Consider this a wish list from someone who loves owning classic jazz albums reissued on clean, thick slabs of virgin vinyl, preferably cut at 45 rpm—but who’s weary of seeing the same titles pop up over and over again with each slightly new format (180g, 200g, single-sided 45, clarity, etc.). I understand the impulse: certain labels and titles have a mystique (e.g., Blue Note and Blue Train); they’re surefire winners; it’s an uncertain business, so go with the sure thing.
It’s been nearly a week since PBS’ broadcast of the White House concert of music from the civil-rights era, and its sounds and images keep popping up in my brain.
The Jazz Loft Project is one of the most fascinating documents of multiple obsession—an obsession about an obsessive’s obsession—and it’s worth checking out in multiple media.
Toward the end of 2009, I read a lot about Darcy James Argue’s Secret Society, an 18-piece big band, and its debut CD, Infernal Machines, which was showing up on several best-of-the-year lists. But I never received a copy of the album and couldn’t figure out how to contact the label, New Amsterdam. Finally, I bought a copy from Downtown Music, a terrific alt-jazz record store in Manhattan, and, it turns out, the excitement is justified.
I caught Fly—the trio consisting of Mark Turner on tenor and soprano saxophones, Larry Grenadier on bass, and Jeff Ballard on drums—at the Jazz Standard Thursday night.
The World Saxophone Quartet and the five-piece percussion group M’Boom play together at Birdland in midtown Manhattan through Sunday. It’s music to make your head sweat and spin.
Pianist Fred Hersch plays at the Village Vanguard this week, joined by bassist Drew Gress and drummer Paul Motian. I was at last night’s early set, and it was one of the most bracing I’ve seen in a long while.
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