Robert Baird

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Robert Baird Posted: Nov 30, 2013 Published: Dec 01, 2013 4 comments
Deadlines and the Dead don't mix. Let me explain . . .

Back when I was a cub reporter, green as ivy, I was, in retrospect, suckered into volunteering to review a Grateful Dead concert. I dutifully drove to the venue for the 8pm show, abstained from intoxicating substances, and was on track—until I realized that, after two hours, the band was still on just the third song. Jerry was deep into an epic, 2000-bar solo that was gaining rather than losing momentum. In Deadspeak, it was one of those nights.

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Robert Baird Posted: Oct 04, 2013 9 comments
This collaboration, an inspired pairing of Costello and ?uestlove, a pair of deep tracks music historians, seemed promising in the extreme. The resulting Wise Up Ghost is just that. Extremely promising, yet not entirely memorable.
Robert Baird Posted: Sep 25, 2013 Published: Oct 01, 2013 0 comments
The most indelicate, if not gory, term in all of music is the ever-popular "bleeding chunks." The bane of classical audiences cursed with lazy pops conductors, bleeding chunks are movements of works—or even parts of movements—strung together in that abomination known as a medley. The effect can be, I guess, soothing to those who, for example, know only a little about Mozart. But for anyone well versed in their Wolfy, these programs are jarring, and can produce involuntarily grinding of those cavity-prone back molars.
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Robert Baird Posted: Sep 06, 2013 1 comments
The worlds of creating and selling music have never been in such a dramatic state of change. While the CD declines, the LP is resurrected. As piracy charges along undiminished, downloads continue to increase in sales. And then there’s streaming….
Robert Baird Posted: Aug 28, 2013 Published: Sep 01, 2013 3 comments
David Chesky: Jazz in the New Harmonic
David Chesky, piano; Javon Jackson, tenor saxophone; Jeremy Pelt, trumpet; Peter Washington, bass; Billy Drummond, drums
Chesky JD358 (CD). 2013. Norman Chesky, exec prod.; David Chesky, prod.; Nicholas Prout, prod., eng. DDD.? TT: 69:15.
Performance ****
Sonics *****

If there's a word that describes the feeling, the vibe present throughout Jazz in the New Harmonic, it's trance. Pianist and session leader David Chesky even uses it without prompting when asked how, among all his music endeavors—an album of difficult non–Joplin-like New York Rags in 2012, a children's ballet later this year, not to mention running Chesky Records—he found the time or inspiration to make a straight-ahead jazz record.

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Robert Baird Posted: Aug 28, 2013 20 comments
Acoustic Sounds Inc. has today announced that it has launched a new high resolution download service, Acoustic Sounds Super HiRez, at www.superhirez.com
Robert Baird Posted: Aug 08, 2013 1 comments
Down deepest, beneath everything he does, underlying all the facets of his ever-expanding career in music, Terence Blanchard is still a New Orleans guy. Question that and you can hear his dander rise.
Robert Baird Posted: Jul 23, 2013 Published: Aug 01, 2013 4 comments
For all those who hold dear the notion that jazz has seen its best days—that, like classical music, it now lacks star power (no more Birds, Mileses, or Coltranes on the marquees), has already said much of what it had to say, and what's left is merely esoteric noodling or soulless bop-by-rote mopping up—there is Terence Blanchard. Once the archetypal sideman, this New Orleanian contemporary of Donald Harrison and Wynton Marsalis has become a successful leader. His poise, generous spirit, and workaholic lifestyle —not to mention his instantly recognizable trumpet tone—have quietly made him one of the leading figures in today's jazz mainstream.
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Robert Baird Posted: Jul 12, 2013 2 comments
It’s been a tough half year or so for Wayne Coyne of the Flaming Lips.
Robert Baird Posted: Jun 24, 2013 Published: Jul 01, 2013 0 comments
Pedrito Martinez: Rumba de la Isla
Pedrito Martinez, vocals, congas, chekere, cowbell; Niño Josele, guitar, clapping; Alfredo de la Fé, electric violin; John Benítez, acoustic & electric bass; Pirana, cajón, clapping; Román Díaz, batas, cajón, spoons, vocals; Xiomara "La Voz" Laugart, Abraham Rodríguez, backing vocals
Calle 54/Sony Masterworks 8876 540607 2 (CD). 2013. Nat Chediak, Fernando Trueba, prods.; Jim Anderson, eng. DAD? TT: 50:20
Performance ****½
Sonics *****

Cross-cultural mashups are all the rage. There's the BlueBrass mix of New Orleans brass band and bluegrass, reviewed in this issue. The Border Music project mixes David Hidalgo's Norteño/East L.A. rock with Marc Ribot's downtown New York jazz. Here, conguero Pedrito Martinez, born in Cuba but based in New York City, successfully crosses Afro-Cuban rumba with Andalusian flamenco to celebrate the work of flamenco composer and singer Camarón de la Isla. Born José Monje Cruz, de la Isla is probably best known outside Spain for his collaborations with guitarist Paco de Lucía; together they made nine records, and toured extensively throughout the 1970s. De la Isla died in 1992 at the age of 41.

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