Maria Schneider, photographed by Jimmy & Dena Katz
It’s Thanksgiving time, and New York jazz fans know what that means. No, not the Macy’s parade down Broadway or the lighting of the Christmas tree in Rockefeller Center. The really big shows for our crowdannual traditions for a while noware the Maria Schneider Jazz Orchestra at the Jazz Standard and Jason Moran’s Bandwagon Trio at the Village Vanguard.
Pianist Kenny Barron and bassist Dave Holland have massive chops, and a lot to say, so their new duet album, The Art of Conversation (on the revived Impulse! label) is everything the title suggests.
Friday night, I saw one of the finest, most intimate jazz sets I'd seen in a while: Ethan Iverson and Ron Carter playing duets at Mezzrow, a small new jazz club in Manhattan's West Village...
Joe Ferla is the preeminent jazz recording engineer of our timeor, I should say, was, as he recently decided to retire from the profession, after more than 42 years and nearly 400 albums, to run his attention to playing guitar. (I haven't heard him do that, but I hope he's good.) His last-released album, The New Standard, is out on CD and double-LP on the Rare Noise Records label, and it stands not only as another specimen of superlative sonics but also Ferla's return to analog.
Music Matters Jazz is going 33. As all high-end vinylphiles know, MMJ is the LA-based company that's been reissuing classic Blue Note albums cut at 45 rpm, spread out over two slabs of 180 gram virgin vinyl, encased in a gatefold cover that meticulously reproduces the original's artwork on the outside and gorgeously reprints session photos of the musicians on the inside.
But now, after doing this with 112 titles, the company's proprietors, Ron Rambach and Joe Harley, are re-reissuing some of the greatest Blue Note titles on single-disc LPs cut at 331/3rpm . . .
Fred Hersch's Floating (on the Palmetto label) is his strongest album in a decade (you'd have to go back to his 2006 solo disc, In Amsterdam: Live at the Bimhuis, to match the energy) and maybe his strongest trio album ever.
Almost exactly four years ago, I posted a Blog that began like this: "Let's put the main point up front. The new duet album by Keith Jarrett and Charlie Haden, Jasmine (on ECM), is a gorgeous piece of work: all standards, mainly ballads, nothing fancy (not overtly anyway), but such poignancy and quiet passion; it's a glimpse into the intimacy of the act of making art." A follow-up CD is out now, Last Dance...
I guess I'm going to have to start listening to Stacey Kent. At her early set at Birdland in midtown Manhattan Wednesday night, I sat down a skeptic and came away charmed.
Paul Bley's Play Blue: Oslo Concert (on the ECM label) is a bracing solo piano album. Think Keith Jarrett, with less Rachmaninoff and more Monk, but the distinctions sway on the margins. Bley too is a romantic improviser, immersed in jazz idiom but classically trained (and he lets it show, though less showily than Jarrett).
Road Shows, Volume 3 (on Okeh Records) might be Sonny Rollins' greatest album ever. Certainly it's the album that most closely supplies the sensation of a live Sonny Rollins concertor the best moments of several live Sonny Rollins concerts, which is what the whole Road Shows series is meant to be.
The Jazz Journalists’ Association announced its 2014 awards this week. I don’t think I’ve disagreed with so many of its picks. In most cases, I’d simply rank others higher than the JJA balloteers; in some cases, though, I part from their judgment pretty vigorously. Here are some of the JJA winners, followed by my choices...
OK, this isn't jazz, but it's such a crazy bargain, I couldn't resist shouting it from my rooftop: Decca Sound, The Analogue Years 54 albums (and bits of several more) from the Decca label's heyday of classical recording (the mid-'50s to late-'70s), pressed in a boxed set of 50 CDs, selling for $129.
In case you're too stunned to do the math, that's $2.58 per disc!