mhatta

I went to Harvard Business School for work two month ago, and it seems that Scullers is nearby. It's a shame that our schedules didn't match up. I only knew about the Regattabar as a jazz club in Boston.

Norio Maeda went on to become a successful composer and arranger in Japan, but at least at this point, I think his swinging sense of rhythm was lacking, despite his excellent harmony. The trumpeter was probably a different person from the famous drummer Rashid Ali (although Ali was said to be able to play trumpet and piano). According to some information, this guy was called Rashid Kmal (sic) Ali. Could this be the person? https://www.findagrave.com/memorial/269675/rashid-kamal-ali There is a possibility that he served in the Korean War and stayed in Japan for a while. He seems to be a substitute for Don Cherry and apparently fired from the tour.

Sense of Values! Keno Duke is criminally underrated. I have very little information about him, but what kind of life did he lead?

Michael Cuscuna was not selected for the NEA Jazz Masters after all (even though he had been fighting an illness for several years and did not suddenly pass away). I am very surprised. I hope that a proper biography will be written, including Cuscuna's work outside of jazz (such as producing Bonnie Raitt, which I liked). I feel that only Cuscuna himself could have written such a book.

I don't know what JSngry meant by it, but I sometimes use an expression similar to "Concord-y" (actually I love this term!). There is some high-quality music on this label, for sure (I have tons of them, btw), but it feels essentially conservative, like music from the past. My friends, who have sharp tongues, used to call them “nursing home jazz”. It's not that avant-garde music is necessarily good, but compared to e.g. Enja and others from the same period, I think it lacked the spirit of trying to do something new. I empahsize that it doesn't directly correlate with the quality of the music, though. I also think that could be said of Emily Remler's music.

Just for fun, I tried having Claude AI output a review of the best jazz album of 2023 (because the current data cutoff is Apr. 2024, so AI doesn't know much about this year). The personality (or lack of personality) is similar to reviews on Bandcamp, etc. ----- "The Territory" by Mary Halvorson A masterful display of avant-garde jazz guitar, this album showcases Halvorson's unique approach to composition and improvisation. Her signature bent notes and complex rhythmic structures are woven into compositions that manage to be both challenging and surprisingly accessible. The interplay between Halvorson's guitar and the horn section creates fascinating textural landscapes, particularly on standout tracks like "Incarnadine" and "Motion Picture." "In Common 4" by Walter Smith III & Matthew Stevens This collaboration brought together an exceptional lineup including Kris Davis, Dave Holland, and Terri Lyne Carrington. The album strikes a perfect balance between structured composition and free improvisation. The quintet's interpretation of space and timing is remarkable, especially in pieces like "Familiar Signs" where the musicians demonstrate their ability to both lead and support with equal skill. "Today and Tomorrow" by Lakecia Benjamin A powerful statement from the alto saxophonist, this album bridges traditional jazz with contemporary influences. Benjamin's fierce, soulful playing is backed by an all-star band including Ron Carter and Patrice Rushen. The album particularly shines on "Amerikkan Skin," where Benjamin's passionate saxophone work addresses social justice themes while maintaining musical excellence. "Live at the Detroit Jazz Festival" by Wayne Shorter & Terri Lyne Carrington One of Wayne Shorter's final recordings, this live album captures the legendary saxophonist in brilliant form alongside Carrington, Leo Genovese, and esperanza spalding. The performances are both exploratory and deeply emotional, especially on the extended version of "Endangered Species." This recording serves as both a celebration of Shorter's legacy and a testament to his continued innovation until the end. "Phoenix" by Melissa Aldana The Chilean saxophonist delivered a compelling album that showcases her evolution as a composer and bandleader. Her tenor saxophone tone is warm and commanding, while her compositions demonstrate sophisticated harmonic understanding. The album's centerpiece "The Bluest Eye" is particularly notable for its narrative arc and emotional depth.

I like some of them (e.g. Patricia Brennan Septet's Breaking Stretch is good, but mainly because of Mark Shim's gritty tenor), but I still don't think they're the kind of “jazz” I like. It's good music based on different aesthetics. I guess I'm getting old and I'm starting to lose touch with the younger generation's sensibilities. Being an old fart is sad.

I heard it on Spotify. It sounds just fine. But I'm not really an audiophile, though...

Dave Liebman is a great musician who deserves A LOT respect, and he is Miles Davis' possibly second-to-best saxophonist, but I personally have never been into his music. His partner, Richie Beirach, is similar I feel. I don't really know why. I think this is their best performance.

I listened to the whole thing. Overall, I think it's a DeJohnette show. The drums have tremendous drive. Henderson is also great, especially on the first song. McCoy seems a bit overwhelmed. The bass isn't really audible.

I listen to it via Apple Music streaming, I can hear bass. But somewhat muffled. It reminds me of Dexter Gordon's "The Squirrel".

https://bsky.app/profile/mhatta.bsky.social I gave up on X/Twitter because it was too toxic. It's not a bug, it's a feature. I usually write in Japanese (and in many cases about my day job), but I'm also using Bluesky. I also write about jazz sometimes. If you comment in English, I'll reply in English.

Perhaps Debut?

Great writing indeed. I've never seen a photo of Stinson before. I see that Bobby Hutcherson's ‘Now’ was a memorial to Stinson. I don't really know much about bass playing, but when playing with Miles, I feel that Stinson's playing is more orthodox, or like a steady jazzy walking style. On the other hand, when comparing him to others, you can see the uniqueness of Ron Carter, who seems ordinary but is actually very individualistic.

I think it was seven years ago that I happened to be in San Jose in the summer and went to see the San Jose Jazz Fest. When I heard the song “Bitter Sweet Samba” (which almost every Japanese know without the song title because it is the theme song of a famous radio program in Japan), I thought it might be a copy band of Tijuana Brass, but it was Herb Alpert himself. Is he already 90 years old or something?