What live music are you going to see tonight?

[Leeway]

Tim Berne's Snakeoil - Bohemian Caverns, Sunday April 26, 2015

Tim Berne, (as), Oscar Noriega (cl, bcl), Matt Mitchell (p), Ches Smith (d, perc, vibes).

First set started with two pieces not on the new CD: "Incidental Contact" and "Stingray Shuffle." Then two from the new CD, "You've Been Watching Me-" "Small World in a Small Town" and "Embraceable Me." "Small World" was absolutely killer and "Embraceable" was pretty close. The new songs struck me as stronger, more expansive, more interesting than the two previous pieces.

Second set contained two more pieces from the new CD: "False Impressions" and "You've Been Watching Me." One other piece was not announced (or I missed it), and the set closed out with "Jesus Christ Minibar," which is either a real composition and title or a sample of Tim's wicked sense of humor.

One thing you are going to get at a Tim Berne concert is hard playing; real bare-knuckle here. Don't know what the CD sounds like as I only picked it up last night and haven't spun it yet. Too bad Ryan Ferreira couldn't make the tour (post-NYC). When I heard the group in NYC with Ferreira it provided a somewhat different, more coloristic sound. Noriega played a lot of bcl last night; maybe the most aggressive bcl player around. Tim's playing was very strong. This group has gotten stronger each year, and there are few who can match it. If you can see them on this tour, I recommend you getting out to the show.

[kh1958]

Three days of the First Weekend of the New Orleans Jazz and Heritage Festival.

On Friday, commencing in the Jazz Tent with a bracing set by Kidd Jordan and the Improvisational Arts Quintet (William Parker on bass, Alvin Fielder on drums, plus two pianists I didn't recognize). Celebrating his 80th birthday.

Next, to the NOCCA (New Orleans Center for Creative Arts) Pavilion for Jason Marsalis Quintet, playing compositions of Ellis Marsalis. Younger players, okay but not too compelling.

Back to the Jazz Tent for flutist Kent Jordan (son of Kidd Jordan). Front line of flute, clarinet and tenor saxophone (the impressive young New Orleans player Calvin Johnson) had an interesting sound--a strong set.

To the Blues Tent for Louisiana singer/guitarist/harmonica player, Kenny Neal. Another excellent set.

Finally to the Jazz Tent for Snarky Puppy. The place was packed; Snarky Puppy has a very young and enthusiastic fan base, it appears. Two songs in, I was still trying to decide whether I liked the band or not when the day's festival was abruptly cancelled due to violent thunderstorms.

Saturday: More bad weather, right as I was arriving. Blinding rain/high winds, the Jazz Tent and Blues Tent are jammed with people.

Eventually, I am able to enter the Blues Tent, in time for Mali's Vieux Farka Toure's set (highly anticipated by me). The son of Ali Farka Toure, the apple did not fall very far from the tree--the set is incredible.

Next, back to the Jazz Tent for Cassandra Wilson, performing material from her new Billie Holiday tribute. Another terrific set (group includes Kevin Breit on guitar, Charlie Burnham on violin, and Lonnie Plaxico on bass).

Finally, closing the day with the Kenny Garrett Quintet. This set far exceeded my expectations, it was very intense.

Now that was three great sets in a row.

Finally, Sunday, starting in the Blues Tent for 74 year old blues player Little Freddie King, who was superb. One description calls him a combination of R.L. Burnside and Junior Kimbrough, but his guitar playing is more polished, and his voice (unlike his guitar, rather aged) sounds a bit like a faint echo of Lightnin' Hopkins (his cousin).

A bit later, in the Jazz Tent, the concert is billed as Victor Goines and the Fauberg String Quartet Present Charlie Parker With Strings. The set was actually more varied. There were only four short songs adapted from Bird With Strings--the string quartet was augmented by a fifth string player, an oboist, and harpist on those songs. They were fun to hear live, Goines' alto stuck close to the melody (Charles McPherson would be a much better choice for this project). Various other configurations performed--an Astor Piazzola composition by the string quartet, a couple of jazz quartet pieces (Ellis Marsalis sitting in one one). Best of the set actually were two original compositions for cello and piano (Ellis Marsalis the pianist/composer on one and Michael Palerra the pianist/composer on the other).

Next, Donald Harrison leads NOCCA alumni (including Irwin Mayfield) in a jam session. There's a ringer in the house--they are setting up a Hammond B3--yes, Dr. Lonnie Smith on organ. Turns into a fantastic set, also with Detroit Brooks on guitar.

After that, I reluctantly head to the airport and back to Dallas.

Edited May 3, 2015 by kh1958

[Van Basten II]

Trevor Watts & Veryan Weston ; enjoyable duet unfortunately in front of a "crowd" of about 20 people.

[medjuck]

Just saw Charles Lloyd with Bill Frisell, Greg Leisz (pedal steel and lap guitars), Reuben Rogers (electric bass) and Eric Harland (f on drums). The last 2 are in Lloyd's "new quartet". Though Lloyd was front and center, because of the instrumentation and the song selection it seemed like a Bill Frisell concert with guest star Charles Lloyd. Numbers included Shenandoah, Red River, The Strangest Dream and (I think-- I'm not up on Christian hymns) Abide with Me interspersed with what I presume were some Lloyd originals. The encores were a searing, raucous Masters of War and I'm So Lonesome I Could Cry. I'd seen each of them twice before at the same small theater but this was the first time I'd seen them together. In fact I think it may be the only time they're playing together. I loved it.

Edited April 29, 2015 by medjuck

[Justin V]

I saw Marilyn Crispell with local drummer Carmen Castaldi on the 24th. I was only familiar with Crispell through duo recordings with Joseph Jarman and Gary Peacock and some live Anthony Braxton recordings. I was very impressed with Crispell, whose playing was by turns abstract, forceful and melodic. Although I could hear her influences, she has a distinctive voice. Castaldi's understated drumming was both supportive and provocatively independent. It was a night of music that was challenging, yet inviting. I have her Trio on Tour (with Reggie Workman and Gerry Heingway) on order.

Edited April 29, 2015 by Justin V

[relyles]

Thursday, April 30, 2015 – 8pm - $12 general public / $7students
JASON KAO HWANG’S BURNING BRIDGE - Taylor Ho Bynum (cornet), Andrew Drury (drums) and Ken Filiano (bass), Joseph Daley (tuba), Sun Li (pipa), Steve Swell (trombone) and Wang Guowei (erhu)
Bezanson Recital Hall - University of Massachusetts - Amherst, MA

[BillF]

Duo by piano masters Rossano Sportiello and David Newton at a private party in Cheadle, Cheshire. Great session!

https://www.youtube.com/watch?v=FWk1mHSP6rE

https://www.youtube.com/watch?v=2d1IUfvszwI

https://www.youtube.com/watch?v=s8g6CsAcER0

Edited May 4, 2015 by BillF

[BFrank]

Saw Sleater-Kinney tonight ... HIGH energy!

[colinmce]

Saw Sleater-Kinney tonight ... HIGH energy!

I saw them but once in '02. It was indeed a great show. Love them to pieces.

[Chuck Nessa]

This afternoon the Harrison Bankhead Quartet with Edward Wilkerson, Mars Williams and Avreeayl Ra.

[kh1958]

Yesterday, I was lucky to attend the second Saturday of the New Orleans Jazz and Heritage Festival. The facility was overwhelmed by the enormous crowd--beautiful weather and Elton John is very popular it appears. Fortunately, I am indifferent and was able to enjoy a very full day of excellent music, despite some difficulty moving about the fair grounds.

 

Commencing in the Blues Tent with 90 year old Howlin' Wolf sideman (1956-1968), pianist Henry Gray. Unfortunately he's on electric piano. An okay set.

 

Next up, Chris Thomas King, who starts with a fine acoustic version of Hard Time Killing Floor. His set is pretty diverse, with excellent high energy blues guitar work, a piano feature, and perhaps best of all, a song dedicated to King Oliver featuring guitar and clarinet.

 

Next, to the NOCCA Pavilion for the Calvin Johnson Quintet, which proved to be a really good group (Tenor sax, trombone, piano, bass guitar and drums). All players are first rate. Saxophonist Calvin Johnson is my favorite discovery from attending this festival.

 

Now was the time to settle into the Jazz Tent for the rest of the day.

 

First up, Astral Project, a New Orleans group featuring Tony Dagradi on tenor sax, Steve Masakowski on guitar, James Singleton on bass and John Vidacovitch on drums. The usual quartet was expanded to a septet on this occasion, adding trumpet (Jamil Sharif--saw him with two different groups at the festival, a really excellent trumpet player), alto sax, piano (Michael Palerra), and percussion (Bill Summers). Another good group.

 

Next, the big event, Charles Lloyd Quartet (Joe Sanders bass, Kendrick Scott on drums, Gerald Clayton piano). Really enjoyed this set.

 

Finally, to conclude the day, Terance Blanchard's E-Collective. Not smooth jazz, rather a crunching fusion group. Very good set.

 

It then took a mere two hours in line to get transportation out of the fairgrounds. Oh well, it was worth it.

Edited June 30, 2020 by kh1958

[BFrank]

Saw Sleater-Kinney tonight ... HIGH energy!

I saw them but once in '02. It was indeed a great show. Love them to pieces.

[Larry Kart]

ICP Orchestra members in spontaneous small group settings at Elastic in Chicago. Superb work from everyone. Han Bennik sure hasn't slowed down. Guus Janssen, taking Misha's place at the piano, was excellent. Each of the two sets ended with a group performance, the second set's was "Black and Tan Fantasy." Bought a lot of CDs of the various band members and one of ICP itself because when will I ever see those discs again?

[Steve Reynolds]

ICP Orchestra members in spontaneous small group settings at Elastic in Chicago. Superb work from everyone. Han Bennik sure hasn't slowed down. Guus Janssen, taking Misha's place at the piano, was excellent. Each of the two sets ended with a group performance, the second set's was "Black and Tan Fantasy." Bought a lot of CDs of the various band members and one of ICP itself because when will I ever see those discs again?

I do the same. I hope you may have stumbled upon either or both of the Avaialble Jelly Live in Nassau discs. Michael Moore has many nice recordings floating around but for me, these two are desert island material.

I picked up a nice Toby Delius trio disc called Booklet last time I saw the band. I'll be looking for a few Ab Baars discs this Thursday!!!

[Larry Kart]

ICP Orchestra members in spontaneous small group settings at Elastic in Chicago. Superb work from everyone. Han Bennik sure hasn't slowed down. Guus Janssen, taking Misha's place at the piano, was excellent. Each of the two sets ended with a group performance, the second set's was "Black and Tan Fantasy." Bought a lot of CDs of the various band members and one of ICP itself because when will I ever see those discs again?

I do the same. I hope you may have stumbled upon either or both of the Avaialble Jelly Live in Nassau discs. Michael Moore has many nice recordings floating around but for me, these two are desert island material.

I picked up a nice Toby Delius trio disc called Booklet last time I saw the band. I'll be looking for a few Ab Baars discs this Thursday!!!

Don't know those two Available Jelly discs; they weren't on sale. Bought Moore's "Easter Sunday" and another by the same quartet, plus several by Delius, Baars, a Heberer, a Guus Janssen ("Matrix") that it turns out I already have, Etc. BTW, Heberer was in superb form Sunday night. In addition to everything else, what a fine player per se of the cornet he is.

[sonnyhill]

Tyshawn Sorey Double Trio at Roulette. Tonight.

[Justin V]

On Saturday, I saw Maria Schneider with the Columbus Jazz Orchestra, which opened up with a few tunes led by their director, Byron Stripling. The orchestra performed some old and new Schneider compositions. It was evident throughout the night how much respect and admiration the members of the orchestra had for Schneider. In a talk afterward, Stripling spoke of how inspired the band was by her music and how high her standards are as a leader. Other than Stripling, trumpeter Dwight Adams, who often appears with different groups at the Detroit Jazz Fest, saxophonist Pete Mills, who was Schneider's classmate at Eastman, flugelhornist Jim Powell, a veteran of the Thad Jones/Mel Lewis band, and the effervescent saxophonist Hal Melia were some of the featured soloists. Melia, who has to be one of the happiest guys to grace a bandstand, had a particularly lovely ballad feature that drew Schneider's praise and a long round of applause.

Although Maria Schneider's music has been described as hard to play, and this must certainly true for an orchestra that was working with limited rehearsal time, it has a graceful, flowing quality that belies its complexity. Schneider confirmed that she had a dance and figure-skating background as a child, which comes across in the fluidity of her music and the way she conducts an orchestra. In between songs and during the talk afterward, she was charming, erudite and clear in explaining her approach to music. I almost didn't make the concert due to a family emergency, but I'm glad that I did. I came away with an even greater appreciation for Schneider as a composer and person, and I was very impressed with the Columbus Jazz Orchestra, which rose to the occasion and did Schneider's music justice.

---------------

Earlier tonight, I saw Steve Coleman and the Five Elements at a free show in Oberlin. I'd never seen any of the band in person, and I only found out about the show on Saturday or Sunday. It was at a student-run bar that was packed with an enthusiastic crowd. I listened to the group's Alternate Dimension Series, Vol. 1 earlier today; I was surprised to find that all of the group members other than guitarist Miles Okazaki were on that 2002 recording.

Given the length of time that the group has worked together, it should come as no surprise how tight they are as a unit. They were locked in to some tricky, shifting grooves throughout the night. Although the grooves were relentless, there was still a flexibility and a looseness built into the band's execution that prevented the music from stagnating or seeming heavy-handed.

Coleman and trumpeter Jonathan Finlayson often played cowbell when they weren't playing their primary instruments, and the entire band chanted at one point behind a drum solo by Sean Rickman, who also beat-boxed at one point. In a shrewd form of marketing, Rickman wore a t-shirt bearing the url of his lesson site, which will surely be getting some hits from those in attendance. Coleman probably had a greater share of the solo space than any other individual member, but Finlayson and Ozazaki weren't far behind in what is a pretty democratic group sound-wise. Rickman was integral to the group's emphasis on rhythm, and he was a tireless force of nature behind the kit. I don't believe that bassist Anthony Tidd was featured as a soloist, but his assertive, rock-solid playing served as a bridge between Rickman's restless drums and the front-line work of the horns and guitar. The overall sound of the group was focused and trance-like.

Although Coleman jokingly apologized at the beginning of the set for killing the nightclub vibe when he had the lighting adjusted to make the sheet music legible, the audience responded to what was accessible--and engagingly idiosyncratic--music. The set included three or four very short pieces as an encore (and Coleman's nod to Cinco de Mayo as he played 'The Mexican Hat Dance' while a student plugged Coleman's upcoming workshop). I ended picking up both Synovial Joints and Functional Arrhythmias after the set, and I'm looking forward to hearing both albums and more of Coleman's other recordings.

As a side note, it was cool spotting the ever-dapper Gary Bartz, who is an Oberlin professor, in the audience after the show. I also saw him last year at a Ron Carter show. I like seeing a musician of Bartz's stature out supporting other musicians.

Edited May 6, 2015 by Justin V

[jlhoots]

Snakeoil tonight.

ICP Orchestra next week.

[colinmce]

[Steve Reynolds]

Just arrived in Brooklyn. Traffic insane. Just said hello to Han Bennink & Mary Oliver.

Life is beautiful

[Steve Reynolds]

Front row center.

Fired up

[Steve Reynolds]

A couple of us said after the second set, "they can play whatever they want to play"

Sleep on that line just a little bit......

All Misha compositions all night interspersed with magic.

Save for the encore - Caravan

Ernst Glerum was tonight's MC/director

Prayers for the great man - word is he can't talk any longer so he whistles. His spirit was in the room tonight (last night as it is 5 past midnight). Yes they may be ditties (I very much like the visual) but some of them are a bit more - a little bit of genius at play. 2 or 3 minute slices of a afternoon carnival.

And that horn section with Marcus Rojas. And when he stands up. And when he shakes the foundation. Forget the horn section. The fucking brass?!?!?

Is Heberer human?

More later

Peace and Blessings

Edited May 8, 2015 by Steve Reynolds

[mjazzg]

On Saturday, I saw Maria Schneider with the Columbus Jazz Orchestra, which opened up with a few tunes led by their director, Byron Stripling. The orchestra performed some old and new Schneider compositions. It was evident throughout the night how much respect and admiration the members of the orchestra had for Schneider. In a talk afterward, Stripling spoke of how inspired the band was by her music and how high her standards are as a leader. Other than Stripling, trumpeter Dwight Adams, who often appears with different groups at the Detroit Jazz Fest, saxophonist Pete Mills, who was Schneider's classmate at Eastman, flugelhornist Jim Powell, a veteran of the Thad Jones/Mel Lewis band, and the effervescent saxophonist Hal Melia were some of the featured soloists. Melia, who has to be one of the happiest guys to grace a bandstand, had a particularly lovely ballad feature that drew Schneider's praise and a long round of applause.

Although Maria Schneider's music has been described as hard to play, and this must certainly true for an orchestra that was working with limited rehearsal time, it has a graceful, flowing quality that belies its complexity. Schneider confirmed that she had a dance and figure-skating background as a child, which comes across in the fluidity of her music and the way she conducts an orchestra. In between songs and during the talk afterward, she was charming, erudite and clear in explaining her approach to music. I almost didn't make the concert due to a family emergency, but I'm glad that I did. I came away with an even greater appreciation for Schneider as a composer and person, and I was very impressed with the Columbus Jazz Orchestra, which rose to the occasion and did Schneider's music justice.

---------------

Earlier tonight, I saw Steve Coleman and the Five Elements at a free show in Oberlin. I'd never seen any of the band in person, and I only found out about the show on Saturday or Sunday. It was at a student-run bar that was packed with an enthusiastic crowd. I listened to the group's Alternate Dimension Series, Vol. 1 earlier today; I was surprised to find that all of the group members other than guitarist Miles Okazaki were on that 2002 recording.

Given the length of time that the group has worked together, it should come as no surprise how tight they are as a unit. They were locked in to some tricky, shifting grooves throughout the night. Although the grooves were relentless, there was still a flexibility and a looseness built into the band's execution that prevented the music from stagnating or seeming heavy-handed.

Coleman and trumpeter Jonathan Finlayson often played cowbell when they weren't playing their primary instruments, and the entire band chanted at one point behind a drum solo by Sean Rickman, who also beat-boxed at one point. In a shrewd form of marketing, Rickman wore a t-shirt bearing the url of his lesson site, which will surely be getting some hits from those in attendance. Coleman probably had a greater share of the solo space than any other individual member, but Finlayson and Ozazaki weren't far behind in what is a pretty democratic group sound-wise. Rickman was integral to the group's emphasis on rhythm, and he was a tireless force of nature behind the kit. I don't believe that bassist Anthony Tidd was featured as a soloist, but his assertive, rock-solid playing served as a bridge between Rickman's restless drums and the front-line work of the horns and guitar. The overall sound of the group was focused and trance-like.

Although Coleman jokingly apologized at the beginning of the set for killing the nightclub vibe when he had the lighting adjusted to make the sheet music legible, the audience responded to what was accessible--and engagingly idiosyncratic--music. The set included three or four very short pieces as an encore (and Coleman's nod to Cinco de Mayo as he played 'The Mexican Hat Dance' while a student plugged Coleman's upcoming workshop). I ended picking up both Synovial Joints and Functional Arrhythmias after the set, and I'm looking forward to hearing both albums and more of Coleman's other recordings.

As a side note, it was cool spotting the ever-dapper Gary Bartz, who is an Oberlin professor, in the audience after the show. I also saw him last year at a Ron Carter show. I like seeing a musician of Bartz's stature out supporting other musicians.

Thanks forposting that Coleman review. Sounds a great show indeed, glad you enjoyed it so much. Coleman doesn't make it to UK often but each time he has he's been tremendous

[BFrank]

Sunday: Peter Brotzmann, Hamid Drake, William Parker Trio

Should be INTENSE!

[Leeway]

Thursday past at the Kennedy Center:

National Symphony Orchestra: Christoph Eschenbach, conductor: Mahler's Symphony No. 5 / Leonidas Kavakos, violin, plays Sibelius's Violin Concerto

Gotta change it up every once in a while