Posts Tagged ‘Tim Berne’

What’s spinning, March 30 edition

Monday, March 30th, 2009
  • Agoraphobic Nosebleed - Agorapocalypse Now — The new ANb record is going to piss off a lot of old fans: for starters, there are only 13 songs, and two-thirds of them clock in at over 2 minutes. What’s more, the music actually grooves in places, and there’s a female vocalist (growling and screaming; don’t worry, this is no goth-metal band). I think it rocks and it’s already my favorite ANb that I’ve heard… we’ll see how the diehards react.
  • Arnold Schoenberg/Hilary Hahn - Violin Concerto — I wasn’t familiar with Schoenberg’s violin concerto, and this is my first listen to Baltimore’s favorite violinist. My first impressions on both counts: very favorable.
  • Decoder Ring - Fractions — Really pleasant record from this Australian post-rock/electronic band. Lenka Kripac’s ethereal vocals add a ton, and the end result is a moody slab of chilled-out music that has a couple nice surprises up its sleeve.
  • Flower-Corsano Duo - The Four Aims — 50 minutes of free improvisation, a duo of drums/percussion and shahi baaja, a kind of Indian electric mandolin. I wrote a few paragraphs about this one over at the City Paper.
  • Kylesa - Static Tensions — Savannah, Georgia might seem an odd place for a fucking awesome metal band to emerge, but Kylesa are just that, and their latest album is their best yet. On some of these songs (like the absolutely awesome “Running Red”), they sound a bit like Mastodon does now, only heavier and… better.
  • Mastodon - Crack the Skye — Speaking of Mastodon, I just don’t like their new direction. Crack the Skye is a definitely step up from Blood Mountain, but that just means I find most of it boring instead of tasteless.
  • Napalm Death - Time Waits For No Slave — You know, I never really got that much into Napalm Death’s classic stuff. But this new album totally grabbed me. It’s weirdly hooky and groovy, as far as grindcore goes. In that sense it’s kind of like the new ANb: a pretty great, quite accessible surprise.
  • The BBC - WFMU Studios 9/14/2008Tim Berne, Nels Cline and Jim Black as a trio! Berne and Black play with the chemistry you’d expect, but Cline integrates himself quite nicely indeed. This recording, from a live radio session, is incendiary and entertaining, and the interview segment is amusing as hell. This trio is doing a couple shows in Australia soon; here’s hoping they do some shows in the U.S. soon.
  • The Coup - Kill My Landlord — I’ve been looking for this sucker for years, and it’s finally back in print. This is from the early period of the group, along the same lines as Genocide & Juice, which is far and away my favorite album by The Coup. It doesn’t disappoint. This stuff is way better than the more recent releases like Pick a Bigger Weapon and the hugely disappointing Party Music.
  • The Decemberists - The Hazards of Love — Jury’s still out on this one. Definitely a concept album that has to be listened to from start to finish. Only a couple songs really reached out and grabbed me after a couple listens, but I’m willing to put some effort into this one so we’ll see how it pans out for me.

I’m still alive, and I saw Bloodcount!

Thursday, February 28th, 2008

So. Long time no nothing. Since I last wrote anything of consequence, I’ve had the privilege of seeing four concerts, all of which were quite awesome. Seriously, one of the better streaks of shows I’ve had. At each of them I managed to take photos for the first little while, then settle in and just listen and enjoy the music — best of both worlds. I’ll tackle them in chronological order over the course of a few posts.

Way back when on February 9, I had the privilege of seeing Tim Berne’s Bloodcount play their third show since something like 1997. I don’t make much of a secret out of the fact that Berne is one of my favorite modern composers and bandleaders, and some of the stuff that Bloodcount put out in the 90s is up there with the best of his work, in my opinion (the first disc of Unwound is just astonishing). So to get a chance to see the quartet reformed was a real treat. They played two sets; the first consisted of mostly shorter pieces, which seemed more focused than the old meandering compositions of the 90s, and really condensed the energy of the quartet to great effect. The second set was a change of pace, as they played one piece over again (Berne’s performance the first time around, when they opened the first set with the song, was apparently flawed — I didn’t notice — as he said after the piece ended, “Well… the score is 1-0. I’m losing.”) but then unleashed a 45-minute behemoth on the audience. It was classic Bloodcount, unfolding in ways that were sometimes difficult to follow; attention-demanding but extremely rewarding. After the fact, Berne wanted to know if anyone had recorded that second set, and I can see why: it was fantastic. (Sadly, I don’t think anyone was recording.)

Photos of the show below, in black & white because the colors in the performance space at An Die Musik do not exactly translate well into film (they show up as kind of a sickly yellow that also tinges the skin tones… gross).

Oh fuck Bloodcount is reuniting!

Friday, August 24th, 2007

Well, my favorite current jazz musician, Tim Berne, has been pretty quiet this year, touring a bit and participating in David Torn’s Prezens project, but not releasing any new material (just a reissue of the great Science Friction stuff). Next year it looks like he’s going to be busy, going on four separate tours in the first four months of the year — including a reunion of Bloodcount!! It’s been a decade since that band has played together, and the best news for me is that since Michael Formanek is part of the group, they’ll be playing in Baltimore! I’m already getting excited for this show and it’s, oh, almost six months away.

New Tim Berne album is not a Tim Berne album

Thursday, March 22nd, 2007

Over at the Screwgun Records website, Tim Berne has been talking about a collaborative release with David Torn for a while now, but this is a surprise: the resulting album, Prezens, will be released on April 17 under Torn’s name and on ECM, despite the fact that Berne’s entire Hard Cell ensemble plays on the record (Berne, Craig Taborn and Tom Rainey)! I was definitely expecting it to be a Berne album on Screwgun — I wonder if this is going to be closer to Cloud About Mercury than, say, Feign.

There’s a very extensive press release/preview writeup at the group’s Myspace page. Sounds like there may also be a separate live album released by this lineup, which might sound considerably different. Well, I’m interested in both, given that anytime Berne, Taborn and Rainey are on the same record, I pretty much consider it required listening. I’ve already got the studio album on preorder at Amazon.

Favorite shows of 2006

Sunday, December 31st, 2006

Well, there’s one last end-of-year list that I want to do: best shows I saw this year. I made a sort of new year’s resolution at the beginning of the year to see more live music — in the past I have generally been pretty lazy and not bothered leaving the house to make it out to shows other than obvious must-sees (like Los Jaivas, or Present, etc). This year, I made a conscious effort to overcome my inertia and make the effort to get out and see/hear more. I was moderately successful; I think I saw 25 shows over the course of the year, although I might be forgetting one or two. In any case, here are some highlights, in chronological order.

  • The Vandermark 5 at Iota, February 3 (blog entry) — I never got to see this band with Jeb Bishop, which I regret, but Fred Lonberg-Holm was a revelation, a total wildcard. Super high-energy, awesomely tight, these guys played a wide-ranging set that was the first great show I saw this year.
  • The Claudia Quintet at Twins Jazz, March 14 (blog entry) — I’m not a huge fan of their studio albums, but live, they were a joy to watch; John Hollenbeck’s busy drumming style was a treat and Matt Moran on vibes was a whirling dervish. But the star of the show for me was Chris Speed, who blew up with one absolutely thrilling tenor sax solo and a lot of other highlights.
  • Stórsveit Nix Noltes at The Black Cat, March 21 (blog entry) — This one was a total surprise; I went to this show for the headliners, Animal Collective, but these guys stole the show. A nine-piece band from Iceland playing rocked-up Eastern European folk music? Sounds right up my alley, and it was. High energy and big fun.
  • Isis, Dälek & Zombi at The Black Cat, April 30 (blog entry) — The rare bill where I know and like all three of the bands, and none of them disappointed. I was too tired and it was too loud for me to enjoy this show to its fullest, but all three of the bands put on a great show. It may have been Dälek who left the biggest impression on me, with his militant stage presence and aggressive wall-of-sound production.
  • Satoko Fujii/Natsuki Tamura at George Washington University, May 23 (blog entry) — Transparent Productions brought these Japanese avant-jazz masters to DC to play in front of an audience of maybe 15, and they did not disappoint. Probably my favorite show all year. Very challenging; the two of them played for an hour straight with no breaks, and it was hard to tell what was improvised and what was composed. As much classical influence as jazz, and Fujii had a way of keeping me mesmerized that I won’t soon forget.
  • Berne/Carroll/Formanek/Rainey at An Die Musik Live, July 29 — For some reason I never wrote about this show, which is weird because Berne is probably my #1 favorite current jazz artist, and Rainey just might be my alltime favorite drummer. For the first of the two sets I was seated front row right in front of Rainey, and I barely noticed anything but his playing, he was so good. He used a very basic drum kit but eked a huge variety of sounds from it, using all kinds of techniques. The second set I actually enjoyed even more; they played more stuff I recognized, like a couple tunes from Feign, and seemed a little tighter. Great stuff, hope I get to see Berne again sometime in 2007.
  • Nels Cline/Glenn Kotche at The Black Cat, September 20 (blog entry) — Another nice surprise; I came for Cline but I might have actually liked Kotche more. Cline was in full-bore noise mode, wringing loud squalls of feedback from his effects-laden guitar; he was fun to watch but a little hard to listen to. Kotche was equally inventive but more accessible; the idea of a solo percussion set had me a little apprehensive, but his stuff was melodic and fun. The two of them played together to close out their set, and that was my favorite part of the show. A memorable performance from two great improvisors.
  • Yo La Tengo at the 9:30 Club, September 26 (blog entry) — Man, another pleasant surprise. I guess I kind of knew what to expect here, but I didn’t think they were going to completely blow my head off. Ira Kaplan’s guitar freakouts were delicious, noisy and cacophonous but somehow still melodious, if barely. I’m indifferent towards a lot of this band’s poppier moments (though a lot of them are still very good), but when they “shut up and play their guitars” it’s a wondrous experience.
  • Massive Attack at the 9:30 Club, September 28 (blog entry) — Completely different from any other show I saw this year, these guys brought their full complement of guest vocalists and instrumentalists. I lost count of how many sharply-dressed British folks (pretty much equal proportion of males and females) were sauntering about on stage, backed by the most involved lightshow I’ve ever seen at the 9:30 Club. Their trademark trippy beats and sultry vocals made for quite a sensual concert experience, but that didn’t stop them from also rocking out when they wanted to.
  • Wilco at the 9:30 Club, October 19 (blog entry) — This couldn’t possibly live up to the amazing show I saw them put on last year at the same place, but taken on its own, it was still damn good. Some of the new pieces were a nice surprise; hearing Cline and Tweedy do a melodic classic-rock dual-guitar jam was a surreal highlight. Last year’s show was for the ages; this one was merely great.
  • Maja Ratkje & POING at the National Museum of Women in the Arts, December 17 (blog entry) — Like the Fujii/Tamura show, this one was demanding, required all my attention, and left me tired at the end. It was also a fabulous performance. I saw some pretty out-there avant shows this year (a noisy improv set from Denman Maroney, Jack Wright and Reuben Radding tops the list), but this one was easily the best of them. There was a real method to this madness, and I found it quite compelling. A great way to end the year.

On the opposite end of things, probably the most disappointing show I saw this year was in late January, when Alec K. Redfearn and the Eyesores were supposed to play at the Warehouse Nextdoor, but never showed up. I contented myself with Make a Rising, a Philly band who had gotten good reviews on the avant-progressive list and elsewhere, but they just seemed like a really, really amateurish chamber-rock band to me. Oh well.

The show I am most bummed I missed? By a long shot, Joanna Newsom, who played at the Black Cat in November. I had fallen in love with her new album Ys, but did not think the show would sell out. I mean, she has an immediately hatable voice and she’s pretty obscure. I didn’t expect her to blow up in popularity with Ys (the damn thing is five epic-length songs fergodsakes), but she did. She sold out pretty much all her shows, including the one in DC. Dammit.

Here’s hoping 2007 is as good a year as 2006 was for live music in DC. As Steve Feigenbaum said over at ProgressiveEars, I am endlessly thankful that I live in a place that offers so much great music. Now if only some of those damned New York avant-jazz musicians would journey down here every once in a while…

My best of 2005 list is here!

Monday, December 4th, 2006

Early December means best-of-last-year list time! Here’s what my Best of 2005 list looks like right now. (For those of you interested in ancient history, my best-of lists for 2004, 2003, 2002, and 2001 are also available in this space, along with explanations of why I delay these lists by a full year.)

  1. Bar Kokhba Sextet - 50th Birthday Celebration Volume 11
    Even now, as I begin to tire of John Zorn and his millions of side projects, this outfit gets me excited every time. The sextet — guitar, violin, cello, bass, drums, percussion — lends a rich orchestration to Zorn’s tuneful Masada compositions. This bargain 3-disc set captures the group at the height of their powers, and boasts a sound that skillfully combines beauty and skronk.
  2. Charming Hostess - Punch
    I guess technically this is an archival release, recorded in the late 1990s. However one categorizes it, it’s a worthy follow-up to the Charming Hostess big band’s Eat, and might even be better than that rather astonishing debut. Impossible to easily describe and also impossible to dislike.
  3. Orthrelm - OV
    “Impossible to dislike” sure as hell doesn’t describe this one, though: it’s about as grating as can possibly imagined. I actually heard this in an independent record store — they put it on without knowing anything about it, and only lasted about three minutes before they had to change it. Imagine a metal record skipping continuously (for 45 minutes) in the middle of a particularly speedy riff, and you get the idea. The thing is, though, it’s genius — a kind of metal minimalism that’s hypnotic and affecting once you get over the initial shock of it all.
  4. Iron & Wine - Woman King
    Sam Beam is a fantastic songwriter, but on previous Iron & Wine albums I’ve felt that the minimal arragements made his songs less exciting than they could be. This six-track EP ups the ante a bit with bigger production and more instrumentation, and to amazing effect. Combined with the (also very good) EP he did with Calexico, also in 2005, this was easily the best year yet for this excellent indie songwriter.
  5. Maneige - Live à L’Évêché
    This archival release was my first exposure to this French Canadian symph group, and I wouldn’t be surprised if it remains a lasting favorite. I’ve yet to hear anything from these guys that I like as much as this album (though I haven’t disliked anything I’ve heard). Really beautiful melodies and a keen sense of orchestration, all done in a pretty tasteful way — if only Maneige had been the poster children of 70s symphonic rock and not, say, ELP!
  6. Tim Berne - Feign
    I get the sneaking suspicion that any year this prolific avant-jazz saxophonist releases something new, he’ll make my top 10 list. Feign features Berne’s “Hard Cell” trio (piano/sax/drums) and is as energetic and driving as one might expect, without sacrificing Berne’s trademark compositional complexity. Now if only he would do more live performances outside of New York City and Europe…
  7. Pelican - March Into the Sea
    This post-metal band, second only to Isis in my estimation, has a weird habit of releasing absolutely brilliant EPs followed by somewhat disappointing full-length albums. Such was the case in 2005; March Into the Sea consists of a brilliant 20-minute title epic that is my favorite song the band has yet recorded. Unfortunately, the full-length album that followed a few months later seems mostly uninspired in comparison.
  8. Painkiller - 50th Birthday Celebration Volume 12
    While the Bar Kokhba set listed above is charming and lyrical, this entry in the Tzadik 50th Birthday series is mean and ugly. Painkiller was always Zorn at his skronkiest, but here the noise factor is actually toned down quite a bit thanks to Hamid Drake’s drumming that actually, dare I say it, swings at times. And as it turns out, a kinder, gentler Painkiller is a better, more listenable Painkiller. Still seriously aggro, but no longer annoyingly so.
  9. Frank Zappa - Imaginary Diseases
    I don’t count myself as a huge Zappa fan, but I’ve always loved Waka/Jawaka and The Grand Wazoo as much as any diehard FZ fanboy. This album, a live performance from that same period, is a treasure for folks like me who like Zappa’s big-band material and wish there were more than just a couple official releases of the stuff. Long-expected and well worth the wait!
  10. Present - A Great Inhumane Adventure
    This one makes it onto my list almost entirely thanks to the rendition of “Promenade au Fond d’un Canal,” which attacks the listener with all the ferocity and subtlety of a tyrannosaurus rex. Present can get pretty dark and eeevil, but this is just might be the most deliciously violent they’ve ever been on record. I wonder if there are any survivors from the live show where this was recorded. Are they all brain-dead by now?

This one was tough, because while I love all these albums, none of them really stands out and the order seems almost interchangeable. I also had a hard time with OV — it’s an incredible work, but hard to figure out where it goes on a list of favorites because it’s simply not something I’d want to listen to every day (or week, or month for that matter).

And a bunch of honorable mentions in alphabetical order: Scott Amendola Band’s Believe, Banco’s Seguendo le Tracce, John Coltrane’s One Down, One Up: Live at the Half Note, The DecemberistsPicaresque, Earth’s Hex; or Printing in the Infernal Method, Electric Masada’s At the Mountains of Madness, Ephel Duath’s Pain Necessary to Know, Satoko Fujii’s Angelona, Guapo’s Black Oni, Indukti’s S.U.S.A.R., Koenjihyakkei’s Angherr Shisspa, Konono No. 1’s Congotronics, Jérôme LangloisMolignak, Miasma & the Carousel of Headless HorsesPerils, Nil’s Nil Novo Sub Sole, Opeth’s Ghost Reveries, Rova::Orkestrova’s Electric Ascension, The Vandermark 5’s The Color of Memory, and Wilco’s Kicking Television: Live in Chicago.

Obviously, it was a pretty good year for me. Nothing completely jaw-dropping like the top four or five albums from 2004, but a really, really large group of very good releases (and admittedly, comparing any year to 2004 is a little unfair, given how amazing that year was). Any one of those albums on my honorable mention list would probably crack my top 10 at some point in time, given my mood, emotions, time of day, whatever. It’s odd, and surprising, that three of my top ten albums are archival releases, but regardless, there was plenty of excellent music to go around in 2005.

What’s spinning, individual songs edition

Tuesday, September 26th, 2006

I’ve recently been listening to some albums with clear standout tracks and as a result have been trying to compile a kind of greatest-hits CD with the music that’s been spinning in my room for the past month or two. There’s a mix of new and not particularly new, and it’s a generally genre-less affair. The songs I have chosen so far (in no particular order):

  • Yo La Tengo - “The Story of Yo La Tango” (I Am Not Afraid of You and I Will Beat Your Ass): Classic epic noisy stuff from these guys that I’m going to see live tonight. Great way to end a pretty great new album.
  • Mastodon - “Sleeping Giant” (Blood Mountain): The obvious highlight on this album that I’m otherwise still a bit lukewarm about. Some unforgettably majestic guitar melodies here.
  • Christina Aguilera - “Still Dirrty” (Back to Basics): Dumb lyrics (actually not the norm on this album, at least on the first disc — but let’s not talk about the atrocious second disc) mitigated by a seriously bumpin’ production job.
  • Espers - “Moon Occults the Sun” (II): Melancholy, dignified indie-folk that should appeal to a lot of prog fans with their adventurous arrangements and crystal-clear, seductive vocals (both male and female). Another great album closer of a song.
  • Final Fantasy - “This Lamb Sells Condos” (He Poos Clouds): The album title is awful and some of the songs are, too. This is a hugely (over-)hyped album, but on this song at least they get it right.
  • Amon Tobin - “Sordid” (Permutation): Not new at all, but a barn-burner of a breakbeat song thrown into Tobin’s otherwise pretty jazzy sophomore album. Funny, I first got into Tobin through, of all things, a Coke TV ad (that used “Deo” from the next album).
  • Black Bonzo - “Brave Young Soldier” (Lady of the Light): This stuff isn’t generally my thing — this album was a perfect eMusic download rather than CD purchase for me — but there’s some cool stuff going on in this song.
  • Ephel Duath - “The Unpoetic Circle” (The Painter’s Palette): Any band that reminds me by turns of Cynic, Opeth and Pan-Thy-Monium can’t be anything but stone-cold awesome. This is one of the more accessible tracks from what is IMHO their best album.
  • The Coup - “My Favorite Mutiny” (Pick a Bigger Weapon): Disappointing album overall; I think Boots Riley and co. are really losing it. But this would have been a great song even on their old classic records.
  • Tim Berne’s Hard Cell - “BG uh-oh” (Feign): One of the more hyper-kinetic tracks on this album, and one that I was lucky enough to see live (performed by a slightly different ensemble). Berne is still one of my absolute favorite currently active “jazz” artists.
  • Boris - “Pink” (Pink): The title track from this album is one of the more aggressive tracks on a very aggressive record. Sludgy metal at its finest, with a touch of Japanese noise-rock zaniness.

AllAboutJazz talks to Tim Berne

Tuesday, February 7th, 2006

All About Jazz has a nice, and very lengthy, interview with Tim Berne that hasn’t seemed to get much attention. He talks extensively about his recent projects (all of them — Paraphrase, Big Satan, Hard Cell, Science Friction), lavishes praise on drummer Tom Rainey, and offers some fascinating nuggets about his compositions and his groups’ free improvisations. For instance:

I’m really playing thematically; even if it’s super-abstract, I’m always remembering what we did and where we’re going, and kind of relating whatever ideas of composition and drama and tension and release that I do in writing. The thing is, you’ve got two other people in the conversation, so that’s what makes it interesting—how everyone else interprets your decisions. And you’re making those decisions really quickly. So it’s great when everybody’s kind of ignoring each other in a very convincing way.

Ha- sometimes his interviews are as knotty and difficult to decipher as his compositions.

Upcoming concerts in the DC area

Thursday, January 26th, 2006

Here’s a look at some of the interesting shows coming up in the DC area in the next few months. This post is as much for me as for anyone else, though folks in the area may find something they like. Note that I’ve omitted some obvious prog-centric shows, like Rick Wakeman, The Carl Palmer Band, Niacin, Mahavishnu Project, Spock’s Beard, etc., since I’m not personally interested in them.

  • Alec K. Redfearn and the Eyesores at The Warehouse Nextdoor, January 27 — Hey, that’s tomorrow. I missed these guys the last time they were in DC, and still haven’t heard their album on Cuneiform, but I may well check them out in this venue anyway. Weirdly, this show is listed at the Warehouse website but not the Warehouse Nextdoor site, so I’ll have to call to confirm that it’s actually happening…
  • The Vandermark 5 at Iota, February 3 — Nice; I didn’t even know these guys were on tour. One of my favorite contemporary avant-jazz ensembles. I’m seriously thinking about plonking down the cash for their 12-CD live box set; maybe I should actually go see them live before I make that call!
  • Low at The Black Cat, February 4 — I haven’t heard any of these guys’ recent output, but I like what I do have (namely The Curtain Hits the Cast) and for $13, I might check out their live show.
  • Nile at Jaxx, February 8 — They’re touring in support of Annihilation of the Wicked, one of metal fans’ highlights of 2005. I haven’t quite gotten into that record as much as many others, but maybe I’ll make it out to Springfield for this show to see what I’m missing.
  • Formanek/Berne Quartet at An Die Musik (Baltimore), February 11 — Ever since I first got into saxophonist Tim Berne, I’ve been waiting for him to play a live date somewhere near me, with any one of his numerous bands. He plays incessantly, but generally only in the New York area. This is my first chance to see him (and with Tom Rainey, perhaps my favorite current jazz drummer)!
  • The Wu-Tang Clan at The 9:30 Club, February 13 — I’d be interested in seeing these hip-hop godfathers, even if I find live hip-hop more miss than hit, but tickets are $50. No thanks. I’m not really surprised that they already sold out one set even at those prices, though.
  • Flogging Molly at The 9:30 Club, February 22 — I used to be a big fan of these guys, but I’ve kind of tired of their Celtic-punk gimmick. I might go anyway, except for the fact that I just bought tickets for a vacation to Ecuador leaving on the 22nd. Next time, maybe.
  • Belle & Sebastian at The 9:30 Club, March 5 & 6 — Both shows already sold out; wow. I saw these guys a couple years ago and it was a lot of fun, even if their live sound is pretty much exactly the same as their studio sound.
  • Charming Hostess at Busboys & Poets, March 7 — The a cappella trio version of the band is going strong: three women singing Jewish and other folk-influenced stuff, with a unique feminist/leftish/something sort of bent. I’ll definitely be at this show; cool venue too.
  • Mogwai at Sonar (Baltimore), March 7 — I wish they were coming closer to DC, and I wish they didn’t conflict with Charming Hostess. This being a weeknight I’ll probably opt for the closer show; maybe they’ll schedule a date closer to DC as the time nears. Sure hope so; when I saw them at the 9:30 a couple years ago, they were awesome.
  • Orthrelm at Talking Head (Baltimore), March 16 — Given that OV is possibly my favorite record of 2005, and I can’t imagine how it could possibly be pulled off live, seeing Orthrelm is a must for me. But since they’re from DC, surely they’ll be playing closer than this sometime in the near future. Might wait til then.
  • Grey Eye Glances at Jammin’ Java, March 18 — They rarely seem to play outside of New England, so I’m pretty excited that these folk-rockers will be coming down to Virginia again. I saw them in Boston, though sans Brett Kull (Echolyn, who along with Ray Weston has been an integral part of the band for a while now), and they were great. I’m there.
  • The Gathering at Jaxx, March 19 — If I have it in me to trek out to suburban NOVA two nights in a row, this should be a fun show; melodic goth-metal band that I’ve reliably enjoyed since their mid-90s output. Apparently one of only 6 shows they’re playing in the U.S.
  • Animal Collective at The Black Cat, March 21 — This avant-folk band has been getting rave reviews from people I respect, but I haven’t heard any of their stuff yet. If they’re as good as everyone says though, I’ll be at this show.
  • Cyro Baptista at Lisner Auditorium, March 25 — I’ve only heard Baptista in the context of John Zorn-related projects (like Electric Masada, where he is a beast). Here he’s performing with his Beat the Donkey band, which the Lisner website describes as “hilarious fusion overload” with “all the impact of a Brazilian carnival.” How can I miss that?
  • Green Carnation at Jaxx, March 29 — Well, I think these guys have been pretty lame since Light of Day, Day of Darkness, but they’re the kind of band that I bet would be pretty fun to see live. Might make it out to this one.
  • Isis, Dälek and Zombi at The Black Cat, April 30 — WOW what a lineup! The band that released my favorite album of 2004, Panopticon; one of the most forward-looking, avant-garde hip-hop groups there is, who have collaborated with Faust in the past; and a group I haven’t heard yet that is most often compared to Goblin. This is easily the most-anticipated show on my list here. Can’t wait!

Also, Mono and Pelican are touring this summer along with who knows who else. Looks like this could be a strong year for live music. I think I may make more of an effort to go to shows than I have in the past, if I can afford to do so (and if I can convince some friends to join me for some of these).

Jazz as “the opposite of business”

Wednesday, December 21st, 2005

Nice ending paragraph from an article in today’s New York Times about the 2005 releases of a 1957 Thelonius Monk Quartet archival on Blue Note, and Coltrane’s One Down, One Up (which is at the top of my wish list).

This is how jazz works. It is not a volume business. (Its essence is the opposite of business.) Its greatest experiences are given away cheaply, to rooms of 50 to 200 people. Literature and visual art are both so different: the creator stands back, judges a fixed object, then refines or discards before letting the words go to print, or putting images to walls. A posthumously found Hemingway novel is never as good as what he judged to be his best work. But in jazz there is always the promise that the art’s greatest examples - even by those long dead - may still be found.

If this is the case, then, and I say this because I have Tzadik on the brain thanks to eMusic, John Zorn and company are following the right model — releasing scads of great live recordings alongside (or, in the case of bands like Electric Masada, in lieu of) relatively contemporaneous studio recordings. Tim Berne is another great example, as his Screwgun releases are often basically just high-quality audience DAT recordings packaged onto CDs.

On that topic, I’m currently most enthralled with the latest 50th Birthday release, Painkiller’s. This series has been a real goldmine for me, although I’ve been avoiding the non-band stuff (Zorn solo and with guests) except for Volume 5, the duo with Fred Frith, because I know that stuff will just grate on me more than anything else. But the stuff I do have is fantastic, including this one (Volume 12).