Sony/Legacy’s 40th anniversary, deluxe reissue of Bitches Brew, Miles Davis’ landmark fusion double-album, is everything that the company’s 50th anniversary reissue of Kind of Blue tried to be but wasn’t: a fitting commemoration, handsomely packaged, with liner notes by a scribe (Greg Tate) who fully grasps the music and its cultural significance, and—a remarkable achievement—a boxed set that warrants tossing the original out.
A few thousand jazz fans are feeling lightheaded this morning. They saw Sonny Rollins’ 80th-birthday concert at the Beacon Theater in New York City last night, and they’re still marveling (especially those too young to have witnessed giants walking the earth in great number) that, finally, they’ve seen a concert that made them tremble and that people will be talking about years from now.
John Zorn’s rep as the angry bad boy of the downtown avant-garde has always been a bit of a caricature. His music has long stressed wit and beauty as much as squeals and hollers. But in the last few years, he’s tapped into a buoyant, almost gentle lyricism while still sounding distinctively Zorn.
Soon after raving over Fred Hersch’s new piano-trio album, Whirl, I learned that it was also available on 180-gram vinyl. I’ve since obtained a pressing and can report that, good as the CD sounded, the LP sounds considerably better.
Fred Hersch, one of the top handful of jazz pianists on the scene, spent several months in a coma last year, owing to complications from HIV, with which he’s been living for well over a decade. When he emerged, he had to teach himself how to play piano all over again—not the technique, but the reflexes, the timing, the coordination—but you wouldn’t know it from Whirl (on the Palmetto label), his first album since the return.
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.
Maria Schneider’s Jazz Orchestra plays at Birdland in midtown Manhattan this week, an unusual season and setting (usually they play at the Jazz Standard around Thanksgiving). The occasion is the premiere of a new, commissioned composition, and at Wednesday’s early set, it sounded as lovely as anything she’s written: joyful, melancholic, adventurous, pensive, with a samba swing.
I’ve been following Jenny Scheinman for a few years now: her frequent Tuesday night sets at Barbes, a small Brooklyn bar and sometimes-jazzclub not far from my house; her side gigs with the likes of Bill Frisell, Jason Moran, and Ben Allison at various clubs in Manhattan; her wry CDs, most notably 12 Songs.
Jason Moran’s Ten (Blue Note) commemorates the 10th anniversary of his trio called Bandwagon (with Tarus Mateen on bass, Nasheet Waits on drums), and it’s by far the group’s best recording, maybe Moran’s best all told, which, if so, would mean it surpasses his 2002 solo disc, Modernistic, which is saying a lot. Whether it does or not (I’m still mulling), this is a great album, that much is certain.