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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 1 day 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
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 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
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
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. 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 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 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 1 day 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
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 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
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
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. 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 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 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
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 FrisellDO THE M@TH
Unless I am missing something, Griot by Jeremy Pelt is the first true follow-up to Arthur Taylor’s Notes and Tones, where a celebrated African-American jazz practitioner interviews other celebrated African-American jazz practitioners.These interviews stand in stark contrast to conventional profiles run by white-dominated organizations. Recommended 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
SUMMER SESSION
Summer Session. New teaching page, a last bit of wisdom (?) as school lets out for the year: “There is Only Today.”. Post navigation. ← Chambers of Tain. 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.CHAMBERS OF TAIN
New DTM interview with Jeff "Tain" Watts. Already have a WordPress.com account? Log in now. 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 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 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 THE EMOTIONAL RHYTHM OF SOPHIA ROSOFF (BY SARAH DEMING The Emotional Rhythm of Sophia Rosoff (by Sarah Deming) Originally published in a shorter form in The Threepenny Review, Spring 2011. —. After hours at Klavierhaus, in a room behind the gallery of showpiece Steinways, Sophia Rosoff is teaching class. Nine of her students are here, amateurs and professionals alike, ranging in agefrom 20 to 80.
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RE-RUNNING THE HITS
Usually the front page of DTM is a listing of my gigs. In the time of a pandemic, I’ll offer the list of DTM interviews with comments about their gestation and context.1) _BILLY HART
_was
the first. I had meant to interview Dewey Redman but Dewey passed away. The next week I brought my tape recorder to Billy’s basementin Montclair.
2) Many of my peers had a dismissive attitude towards _STANLEY CROUCH_.
I had always enjoyed Stanley’s writing and thought he was an important voice in the choir. This interview was (at least from my side) a polemic aimed at broadening the tent. 3) My own voice was heard all too clearly in those early DTM interviews. A quick one with _JASON MORAN_is
a good example. As these interviews turned out to be widely read and perhaps even important, I tried to dial back my side of the convos, atleast a little bit.
4) When I realized I was commanding a small bit of real estate as a writer/blogger, I started to help my friends. _BENOÎT DELBECQ_ was coming to NYC to play a concert, and we did a email Q&A to promotehis work.
5) The internet opened a lot of doors. I spent many hours re-living old memories, and even tracked down (via email) _ROBERT DENNIS_,
who did the music for some classic _Sesame Street_. Just learned that Dennis passed in 2018… 6) There was novelty value in a practitioner being a proactive journalist, so I started to get requests from official publications. _DownBeat_ asked me to interview the great _CHARLIE HADEN._
I’ve thought a lot about Ornette Coleman, and it was helpful to talk to a main architect of OC’s best records. 7) From Haden it was only natural to go on to_ KEITH JARRETT_.
I doubt I could have gone out to Keith’s pad if the radio show _Jazz on 3_ at the BBC hadn’t opened the way. (Later Keith told me he thought this was one of his best interviews.) 8) Stanley Crouch told _WYNTON MARSALIS_that
I was OK, so that led to the next big talk. Again, this was a polemic, as I thought too many of my peers had been dismissive of WM forinadequate reasons.
9) The BBC interviews continued with _DJANGO BATES_. I
didn’t know Bates’s music before Dave King introduced me, and I was smitten with this astonishing personality. 10) The BBC then requested _GUNTHER SCHULLER._ I
researched hard for this one, because I didn’t think his legacy was sorted properly. In a way I’m in a Oedipal battle with GS, so I took the fight to his front door. 11) _HENRY THREADGILL _was
also a BBC request. This one is notably good if I do say so myself. 12) The final BBC interview was with _WAYNE SHORTER,_ which never
aired, because _Jazz on 3_ ceased operation. Mr. Shorter is famously elliptical in conversation, but I sorta got a few “hard facts” outof him.
13) Before the radio series closed it was already becoming hard to find mutually satisfying subjects. The BBC wanted me to do Anthony Braxton or John Zorn, but those weren’t a fit for me. We agreed on Paul Motian but Paul refused me point blank. I suggested _CEDAR WALTON_. but the BBC
rejected him (wasn’t popular enough like Braxton or Zorn). BUT I had already asked Cedar at the club and name-dropped “for the BBC” so Cedar would agree. I never told him that it would just be for DTM. Cedar remains an unsung giant. The good jazz musicians know, but the critics and gatekeepers don’t always know. After Cedar passed I spoke to two comrades,14) _DAVID WILLIAMS
_and
15) _DAVID HAZELTINE_. 16) It seemed to me that genuine straight-ahead mastery of the old school was leaving the planet. I say “straight-ahead,” but these musicians were also idiosyncratic avant-gardists. I present to you _MR._ _ALBERT “TOOTIE” HEATH._
17) With Billy Hart and Tootie Heath on DTM, it was pretty easy to convince _MICKEY ROKER_ to
let me come over for an hour. 18) Roker’s great compatriot was_ BOB CRANSHAW_.
The musician’s union helped me get in touch with Bob. Ironically, despite his proselytizing for union over the years, Bob needed a GoFundMe at the end of his life, just like so many other masters oflate.
19) I love “classical” music too. My piano hero is _MARC-ANDRÉHAMELIN
,_
and we went long and detailed in this convo. 20) Hamelin pairs in my mind with the younger violinist_ MIRANDACUCKSON ,_
as they both stayed out of the normal classical career path while playing the hardest and most idiosyncratic repertoire in a relaxed and conversational matter. 21) Another fabulous talent from the classical side of the tracks seen on DTM is _MARK PADMORE_. This short
interview was done via email. 22) Two of the interviews have been with formal, “classical” composers that lack the association with jazz Gunther Schuller had. The late _GEORGE WALKER_ and I
corresponded over email… 23) …and it it was a real pleasure to host a more in-depth discussion with _ALVIN SINGLETON._
24) Just a step or two away is_ JAMES NEWTON,_ who made
plenty of great jazz records before ending up as predominantly aformal composer…
25) …while_ CARLA BLEY_was
predominantly a composer who has doubled down on performance in recentyears.
26) While working on the Carla material an article by _GAVIN BRYARS_was a help.
Bryars has played jazz, was resolutely experimental for a time, and now has settled into being a classic British composer. 27) I have also interviewed a few non-musicians notably important to the community. It’s incredible that the Village Vanguard is closed for the moment, a first in the club’s storied history. In 2012/13 I spoke with the GM, _JED EISENMAN_.
28) In some ways_ BEN RATLIFF_was the jazz
critic for my generation, and he certainly helped give the Bad Plus some initial traction. When he left the_ New York Times_, we did a kind of “exit interview.”29) _TERRY TEACHOUT
_was another
early supporter. Teachout is one of the few mainstream critics who really sees jazz as part of the larger American cultural puzzle. We also share a love of Anthony Powell, Rex Stout, and Donald Westlake, 30) Unlike Jed, Ben, or Terry, I have had almost no interaction with_GERALD EARLY
_other than the hour I spent in his office in St. Louis. Early is an amazing thinker and writer who really should be much better known in American musical circles.31) _KEN SLONE _is
a musician, but his most familiar contribution to the canon has been academic. As far as I know, I gave the man behind _Charlie Parker Omnibook_ his first interview.32) _BILL KIRCHNER
_is someone who predates my own work, a player who got involved with setting the record straight in print. 33) The most recent interview with a writer was with_ MARK STRYKER, _simply one
of the best jazz critics in the history of the music. 34) It made sense to include some of my biggest influences and teachers. Unlike an official publication, I do only what I want at DTM. Ladies and gentlemen: _PATRICK ZIMMERLI._
35) Like Pat,_ TIM BERNE_
gave me something that totally opened up an aesthetic. Unlike Pat, Tim has been wildly influential to so many musicians in the last 30 years. 36) I did two years of jazz performance at NYU. My teacher _JIMMCNEELY
_
showed me stuff at the keyboard, but he also had amazing anecdotes from his personal history. In time I would come to accept “the stories about the greats” as essential to jazz wisdom. Jim’s tales are part of why I have done the DTM interviews. 37) After I dropped out of NYU I knew I needed to keep studying privately, and did a deep immersion with_ FRED HERSCH._
This interview helped get the ball rolling for Fred’s memoir, _Good Things Happen Slowly_. 38) I was blessed to study with _SOPHIA ROSOFF _for more than a decade, and eventually turned the task of documenting her work over to my wife Sarah Deming. Now that Sophia is gone, thisessay
is important to the Rosoff literature. 39) I had an informal lesson or two with the late great_ MASABUMIKIKUCHI
._
40) _DAVID SANBORN
_ talked
about Phillip WIlson. Wilson is a particular favorite of mine, especially for his magnificent drumming on Julius Hemphill’s _DogonA.D_.
41)_ BILL FRISELL
_ is a
long-time hero and universally one of the best-liked musicians on theplanet.
42) I have many peers, far too many to interview them all, but I grew up near_ GEOFFREY KEEZER_…
43) ….and have known_ GEORGE COLLIGAN_ since
1990. Both Geoff and George are jazz virtuosos of the highest order. 44) Not enough singers in the mix here, but at least I spoke to_ CÉCILE MCLORIN SALVANT._
45) Someone who has been controversial online (even more than myself) has been the estimable _NICHOLAS PAYTON._ This is a
good one.
46) Early on, I was thrilled to have a phone call with my ultimatehero,_ RON CARTER
_.
More recently we played a word association game.
47) I’m proud of this major discussion with_ GEORGE CABLES._
48) Drummer _STEVE LITTLE _recorded with Ellington and was a long-time presence on the soundtrack to _Sesame Street_. 49) I love the tenor saxophone, it’s probably my favorite instrument._ HOUSTON PERSON_helps
define the lineage.
50) Two of the very first LPs I ever heard (owned by my neighbor Dean Estes) were by Stan Getz and Toots Thielemans with _JOANNE BRACKEEN_on piano.
I’ve never played “The Days of Wine and Roses” without thinking of Joanne’s voicings with Toots…51) _TOM HARRELL
_ goes long on
musicianly detail.
52) The most recent was a sit down with_ BERTHA HOPE_, who spans an
extraordinary amount of jazz history. 53) And this list finishes very strong with an icon of bebop,_ CHARLES MCPHERSON_. Very
important interview IMHO! Charles is one of kind, certainly one of the best teachers of jazz I know.—
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Featured
Ethan
Iverson
RIFFS (FOURTH SET)
DTM “Riffs” are quick, unedited stuff for my NEC students who I’m teaching remotely.THIRD SET
Modal jazz vs. bebop, includes Dexter Gordon, Woody Shaw, Kenny Wheeler, Keith Jarrett, Barry Harris, Sonny Stitt, Cedar Walton, Clifford Jordan, Stan Getz, a.o.SECOND SET
Bill Evans, Richard Teitelbaum, Leroy Jenkins, Herbie Hancock a.o. FIRST SET Dicky Wells, Lester Young, George Gershwin, Duke Ellington, Mary Lou Williams,Wallace Roney, a.o.
—
GARY BURTON AND KEITH JARRETT, _FORTUNE SMILES, _1970 Keith Jarrett turns 75 today. For some he is the greatest living musician, the “Vladimir Horowitz of jazz.” A tenet of my teaching is simply: There are no new ideas, just fresh ways to put together old ideas. Jarrett ranks with Thelonious Monk, Bill Evans, McCoy Tyner, Art Tatum, and only a few others in terms of a readily identifiable sonority. Smoke and mirrors surround his characteristic “glow.” When I asked him directly about this, Jarrett fell back on the old saw, “You play what youhear.”
> EI: What about touch, and touching the piano?>
> KJ: What about it?>
> EI: You’re someone that gets a certain sound out of the piano. > That’s _your_ sound. No one else gets that sound, and I know > it’s not the piano. It’s not like you have one special piano. > You get that sound; it’s on your earliest records, on whatever > instrument, I think even some uprights in some cases.>
> KJ: Forgetting the musical content for a moment, if a musician is > working on his or her voice, he or she is trying to match what he > hears in his head with what he hears when he plays. The only > explanation for that difference in sound coming out of the piano is> that.
Sonority aside, Jarrett is just like anybody else, he found fresh ways to put together old ideas. _Gary Burton and Keith Jarrett_ is not a disc I return to often — honestly, for all his incandescent genius, the Jarrett discography has more than its fair share of duds — but there’s one track that is unique in the literature, “Fortune Smiles.” _The Real Book_ I grew up with included the chart of “Fortune Smiles,” which I suspect is totally accurate to the composer’s original sheet and supplied by Burton himself, part of the same care package containing other Burton pieces reproduced in the FifthEdition.
Jarrett plays and intro and outro based on the “B” section. This music — both the composition and the piano performance — is a pianistic appropriation of the Woodstock era of folk rock/singersongwriter.
Jarrett recorded pieces by Bob Dylan and Joni Mitchell with Paul Motian, who drummed for Arlo Guthrie at Woodstock. A large number of early Jarrett compositions are informed by this style, and he even dared to record a whole album singing and playing guitar,_ Restoration Ruin_. (Talk about a dud…) I joke that Jarrett’s famous _Köln Concert_ is Joni Mitchell’s _Blue_ played by a classical virtuoso. That isn’t the whole story, of course, but that joke contains agrain of truth.
The “A” section is the latest style of modern jazz-rock circa 1970. It’s fairly middle-of -the-road. If I saw the chart of the “A” section of “Fortune Smiles” without knowing it before, I couldn’t guess if it was by Keith, or Burton, or Chick Corea, or somebody else writing that kind of thing at the time. (The bassist on the date, Steve Swallow, has written more durable music in this genrethan most.)
Burton solos on the “A” and “B’ sections, which is fine, but things get notably more interesting in the piano solo, which jettisons the song for a free jazz freakout. WHAT! The first time I heard this, an electric current went straight through my body. (It is easy to draw a line from this moment to various tracks recorded by the Bad Plus.) Jarrett plays at a high level during this free moment of “Fortune Smiles” and the band (Swallow and Bill Goodwin) has good musicians, but Jarrett is most inspired at this kind of thing when joined by his American Quartet of Dewey Redman, Charlie Haden and Paul Motian. “(If the) Misfits (Wear it)” from _Fort Yawuh_ is what I’m talking about. Piano solo starts at 2’40”. At it’s best, the American Quartet is some of the greatest music of the era. Pat Metheny suggested it was the group that took over the mantle of the John Coltrane quartet. I wouldn’t go that far, but it certainly informs of what I loosely think of my peer group, not just Bad Plus but Bill McHenry, Ben Street, Kurt Rosenwinkel, Mark Turner, Guillermo Klein, and so forth. We all LOVE that band. If you are studying my peer group, the American Quartet will give you some of thereferences.
In my academic role, I would stress that all the members of the American quartet were interested in really old music as well as really new music. Dewey Redman was an old-school Texas tenor, an R ‘n B honker. Charlie Haden was a hillbilly country bassist. Paul Motian played clunky swing-era drums. (Tom Harrell told me he thought Motian sounded like Baby Dodds on _Bop-be_, the quartet’s jazziest record.) Jarrett himself played Bach and Beethoven, of course, but Keith is also one of the few modern jazz pianists to write a novelty rag, something next door to Scott Joplin, Zez Confrey, and Earl Hines. (Jaki Byard and Roland Hanna are two others that are on this “modern stride” continuum with Jarrett.) Keith, Dewey, Charlie, and Paul learned old music, they learned the latest music (notably Ornette Coleman’s approach — indeed, Ornette himself is unthinkable without Charlie, and for the record, Keith got a lot of that tradition from fellow pianist Paul Bley) and then they put together stuff from all those sources in a relaxed and contemporary way. Sounds easy, no?May 8, 2020
Ethan Iverson
RIFFS (THIRD SET)
(Quick, unedited stuff for my NEC students who I’m teaching remotely….second set of “Riffs” here…first set of
“Riffs” here …) Thanks to Mark Stryker, who I’ve been brainstorming with concerning almost all of the albums below…—-
_JazzTimes_ has a poll of the greatest jazz albums from the 1970s. 50 have been chosen by the general public. There’s a lot of great music there. Ornette Coleman’s _Science Fiction_ is just about my favorite album of all time, and Charles Mingus’s _Let My Children Hear Music_ is a rare example of large-scale ambition in jazz producing a masterpiece. But –it depends on how you look at it — not so many of these LPs are “no-frills, straight-ahead, acoustic, small group, swinging jazz” as compared to the previous two decades. Recently I’ve been thinking of the differences between bebop and modal jazz. In the ’70s, the rubber really meets the road as the older generation comes to terms with the legacy of John Coltrane. One of Dexter Gordon’s celebrated albums is_ Homecoming_, live at the Village Vanguard in 1976. (It’s on the list.) While everyone in the band is comfortable with bebop, a big part of the ethos is modal. Indeed, _Homecoming_ is Woody Shaw’s band with a guest leader. They even play a couple of Shaw tunes. One of Shaw’s earliest dates as a sideman, Larry Young’s _Unity_ (1965) with Joe Henderson and Elvin Jones, is one of the great albums of all time and remains a definitive document of the Shaw melodic and harmonic concept. A lot of harmony I might have jokingly chastised in a lesson as “jazz school harmony” — lydian vamps, polychords, moving pentatonic patterns — comes from Shaw and perhaps especially from _Unity_, but in this original 1965 iteration the material is funky and charismatic. On _Homecoming_ Shaw overshadows Gordon as a virtuosic soloist on complex material, yet Gordon’s warm presence also gives the music a theatrical heft that isn’t always present on Shaw’s own 70’s LPsfrom the same era.
Shaw’s _Little Red’s Fantasy_ (1976) is a tight quintet session that shares musicians and repertoire with _Homecoming_. Lesser–known alto saxophonist Frank Strozier is fleet and charismatic on_ Little Red’s Fantasy_, Shaw is also very strong next to Strozier, they are a perfect combination — yet I also miss the thrill of Louis Hayes burning it up with Dexter at the Vanguard on_ Homecoming_. Compare Strozier to Gordon on “In Case You Haven’t Heard.” Strozier is comfortable in a way that Dexter isn’t, but, then again, the way Dexter plays long slow melodies might be reminiscent of Lester Young in his late years. At any rate, Shaw’s modern tunes aside,_ Homecoming_ is not really Dexter’s finest hour. The first tune is “Gingerbread Boy,” afast B-flat blues.
On _Swiss Nights Vol. 1_ from 1975 (a year before _Homecoming_) the first tune is “Tenor Madness,” a fast B-flat blues. There’s no comparison, “Tenor Madness” is much better. If you don’t dig Dexter on “Tenor Madness” here, I’m not sure what tosay.
Naturally, Dexter Gordon is an improvisor. However, when he’s blowing, Dexter is also reciting a special repertoire, often called “language” in jazz parlance. On “Tenor Madness” his language is bebop and blues, especially the kind of big band blues he played with Billy Eckstine and Lionel Hampton in the ’40s. On “Gingerbread Boy” he keeps that going but also includes quite a few more Coltrane-isms, perhaps as a way to fit in with Woody Shaw. (Indeed, the very first melody of Jimmy Heath’s “Gingerbread Boy” is a familiar modal cliche.) In this era Dexter also played Coltrane’s famous song “Moment’s Notice” and used Coltrane’s pedal-point arrangement of “Body and Soul.” Dexter wasn’t the only acoustic master assessing Coltrane in such a visible way. At the top of the decade, Lee Morgan’s wonderful _Live at the Lighthouse_ (1970) with Bennie Maupin, Harold Mabern, Jymie Merritt, and Mickey Roker is a seriously modal affair, with long vamps and many pentatonic patterns, a sound radically different from the hard bop Morgan was playing a decade earlier. Two years later. Elvin Jones’s_ Live at the Lighthouse_ (1972) with Dave Liebman, Steve Grossman, and Gene Perla is modal and pentatonic but — unlike Morgan’s date — there is also this kind of post-Woody Shaw, post-Joe Henderson, post-Larry Young _Unity_ lydian/polychordthinking.
I’m a little surprised that neither of these Lighthouse discs made the first cut for the _JazzTimes_ poll, but an even more surprising omission is Kenny Wheeler’s _Gnu High_ (1975). This famous record represents ECM at the label’s best, a date that literally wouldn’t have haven’t happened without the organizational know how of producer Manfred Eicher. (In general there cannot be a discussion of ’70s jazz without a discussion of ECM.) Wheeler and Wayne Shorter might be the most lyrical composers of modal music, writing unforgettable pentatonic shapes over a shifting landscape of pretty harmony. (Both Wheeler and Shorter love the modal landscapes of English composer Ralph Vaughn Williams.) On _Gnu High_ it is a band of masters, and all four players navigate the material with a kind of loose, fervent virtuosity. There is hardly any bebop punctuation, all the language in the solos is modal. Wheeler’s “Smatter” is popular, it is almost something that can be called at a jam session. You may be surprised I’m calling “Smatter” modal music. What I mean is that each vertical harmony has accompanying patterns and scales that lack a “tonal” implication. Jarrett complained about the music of _Gnu High_ in his biography, saying, “I had a lot of trouble trying to deal with playing those kinds of changes….sometimes the structures were so inorganic and fully described that I wanted to make them something with round sides…and they would have these vertical messages every beat ortwo.”
Jarrett certainly _did_ play these changes: Indeed, for me, this date is a highlight of the Jarrett discography. But Jarrett’s also on to something. Wheeler is a great composer — for my money, a greater composer than Jarrett — but the surface of compositions in the “Smatter” vein can easily turn placid and airless. Attractive vertical sonorities can be placed next to each other without any deeper binding qualities like tonality or folkloricrhythm.
I’ve seen a _lot_ of college jazz composition that looks just like the chart of “Smatter.” Getting back to “Tenor Madness” played by Dexter Gordon (the same year that _Gnu High_ was recorded): The composition doesn’t exist on paper, not really…or if it does exist on paper, it’s just on scratch pad with no chord changes. Even the composer is up for debate, as most people know it from the Sonny Rollins record, but it actually appears as “Rue Chaptal” from an earlier side by Kenny Clarke. To play “Tenor Madness” (or whatever it’s called) you need to know the language of bebop and the blues. You’ve got to have your repertoire together. To play “Smatter,” you kind of don’t need to know the language of bebop and the blues, you just need to stare at the sheet. In fact, keeping the chart of tunes like “Smatter” in front you at all times is common practice, even for professionals on a high level gig. This mirrors European classical music. When a star soloist plays older tonal music, they are expected to have the music memorized. But if the music is atonal, then sheet music on the stand is allowed. Barry Harris is the antipode of modal jazz. Everything Barry plays swings. His notes swing partly because Barry is closely involved with the interplay of dissonance and consonance in tonal music. When I say “bebop punctuation,” I mean any bar of Barry Harris. (One vast oversimplification: Dissonances are accented, consonances are dialed back. There’s no way to bring that kind of tension and release to “Smatter” without resorting to extreme measures. Kenny Wheeler manages to give the harmony a coarser grain through heraldic sonority and wildly asymmetrical phrasing. ) Barry always sounds great. He was killing it in the 1950s, he’s still around and handing out lessons. But 1970’s Barry is notably prime Barry, and unlike the voters of _JazzTimes_, I couldn’t make a list of top ’70s records without including some Barry Harris. If I had to pick one trio date, I might go for _Live in Tokyo_ (1976) with Sam Jones and Leroy Williams. Of course Barry comes from Bud Powell, Barry recites that kind of language during his improvisations, but he also has marvelous melodic freshness in his spontaneous line. The piano improvisations on the Tokyo session are something else. Barry Harris and Sam Jones is a wonderful combination. Total grease. In general you can tell if somebody really knows something about ’70s jazz if they know to mention Sam Jones. In the ’70s, the bass was much louder than on earlier jazz records, and this doesn’t show every bassist in an equally positive light. Leroy Williams was Barry’s drummer of choice from 1969 until now, they feel upbeats together in a very sensuous way. Barry and Sam join Sonny Stitt on a few classic ’70s dates, including _Constellation_ with Roy Brooks and _Tune-up_ with AlanDawson.
Sonny Stitt is another giant. I like Stitt more and more over the years. Nobody can miss Dexter Gordon, he’s just too awesome, but Sonny Stitt and Barry Harris are for the connoisseur. Barry is perhaps more personal, Stitt is more literal. Still, Stitt is a king of bebop and the blues. If you think you can’t learn something from _Constellation _you simply don’t know how to listen to it yet. Last night I was particularly struck by the ballads. “It’s Magic” and “I Don’t Stand A Ghost of a Chance” seem beamed down from the outer regions of human expression. From _Tune-Up_, Barry is especially inspired, with definitive lyrical improvisations on “Blues for Prez and Bird,” “Groovin’ High,” and “I Got Rhythm.” Both discs have superb examples of uptempo rhythm changes, which remain the ultimate test of a bebopper. One can play modal language on rhythm changes up to a point, but eventually there needs to be some bebop snakes in there for the musicto flow correctly.
Stitt had little to do with modal music. In fact, Miles Davis repeatedly complained about the way Stitt played on “So What” during a long 1960 tour: On the A sections, Stitt plays the light and shade of D minor and A dominant, while the correct way to play is on the dorian scale. That’s the whole reason why Miles wrote “So What,” to look for those fresh modal sounds. For make no mistake, modal music_ was_ fresh, and that language had to be mastered in order to participate in good company._ Biting the Apple_ is a great 1975 Dexter Gordon session with Barry Harris, Sam Jones, and Al Foster. (In my opinion this is a greater record overall than _Homecoming_.) Dexter includes a version of “So What” changes called “A la Modal.” The “latin” intro comes from “Soy Califa” on Dexter’s classic 1962 LP _A Swingin’ Affair_. (Some modal jazz is deeply informed by Afro-Cuban traditions, and it is worth remembering that an architect of modal jazz, George Russell, wrote the important large scale composition “Cubano Be, CubanoBop” in 1947.)
Barry plays well on “A la Modal,” but I don’t know if he really believes in that concept. Another pianist — also aligned with Sam Jones — that needs to be included in a discussion of ’70s jazz is Cedar Walton. For many,_ Eastern Rebellion_ (1976) with George Coleman, Jones, and Billy Higgins is a touchstone. Walton and Coleman play a natural mix of modal and bebop language in their solos. Indeed, they even play the chain of suspended sequences of Coltrane’s “Naima” with a dance beat: Modal is here for a swinging good time. When improvising, Cedar’s modal patterns are somewhat literal, at least when compared to his lines on rhythm changes or the blues. Something similar might be said of George Coleman (who is certainly also very, very great). In what may be a minority opinion, I prefer Cedar with Clifford Jordan, who understood modal music but also allowed in more surreality and strangeness than George Coleman whether the music was bop, modal, or the blues. One of Jordan’s best albums is _The Glass Bead Games_ (1973). Two quartets — Stanley Cowell, Bill Lee, and Billy Higgins or Cedar Walton, Sam Jones, and Billy Higgins — offer a marvelous document of a kind of post-Coltrane black music that honors the Aquarian Age yet still has tough hard-bop roots. In a way, _Glass Bead Games_ can be heard as a concerto for Billy Higgins, who is simply extraordinary on every track. The Cedar Walton – Sam Jones – Billy Higgins trio became known as “The Magic Triangle.” If you are interested in swing you need to know about this rhythm section. There’s quite a few discs of them backing Clifford Jordan, including a lot of Steeplechase albums from a European tour. A looser studio document than _Glass Bead Games_ is _The Pentagon_ with Ray Mantilla added on percussion on two tunes and excellent recorded sound. There are also fabulous live sets with other master drummers filling in for Higgins: Tootie Heath (_Half Note_) or Louis Hayes (_Live at Boomer’s Vol. 1 _and _2.)_ One of the biggest jazz stars of the era was Stan Getz. _Captain Marvel_ (1972) is on the _JazzTimes_ list. Getz was very influenced by Chick Corea, and _Captain Marvel_ is essentially Return to Forever before Return to Forever. (Stan fronting Return to Forever on _Captain Marvel_ bears comparison with _Homecoming,_ where Dexter fronts the Woody Shaw-Louis Hayes quintet.) Even more than Kenny Wheeler’s “Smatter,” Corea’s “500 Miles High” is something that can be called at a high-level jam session. While “500 Miles” is comparatively tonal compared to “Smatter,” Stan Getz still has to draw on the Coltrane language to blow on it. I never listen to _Captain Marvel._ I listen to _The Master_, yet another incredible straight ahead disc from 1975. (People who say straight ahead jazz was dead in the mid-’70s just don’t have the right records.) _The Master_ is a working band of tough young turks, Albert Dailey, Clint Houston, and Billy Hart. Like Frank Strozier, Albert Dailey is a less familiar name, but he was really great. (For whatever it’s worth, Dailey’s _a cappella_ outro on “Lover Man” from _The Master_ made an impact on my personal aesthetic.) On _The Master_, Getz offers Corea’s hip arrangement of an old Harry Warren song, “Summer Night,” which intersperses a tonal section in C minor with a modal vamp in E flat minor. (Corea did something similar to Kurt Weill’s “This is New” on his first session as as a leader, _Tones for Joan’s Bones_ (1966) with Woody Shaw and Joe Farrell, still one of Corea’s best jazz dates.) The feel of “Summer Night” is not that different from another standard on _The Master_ that connects C minor and E-flat minor, Branislau Kaper’s “Invitation,” a melody that entered the modern jazz parlance thanks to Joe Henderson rendition on _Tetragon_. The slow harmonic rhythm of “Invitation” is perfect for using modallanguage.
On “Lover Man,” the big F dominant in bar 5 (always played everywhere else) is replaced by F minor 11, a nod to modal thinking. Stan improvises his pretty melodies throughout all three standards, Dailey has a kind of soulful glitter, Houston and Hart swing out. Stan Getz used Chick Corea as a resource to stay current. Astonishingly, _The Master_ includes a tune by signature ECM artist Ralph Towner, “Raven’s Wood,” recorded with Glen Moore in 1973. It’s a nice piece and the band plays it in high style. Indeed, Stan’s playing here, in this modal, even eighth-note concept, strongly reminds me of a modern tenor hero like Joshua Redman or MarkTurner.
—
Just for fun: 10 more discs from the 1970’s I really love that haven’t been mentioned yet above nor appear in the poll: KEITH JARRETT BOP-BE Of all Jarrett, I love Keith’s American Quartet best, and this is their jazziest LP. CHARLIE HADEN THE GOLDEN NUMBER Far reaching duos with lyrical andbluesy intent.
JOE HENDERSON LIVE IN JAPAN Joe burns the house down with a great local rhythm section. THE GREAT JAZZ TRIO KINDNESS JOY LOVE + HAPPINESS Hank Jones, Ron Carter, Tony Williams, in a superbly organized date. HAMPTON HAWES AT THE PIANO A valediction from the maestro. STEVE LACY/ROSWELL RUDD TRICKLES Gorgeous free playing. CARLA BLEY EUROPEAN TOUR ’77 Carnival atmosphere and detailedcomposition.
PAUL BLEY OPEN TO LOVE Keith’s papa records his own ECMspaciousness.
WORLD SAXOPHONE QUARTET STEPPIN’ Julius Hemphill’s great compositions are represented well on this Black Saint classic. RAY BRYANT ALL BLUES The output on Pablo label can be a shade underwhelming given the talent involved. Bryant’s trio with Sam Jones and Grady Tate is superb. For a bonus listen, pair _All Blues_ (1978) with Richie Beirach’s excellent _Elm_ (1979) with George Mraz and Jack DeJohnette. Both albums are piano trios, but the shared references almost stop there…May 7, 2020
Ethan Iverson
NOTABLE READS
Christian McBride offers an important, closely observed view of the late great McCoy Tyner.
Kevin Sun goes deep on Charlie Parker and “Confirmation.” Just fabulous info… Larry Blumenfeld explores the world of Ellis Marsalis from the perspective of New Orleans insider.
May 4, 2020 Ethan
Iverson
“WHAT IS MORE INTREPID? EVEN NOW?” New DTM page: A major look at someone close to my heart. “Mel PowellUnfurnished.”
April 27, 2020
Ethan
Iverson
“YOU ARE A PIECE OF WORK,” SHE SAID. New DTM page, about a celebrated fictional P.I., Spenser: “The Best of Robert B. Parker.”April 25, 2020
Ethan
Iverson
LEE KONITZ R.I.P.
New DTM page, “Ice Cream Konitz.”April 16, 2020
Ethan Iverson
THE “DANGER” CHORD While in quarantine, I’ve been posting home videos of TV themes on my socials. Yesterday I put up Henry Mancini’s theme from _The Pink Panther_. (I did this in a single take without practicing first, which is why it sounds so good, of course.) A little discussion ensued on Twitter: Elias Muhanna pointed out that the last chord is unusually thick, and correctly identified it as B7 over E minor. Spelled out, it goes up in thirds, E G B D# F# A. That isn’t really my chord, I got that from Mancini, although probably Henry would stop at five notes, not seeing the need to go toall the way to six.
William Kenlon chimed in, noting that the chord appears in the _James Bond_ theme and associated cues by Marty Norman and John Barry. Indeed! There’s a whole genre of noir and espionage “jazz” that features “shocking” minor-major seventh chords, often withflamboyant guitar.
Noah Berman then really kind of blew my mind by citing Tony Mottola’s soundtrack to_ Danger_ in 1950. Berman also included a clip of a short Mottola interview where he says that for a while people called this major-minor seventh chord, especially on guitar, the “Danger” chord or the “Mottola”chord.
Berman directed us to a website, The Exotica Project, especially a page about “The Lonely Beat. ” Wow! This is an_ amazing_ essay by Dan Shiman. Kenlon brought it full circle: “Guitarist Bob Bain (who Tony mentions in the interview) is the guitarist on the first two _Pink Panther_ soundtracks.” Truly, Twitter at its best!—
I have recorded only one piece of noir exotica, with Tootie Heath and Ben Street on _Tootie’s Tempo_. “Danube Incident” was composed by Lalo Schifrin and later sampled by Portishead. Plastic cutlery was placed inside the piano to get a period “strumming” quality. Naturally, our performance ends with a “Danger” chord.April 15, 2020
Ethan Iverson
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