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 trackuntil 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.
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.
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 worksor even parts of movementsstrung 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.
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….
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.
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 endeavorsan album of difficult nonJoplin-like New York Rags in 2012, a children's ballet later this year, not to mention running Chesky Recordshe found the time or inspiration to make a straight-ahead jazz record.
For all those who hold dear the notion that jazz has seen its best daysthat, 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 upthere 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 tonehave quietly made him one of the leading figures in today's jazz mainstream.
Tune those young ears, Mr. Anderson! After a 30-year career in audio engineering that's seen his name appear in the credits of over 1700 albums, Jim Anderson, who won the 2013 Grammy for Best Surround Sound Album, for his remastering of Patricia Barber's Modern Cool, thinks education is the key to stemming the tide of degraded sound that threatens to swallow the recorded-music industry. Anderson, who's taught for a decade in New York University's Clive Davis Department of Recorded Music, starts his students early.