Sometimes you hear a CD, things come up, you store it away and forget about it, until something compels you to take it out of the closet, give it a spin, and you kick yourself for your negligence, you realize, suddenly, belatedly, that this is a really special album. That's my story with Bob Brookmeyer's Standards (on the ArtistShare label), a pretty magnificent send-off from one of the most elegantly inventive big-band composers in jazz, released in 2011, shortly before he died at the age of 81.
As I was saying a few days ago, Bobby Bradford’s rare appearance at the Jazz Standard last Saturday was one of the most bracing sets I’ve seen in a long time. In the early-to-mid ‘90s, New Yorkers could go hear this sort of jazz—exuberant, free, but highly disciplined music—almost every night at the Knitting Factory. Just about everyone in Bradford’s band on Saturday was a regular at “the Knit” in its heyday—David Murray on tenor sax, Marty Ehrlich on alto, Mark Dresser on bass, Andrew Cyrille on drums: an extraordinary band.
Pure Pleasure Records is a British audiophile-label that—like the stateside Analogue Productions, Classic Records, and Cisco Recordings—reissues blue-chip jazz albums on pristine virgin vinyl. Pure Pleasure’s focus is the catalogue of Candid Records, an adventurous label that lasted only from 1960-61, with critic Nat Hentoff in charge of A&R. In the past few years, PPR has released such essential works of modern jazz as The Newport Rebels, Charles Mingus Presents Charles Mingus, and Max Roach’s We Insist! But its latest reissue, trumpeter Booker Little’s Out Front, is a revelation. Little was 23 when he recorded this, his fourth and final album as a leader; he died of uremia just six months later—a huge loss for the music.
Boulder Amplifiers, named after the Colorado town where the company has resided since its founding 23 years ago, makes some of the most elegant-looking solid-state amps around. Chassis are anodized, aircraft-grade aluminum with rounded edges, machined and finished in-house. The two models reviewed here, the 810 line preamplifier and the 860 power amplifier, each have a sleek, compact build—stacked atop each other, the two stand just over a foot high—owing to extremely efficient packing of the circuitry inside. These are the company's "entry-level" electronics, but there's nothing cheap about them—the preamp retails for $6900, the amp for $8500—and for all their economical size, they look like luxury goods as well.
It’s a mystery how Carla Bley’s new CD, The Lost Chords Find Paolo Fresu (ECM), achieves its greatness. Even the word seems too freighted for music so minimal. A scale segues into a simple melody, followed by a straight harmony, some swishes on snare and hi-hat, a bass line that follows an equally simple counterpoint. Yet some quirky gravity holds these strands in magical equipoise, like a Calder mobile.
Not the least astonishing moment of President Barack Obama’s recent trip to Europe (and for my more serious thoughts on that diplomatic voyage, click here) was when Michelle Obama met Carla Bruni and appeared her peer in every way, not at all outclassed. Ms. Bruni, of course, is the Italian-born French model and chanteuse who last year married French President Nicolas Sarkozy and, soon after, dazzled, nay seduced, every world leader she met at diplomatic soires. Mrs. Obama’s one-upmanship in London in no way shoves Ms. Bruni aside—the pairing marked, more, the reemergence of a French-American cultural entente, and we are all the headier for it.
Charlie Haden, the world’s most distinctive and enticing bass player, seems to have adopted a new tradition. It started as a special occasion, a dozen years ago, in celebration of his 60th birthday, when he played a week of duets at the Blue Note jazz club in New York, each night with a different pianist. He repeated the experiment on his 70th, and this week he’s doing it again, just short of his 72nd, not a round number, which leads me to suspect he’s doing it—and may do it again, semi-regularly—simply because it’s so thrilling, so fun.
Charlie Haden has been playing this week at Birdland in New York with his group Quartet West or, as he calls this incarnation, “Quartet West Goes East,” with Ravi Coltrane filling in for Ernie Watts on tenor sax and Rodney Green taking Larance Marable’s chair on drums.
I’m a little late with this, but if you’re still in holiday spirits, can’t stand to hear Paul McCartney’s ditty or Mel Torme’s jingle one more time, and cringe, thoroughly bummed out, at Bob Dylan’s piss-brew of raspy cheer, take a listen to Charlie Parker’s take of “White Christmas.”
Chick Corea is at the Blue Note in New York City all for the entire month, celebrating his 70th birthday by riffling through all the chapters of his wildly eclectic career, playing different music with different bands, shifting casts and moods each week, sometimes from night to night.
I caught the early set Thursday, a trio with bassist Gary Peacock and drummer Brian Blade, and it was a thorough delight...