What live music are you going to see tonight?

[Leeway]

Nice photo! (Gallery seating?)

[BFrank]

Miner Auditorium at SFJazz has one row of seats above the back wall of the stage - about 15 feet up. They can be great seats if you don't mind being behind the musicians because you're nearly on top of them. They'll usually look up at you at least once or twice during the show and smile or wave, too.

[Kevin Bresnahan]

Tonight at the Sahara Jazz Club in Methuen, MA, Ralph Lalama.

[Hardbopjazz]

Friday, Randy Weston African Rhythms with Billy Harper. The Jazz Standard, NYC

[aparxa]

[jlhoots]

Laubrock / Rainey - Thursday night

[jlhoots]

Laubrock / Rainey - Thursday night

Nice show.

2 long involved pieces.

11 people attended - the avant garde is still a tough sell out here in the provinces.

The musicians couldn't have been more gracious.

[Steve Reynolds]

Laubrock / Rainey - Thursday night

Nice show.

2 long involved pieces.

11 people attended - the avant garde is still a tough sell out here in the provinces.

The musicians couldn't have been more gracious.

Did Ingrid play both tenor and soprano?

I sure wish more would be listening but as they say it is what it is

I'm also wondering if Rainey at times ever ended up in one of his super off kilter grooves? I love it when he gets to that place. One of the reasons is that when it happens it happens organically without any roadmap

[RiRiIII]

Kenny Barron Trio in Athens during the Jazz Day:

http://www.megaron.gr/default.asp?la=2&pid=5&evID=2067

Edited May 30, 2014 by Alexandros

[BFrank]

Marc Ribot's Ceramic Dog @ SFJazz

[jlhoots]

Laubrock / Rainey - Thursday night

Nice show.

2 long involved pieces.

11 people attended - the avant garde is still a tough sell out here in the provinces.

The musicians couldn't have been more gracious.

Did Ingrid play both tenor and soprano?

I sure wish more would be listening but as they say it is what it is

I'm also wondering if Rainey at times ever ended up in one of his super off kilter grooves? I love it when he gets to that place. One of the reasons is that when it happens it happens organically without any roadmap

Played both tenor & soprano.

Rainey had a bag full of drum sticks that at one point he smacked from drum to drum. Also rather amazing cymbal work.

I loved it.

Even my wife said "that was pretty good".

[Steve Reynolds]

Laubrock / Rainey - Thursday night

Nice show.

2 long involved pieces.

11 people attended - the avant garde is still a tough sell out here in the provinces.

The musicians couldn't have been more gracious. Did Ingrid play both tenor and soprano?

I sure wish more would be listening but as they say it is what it is

I'm also wondering if Rainey at times ever ended up in one of his super off kilter grooves? I love it when he gets to that place. One of the reasons is that when it happens it happens organically without any roadmap

Played both tenor & soprano.

Rainey had a bag full of drum sticks that at one point he smacked from drum to drum. Also rather amazing cymbal work.

I loved it.

Even my wife said "that was pretty good".

My wife has become a big fan of the jazz drummers I like. Her favorites are Hamid Drake and Nasheet Waits. Although when Nasheet filled in once for Tom Rainey with Open Loose, she was upset that she didn't hear what she liked from Rainey. She likes Rainey except that she thinks he's grumpy - which he may be when he's not with Ingrid!!! But what she really likes Rainey for is when he rocks out in those mysterious grooves. I think he is as fascinating a drummer as there is as he is totally unpredictable and the musical results on one night with the same partners/collaborators can differ mightily.

Happy that tomorrow my wife will see Nasheet so usually that means she will be in a good mood!!!

[Leeway]

Laubrock / Rainey - Thursday night

Nice show.

2 long involved pieces.

11 people attended - the avant garde is still a tough sell out here in the provinces.

The musicians couldn't have been more gracious. Did Ingrid play both tenor and soprano?

I sure wish more would be listening but as they say it is what it is

I'm also wondering if Rainey at times ever ended up in one of his super off kilter grooves? I love it when he gets to that place. One of the reasons is that when it happens it happens organically without any roadmap

Played both tenor & soprano.

Rainey had a bag full of drum sticks that at one point he smacked from drum to drum. Also rather amazing cymbal work.

I loved it.

Even my wife said "that was pretty good".

My wife has become a big fan of the jazz drummers I like. Her favorites are Hamid Drake and Nasheet Waits. Although when Nasheet filled in once for Tom Rainey with Open Loose, she was upset that she didn't hear what she liked from Rainey. She likes Rainey except that she thinks he's grumpy - which he may be when he's not with Ingrid!!! But what she really likes Rainey for is when he rocks out in those mysterious grooves. I think he is as fascinating a drummer as there is as he is totally unpredictable and the musical results on one night with the same partners/collaborators can differ mightily.

Happy that tomorrow my wife will see Nasheet so usually that means she will be in a good mood!!!

Just to go back to the issue of attendance, my experience is that it is not unusual for the audience to consist of 10-12 people. I attended one residency at The Stone last year where the audience rarely exceeded a handful of people. It's too bad, and it always makes me wonder how anyone survives in the business (without a well-to-do spouse that is).

When I first saw Ingrid, maybe 5 years ago in Baltimore, trio with Kris Davis and Tyshawn Sorey, probably not more than 6 or 7 people there. Of course, she's played a lot bigger gigs. I wonder if this tour with Ingrid and Tom is a sort of busman's holiday; getting out of NYC, touring the country together, and hitting gigs along the way to pay the way (sort of). If they sell some CDs along the way, and help build the fan base, so much the better. Still, it would have been nice to see more people in the seats.

As for Tom Rainey, agree with what Steve says, I love seeing him on a gig. This seems to be his moment.

[jlhoots]

Laubrock / Rainey - Thursday night

Nice show.

2 long involved pieces.

11 people attended - the avant garde is still a tough sell out here in the provinces.

The musicians couldn't have been more gracious.

Did Ingrid play both tenor and soprano?

I sure wish more would be listening but as they say it is what it is

I'm also wondering if Rainey at times ever ended up in one of his super off kilter grooves? I love it when he gets to that place. One of the reasons is that when it happens it happens organically without any roadmap

Played both tenor & soprano.

Rainey had a bag full of drum sticks that at one point he smacked from drum to drum. Also rather amazing cymbal work.

I loved it.

Even my wife said "that was pretty good".

My wife has become a big fan of the jazz drummers I like. Her favorites are Hamid Drake and Nasheet Waits. Although when Nasheet filled in once for Tom Rainey with Open Loose, she was upset that she didn't hear what she liked from Rainey. She likes Rainey except that she thinks he's grumpy - which he may be when he's not with Ingrid!!! But what she really likes Rainey for is when he rocks out in those mysterious grooves. I think he is as fascinating a drummer as there is as he is totally unpredictable and the musical results on one night with the same partners/collaborators can differ mightily.

Happy that tomorrow my wife will see Nasheet so usually that means she will be in a good mood!!!

Just to go back to the issue of attendance, my experience is that it is not unusual for the audience to consist of 10-12 people. I attended one residency at The Stone last year where the audience rarely exceeded a handful of people. It's too bad, and it always makes me wonder how anyone survives in the business (without a well-to-do spouse that is).

When I first saw Ingrid, maybe 5 years ago in Baltimore, trio with Kris Davis and Tyshawn Sorey, probably not more than 6 or 7 people there. Of course, she's played a lot bigger gigs. I wonder if this tour with Ingrid and Tom is a sort of busman's holiday; getting out of NYC, touring the country together, and hitting gigs along the way to pay the way (sort of). If they sell some CDs along the way, and help build the fan base, so much the better. Still, it would have been nice to see more people in the seats.

As for Tom Rainey, agree with what Steve says, I love seeing him on a gig. This seems to be his moment.

Fortunately (?) the venue only holds approx. 60 at capacity so it could have looked worse.

[marcello]

jhoots lives in a area with a very, very nice and interesting Arts scene.

[BFrank]

Marc Ribot's Ceramic Dog @ SFJazz

A lot of fun tonight! This trio obviously enjoys playing with each other. The music ranges from abstract to dissonant to totally rocking OUT. Hard to describe, but worth seeing, for sure.

[jeffcrom]

Just got back home from walking the quarter mile or so (!) to Candler Park in Atlanta to catch a free (!) set by Trombone Shorty & Orleans Avenue. Mr. Andrews was very impressive, although the overall vibe was too showbiz-y for me to buy into it fully. But jeez, what a fun way to spend an evening. I've got to say that I love my neighborhood.

[BFrank]

Marc Ribot's Y Los Cubanos Postizos @ SFJazz.

Another entertaining night - 180 degrees from Ceramic Dog. Ribot's take on Cuban/Latin 'jazz' with a NYC 'Downtown' edge. Great crowd, too.

[Steve Reynolds]

Of the bands we saw last night, three in the middle stood out.

Tarbaby featuring Oliver Lake were fine starting with Dolphy's Fire Waltz

The easy highlight was a quartet featuring Richard Davis. Cyrille was subtly wonderous and the violinist I never heard of, Aska Taneka was spectacular playing and with some gorgeous vocalizing.Angelica Sanchez was her brilliant self. A fully improvised 45 minutes with the legendary bassist sticking with the bow save for one short passage. Genius level improvising from Mr. Davis

My wife and I were blessed to be there.

Edited June 1, 2014 by Steve Reynolds

[disaac]

Anyone make it to Baltimore last night to see Brotzmann/Parker/Drake?

[Justin V]

Of the bands we saw last night, three in the middle stood out.

Tarbaby featuring Oliver Lake were fine starting with Dolphy's Fire Waltz

The easy highlight was a quartet featuring Richard Davis. Cyrille was subtly wonderous and the violinist I never heard of, Aska Taneka was spectacular playing and with some gorgeous vocalizing.Angelica Sanchez was her brilliant self. A fully improvised 45 minutes with the legendary bassist sticking with the bow save for one short passage. Genius level improvising from Mr. Davis

My wife and I were blessed to be there.

I was in the center of the front row last night with my wife, who enjoyed it much more than she anticipated. As an Andrew Hill fan and a hopelessly amateur bassist, I was ecstatic that a trip to New York coincided with the festival and allowed me to finally see Richard Davis perform (and speak). It was also my first time seeing Andrew Cyrille (and in a variety of contexts!), Ted Daniel, Oliver Lake, Grachan Moncur III and Pheeroan akLaff, among others.

Some thoughts on a few of the sets and some of the musicians involved:

Tarbaby - I'd only seen Nasheet Waits before and haven't heard much of Lake. I was struck by Lake's huge sound on alto and his variety of tonal textures. Waits had such a light, dancing feeling to his playing that it sounded like Roy Haynes playing out. He's definitely a chip off the old block, and I'm sure his father would be delighted to hear him (I know I was).

Richard Davis/Aska Kaneko/Angelica Sanchez/Andrew Cyrille: This was one of the more abstract sets of the night and one of two that were freely improvised. I was surprised to see Davis play almost exclusively arco during this set, and his bass blended well with Kaneko's violin. A favorite moment for me was when Angelica Sanchez was plucking the piano's strings while Davis and Kaneko bowed (Kaneko was plucking at some point as well during the set) and Cyrille laid down a nice groove. Kaneko also has a pleasant singing voice; I was disappointed that she didn't have CDs for sale. Davis, not content to rest on his laurels, was quite unpredictable and unorthodox; it was a special thing to see him pushing himself and the rest of the group with his provocative bowing and his expansive approach as a bassist.

Grachan Moncur III - I believe it was a septet. The only downside to the set was that, given the time constraints and the size of the ensemble, they were limited to one tune. Like the earlier surprise of Richard Davis focusing on arco, which he also did throughout the vast majority of the Moncur set, I was surprised to see that Moncur didn't play any trombone. He instead tabbed Alfred Patterson for trombone duties. I was impressed with Patterson, who had a double bell on his trombone that he did a bit of a call and response with. Ted Daniel played a gorgeous solo divided between muted and open trumpet. Having heard him on a Billy Bang album, I bought two of his albums before the music even started, and I'm glad that I did. He deserves a much higher profile.

Vernon Reid/Pheeroan akLaff/Melvin Gibbs - This was pure, unadulterated fun, with the band rocking out on tunes by Ronald Shannon Jackson and Sonny Sharrock. I'm more familiar with Living Colour's drummer, Will Calhoun, but Reid was pretty interesting. akLaff was grinning ear to ear during this set and after the concert.

Tomeka Reid/Beatrice Capote/Andrew Cyrille - Reid had an astounding feature on 'God Bless the Child' that drew from Dolphy's bass-clarinet interpretations of the song. Although I was hoping that she was somehow related to Rufus Reid, I think that she might just be another remarkably gifted string musician who happens to share the same last name. Capote, a non-tap dancer, added a visual element that proved to be not the least distracting and positively impacted the overall set; Cyrille was totally locked onto her throughout. His sensitivity and versatility within the different contexts of the night confirmed my earlier belief that he is one of the truly great drummers.

The Sound of Freedom Ensemble - Despite the late start to the night's music and the size of the ensemble, they played a relatively long set that included Dolphy's 'Hat and Beard'. I haven't looked through the whole program, but I'd be interested to know more about the previously unperformed and/or unrecorded Dolphy composition(s) that they played. James Brandon Lewis, who recently released an album on Okeh, is a muscular player whom I'd like to hear at greater length; I think that he was the only tenor saxophonist of the night and was probably the youngest musician on the stand.

Pheeroan akLaff deserves a lot of credit for pulling off such a varied, thoughtfully programmed tribute to Dolphy. I hope that it was a successful fundraiser, and I'd like to see it get released at some point. It sounds like they want to make this a yearly event, so I'm looking forward to seeing where they take it.

Edited June 2, 2014 by Justin V

[Leeway]

Anyone make it to Baltimore last night to see Brotzmann/Parker/Drake?

Yes, I was there. You?

I was too busy this weekend to write up any kind of extended review, but I'll just recount what I can here. The trio played at Windup Space in Baltimore, a club/bar with a nice stage. The evening consisted of two 45 minute (approximately) sets, with a short break in-between. The crowd was quite large, maybe 150 (?). IIRC, Brotzmann started with with the tenor, then moved to the tarogato. In the second set, Brotzmann played alto, then a metal clarinet, something I don't recall seeing him play before. That was very interesting. I think at the end he moved back to the tenor.

I don't think I have to tell anybody how Brotzmann sounds or how Drake and Parker play. The latter was like watching human Loc-tite in action. Hamid played the frame drum for part of the sets, and Parker spent some time on the zintir, a stringed wooden instrument, as well as the double bass. Brotzmann was his usual intense self. What always draws me to Brotzmann is the elemental, or primal, power of his music-making. One knows his trademark sound and approach, and yet it always seems powerfully alive when experiencing it. It's not language but the deep well of feeling beneath language that is communicated. In the more plaintive passages, I had the impression of blues merged with German lieder. In the more gale-like parts (and there were still many), I kept thinking if we had to re-score "The Entry of the Gods into Valhalla," this would be the man to do it. And there is, indeed, that Wagnerian quality to Brotzmann's playing. Somehow after a Brotzmann show I always feel as if I have been baptized again into the power and expressiveness of free music.

I will see the trio again at the Vision Festival in about 10 days. Maybe I'll write more at that time. I saw Brotzmann at the same venue about 5 years ago when he did a solo show. I recalled that the crowd was shockingly small. At the show this past weekend, after rehearsal/sound check, and before the show started, Brotzmann came over to the bar where I was sitting at the time, and ordered an iced water. We started talking and, quite surprisingly, he seemed to remember me (certainly sketchily) from that previous set 5 years ago, and he absolutely remembered the details of that solo show. Considering how much he tours and performs, that surprised me. He was kind enough to sign my copy of, "We Thought We Could Change the World." It was really a fine evening.

[Steve Reynolds]

Of the bands we saw last night, three in the middle stood out.

Tarbaby featuring Oliver Lake were fine starting with Dolphy's Fire Waltz

The easy highlight was a quartet featuring Richard Davis. Cyrille was subtly wonderous and the violinist I never heard of, Aska Taneka was spectacular playing and with some gorgeous vocalizing.Angelica Sanchez was her brilliant self. A fully improvised 45 minutes with the legendary bassist sticking with the bow save for one short passage. Genius level improvising from Mr. Davis

My wife and I were blessed to be there.

I was in the center of the front row last night with my wife, who enjoyed it much more than she anticipated. As an Andrew Hill fan and a hopelessly amateur bassist, I was ecstatic that a trip to New York coincided with the festival and allowed me to finally see Richard Davis perform (and speak). It was also my first time seeing Andrew Cyrille (and in a variety of contexts!), Ted Daniel, Oliver Lake, Grachan Moncur III and Pheeroan akLaff, among others.

Some thoughts on a few of the sets and some of the musicians involved:

Tarbaby - I'd only seen Nasheet Waits before and haven't heard much of Lake. I was struck by Lake's huge sound on alto and his variety of tonal textures. Waits had such a light, dancing feeling to his playing that it sounded like Roy Haynes playing out. He's definitely a chip off the old block, and I'm sure his father would be delighted to hear him (I know I was).

Richard Davis/Aska Kaneko/Angelica Sanchez/Andrew Cyrille: This was one of the more abstract sets of the night and one of two that were freely improvised. I was surprised to see Davis play almost exclusively arco during this set, and his bass blended well with Kaneko's violin. A favorite moment for me was when Angelica Sanchez was plucking the piano's strings while Davis and Kaneko bowed (Kaneko was plucking at some point as well during the set) and Cyrille laid down a nice groove. Kaneko also has a pleasant singing voice; I was disappointed that she didn't have CDs for sale. Davis, not content to rest on his laurels, was quite unpredictable and unorthodox; it was a special thing to see him pushing himself and the rest of the group with his provocative bowing and his expansive approach as a bassist.

Grachan Moncur III - I believe it was a septet. The only downside to the set was that, given the time constraints and the size of the ensemble, they were limited to one tune. Like the earlier surprise of Richard Davis focusing on arco, which he also did throughout the vast majority of the Moncur set, I was surprised to see that Moncur didn't play any trombone. He instead tabbed Alfred Patterson for trombone duties. I was impressed with Patterson, who had a double bell on his trombone that he did a bit of a call and response with. Ted Daniel played a gorgeous solo divided between muted and open trumpet. Having heard him on a Billy Bang album, I bought two of his albums before the music even started, and I'm glad that I did. He deserves a much higher profile.

Vernon Reid/Pheeroan akLaff/Melvin Gibbs - This was pure, unadulterated fun, with the band rocking out on tunes by Ronald Shannon Jackson and Sonny Sharrock. I'm more familiar with Living Colour's drummer, Will Calhoun, but Reid was pretty interesting. akLaff was grinning ear to ear during this set and after the concert.

Tomeka Reid/Beatrice Capote/Andrew Cyrille - Reid had an astounding feature on 'God Bless the Child' that drew from Dolphy's bass-clarinet interpretations of the song. Although I was hoping that she was somehow related to Rufus Reid, I think that she might just be another remarkably gifted string musician who happens to share the same last name. Capote, a non-tap dancer, added a visual element that proved to be not the least distracting and positively impacted the overall set; Cyrille was totally locked onto her throughout. His sensitivity and versatility within the different contexts of the night confirmed my earlier belief that he is one of the truly great drummers.

The Sound of Freedom Ensemble - Despite the late start to the night's music and the size of the ensemble, they played a relatively long set that included Dolphy's 'Hat and Beard'. I haven't looked through the whole program, but I'd be interested to know more about the previously unperformed and/or unrecorded Dolphy composition(s) that they played. James Brandon Lewis, who recently released an album on Okeh, is a muscular player whom I'd like to hear at greater length; I think that he was the only tenor saxophonist of the night and was probably the youngest musician on the stand.

Pheeroan akLaff deserves a lot of credit for pulling off such a varied, thoughtfully programmed tribute to Dolphy. I hope that it was a successful fundraiser, and I'd like to see it get released at some point. It sounds like they want to make this a yearly event, so I'm looking forward to seeing where they take it.

Next time we need to say hello, Justin

Yes, Andrew Cyrille is one the great ones plus he was the coolest dude in the room on Saturday and his playing maybe especially with fine cellist and dancer was extraordinary

[Justin V]

On the 24th, I saw Ron Carter with Russell Malone and Donald Vega at the Bohemian Caverns in DC. I've been a fan of Carter and Malone for years but had never seen them live. I'd seen Donald Vega performing with a Juilliard group a few years ago. Vega filled the chair previously held by the great Mulgrew Miller and is definitely someone to watch.

It was a great set. Malone had a feature on 'Candlelight' as a tribute to Jim Hall that showed why he is one of the top guitarists on the scene. Carter and Malone have developed an extraordinary rapport over the years, and Vega fits right in with an often understated style and a delicate touch. Vega's bluesy extended solo on 'My Funny Valentine' was another highlight. While watching Carter play from a table in front of the stage, I found myself thinking about how much jazz history has been shaped by his hands. It's hard to describe what it is like seeing him perform in person, but with Ron Carter, you don't miss the drums. The absolute focus displayed by Carter is awe-inspiring.

The group listened intently to each other; it was something to watch Carter and Malone shift their backing of Vega on a dime or Vega to throw a snippet of a Malone phrase back at him immediately. The set provided a lot of variety between tunes, like the chamber-like counterpoint of 'Autumn Leaves' (an arrangement from Carter's The Golden Striker), an Oscar Pettiford blues that Carter took the lead on or just flat-out swing. There were also changes within the tunes themselves, like Vega's aforementioned, unexpected bluesy turn during 'My Funny Valentine' or when the group kicked up the tempo to a breakneck speed during the last tune and brought the set to a rousing conclusion.

After the set, Ron Carter greeted people and signed copies of his autobiography. Although I was intimidated to meet such a giant of the music, he was very warm, gracious and friendly. My only regret from what was a perfect night was that I didn't get tickets for both sets. I'd drive to DC to see Ron Carter again in a heartbeat, and Bohemian Caverns has a good thing going on.

Edited June 3, 2014 by Justin V

[xybert]

On Friday 6th June i saw Chick Corea and Gary Burton perform at the Wellington Jazz fest.

The whole thing was really surreal. I've never been to Wellington before, or flown domestically; landed in Wellington at about 5:00pm, in theory had plenty of time but in hindsight i wish i'd gone for an earlier flight to give me time to acclimatise to the city. Anyway, it was already getting dark, found my way to the hotel i'd be spending the night at. Show started at 8:30pm, felt at a bit of a loose end. Decided to go find the venue so there was no last minute "where the fug am i supposed to go?" shenanigans and then try to find somewhere to eat. Found the venue, didn't want to venture too far and get lost, found a burger king near by. Nothing much to do, decided to go back to the venue and just wait. People started milling in slowly, not sure if it's a Wellington thing but they all seemed a lot more dressed up than i was in my jeans and grey hoody. Felt a bit awkward waiting there alone, wasn't feeling that great to begin with; had a semi-bad head cold and cough and was feeling nervous and self conscious about coughing during the show (in the end i was okay).

Anyway, finally it was time to go in and get seated. Great seats, second row fairly close to the centre. It was very surreal, wandering around a strange city and now sitting in front of a grand piano and vibes that Corea and Burton would soon be playing.

Sorry for the ramblings. The show was amazing. They kicked off with Love Castle which was fairly high on the list of songs i wanted to hear so right from the get go i was on cloud nine. They played for about two and a half hours including an intermission. They informed us early on that this was their first time playing together for a while, but you wouldn't have known it. I was pretty much buzzing out the whole time. They played a mix of things, a lovely version of Waltz For Debbie, three or four songs from Hot House, a version of Crystal Silence that got surprisingly intense at the end, a Monk tune that i can't think of the name of but i can hum it for you, you know the one... throughout they were both relaxed and seemed to be having a lot of fun. For the final encore they did Armando's Rhumba with the two of them starting out by humourously dueting on the vibes... i figured there was a bit of practiced schtick going on, and i found an almost identical performance on youtube from 2011 (see below).

Anyway, an amazing show, i was pretty much grinning from ear to ear the whole time. Some of the best playing i've heard from either of them, so many "oooh, that hit the spot" moments throughout.

http://www.youtube.com/watch?v=VRSjLkj0VMw