What live music are you going to see tonight?

[medjuck]

I'm jealous. 

[Steve Reynolds]

Now about 75 to 90 minutes away from Rainey, Laubrock & Halvorson 

kind of amazed I made it to the show tonight

[BFrank]

10 hours ago, erwbol said:

She looks 89. Sure that is not a typo?

I.don't.think.so.

It was a great show ... BTW. The complete "Horses" album (among other songs) and an appearance by Michael Stipe.

[Larry Kart]

Special to Allen Lowe:

Sunday, January 3rd 2016

 

9:00PM

 

at the Hungry Brain, 2319 W Belmont, 773.709.1401 (Donation) 

• Ingrid Laubrock, Tom Rainey
• Ingrid Laubrock, Jason Stein, Josh Abrams, Tom Rainey

I'll try to make it and report.

[Steve Reynolds]

Maybe I'll  have a report at some point this weekend regarding the two sets last night maybe even including a comment of two regarding Ms. Laubrock. 

I will say that I'm glad that I again stayed for the second set despite some mixed emotions/thoughts about the first set.

[Larry Kart]

On December 31, 2015 at 4:12 PM, Larry Kart said:

Special to Allen Lowe:

Sunday, January 3rd 2016

 

9:00PM

 

at the Hungry Brain, 2319 W Belmont, 773.709.1401 (Donation) 

• Ingrid Laubrock, Tom Rainey
• Ingrid Laubrock, Jason Stein, Josh Abrams, Tom Rainey

I'll try to make it and report.

Re-reading previous reactions to Laubrock, especially Allen Lowe's "..she is good, but lacks....passion...there is a lack of urgency in her playing which is strangely typical of a lot of what I hear these days," what I heard last night at once does and does not fit into that framework -- mostly does not, though.

First, based on what I heard last night and what I heard from her before in-person (at the Chicago Jazz Festival a few years ago with a Mike Reed ensemble playing material based on Sun Ra sketches) it's mostly a matter of temperament, and one's temperament is pretty much who one is. Laubrock does lack most of the signs of overt expressionistic (if you will) passion, but she strikes me as quite urgent at best, especially on tenor, albeit urgent in an unusually clear and orderly manner. But I like clear and orderly if it's genuine, and her clear and orderly sure seems to be.

Second, when she works in a duo with Rainey, the two of them (but I was unsure about this) seem to have some prior agreement, either fairly definite and/or seat-of-the-pants, about mood and material for each piece -- if so, this is not really or not quite as much "free" playing as most of us know it. Further -- and again I'm unsure about this -- I wouldn't be surprised if Laubrock at one point had fairly deep roots in changes-based hard bop; on several medium-up pieces with steady tempos that were just the other side of a "groove," it was as though I were hearing an abstracted version of Tubby Hayes or Sal Nistico in full flight (a definite sense of "shadow" changes being responded to), albeit (again) with few signs of expressionistic heat but with a good deal of urgent thought. Further (probably in my imagination) reference points along those lines -- Hans Koller in the attractive (to me) relative dryness of her tone on tenor and her calm motivic orderliness -- also, in much the same bag, Oliver Nelson.

Second set brought some new possible information. Bass clarinetist Stein and Laubrock didn't go well together at first -- he's a significantly louder, shaggier, and much more (that word again) expressionistic player, and working in much the same register as Laubrock on tenor, he  tended to cover her up. This she pretty much failed to respond to for a good while, but things changed for the better when she switched to soprano, where her basic liquid sound is quite lovely, though she stayed in the far upper register too much for my taste. Interesting, I thought, that it took so long for Laubrock and Stein to work things out/respond to each other (and in the event it was mostly, so it seemed to me, up to her to do the responding because Stein typically just does his own good thing; and she could have, I thought. just by shifting to the tenor's upper register, where she's played quite effectively in the first set). Made me wonder that perhaps she's not that responsive to the immediate context, except when it's she and Rainey in their duo, because one typically hears a good many good "free-ish" players sort out such group things quite swiftly. But then, as I said above, Laubrock may be, in terms of temperament and musical roots, just a different kind of player. And a very good one, I think.

[AllenLowe]

for some reason I feel like Stanley Crouch all of a sudden.....

[Larry Kart]

1 hour ago, AllenLowe said:

for some reason I feel like Stanley Crouch all of a sudden.....

Don't know why you'd feel that way. Hope it doesn't last, though.

[Steve Reynolds]

Thanks much for the comments, Larry

Laubrock did start out as a bebop/changes style player. Our own Bev is more familiar with her earlier playing. What you found attractive about her playing is some sort of restraint. I find that her precision and clearly controlled playing creates it's own intensity, tension and energy. I often think that some of the best improvisation results from a focus within the music eschewing the "no holds barred" sort of free jazz that was much more common years back. In fact this type/sort of restrained or even much more playing is at the heart of my interest in SME, AMM and other non-jazz improvising that is of great interest to me (and others).

Larry - you put a little finger on what might be driving my curiosity about what makes the trio of Rainey/Halvorson/Laubrock so fascinating  - it really is jazz based and it is compositionally and even melodically centered - far different than the above smaller form improvisers where melody doesn't really exist in much of that music. Plus despite the seeming restraint and diamond like focus, things still get really hairy and loud at times but it comes from an organic place at most times and seems not to fit into that planned build sort of thing that was discussed on another thread recently.

[AllenLowe]

feeling better now; won't punch anybody out.

I yield to the majority opinion; will only say that my problem with her playing that I have heard (and I have not seen her in person, only have heard a lot online, plus plenty of videos) is that there is, to my mind, a difference between playing that poses a certain stasis as part of a bigger and more complex picture (a la, let us say, Beckett's novels and stories) and playing that shows me the fragment and nothing much beyond it; in such a situation the fragment has to be really, really compelling. This is what I find missing in her playing - something beyond the gesture. Clearly others see something where I find little.

[Steve Reynolds]

@ The Stone tonight:

8:00: Ken  Vandermark, Joe McPhee & Mat Maneri

10:00: Ken Vandermark, Ned Rothenberg, Havard Wiik & Tom Rainey

good run of shows for KVs residency but I thought this was the one night for me

[Steve Reynolds]

Cornelia Street Cafe tonight:

Tony Malaby's Apparitions

with Ben Gerstein, Michael Formanek, Billy Mintz and the *great* Randy Peterson

as otherworldly as this band was a few months back, me thinks they might be taking to even another plane of somewhere tonight. I'm very blessed to be able see this band up close and personal one more time tonight. NOT for the faint of heart and definately NOT for the naysayers among you.

 

Standing on a Whale Fishing for Minnows

[A Lark Ascending]

Marvellous 2 nights in a wind and rainswept Scarborough (just like I remember Newquay in my youth - 3/4s of the shops/cafes/arcades closed...don't think I've been to a seaside town in January since 1977).

Great acapella folk songs from the recently revived Devil''s Interval (Jim Causley, Emily Portman, Lauren McCormick); Mawkin as good as ever if overloud and oddly balanced; Norma, Eliza and Martin plus band in fine form on a mix of trad and more 40s/50s style music Norma remembers from her youth. Great to see her looking really well after some poor health in recent years. 

Day 2 started with various surviving Watersons plus Devil's Interval doing unaccompanied Wassail songs for half an hour...all favourites from their many albums. The high point of the weekend. Marry Waterson had added two musicians to the duo I saw a couple of months back. A bit under-rehearsed - confusion over the next song, instruments not working etc but still great to hear those songs again. What worked wonderfully was having the two guitars weaving round one another. Extra guitarist was Neill MacColl, son of Ewan and Peggy Seeger and half brother of Kirsty; excellent player. Eddie Reader and Boo Hewardine headlined - not my cup of Early Grey. I like Readers' voice and accent but she will insist on ending phrases with that X-Factor cod- gospel over-emoting. Plain songs, dull chord sequences (maybe that was a result of the contrast with the oddball choices in Marry Waterson's songs). But you could tell she was used to working with large mainstream audiences...very confident. Not my preference but she went down extremely well with the audience so it's all my loss.     

Edited January 10, 2016 by A Lark Ascending

[Steve Reynolds]

A pleasure to keep an eye on part of Billy's assorted drums while he brings the rest down stairs. No matter I just saw them, spine tingling for me to know Billy Mintz and Randy Peterson are setting up together on that little 'stage'

they start early at about 8:50. When the volume decreases at about 10 minutes in a buzzing from a speaker (only Formanek has any wires) persist unbeknownst to the band. Thank whatever forces it stops at about 20 minutes as I thought that was what had the group stuck in mud or even quicksand. It was getting rough - as is the group's method or modus operandi both horns play in some sort of combination throughout a majority of the time and nothing was happening. Buzzing stops, band accelerates into the fucking maelstrom. 45 minutes in, I'm screaming. They somehow play another quarter hour with little let down. Randy sweating hard, Billy just keeps in cool and sweet except when they really go, they create the most unimaginable groove ever born to mankind. Never heard it so deep as last night. 

Second set is 65-70 minutes straight - better, meaner, more intense. Only a few passages finding their way. This should be the record. Finishes with Tony on soprano - his range last night as broad as it's ever been and his best playing in at least 14 months - since Adobe Trio fall of 2014. He's become sui generis - the growth and technique and sound is on another level from any of the other saxophonists I've seen over the past few years outside of Evan Parker. Really over the fucking top if one's ears are truly open. Not an easy listen, this band. No band I know has a rougher time getting to the spot than this one as it is thoroughly abstract lacking all song form, yet they are jazz all the way.

[jeffcrom]

Two nights ago - Saturday, January 9: The Panorama Jazz Band was on fire at the Spotted Cat on Frenchmen Street in New Orleans. Clarinetist/leader Ben Schenck has a pool of about 35 musicians who know the book, but this was the "A" team in every position, including Matt Perrine on sousaphone, Charlie Halloran on trombone, and Aurora Nealand on alto.

Their last set was followed by the coronation of the royal court of the Krewe de Jieux, the irreverent Jewish Mardi Gras krewe. Then a small version of the Panorama Brass Band accompanied the krewe on a two-hour ramble through the French Quarter and Marigny. The call this the Running of the Jieuxs. It was extremely weird - the strangest thing I have ever seen in New Orleans. In the manner of the Zulu krewe, the Krewe de Jieux reclaims and magnifies every negative stereotype about Jewishness and adopts costumes and personas to reflect that. It was horrifyingly offensive, joyous, and very funny.

Edited January 12, 2016 by jeffcrom

[medjuck]

13 minutes ago, jeffcrom said:

Two nights ago - Saturday, January 11: The Panorama Jazz Band was on fire at the Spotted Cat on Frenchmen Street in New Orleans. Clarinetist/leader Ben Schenck has a pool of about 35 musicians who know the book, but this was the "A" team in every position, including Matt Perrine on sousaphone, Charlie Halloran on trombone, and Aurora Nealand on alto.

Their last set was followed by the coronation of the royal court of the Krewe de Jieux, the irreverent Jewish Mardi Gras krewe. Then a small version of the Panorama Brass Band accompanied the krewe on a two-hour ramble through the French Quarter and Marigny. The call this the Running of the Jieuxs. It was extremely weird - the strangest thing I have ever seen in New Orleans. In the manner of the Zulu krewe, the Krewe de Jieux reclaims and magnifies every negative stereotype about Jewishness and adopts costumes and personas to reflect that. It was horrifyingly offensive, joyous, and very funny.

This sounds great.  Wish I was there. 

[alankin]

15 hours ago, jeffcrom said:

Two nights ago - Saturday, January 9: The Panorama Jazz Band was on fire at the Spotted Cat on Frenchmen Street in New Orleans. Clarinetist/leader Ben Schenck has a pool of about 35 musicians who know the book, but this was the "A" team in every position, including Matt Perrine on sousaphone, Charlie Halloran on trombone, and Aurora Nealand on alto.

[...]

The Panorama Jazz Band will be in Broomall PA (in the Philly 'burbs) this Friday.  I'll probably be there.

 

[ornette]

Christine Tobin singing Leonard Cohen at the Lichfield Garrick (UK). Phil Robson guitar, Dave Whitford bass.

[optatio]

Gunter Hampel will give lectures today and later at the University of Göttingen:

[A Lark Ascending]

7 hours ago, ornette said:

Christine Tobin singing Leonard Cohen at the Lichfield Garrick (UK). Phil Robson guitar, Dave Whitford bass.

Good singer and guitarist (and bass player). I thought her Yeats album was one of the most original jazz vocal albums in many a year. 

Hope the turnout is better than last time I saw her (when she did the Yates songs and some of the Cohen ones that she was then working on prior to the album). Must have been about 30 people in the audience. 

[jlhoots]

Iris DeMent / Pieta Brown

[A Lark Ascending]

Alan, Gilad and The Lowest Common Denominator (Nottingham Jazzsteps at the Bonnington Theatre, Arnold)

Alan Barnes (saxophones); Gilad Atzmon (saxophones); Frank Harrison (piano); Yaron Stavi (bass); Asaf Sirkis (drums)

Tremendous evening of straight ahead jazz - bop, hard bop veering into more Coltrane-y territory. 

Band got stuck on the M1 and arrived through the side door in winter coats, weighed down by instruments to an already packed house. 15 minutes to get organised and they were onstage and blazing. So many high points but special mention for the extended version of 'Alone Together' (or 'The Joint Mortgage Song' as Barnes quipped) - Atzmon's Coltranesque tenor solo brought the house down so Barnes simply followed with a cool, quiet baritone solo totally different in texture. The band were clearly pleased...Barnes asked why they bothered writing arrangements when something more informal came off so well. Also a great Basie blues as an encore. All done with just 15 minutes to set up and a 20 minute break...pure professionalism. 

As to be expected with two great comedians, high humour throughout. Endless quips about the last time Atzmon was booked in Nottingham when Gedling Borough Council cancelled the concert at the last moment because of protests about Atzmon's political stance. All done with humour and good grace rather than rancour. 

When I walked in they'd sold all but six seats, the best audience I've seen at the Bonnington (might have been the block booking by MI5).  

[BillF]

1 hour ago, A Lark Ascending said:

Alan, Gilad and The Lowest Common Denominator (Nottingham Jazzsteps at the Bonnington Theatre, Arnold)

Alan Barnes (saxophones); Gilad Atzmon (saxophones); Frank Harrison (piano); Yaron Stavi (bass); Asaf Sirkis (drums)

Tremendous evening of straight ahead jazz - bop, hard bop veering into more Coltrane-y territory. 

Band got stuck on the M1 and arrived through the side door in winter coats, weighed down by instruments to an already packed house. 15 minutes to get organised and they were onstage and blazing. So many high points but special mention for the extended version of 'Alone Together' (or 'The Joint Mortgage Song' as Barnes quipped) - Atzmon's Coltranesque tenor solo brought the house down so Barnes simply followed with a cool, quiet baritone solo totally different in texture. The band were clearly pleased...Barnes asked why they bothered writing arrangements when something more informal came off so well. Also a great Basie blues as an encore. All done with just 15 minutes to set up and a 20 minute break...pure professionalism. 

As to be expected with two great comedians, high humour throughout. Endless quips about the last time Atzmon was booked in Nottingham when Gedling Borough Council cancelled the concert at the last moment because of protests about Atzmon's political stance. All done with humour and good grace rather than rancour. 

When I walked in they'd sold all but six seats, the best audience I've seen at the Bonnington (might have been the block booking by MI5).  

Sounds to have been great, Bev. Just the sort of gig I like! I have seen Alan and Gilad together and they largely limited themselves to altos - to Alan's cost, I thought. Gilad is such a powerful player! Alan's subtleties would have been more noticeable on record, but in the live contest he was worsted.

[A Lark Ascending]

7 hours ago, BillF said:

Sounds to have been great, Bev. Just the sort of gig I like! I have seen Alan and Gilad together and they largely limited themselves to altos - to Alan's cost, I thought. Gilad is such a powerful player! Alan's subtleties would have been more noticeable on record, but in the live contest he was worsted.

They brought the whole wardrobe. Gilad on tenor, soprano (Alan paid him the compliment of being the only musician he knows who can play it in tune [and later, described him as a great musician and an all-round force for good...there's a pal!]) and bass clarinet; Alan on alto, baritone and clarinet. 

They're both playing Sheffield in the next few months (separately) so I hope to get to see them again soon (though my dance card is already pretty packed).  

[BillF]

1 hour ago, A Lark Ascending said:

They brought the whole wardrobe. Gilad on tenor, soprano (Alan paid him the compliment of being the only musician he knows who can play it in tune [and later, described him as a great musician and an all-round force for good...there's a pal!]) and bass clarinet; Alan on alto, baritone and clarinet. 

They're both playing Sheffield in the next few months (separately) so I hope to get to see them again soon (though my dance card is already pretty packed).  

That's very unusual that Gilad didn't play alto. It's usually the only horn he brings to gigs. Perhaps Alan thought the same as me about the outcome of previous meet-ups!