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Posts Tagged ‘Art Blakey’

By Joel Francis

Missouri’s governor announced concerts can resume starting today. I want live music back as much as the next fan, but I hope public health is quite a bit stronger before I’m standing shoulder-to-shoulder in a sweaty club again. Until that day arrives, I’ll be back in the stacks.

Art Blakey’s Jazz Messengers – A Night in Tunisia (1957) Several years ago, I was record shopping with my sister in New York City. We both saw a copy of this album at the same time. Being a good sibling, I let her grab it. The moment we got home and placed it on the turntable, I realized I had made a mistake. Fortunately, I ran across another copy fairly quickly. Like many 20th century jazz artists, Art Blakey was so prolific and excellent, deciding what to listen to in his vast catalog can feel a lot like throwing a dart. The nearly 13-minute version of Dizzy Gillespie’s classic title song starts with a thunderous drum solo from Blakey before settling into the familiar melody. Jackie McLean’s alto sax spars with Johnny Griffin’s tenor saxophone throughout the album, creating a great tension and dynamic. This twin-reed lineup was a rarity in Blakey’s Messengers, which usually stuck to the classic quintet format. Later, the group tackle’s Sonny Rollins’ “Evans” and the Blakey and McLean co-write “Couldn’t It Be You?” This is a gem where every number flies past, leaving a smile burned onto my face and me wondering where three-quarters of an hour went so quickly.

Wilco – Live at the Troubadour, L.A. (1996)
Sleater-Kinney – Live in Paris (2017)
By the time Wilco officially released Live at the Troubadour, L.A. on Record Store Day a few years ago, the version of the band on the album was a distant memory. While many of the songs performed on this album remain in the band’s setlists today, the pedal steel guitar and alt-country mindset that propels the archival show are vestiges of the last century. The 90-minute set leans heavily on the then-new Being There album. Songs from the band’s debut and a few Uncle Tupelo covers round out the rest of the evening. Wilco was still finding their sound at the time, as illustrated by two divergent, back-to-back versions of “Passenger Side.” The first attempt sounds like a lost early Replacements song. The second rendition is slower than the album version and plays up the country elements.

Live in Paris was recorded on Sleater-Kinney’s immensely successful reunion tour just a few years ago, but already seems just as dated the Troubadour performance. S-K drummer and not-so-secret-weapon Janet Weiss left the band in 2019 after recording their most recent, synth-heavy album. It remains to be seen how the older material will be interpreted through this sleeker, slinkier lens (and with a new drummer). Regardless, Live in Paris is a triumphant encapsulation of S-K’s triumphant return.

I’m crossing my fingers I’ll get to witness both Wilco and Sleater-Kinney later this summer. The two bands announced a joint, co-headlining tour last winter, just before the pandemic crystalized our world in amber. With tickets in hand, I hope the public health is sufficiently strong enough to keep this tour a reality.

In the Pines – self-titled (2006) This six-piece Americana band from Kansas City was a true gem in its time. I remember going to the album release concert at the old RecordBar and everyone in the room being both entranced by the music and elated it was finally available to play at home and share with friends. Taking their name from the old folk tune, In the Pine’s music is moody and foreboding. The violin laced through all melodies adds a mournful Gothic element to the arrangements. Sadly, the group fizzled away when half the members moved out of town. About five years ago, the group reconvened for a reunion show – with new songs to boot – but then fell silent again. As recently as March of this year, there was talk of a second album underway. My fingers are crossed that the pandemic doesn’t prevent this from happening.

While we’re on the topic of Kansas City folk bands from the early days of this century, I want to shout-out Oriole Post. They only released one album and never pressed it to vinyl, but their hopeful, energetic music was always inspiring. Sadly, they were another band with a ton of promise that faded away before capitalizing on their potential.

Idles – Joy as an Act of Resistance (2018) Tucked near the end of the British punk group’s second album is a cover of Solomon Burke’s 1961 hit “Cry to Me.” Idles replace the New Orleans shuffle of the original with a post-punk drone and own the cover so convincingly it feels like one of their own. The choice is a nice encapsulation of Idles as a whole. They sneer like the Sex Pistols, but have the soul (and politics) of The Clash. One of the catchiest songs on the album, “Danny Nedelko,” champions immigration by telling the story of the Heavy Lungs’ – another British punk band – lead singer. Most bands sing about love, but singer Joe Talbot espouses true brotherly love and is utterly unafraid to wear his heart on his sleeve. Even more rare than an earnest punk cover of an old R&B tune is honest, heartfelt embrace of emotion, free of irony and other filters. The Idles aren’t afraid to go there, either. “June,” is a devastatingly moving song about the loss of Talbot’s baby daughter.

I saw Idles almost one year ago with Fontaines D.C. and it was one of the best punk shows of the year. In the time since, Idles have released a live album captured on that same tour. Few acts are able to simultaneously channel such intensity and vulnerability as Idles. I can’t wait to see what they bring us next.

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By Joel Francis

Here we go. Back into the stacks of wax.

L7 – Scatter the Rats (2019) If you were worried that L7 might have mellowed over the two decades since their last release, you can rest easy. The four females are just as fierce and uncompromising as you remembered from ‘90s alternative/punk classics Smell the Magic and Hungry for Stink. Honestly, Scatter the Rats is better than anything they’ve done since those two albums. Put this on and watch the paint peel from the wall.

Pink Floyd – Atom Heart Mother (1970) The pre-Dark Side Pink Floyd catalog is a lot more interesting to me than their commercial and artistic peaks in the mid-to-late 1970s. I love hearing them find their voice as a quartet, adding and subtracting elements. Atom Heart Mother is their dalliance with an orchestra. The strings on the Beatles’ “A Day in the Life” are a loose starting point here, but no one seems to know where they fit on the Floyd songs. That’s the first side, at least. The second side is more democratic, with each of the group’s three songwriters taking turns at the mic on original songs. The last track is a 13-minute instrumental called “Alan’s Psychedelic Breakfast,” whose title sums up the album perfectly.

Randy Newman – Land of Dreams (1988) I once played this album for a friend. After the first song, she politely demurred that this wasn’t what she normally enjoyed. Translation: It’s milquetoast old-people music. While Newman’s production is certainly lush and radio-friendly, his lyrics, storytelling and sly, subversive humor are more compelling than they may come off at first blush. Land of Dreams was supposed to be Newman’s musical autobiography. He gave up at some point, but we still get the captivating opener “Dixie Flyer” and most of the songs on side one. The ballad “Falling in Love” displays the cinematic touch that established Newman as an in-demand film composer. (Is it just me or is there a bit of “You’ve Got a Friend” in this tune?) The second side isn’t as successful, but it concludes on a couple of high notes: the hit “It’s the Money that Matters” and the wrenching ballad “I Want You to Hurt Like I Do.” It’s more than enough to make up for the embarrassing faux-rap of “Red Bandana.”

Tony Bennett – Jazz (compilation) This two-album collection pulls Tony Bennett’s collaborations with jazz musicians who are as proficient with their instruments as Bennett is with his incredible voice. It’s easy to take Bennett’s singing for granted. It seems he’s never encountered a song he can’t make his own. The treat, then, is hearing that voice spar and hang with the likes of Herbie Hancock, Stan Getz, Herbie Mann and Count Basie. I’m partial to the performance of “Just One of Those Things” with Art Blakey and the West Coast swing of “Clear Out of this World” but everything here is top-notch.

Leonard Cohen – Live at the Isle of Wight 1970 (2009) According to legend, this is the set that followed Jimi Hendrix at the legendary British music festival. Leonard Cohen only had two albums under his belt at the time of this recording, but it’s amazing to see how many songs included in this set would remain concert favorites until the end of his life. The performance also has a folky atmosphere, filled with acoustic guitars, fiddle, banjo and piano. The Isle of Wight performance shows little of the polished sophisticated sheen that Cohen’s later concerts would adopt. Put this on for a down-home experience with the poet extraordinaire.

Coleman Hawkins, Roy Eldridge, Johnny Hodges – Hawkins! Eldridge! Hodges! Alive! at the Village Gate (1962) Here is the sound of three pre-war titans muscling their way back into a musical conversation that has seemingly moved away from them. They do it not by adapting to a bop or modal vocabulary, but by stretching out and showing how those elements were always present in the swing music they helped popularize and pioneer. There are only three songs here – each of them well over 10 minutes – but they are more than enough to make the point.

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 (Above: Branford Marsalis solos and shows off his new drummer, Justin Faulkner, at a 2009 concert.)

By Joel Francis
The Daily Record

Saturday’s Branford Marsalis concert at the Gem Theater was a night of new beginnings.

The show kicked off the 2010-2011 season of Jammin’ at the Gem and featured new bass player Robert Hurst – this was only his second gig with the quartet in as many nights. It even opened with a new song.

That number, tentatively titled “Joey’s Tune” after its composer, pianist Joey Calderazzo, was a bit of an outlier. Admittedly a work in progress, the arrangement was busy to the point of claustrophobia. When Marsalis stepped back, Calderazzo and drummer Justin Faulkner flooded the room so completely one wondered if Marsalis would be able to wedge his way back in the song.

Fortunately, the rest of the two-hour set fared better. Alternating between soprano and tenor saxophones, Marsalis guided the band through breakneck changes and lumbering mood pieces. Some of his solos displayed the pop sensibilities that made him the go-to hornsmith for Sting and Bruce Hornsby, yet his playing was always challenging, never resting too lightly on the ears.

If the set had one blemish it was that Marsalis seemed too content to introduce a number with a solo, then step away for the rest of the number to let his trio play. Aside from being the best player onstage, Marsalis’ horn was the catalyst that helped the rest of the sounds to coalesce.

“The Blossom of Parting,” a track from Marsalis’ 2009 album “Metamorphosen” was the high point of night. The song opened softly with Marsalis on soprano sax, and Faulkner switching between brushes and mallets to build new textures. Calderazzo’s mesmerizing solo blurred the lines between jazz and classical music, and showed more than a hint of Brad Mehldau’s plaintive style. When the band re-entered, Marsalis gradually built the song’s intensity. Before the song could climax, however, an over-exuberant Faulkner accidentally knocked his ride cymbal to the floor. It wasn’t the ending Marsalis hoped for, but the audience took in stride and responded with a standing ovation.

Faulkner had no problem filling the drum stool occupied by Marsalis’ longtime beatman Jeff “Tain” Watts. On a cover of Thelonious Monk’s “Teo,” Faulkner traded bars with Marsalis with a maturity that outpaced his age of 19 and an energy that underlined it. His solo during a later song recalled another drummer of Marsalis’ acquaintance, Art Blakey.

Hurst also handled himself well, despite sight-reading all of the material. His lengthy solo would have worked better tied to a song than as a stand-alone piece. Aside from that moment, Hurst drew little attention to himself – a positive attribute for now in these new surroundings.

The evening ended with an encore of “St. Louis Blues” that found Marsalis showing off his New Orleans roots and reeling off some Satchmo-like trumpet licks on his saxophone.

Keep reading:

Clark Terry’s Last Stand

Releasing Jazz from Aspic

Review: Oleta Adams

Buck O’Neil: Sweet Times and Sweet Sounds at 18th and Vine

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(Above: The Dave Brubeck Quartet “Take Five” at the Ottawa Jazz Festival.)

By Joel Francis

In a belated post-script to The Daily Record’s series on 15 jazz greats to emerge in the past 20 years, we look at five artists who are still significantly contributing to their legendary status. Although their reputations were cemented generations ago, it would be criminal to overlook their most recent works.

Roy Haynes

At the 2005 Newport Jazz Festival, Chick Corea, Pat Metheny, Christian McBride, Joshua Redman and several others all paid tribute to drummer Roy Haynes on the occasion of his 80th birthday. These musicians honored Haynes not only for his resume, which includes stints with Lester Young, Bud Powell, Thelonious Monk and Sarah Vaughan, but because he has allowed the younger artists to grow and learn under his guidance. Haynes has released six albums this decade, starting with “The Roy Haynes Trio,” which recaps his career through new performances, “Birds of a Feather,” a tribute to his former bandleader Charlie Parker, and the strong live set “Whereas.”

Dave Brubeck

One of the most important – and popular – jazz pianists of the post-War era, Dave Brubeck landed on the cover of Time magazine and became a legend with his groundbreaking, yet accessible, work with saxophonist Paul Desmond. Although the 16 years Brubeck and Desmond played together in the Dave Brubeck Quartet form the crux of his catalog, Brubeck has built an impressive resume in the 40-plus years since.

Brubeck’s current quartet, consisting of drummer Randy Jones, bass player Michael Moore and saxophonist/flautist Bobby Militello, may be the best ensemble he’s worked with since his mid-’70s pairing with Gerry Mulligan. Unlike many of his contemporaries, there has never been a Brubeck comeback; there are no lulls or low periods in his catalog. Brubeck has continued to write, record and perform regularly well past his 88th birthday. Of the nearly dozen albums Brubeck has released this decade, three stand out. “The Crossing” kicked off the 21st century with nine strong, new selections, including an ode to longtime drummer “Randy Jones,” Militello’s delightful solo on “Day After Day” and the title song, Brubeck’s interpretation of a chugging ocean liner. Brubeck blends old and new songs on “London Flat, London Sharp,” and the his quartet sizzles on the live album “Park Avenue South,” which mixes standards and favorites with more recent material.

Wayne Shorter

After two years of auditioning other horn players, Wayne Shorter’s saxophone turned out to be the piece missing in Miles Davis second great quintet. An alumni of Art Blakey’s Jazz Messengers, Shorter not only filled the spot vacated by John Coltrane, but contributed many key songs to the group’s repertoire. As if that weren’t enough, he was simultaneously cutting magnificent solo albums on Blue Note. Shorter followed his bandleader’s path into fusion, but took a more pop approach in Weather Report, the group he co-founded with keyboardist Joe Zawinul, another Davis alum. Shorter floundered in the days after Weather Report’s demise in the mid-’80s, but his three most recent albums are among the most inspired of his career. After a 12-year absence from recording, Shorter returned with “Footprints Live,” which documents his reinvigorated 2001 tour. He fronted an acoustic band for the first time in over a generation on “Algeria,” which paired Rollins and his “Footprints” rhythm section with Brad Mehldau for several selections. Shorter’s hot streak continued with his most recent album “Beyond the Sound Barrier” and his inspired playing on Herbie Hancock’s Grammy-winning “River: The Joni Sessions.”

McCoy Tyner

More people have probably heard McCoy Tyner than know who he is. The backbone and counterfoil in John Coltrane’s masterful quartet for six years, Tyner’s piano has graced well-known recordings like “My Favorite Things” and “A Love Supreme.” Tyner also put out several stellar albums under his own name on Blue Note and Impulse in the 1960s. No less active today, Tyner collaborated with Bobby Hutcherson for the live album “Land of Giants” and played tenor Joe Lovano and the awesome rhythm section of Christian McBride and Jeff “Tain” Watts for 2007’s  self-titled release. Tyner’s latest album, “Guitars,” was recorded over a two-day span that paired Tyner, Ron Carter and Jack DeJohnette with several of six-string luminaries, including John Scofield, Bill Frisell, Marc Ribot, Bela Fleck and Derek Trucks. Uninformed fans should stay away from 2004’s “Illuminations,” however. A dream pairing on paper of Tyner, McBride, Terence Blanchard, Lewis Nash and Gary Bartz, the performances are ruined by a glossy production that smothers the quintet’s interplay and is suitable only for shopping for a sweater at Nordstrom with your mom.

Sonny Rollins

Sonny Rollins’ legacy includes recordings with Charlie Parker, Miles Davis, Thelonious Monk, Dizzy Gillespie, Max Roach, Bud Powell and Clifford Brown – and that’s just in his first decade of playing. In the half-century since then, Rollins (along with contemporary John Coltrane) established himself as the preeminent post-Bird saxophonist. Although the pace of Rollins’ releases has slowed considerably, what he has put out have only added to his reputation. Recorded in Boston just four days after the Sept. 11 attacks in New York City, “Without A Song” is an emotional listen finding Rollins channeling his conflicted emotions through long solos. “This Is What I Do” continues Rollin’s penchant for transforming b-quality songs into must-listen melodies with the Bing Crosby standard “Sweet Leilani.” Rollins’ most recently release, “Road Songs, Vol. 1” mines the archives for several cherry-picked performances that prove that the passion on “Without A Song” was no fluke.

Keep Reading: 15 Jazz Legends to Emerge in the Last 20 Years

Part One

Part Two

Part Three

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Above: The two original members of Lynyrd Skynyrd and five other guys play “Sweet Home Alabama.”

By Joel Francis

When the Temptations and Four Tops took the stage Saturday night with only one original member in each ensemble, it raised questions of truth in advertising. Can a band be billed by its legendary name if only one of its musicians is an original legend?

Few bands are as fortunate as Los Lobos and U2 to have retained the same personnel since their debut. Some bands, like Wilco, have a different lineup on nearly every album.  But the reunion craze has accelerated hiring ringers to fill in for dead or uncooperative musicians.

When Journey played the Midland a few weeks ago, longtime singer Steve Perry had been replaced with Filipino Arnel Pineda, who was 8 years old when the band’s first album came out. No one complained, but Pineda’s job is essentially to sound like Perry while founding guitarist Neal Schon and the rest of the band deliver their signature sound.

Similarly, Yes were primed for a 40th anniversary tour when lead singer Jon Anderson fell ill. Rather than cancel the tour, the remaining members, who include Oliver Wakeman, son of original keyboardist Rick Wakeman, recruited a new singer off YouTube.

The majority of fans will tolerate a minor substitution. There were no grumbles when bass player Eric Avery sat out Jane’s Addiction’s second go-round. Most fans will recognize that age and time will prevent everyone from taking part. But when the skeleton of the original crew drag new faces out under the old name, it starts to take advantage of the people who kept the hunger for a reunion alive.

There’s also a slight double-standard in play. Few Beatles fans would be satisfied with a Beatles “reunion” featuring Paul, Ringo, Julian Lennon and Dhani Harrison, but The Who have completed not one but two successful (read: lucrative) tours minus the late John Entwistle and Keith Moon. Of course a true Fab Four reunion never happened, while The Who have launched a handful of “farewell” tours, but the rhythm section of Moon and Entwistle defined The Who’s sound just as much as John and George did for the Beatles.

Swapping drummers and bass players is one thing, but the road to finding a new frontman is fraught with peril. INXS failed miserably in their reality TV quest to carry on after the premature death of Michael Hutchinson. However, 14 years after Freddy Mercury died, Queen – minus drummer John Taylor – reconvened with former Free and Bad Company vocalist Paul Rogers. Many of the band’s East Coast concert date sold out quickly.

When Ray Manzarek and Robby Krieger hired Cult singer Ian Astbury to hit the road as The Doors they were faced with a lawsuit from drummer John Densmore and forced to tour as Riders on the Storm. The moniker didn’t alter any setlists, but it at least let the fans know they weren’t getting the same guys that worked together in the ‘60s.

Then there are the jazz orchestras that continue to tour despite the death of their bandleader. The Count Basie and Glenn Miller orchestras draw decent crowds when they visit the area, despite Miller’s disappearance during World War II and Bill Basie’s death a mere 25 years ago. The Gem Theater will host a Jazz Messengers reunion concert on October even though bandleader Art Blakey died in 1990.

The reason why a musician will resurrect his old band with ringers is obvious: Billy Corgan will sell a lot more tickets and albums as the Smashing Pumpkins than he would alone. And while there’s no clear-cut solution, I think this is a rare example of capitalism and artistry joining forces to provide the ultimate answer.

If a band’s catalog is strong enough, fans won’t mind shelling out $30 to $50 as they did Saturday night at Starlight to hear someone else sing “My Girl” and “Baby I Need Your Loving.” On the other hand, if bands plug on minus crucial components, they might be confined to the state fair/town festival circuit Three Dog Night and the Guess Who have been riding for years.

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