago · George Packer tries to make sense of the current condition in The Atlantic: "How America Fractured Into Four Parts." An interesting read. I admit that — despite everything — I identify as a patriot and as an American. Particularly I identify as an American artist, a concept that I find irresistible The Packer articlepairs
ALBUM LEAF (PAGES FROM A PIANO DIARY) During the 2020 pandemic I've been contemplating my music library. This page concerns pianists and piano repertoire in the tradition of European Classical Music. In three sections -- THE BEST OF THE BEST (LP edition)THE PIANIST'S BOOKSHELFMODERNISM ON COMPACT DISC THE BEST OF THE BEST (LP edition) My classical music LP collection used to be BILL EVANS AT THE BOHEMIA While reading Dustin Mallory’s dissertation on Philly Joe Jones, I was brought up short by this quote from Bill Evans, which was is from a 1979 radio interview with Ross Porter, apparently discovered by Sean Gough for his dissertation on Evans. “Somebody gave me this last year, these live dates from the Bohemia, it’s with Miles, and Coltrane, Paul Chambers,Philly Joe, and myself: the INTERVIEW WITH JEFF “TAIN” WATTS Interview with Jeff “Tain” Watts. This conversation was done in May 2021 over Zoom and transcribed by Scott Douglass. Ethan Iverson: The only time I met Ahmad Jamal, I thanked him for all the sounds and he replied, “Well, you know, there’s a lot of great musicians from Pittsburgh.”. Jeff Watts: It’sTAG ARCHIVES: BOOKS
The Glass Bead Game breaks down into essentially three parts: An introduction to the future world and the game, the story of Magister Ludi Joseph Knecht, and an appendix of Knecht’s own writings. The slightly pompous and comic introduction predicts the internet and CARLA AND OTHER MATTERS Carla and other matters. Best of birthdays to the mother of us all, Carla Bley. Carla is 85 today. A few years ago I wrote an overview for the New Yorker Culture Desk. On DTM there’s an interview — this one is pretty great, if I do say so myself. There’s always more tohear.
INTERVIEW WITH BILL FRISELL Interview with Bill Frisell. This interview took place over two days in January 2018. Thanks to Paul Sanwald for the transcription. —. Ethan Iverson: Tell us where you’re from, Bill. Bill Frisell: I was born in Baltimore, but my family moved to Denver. My father was a biochemist. He was born in Two Harbors, Minnesota, he went from Two THE BEST OF ROBERT B. PARKER Back Story (2003) A nostalgia trip is a chance for some excellent detection. The client’s eventual relationship to the truth is Robert B. Parker at his best. Cold Service (2005) Hawk is in charge, Spenser is backup. The two girlfriends discuss the two men at some length.RIP FRANK KIMBROUGH
RIP Frank Kimbrough. Word has come that jazz pianist Frank Kimbrough has died of a sudden heart attack. A few memories: One of the very first concerts I saw in NYC in the fall of 1991 was a trio of Frank, Ben Allison, and Jeff Williams at some obscure venue in the East Village. It was really great, in part because Frank was clearlyinfluenced
ALBUM LEAF (PAGES FROM A PIANO DIARY) During the 2020 pandemic I've been contemplating my music library. This page concerns pianists and piano repertoire in the tradition of European Classical Music. In three sections -- THE BEST OF THE BEST (LP edition)THE PIANIST'S BOOKSHELFMODERNISM ON COMPACT DISC THE BEST OF THE BEST (LP edition) My classical music LP collection used to be INTERVIEW WITH JEFF “TAIN” WATTS Interview with Jeff “Tain” Watts. This conversation was done in May 2021 over Zoom and transcribed by Scott Douglass. Ethan Iverson: The only time I met Ahmad Jamal, I thanked him for all the sounds and he replied, “Well, you know, there’s a lot of great musicians from Pittsburgh.”. Jeff Watts: It’sWELCOME BACK
Welcome Back. New DTM page: “Ethan Iverson plays TV themes.”. Tonight, a solo piano streaming performance from Indian Hill Music. SURELY THIS IS GOING TO WORK CORRECTLY EVENTUALLY During the 2020 pandemic I had time to consider a few successes and failures from valuable pioneers. There's nothing systematic or complete about this grab-bag, it's literally the stuff from one section of my LP shelf. Reviewed below: Friedrich Gulda, Music for 4 soloists and Band No. 1Dedicated to Eric DolphyThe American JazzEnsemble New
INTERVIEWS | DO THE M@TH Django Bates Tim Berne: Part 1, Part 2, Birthday wishes Carla Bley (and the whole Bley Extravaganza) Joanne Brackeen Gavin Bryars George Cables: Part 1, Part 2 Ron Carter: Phone interview, Word Association George Colligan Bob Cranshaw Stanley Crouch Miranda Cuckson John Cumming Benoît Delbecq Robert Dennis Gerald Early Jed Eisenman Ellery Eskelin (by Jacob Wunsch) Bill Frisell STEVE REICH’S TEHILLIM Kyle Gann understands the whole of Reich’s oeuvre much better than I do, most of which doesn’t resonate with me the way Tehillim does. Gann’s pages on Reich in American Music in the 20th Century are concise, critical, and believable.. Reich’s own liner notes to Tehillim are very intellectual and generally murky. However, Paul Griffith’s notes to the reissue of Tehillim in the The ECMNORMAN SIMMONS
Norman Simmons. The great Norman Simmons has passed on at 91 years of age. Good obit by Nate Chinen at WBGO. Simmons was best-known as accompanist of singers; video of “If I Had You” with Joe Williams is typically flawless — and then Simmons even sings. THE BREAKTHROUGH OF GERI ALLEN Geri Allen is 60 today. Happy Birthday Geri! Allen has had a long career of triumphs and remains one of the key musicians in jazz, but she may not always get enough credit for the degree of influential innovation on display A LITTLE LEFT HAND FROM BEN RILEY A Little Left Hand from Ben Riley. Sorry to hear of the passing of Mr. Ben Riley, one of the all-time great modern jazz drummers. While Riley might remain best-known for his 60’s association with Thelonious Monk, he played with almost everybody else as well. The Sonny Rollins Bridge sessions are famous, but the drumming is just as good on LOUIS ARMSTRONG AND MILES DAVIS Terry Teachout's play Satchmo at the Waldorf recently opened in New York. While obviously well-acted by John Douglas Thompson and successful with the audience, for me there wasn't enough unconditional love and respect for Mr. Louis Armstrong. This is also the theme of my essay about Terry's book on Duke, "Reverential Gesture." I didappreciate
ETHANIVERSON.COM
Later this year, Aucoin’s book The Impossible Art: Adventures in Opera will be published by Macmillian. Then there’s Timo Andres, a true polymath, a man whose profound excellence in diverse fields — composer, pianist, home studio tech, engraver of scores — BILL EVANS AT THE BOHEMIA While reading Dustin Mallory’s dissertation on Philly Joe Jones, I was brought up short by this quote from Bill Evans, which was is from a 1979 radio interview with Ross Porter, apparently discovered by Sean Gough for his dissertation on Evans. “Somebody gave me this last year, these live dates from the Bohemia, it’s with Miles, and Coltrane, Paul Chambers,Philly Joe, and myself: the ALBUM LEAF (PAGES FROM A PIANO DIARY) During the 2020 pandemic I've been contemplating my music library. This page concerns pianists and piano repertoire in the tradition of European Classical Music. In three sections -- THE BEST OF THE BEST (LP edition)THE PIANIST'S BOOKSHELFMODERNISM ON COMPACT DISC THE BEST OF THE BEST (LP edition) My classical music LP collection used to be INTERVIEW WITH JEFF “TAIN” WATTS Interview with Jeff “Tain” Watts. This conversation was done in May 2021 over Zoom and transcribed by Scott Douglass. Ethan Iverson: The only time I met Ahmad Jamal, I thanked him for all the sounds and he replied, “Well, you know, there’s a lot of great musicians from Pittsburgh.”. Jeff Watts: It’s INTERVIEW WITH BILL FRISELL Interview with Bill Frisell. This interview took place over two days in January 2018. Thanks to Paul Sanwald for the transcription. —. Ethan Iverson: Tell us where you’re from, Bill. Bill Frisell: I was born in Baltimore, but my family moved to Denver. My father was a biochemist. He was born in Two Harbors, Minnesota, he went from Two CARLA AND OTHER MATTERS Carla and other matters. Best of birthdays to the mother of us all, Carla Bley. Carla is 85 today. A few years ago I wrote an overview for the New Yorker Culture Desk. On DTM there’s an interview — this one is pretty great, if I do say so myself. There’s always more tohear.
THE BEST OF ROBERT B. PARKER Back Story (2003) A nostalgia trip is a chance for some excellent detection. The client’s eventual relationship to the truth is Robert B. Parker at his best. Cold Service (2005) Hawk is in charge, Spenser is backup. The two girlfriends discuss the two men at some length.RIP FRANK KIMBROUGH
RIP Frank Kimbrough. Word has come that jazz pianist Frank Kimbrough has died of a sudden heart attack. A few memories: One of the very first concerts I saw in NYC in the fall of 1991 was a trio of Frank, Ben Allison, and Jeff Williams at some obscure venue in the East Village. It was really great, in part because Frank was clearlyinfluenced
THE HISTORY OF THE BLUES…SCALE? (GUEST POST BY ASHER TOBIN --- If you’ve studied music formally, you probably know the blues scale given in the 1970 update to ADVENTURES IN BIG BAND MUSICOLOGY (BY JEFF SULTANOF) Adventures in Big Band Musicology (by Jeff Sultanof) This guest post is in response to DTM pages “Reverential Gesture” and “Misunderstanding in Blue” (by Darcy James Argue).”. —. Working with big band and jazz ensemble manuscript materials has long been one of my passions. Perhaps I am best known for preparing published versions ofETHANIVERSON.COM
Later this year, Aucoin’s book The Impossible Art: Adventures in Opera will be published by Macmillian. Then there’s Timo Andres, a true polymath, a man whose profound excellence in diverse fields — composer, pianist, home studio tech, engraver of scores — BILL EVANS AT THE BOHEMIA While reading Dustin Mallory’s dissertation on Philly Joe Jones, I was brought up short by this quote from Bill Evans, which was is from a 1979 radio interview with Ross Porter, apparently discovered by Sean Gough for his dissertation on Evans. “Somebody gave me this last year, these live dates from the Bohemia, it’s with Miles, and Coltrane, Paul Chambers,Philly Joe, and myself: the ALBUM LEAF (PAGES FROM A PIANO DIARY) During the 2020 pandemic I've been contemplating my music library. This page concerns pianists and piano repertoire in the tradition of European Classical Music. In three sections -- THE BEST OF THE BEST (LP edition)THE PIANIST'S BOOKSHELFMODERNISM ON COMPACT DISC THE BEST OF THE BEST (LP edition) My classical music LP collection used to be INTERVIEW WITH JEFF “TAIN” WATTS Interview with Jeff “Tain” Watts. This conversation was done in May 2021 over Zoom and transcribed by Scott Douglass. Ethan Iverson: The only time I met Ahmad Jamal, I thanked him for all the sounds and he replied, “Well, you know, there’s a lot of great musicians from Pittsburgh.”. Jeff Watts: It’s INTERVIEW WITH BILL FRISELL Interview with Bill Frisell. This interview took place over two days in January 2018. Thanks to Paul Sanwald for the transcription. —. Ethan Iverson: Tell us where you’re from, Bill. Bill Frisell: I was born in Baltimore, but my family moved to Denver. My father was a biochemist. He was born in Two Harbors, Minnesota, he went from Two CARLA AND OTHER MATTERS Carla and other matters. Best of birthdays to the mother of us all, Carla Bley. Carla is 85 today. A few years ago I wrote an overview for the New Yorker Culture Desk. On DTM there’s an interview — this one is pretty great, if I do say so myself. There’s always more tohear.
THE BEST OF ROBERT B. PARKER Back Story (2003) A nostalgia trip is a chance for some excellent detection. The client’s eventual relationship to the truth is Robert B. Parker at his best. Cold Service (2005) Hawk is in charge, Spenser is backup. The two girlfriends discuss the two men at some length.RIP FRANK KIMBROUGH
RIP Frank Kimbrough. Word has come that jazz pianist Frank Kimbrough has died of a sudden heart attack. A few memories: One of the very first concerts I saw in NYC in the fall of 1991 was a trio of Frank, Ben Allison, and Jeff Williams at some obscure venue in the East Village. It was really great, in part because Frank was clearlyinfluenced
THE HISTORY OF THE BLUES…SCALE? (GUEST POST BY ASHER TOBIN --- If you’ve studied music formally, you probably know the blues scale given in the 1970 update to ADVENTURES IN BIG BAND MUSICOLOGY (BY JEFF SULTANOF) Adventures in Big Band Musicology (by Jeff Sultanof) This guest post is in response to DTM pages “Reverential Gesture” and “Misunderstanding in Blue” (by Darcy James Argue).”. —. Working with big band and jazz ensemble manuscript materials has long been one of my passions. Perhaps I am best known for preparing published versions of ALBUM LEAF (PAGES FROM A PIANO DIARY) During the 2020 pandemic I've been contemplating my music library. This page concerns pianists and piano repertoire in the tradition of European Classical Music. In three sections -- THE BEST OF THE BEST (LP edition)THE PIANIST'S BOOKSHELFMODERNISM ON COMPACT DISC THE BEST OF THE BEST (LP edition) My classical music LP collection used to be INTERVIEW WITH JEFF “TAIN” WATTS Interview with Jeff “Tain” Watts. This conversation was done in May 2021 over Zoom and transcribed by Scott Douglass. Ethan Iverson: The only time I met Ahmad Jamal, I thanked him for all the sounds and he replied, “Well, you know, there’s a lot of great musicians from Pittsburgh.”. Jeff Watts: It’sWELCOME BACK
Welcome Back. New DTM page: “Ethan Iverson plays TV themes.”. Tonight, a solo piano streaming performance from Indian Hill Music. SURELY THIS IS GOING TO WORK CORRECTLY EVENTUALLY During the 2020 pandemic I had time to consider a few successes and failures from valuable pioneers. There's nothing systematic or complete about this grab-bag, it's literally the stuff from one section of my LP shelf. Reviewed below: Friedrich Gulda, Music for 4 soloists and Band No. 1Dedicated to Eric DolphyThe American JazzEnsemble New
INTERVIEWS | DO THE M@TH Django Bates Tim Berne: Part 1, Part 2, Birthday wishes Carla Bley (and the whole Bley Extravaganza) Joanne Brackeen Gavin Bryars George Cables: Part 1, Part 2 Ron Carter: Phone interview, Word Association George Colligan Bob Cranshaw Stanley Crouch Miranda Cuckson John Cumming Benoît Delbecq Robert Dennis Gerald Early Jed Eisenman Ellery Eskelin (by Jacob Wunsch) Bill Frisell STEVE REICH’S TEHILLIM Kyle Gann understands the whole of Reich’s oeuvre much better than I do, most of which doesn’t resonate with me the way Tehillim does. Gann’s pages on Reich in American Music in the 20th Century are concise, critical, and believable.. Reich’s own liner notes to Tehillim are very intellectual and generally murky. However, Paul Griffith’s notes to the reissue of Tehillim in the The ECMNORMAN SIMMONS
Norman Simmons. The great Norman Simmons has passed on at 91 years of age. Good obit by Nate Chinen at WBGO. Simmons was best-known as accompanist of singers; video of “If I Had You” with Joe Williams is typically flawless — and then Simmons even sings. THE BREAKTHROUGH OF GERI ALLEN Geri Allen is 60 today. Happy Birthday Geri! Allen has had a long career of triumphs and remains one of the key musicians in jazz, but she may not always get enough credit for the degree of influential innovation on display A LITTLE LEFT HAND FROM BEN RILEY A Little Left Hand from Ben Riley. Sorry to hear of the passing of Mr. Ben Riley, one of the all-time great modern jazz drummers. While Riley might remain best-known for his 60’s association with Thelonious Monk, he played with almost everybody else as well. The Sonny Rollins Bridge sessions are famous, but the drumming is just as good on LOUIS ARMSTRONG AND MILES DAVIS Terry Teachout's play Satchmo at the Waldorf recently opened in New York. While obviously well-acted by John Douglas Thompson and successful with the audience, for me there wasn't enough unconditional love and respect for Mr. Louis Armstrong. This is also the theme of my essay about Terry's book on Duke, "Reverential Gesture." I didappreciate
ETHANIVERSON.COM
Later this year, Aucoin’s book The Impossible Art: Adventures in Opera will be published by Macmillian. Then there’s Timo Andres, a true polymath, a man whose profound excellence in diverse fields — composer, pianist, home studio tech, engraver of scores — BILL EVANS AT THE BOHEMIA While reading Dustin Mallory’s dissertation on Philly Joe Jones, I was brought up short by this quote from Bill Evans, which was is from a 1979 radio interview with Ross Porter, apparently discovered by Sean Gough for his dissertation on Evans. “Somebody gave me this last year, these live dates from the Bohemia, it’s with Miles, and Coltrane, Paul Chambers,Philly Joe, and myself: the ALBUM LEAF (PAGES FROM A PIANO DIARY) During the 2020 pandemic I've been contemplating my music library. This page concerns pianists and piano repertoire in the tradition of European Classical Music. In three sections -- THE BEST OF THE BEST (LP edition)THE PIANIST'S BOOKSHELFMODERNISM ON COMPACT DISC THE BEST OF THE BEST (LP edition) My classical music LP collection used to be INTERVIEW WITH JEFF “TAIN” WATTS Interview with Jeff “Tain” Watts. This conversation was done in May 2021 over Zoom and transcribed by Scott Douglass. Ethan Iverson: The only time I met Ahmad Jamal, I thanked him for all the sounds and he replied, “Well, you know, there’s a lot of great musicians from Pittsburgh.”. Jeff Watts: It’s INTERVIEW WITH BILL FRISELL Interview with Bill Frisell. This interview took place over two days in January 2018. Thanks to Paul Sanwald for the transcription. —. Ethan Iverson: Tell us where you’re from, Bill. Bill Frisell: I was born in Baltimore, but my family moved to Denver. My father was a biochemist. He was born in Two Harbors, Minnesota, he went from Two CARLA AND OTHER MATTERS Carla and other matters. Best of birthdays to the mother of us all, Carla Bley. Carla is 85 today. A few years ago I wrote an overview for the New Yorker Culture Desk. On DTM there’s an interview — this one is pretty great, if I do say so myself. There’s always more tohear.
THE BEST OF ROBERT B. PARKER Back Story (2003) A nostalgia trip is a chance for some excellent detection. The client’s eventual relationship to the truth is Robert B. Parker at his best. Cold Service (2005) Hawk is in charge, Spenser is backup. The two girlfriends discuss the two men at some length.RIP FRANK KIMBROUGH
RIP Frank Kimbrough. Word has come that jazz pianist Frank Kimbrough has died of a sudden heart attack. A few memories: One of the very first concerts I saw in NYC in the fall of 1991 was a trio of Frank, Ben Allison, and Jeff Williams at some obscure venue in the East Village. It was really great, in part because Frank was clearlyinfluenced
THE HISTORY OF THE BLUES…SCALE? (GUEST POST BY ASHER TOBIN --- If you’ve studied music formally, you probably know the blues scale given in the 1970 update to ADVENTURES IN BIG BAND MUSICOLOGY (BY JEFF SULTANOF) Adventures in Big Band Musicology (by Jeff Sultanof) This guest post is in response to DTM pages “Reverential Gesture” and “Misunderstanding in Blue” (by Darcy James Argue).”. —. Working with big band and jazz ensemble manuscript materials has long been one of my passions. Perhaps I am best known for preparing published versions ofETHANIVERSON.COM
Later this year, Aucoin’s book The Impossible Art: Adventures in Opera will be published by Macmillian. Then there’s Timo Andres, a true polymath, a man whose profound excellence in diverse fields — composer, pianist, home studio tech, engraver of scores — BILL EVANS AT THE BOHEMIA While reading Dustin Mallory’s dissertation on Philly Joe Jones, I was brought up short by this quote from Bill Evans, which was is from a 1979 radio interview with Ross Porter, apparently discovered by Sean Gough for his dissertation on Evans. “Somebody gave me this last year, these live dates from the Bohemia, it’s with Miles, and Coltrane, Paul Chambers,Philly Joe, and myself: the ALBUM LEAF (PAGES FROM A PIANO DIARY) During the 2020 pandemic I've been contemplating my music library. This page concerns pianists and piano repertoire in the tradition of European Classical Music. In three sections -- THE BEST OF THE BEST (LP edition)THE PIANIST'S BOOKSHELFMODERNISM ON COMPACT DISC THE BEST OF THE BEST (LP edition) My classical music LP collection used to be INTERVIEW WITH JEFF “TAIN” WATTS Interview with Jeff “Tain” Watts. This conversation was done in May 2021 over Zoom and transcribed by Scott Douglass. Ethan Iverson: The only time I met Ahmad Jamal, I thanked him for all the sounds and he replied, “Well, you know, there’s a lot of great musicians from Pittsburgh.”. Jeff Watts: It’s INTERVIEW WITH BILL FRISELL Interview with Bill Frisell. This interview took place over two days in January 2018. Thanks to Paul Sanwald for the transcription. —. Ethan Iverson: Tell us where you’re from, Bill. Bill Frisell: I was born in Baltimore, but my family moved to Denver. My father was a biochemist. He was born in Two Harbors, Minnesota, he went from Two CARLA AND OTHER MATTERS Carla and other matters. Best of birthdays to the mother of us all, Carla Bley. Carla is 85 today. A few years ago I wrote an overview for the New Yorker Culture Desk. On DTM there’s an interview — this one is pretty great, if I do say so myself. There’s always more tohear.
THE BEST OF ROBERT B. PARKER Back Story (2003) A nostalgia trip is a chance for some excellent detection. The client’s eventual relationship to the truth is Robert B. Parker at his best. Cold Service (2005) Hawk is in charge, Spenser is backup. The two girlfriends discuss the two men at some length.RIP FRANK KIMBROUGH
RIP Frank Kimbrough. Word has come that jazz pianist Frank Kimbrough has died of a sudden heart attack. A few memories: One of the very first concerts I saw in NYC in the fall of 1991 was a trio of Frank, Ben Allison, and Jeff Williams at some obscure venue in the East Village. It was really great, in part because Frank was clearlyinfluenced
THE HISTORY OF THE BLUES…SCALE? (GUEST POST BY ASHER TOBIN --- If you’ve studied music formally, you probably know the blues scale given in the 1970 update to ADVENTURES IN BIG BAND MUSICOLOGY (BY JEFF SULTANOF) Adventures in Big Band Musicology (by Jeff Sultanof) This guest post is in response to DTM pages “Reverential Gesture” and “Misunderstanding in Blue” (by Darcy James Argue).”. —. Working with big band and jazz ensemble manuscript materials has long been one of my passions. Perhaps I am best known for preparing published versions of ALBUM LEAF (PAGES FROM A PIANO DIARY) During the 2020 pandemic I've been contemplating my music library. This page concerns pianists and piano repertoire in the tradition of European Classical Music. In three sections -- THE BEST OF THE BEST (LP edition)THE PIANIST'S BOOKSHELFMODERNISM ON COMPACT DISC THE BEST OF THE BEST (LP edition) My classical music LP collection used to be INTERVIEW WITH JEFF “TAIN” WATTS Interview with Jeff “Tain” Watts. This conversation was done in May 2021 over Zoom and transcribed by Scott Douglass. Ethan Iverson: The only time I met Ahmad Jamal, I thanked him for all the sounds and he replied, “Well, you know, there’s a lot of great musicians from Pittsburgh.”. Jeff Watts: It’sWELCOME BACK
Welcome Back. New DTM page: “Ethan Iverson plays TV themes.”. Tonight, a solo piano streaming performance from Indian Hill Music. SURELY THIS IS GOING TO WORK CORRECTLY EVENTUALLY During the 2020 pandemic I had time to consider a few successes and failures from valuable pioneers. There's nothing systematic or complete about this grab-bag, it's literally the stuff from one section of my LP shelf. Reviewed below: Friedrich Gulda, Music for 4 soloists and Band No. 1Dedicated to Eric DolphyThe American JazzEnsemble New
INTERVIEWS | DO THE M@TH Django Bates Tim Berne: Part 1, Part 2, Birthday wishes Carla Bley (and the whole Bley Extravaganza) Joanne Brackeen Gavin Bryars George Cables: Part 1, Part 2 Ron Carter: Phone interview, Word Association George Colligan Bob Cranshaw Stanley Crouch Miranda Cuckson John Cumming Benoît Delbecq Robert Dennis Gerald Early Jed Eisenman Ellery Eskelin (by Jacob Wunsch) Bill Frisell STEVE REICH’S TEHILLIM Kyle Gann understands the whole of Reich’s oeuvre much better than I do, most of which doesn’t resonate with me the way Tehillim does. Gann’s pages on Reich in American Music in the 20th Century are concise, critical, and believable.. Reich’s own liner notes to Tehillim are very intellectual and generally murky. However, Paul Griffith’s notes to the reissue of Tehillim in the The ECMNORMAN SIMMONS
Norman Simmons. The great Norman Simmons has passed on at 91 years of age. Good obit by Nate Chinen at WBGO. Simmons was best-known as accompanist of singers; video of “If I Had You” with Joe Williams is typically flawless — and then Simmons even sings. THE BREAKTHROUGH OF GERI ALLEN Geri Allen is 60 today. Happy Birthday Geri! Allen has had a long career of triumphs and remains one of the key musicians in jazz, but she may not always get enough credit for the degree of influential innovation on display A LITTLE LEFT HAND FROM BEN RILEY A Little Left Hand from Ben Riley. Sorry to hear of the passing of Mr. Ben Riley, one of the all-time great modern jazz drummers. While Riley might remain best-known for his 60’s association with Thelonious Monk, he played with almost everybody else as well. The Sonny Rollins Bridge sessions are famous, but the drumming is just as good on LOUIS ARMSTRONG AND MILES DAVIS Terry Teachout's play Satchmo at the Waldorf recently opened in New York. While obviously well-acted by John Douglas Thompson and successful with the audience, for me there wasn't enough unconditional love and respect for Mr. Louis Armstrong. This is also the theme of my essay about Terry's book on Duke, "Reverential Gesture." I didappreciate
DO THE M@TH
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ETHAN IVERSON’S HOME PAGE Bio and press quotes are here. Subscribe to my newsletter, Transitional Technology, here.
Selected upcoming gigs of my own = + POSTPONED/TO BE RESCHEDULED!April 10 and 11: ETHAN IVERSON ALL -STAR QUARTET Featuring AL FOSTER, CHRIS POTTER and BEN STREET at Iridium,NYC.
+April 13: BACK TO BACHARACH with MARCY HARRIELL at Dakota Jazz Club in Minneapolis. (Joining Marcy and I will be local legends ERIK FRATZKE and JT BATES.) +April 14: BACK TO BACHARACH with MARCY HARRIELL at the Musical Instrument Museum in Phoenix. (Marcy and I will be duo.) + April 15: SOLO PIANO at the Mabel Tainter Theatre in Menomonie, WI. Hello, my home town! + May 3: accompanying MARK PADMORE in SCHUBERT’S WINTERREISE at theTown Hall, NYC.
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Do the Math began in 2004 and runs well over a million words. The most significant posts are “pages” and organized by topic. Interviews : Over 40 discussions, mostly with musicians: Billy Hart, Ron Carter, Keith Jarrett, Marc-André Hamelin, Carla Bley, Wynton Marsalis, manyothers.
Consult the Manual : Essays especially for students. Rhythm and Blues : Jazz music essays, including major pieces on McCoy Tyner, Thelonious Monk, Ornette Coleman, Geri Allen, Bud Powell, Lester Young, many others. Sonatas and Études : Classical music essays, including major pieces on Glenn Gould and IgorStravinsky.
Newgate Callendar : A look at a few of my favorite crime writers like Donald E. Westlake andCharles Willeford.
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_If you want to support Do the Gig and Do the Math and also get updates about gigs, masterclasses, and new DTM posts, subscribe to Transitional Technology ._Featured
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I’ve started a text thread with my NEC students, and might as well post some of it here… 1. DICKY WELLS, “I GOT RHYTHM” WITH LESTER YOUNG All jazz musicians play “rhythm changes.” The phrase comes from “I Got Rhythm” by George and Ira Gershwin. It’s AABA. The Gershwin brothers have a two bar tag on the last A, which is always used in musical theatre performances; jazz musicians abandoned that tag at some point with occasional exceptions: Paul Motian’s version with Joe Lovano, Bill Frisell, and Charlie Haden has the tag. Trombonist Dicky Wells, tenor saxist Lester Young, drummer Jo Jones and guitarist Freddie Green all came to prominence with Count Basie in the late ’30s. This is the Swing team with a capital S. Bill Coleman is lesser-known than some other trumpet players of the era like Buck Clayton or Roy Eldridge but is a real virtuoso. Pianist Ellis Larkins went on to be an important vocal accompanist and supremely interesting New York City cocktail pianist. Bassist Al Hall would be the first Afro-American musician hired for the pit of a Broadway musical. 1944. This is right on the cusp of a change in the music, essentially from Swing to Bop. _Swing to Bop_ is the title of a book, a valuable collection of first-person interviews of over two dozen musicians by Ira Gitler, who threads the interview material together with comments of his own. Gitler heard all the bop as it was first being made, could play some saxophone, and remains one of the most valuable commentators on jazz from someone who was there when the music was really great. I learned about this version of “I’ve Got Rhythm” from Gitler’s _Swing to Bop_. The head is personalized. Instead of playing the melody as the composer intended, the three horns make a new syncopated shout out of the original Gershwin material. This shouting riff has Kansas City qualities, and could have been on a Count Basie record from five years before. It also has hard bop qualities, and could have been utilized a decade later by Art Blakey’s first Messengers with Kenny Dorham, Hank Mobley, and Horace Silver (the way they took on Fletcher Henderson’s “Soft Winds.”) The rhythm section is essentially a four person up-tempo drone in quarter notes with a feel that gets subtly more intense over time. Ellis Larkins is using “Boston,” stride piano with the “oom” and “pah” distributed between the hands. The diminished chord is very important in Ellis Larkins’s comping, he’s constantly using C sharp and E diminished. (Basie also uses these chords when playing rhythm changes.) The horn soloists never arpeggiate any diminished harmony. The horns play riffs and melodies in B-flat on the A section and are more precise on the bridge. The rise and fall of the bridge against the A section in rhythm changes is very important, and must be one reason why this form has been so popular with jazz musicians. The three horns are “talking,” they are “telling a story.” Dicky Wells is notably rough and tumble, frankly almost dirty. It is very beautiful. In his autobiography, Dicky Wells says that “murky” was a term used for black music before “funky” took over. Whatever you want to call it, this trombone solo has it. A few years later eighth notes would become the default rhythmic unit for horns — think of trombonist J.J. Johnson soloing at this tempo — but at this point there are not as many eighth notes. Everyone is really coming out of the super syncopated, lyrical style of LouisArmstrong.
A key musician in the rhythmic change was Lester Young, and some of his phrases here turn corners that are almost like bebop. Bill Coleman’s fabulous eighth note phrases land in comparatively predictable places, but Young bobs and weaves like Charlie Parker. He takes two solos, first a chorus to warm up, and then back in with a long statement, unusually long for the era. Young plays many B naturals rubbing against the home harmony of B-flat, a “chord substitution” that foreshadows the harmonic complexities of the next generation played by someone like Thelonious Monk. The brief tag, together but charismatically ragged, goes back straightto New Orleans.
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2. GEORGE GERSHWIN PLAYS PIANO WITH FRED AND ADELE ASTAIRE; DUKE ELLINGTON PLAYS “SUMMERTIME” Gershwin wrote many other tunes besides “I Got Rhythm” that have gone into the big book of the Great American Standard. Gershwin can have an uneasy relationship to American culture, perhaps especially these days in an atmosphere of heightened social justice. If you look around on the internet, there are those that claim pieces like_ Rhapsody in Blue_ or _American in Paris _epitomize white appropriation, that they are a pale version of a fundamentally black style. There’s at least some truth to that perspective. Jazz college students are coming up against tricky questions of “appropriation” left and right. So, here’s my take: It is most helpful to view Gershwin as a master of musical theatre. More specifically, Gershwin composed many Broadway tunes that are indelible after first hearing, and the harmonic underpinning of those tunes is colorful and charismatic. The orchestral stuff is also essentially musical theatre writ large for symphonic forces. I don’t love it, and some of it is frankly pretty corny, especially at this late date. _Concerto in F, American in Paris_, and _Rhapsody in Blue_ are better examples of gateway drugs than flawless masterpieces. Aspiring jazz musicians don’t have all that much contact with the original Gershwin. At jazz schools today, Gershwin’s songs are played with tempi and harmonies borrowed from post-bop heroes like Miles Davis, John Coltrane, and Bill Evans. Many of the greatest jazz masters were black. 99.9% of the renditions of Gershwin’s songs by black musicians have no cynicism or politically retooling of the song, at least as far as I know. For these masters, Gershwin is just some groovy source material that jazz cats can make even more groovy. 0.1% of jazz masters might have deliberately made a point of “trashing” Gershwin for political reasons. The famous example is Duke Ellington’s stunning trio deconstruction of “Summertime” with Aaron Bell and Sam Woodyard in 1961. Duke never said, but this truly avant-garde track might have been in reaction to Civil Rights unrest, or it might have been in anger about Gershwin’s continued eclipse of Ellington as the great American composer after Gershwin was dead. Make sure you listen through to the truly dire ending. The Ellington trio “Summertime” is exceptional in the canon. Ellington himself recorded “Summertime” a few times earlier on and those performances are “straight up.” Ellington’s earlier ballad “Prelude to a Kiss” has lyrics by Irving Gordon and Irving Mills: > Though it’s just a simple melody > With nothing fancy> Nothing much
> You could turn it to a symphony > A Schubert tune with a Gershwin touch… I’ve never heard a black jazz singer sub out Gershwin for a black composer in the last line. Art Blakey, Tadd Dameron, and Herbie Nichols all praised Gershwin’s symphonic work. Billy Strayhorn wrote a piano concerto in high school that emulated Gershwin. Just yesterday I came across a comment in Gitler’s_ Swing to Bop_ where Mary Lou Williams is quoted as saying, “Charlie Christian would be playing _Rhapsody in Blue_ and all these heavy classical things.” Cedar Walton told me himself that _Moonlight Sonata_, _Claire de Lune_, and _Rhapsody in Blue_ were his some of his favorites to practice as a child. With these anecdotes we learn that the black jazz masters considered Gershwin not just as a songwriter, but as a classical composer. They had no problem putting Gershwin alongside older Europeans that might have something to teach about harmony or structure. Great American music was always impure; it still is. There’s truth to the broadside I began with, that,_ “Rhapsody in Blue_ or _American in Paris_ epitomize white appropriation, that they are a pale version of a fundamentally black style,” but it’s also way too late in the game to separate out Gershwin from the DNA of all the best American jazz. He is omnipresent. He is a basic source. He might not be Scott Joplin or Louis Armstrong but he’s unquestionably in the pantheon. There’s no way around it. Still, academics fighting today to lessen the number of Gershwin performances on the concert stage have my basic sympathy. At this point, Gershwin’s instrumental formal music tends to be partly a cash grab and partly a way to lure in new audiences, occupying a space next door to orchestras performing suites from the soundtrack to_ StarWars._
Within quite recent memory, both Herbie Hancock and Chick Corea have performed _Rhapsody and Blue_ with an orchestra. I suspect Herbie and Chick did this for the money and the glamor, and not for good artisticreasons.
Herbie and Chick should have written their own concertos instead — except that Herbie hasn’t bothered much with formal composition for decades, and Chick’s own track record with writing these kinds of things is not good. (The Chick Corea _Piano Concerto_ is an impossible listen. For that matter, Keith Jarrett’s _The Celestial Hawk_ for piano and orchestra is also terrible. I’d take Gershwin’s _Concerto in F_ over either of those turkeys any day of the week.) There are no easy answers. Tackling the opera_ Porgy and Bess_ would require at least another 1000 words, for now I’ll just say I went to the Met’s recent production and loved it. I’ve known the above “Fascinating Rhythm” with Gershwin and the Astaires for decades. The older I get the more impressed I become. After the verse, which is admittedly rhythmically unstable, the famous tune rolls out in tricky groups of 7/8 against 4/4. The piano player stomps like James P. Johnson, except when a little graceful rubato is required for the turnaround. When it’s time for an interlude, Gershwin improvises a clunky 12-bar blues. March 27, 2020 EthanIverson
SALES PITCH
“In many of the more relaxed civilizations on the Outer Eastern Rim of the Galaxy, the _Hitch-Hiker’s Guide_ has already supplanted the great _Encyclopaedia Galactica_ as the standard repository of all knowledge and wisdom, for though it has many omissions and contains much that is apocryphal, or at least wildly inaccurate, it scores over the older, more pedestrian work in two important respects. First, it is slightly cheaper; and secondly it has the words DON’T PANIC inscribed in large friendly letters on its cover.” — Douglas Adams, _The Hitch-Hiker’s Guide to the Galaxy._March 21, 2020
Ethan Iverson
WALK ON WITH HOPE IN YOUR HEART Chronology no. 8 for _JazzTimes_ is “The Under-Appreciated Career ofBertha Hope.”
Also: NEW DTM PAGE: Interview with Bertha Hope.
March 5, 2020
Ethan
Iverson
PUTTING THE PUZZLE PIECES TOGETHER New DTM Page: “Black Music Teachers in the Era of Segregation.”February 29, 2020
Ethan
Iverson
OVERTON AT 100
God bless Hall Overton, born 100 years ago today! Big DTM, freshly refurbished for the centennial: “Hall Overton, Composer.”February 23, 2020
Ethan Iverson
TIME FURTHER OUT
Lewis Porter has a nice article on Dave Brubeck over at WBGO, “Reconsidering the Piano Legacy of Dave Brubeck, in a Deep DiveCentennial Special.
”
I’m quoted as saying, “Dave Brubeck is one of my biggest primary influences!” Certainly true. His most famous LP _Time Out_ was an early listen and I still think it is a masterpiece after all these years. The compositional material is strikingly charismatic and well organized, the band is on the same page, the engineering is to die for. In terms of improvising, Brubeck’s modest motivic solo on “Blue Rondo a La Turk” went straight into my young brain and has resided there ever since. Much later in my development I was astonished by the big “classical fantasias” from_ Jazz at Oberlin._ Cecil Taylor obviously heard that side of Brubeck, and Porter has unearthed a valuable quote from Taylor talking about Brubeck for his new article. Unlike the piano playing on _Time Out_, I worry about the piano style on _Oberlin_, it seems overbearing to me, with too much classical music pushing the jazz out of the frame. That said, it’s certainly impressive and exciting, and Porter is right to argue for giving Brubeck more credit as a fearlessimprovisor.
Keith Jarrett was influenced by the solo piano disc of original compositions, _Brubeck plays Brubeck._ These wandering, lean, and contrapuntal sounds are still a great blindfold test today. (Many jazz piano students at today’s colleges sound just like _Brubeck plays Brubeck_. They often sound like _Jazz at Oberlin_ as well. I don’t think they know any Brubeck, but they are drawing on the same set of European, “complex” and “progressive” references.) Jarrett also played through the reasonably accurate folios edited by Brubeck’s brother, Howard. I did this too. Prog Rock comes straight out of Brubeck. The Bad Plus used a lot of Prog Rock references, and our acoustic instrumentation sort of brought it back to Brubeck, although the musical material was more Rush or Yesthan Brubeck.
Brubeck is famous for those “prog” odd meters, but ironically he wasn’t adept at improvising within those odd meters. In general Brubeck’s musical failings are mostly rhythmic. There’s an old joke that goes, “Since Brubeck couldn’t make it feel right in 4/4, why not add a beat and make it 5/4?” The best 50’s stuff is fine, and it reaches a peak with _Time Out_ (it wouldn’t be a hit record if it didn’t swing) but from the mid-60’s on Brubeck can be hard to listen to, especially alongside Roy Haynes or Alan Dawson. He even turns the time around with Haynes on “All the Things YouAre.” Not good.
The moody_ Duets_ LP with Paul Desmond is the best later Brubeck I know — but then again, Desmond was always Brubeck’s ace in thehole.
February 21, 2020
Ethan Iverson
RIP JON CHRISTENSEN
Jon Christensen might have been the first European drummer to influence the New York jazz musicians. His charismatic performances were captured on dozens of ECM albums by Terje Rypdal, Jan Garbarek, Ralph Towner, Enrico Rava, Miroslav Vitous, Arild Andersen, Bobo Stenson, and many others. With the European Quartet of Keith Jarrett, Christensen was heard everywhere by everyone. The first track on the 1971 debut _Terje Rypdal_, “Keep It Like That/Tight,” features loose groove drumming from a cubist perspective, almost as if Paul Motian was taking on funk, but I don’t know if even Motian had gotten all the way there yet by 1971. On Keith Jarrett’s _Belonging_ (1974) is “Long As You Know You Living Yours,” a straight up acoustic gospel anthem, with Christensen working a closed hi-hat and snare with relaxed finesse. It’s not far from something Jack DeJohnette might have played — surely both DeJohnette and Christensen loved Levon Helm — but Christensen is a bit straighter, yet totally at ease, with tiny surreal moments that come and go almost before you notice. He smoothly builds with Garbarek and the band, then goes to the bell of the ride cymbal for the piano interlude and diminuendo. Yeah, baby. Ralph Towner’s _Solstice_ (1975) begins with “Oceanus,” where Christensen’s double-time swing ride cymbal works in chattering counterpoint with doleful melodies and romantic harmonies by Towner, Garbarek, and Eberhard Weber. You want to know what the ECM sound is? _This_ is the ECM sound — and it would be unthinkable without Christensen’s driving yet evocative brass. Thank you Jon Christensen for your monumental contribution.February 18, 2020
Ethan
Iverson
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