Willie Nelson: American Classic
Blue Note 5099926719726 (CD). 2009. Tommy LiPuma, prod.; Al Schmitt, Steve Genewick, engs. AAD? TT: 45:33
Performance ****½
Sonics ****
John Adams Son of Chamber Symphony, String Quartet
John Adams, International Contemporary Ensemble; St. Lawrence String Quartet
Nonesuch 523014-2 (CD). 2011. Judith Sherman, prod.; John Kilgore, John D.S. Adams, engs.; Chris Allen, Tom Gloady, Nathan Chandler, asst. engs. DDD? TT: 54:00
Performance ****½
Sonics ****
When John Adams was working on his Chamber Symphony (1992), he became aware that his son Sam was in the next room watching old American cartoons, presumably those by Warner Bros. that used music by the great Raymond Scott. Hyperkinetic borrowings from Scott's witty scores made their way into that earlier work, and now into its successor, a fact hinted at by its humorous title: Son of Chamber Symphony. There's even a moment early on in this new work when the distinctive rhythmic rumble of Scott's masterpiece, "Powerhouse," can be fleetingly heard in what is, overall, a short but very sweet triumph.
Jarrett, Garbarek, Danielsson, Christensen: Sleeper
Keith Jarrett, piano, percussion; Jan Garbarek, tenor & soprano saxophone, flute, percussion; Palle Danielsson, double bass; Jon Christensen, drums, percussion
ECM 2290/91 (2 CDs; hi-rez FLAC files from HDTracks). 1979/2012. Manfred Eicher, prod., mix; Jan Erik Kongshaug, eng., mix. ADD. TT: 106:56
Performance *****
Sonics ****
Keith Jarrett's American quartet (with Redman, Haden, Motian) was prolifically inventive. His Standards trio (Peacock, DeJohnette) continues endlessly rich and ebullient at the end of its third decade. But Jarrett's Scandinavian quartet of saxophonist Jan Garbarek, drummer Jon Christensen (both Norwegian), and bassist Palle Danielsson (Swedish), was something else again. Each player's technical mastery, combined with their collectively perfect attunedness to one other, an apparently effortless intimacy of interplay that sounds telepathic, made them special even in a career as brilliant as Jarrett'swho wrote his best tunes for this band.
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 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.
"It's not your average gal that drinks bourbon neat, walks around with a pocket atlas and drives a big white gear van. I thought she was charming and awfully funny."
Talent and humor has never been a problem for Amy LaVere. Not long after high school she led Last Minute, a Detroit punk band. When we next hear of her, she's in Nashville as part of a husband-and-wife folk/country duo, The Gabe and Amy Show, who released a single, "Blankets of Love," b/w Johnny Cash's "Big River."
Maria Schneider Orchestra: The Thompson Fields
Maria Schneider, composer, arranger, conductor; 18-piece orchestra
ArtistShare AS0137 (CD). 2015. Maria Schneider, Ryan Truesdell, prods.; Brian Montgomery, eng. DDD. TT: 77:25
Performance *****
Sonics ****
The world's leading figure in orchestral jazz has not released a jazz recording in eight years. In her liner notes, Maria Schneider says, "This album was funded by my ArtistShare fan base. Making a recording like this is becoming increasingly difficult and would now be impossible without the generous support of my many participants."
Today, big jazz bands rarely tour. Some are stable entities, but on a part-time basis. Most, like Schneider's, come together for projects, then go their separate ways. Yet against all odds, large-ensemble jazz survives because no other format offers its range of expression and its power.
Van Morrison: . . It's Too Late to Stop Now . . . Volumes II, III, IV & DVD
Exile/Columbia/Legacy 88875134742 (2 LPs, 3 CDs, 1 DVD). 2016. Van Morrison, Ted Templeton, orig. prods.; Donn Landee, orig. eng.; Myles Wiener, Biff Dawes, Jack Crymes, Gabby Garcia, asst. engs.; Guy Massey, new remix; Andrew Sandoval, compilation prod.; Vic Anesini, remastering. ADA/ADD? TT: 3:33:58
Performance *****
Sonics ****
In the otherwise silly 2002 film The Banger Sisters, one line has always stood out. When the children of a groupie turned suburban Phoenix housewife (Susan Sarandon) question Suzette (Goldie Hawn), who's still living the groupie lifestyle, about their mom's hidden past and how she knows about the Doors, there's this exchange:
Daughter: "How would she know about Van Morrison . . . all of a sudden?"
Pärt: The Symphonies
Tõnu Kaljuste, NFM Wroclaw Philharmonic
ECM 2600 (CD). 2018. Manfred Eicher, prod.; Andrzej Sasin, Aleksandra Nagorko, engs. DDD. TT: 79:40
Performance *****
Sonics *****
Arvo Pärt is now so popular that it's no longer necessary to explain him. His piety is approachably beautiful and welcoming. He was not born composing his airy, contemplative, trademark "tintinnabular" (bell-like) music; up to the early 1970s, he cut his teeth on the 12-tone scale. His four symphonies, presented here on one CD for the first time, take us through that part of his career.
Patricia Barber: Higher
Patricia Barber, piano & vocals; Patrick Mulcahy, bass; Jon Deitemyer, drums; Neal Alger, acoustic guitar; Jim Gailloreto, tenor saxophone
ArtistShare AS01712 (CD). 2019, Patricia Barber, prod.; Martha Feldman, assoc. prod.; Jim Anderson, rec. and mixing eng.; Bob Ludwig, mastering eng. DDD. TT: 55:18
Performance *****
Sonics ****½
As a singer and writer, Patricia Barber has never been easy to define. In the audiophile world, she's too often definedand her brilliance obscuredby her ubiquity at audio shows and her regrettable membership in a sorority of generic, well-recorded "female vocalists." But in what idiom?
Norah Jones: Pick Me Up Off the Floor
Blue Note B003179402 (CD). 2020. Also available on LP as Blue Note B003179801 and as high-rez download. Norah Jones, Jeff Tweedy, prods.; Patrick Dillett, Brandon Bost, Andy Taub, Matt Marinelli, Jake Owens, Tom Schick, engs.; Greg Calbi, Steve Fallone, mastering
Performance ****½
Sonics ****
It has been almost two decades since Norah Jones emerged shyly from obscurity into astonishing pop/jazz stardom, first with 2001's First Sessions EP, her Blue Note launchpad, then with 2002's Come Away With Me, which wowed the world. It has been surmised that Jones's self-described "mellow piano music" salved the pain of 9/11whatever the reason, the album won five Grammy Awards and is reported to have sold some 27 million copies: more than Eric Clapton's Unplugged and slightly fewer than The Eminem Show.
Big Chief Monk Boudreaux: Bloodstains & Teardrops
Whiskey Bayou Records WSK 1006 (CD). 2021. Tab Benoit, Rueben Williams, prods.; Steven Stanley, Michael "Boxy" Howell, Benoit, engs.
Performance ****
Sonics ****
The Africans brought to the Americas to be sold into slavery were denied every vestige of their past except their memories. And yet, they preserved their rituals in dances, songs, and stories, playing the sacred rhythms that accompanied those rituals on whatever found objects they could use to fashion beats. The customs of American peoples from various African regions have been traced to specific destinations in colonial outposts in research detailed by scholars such as John Storm Roberts in Black Music of Two Worlds and Ned Sublette in several of his African-diaspora studies.
Bowie: Ziggy Stardust and the Spiders from Mars
Parlophone DBZS50 (LP). 2020/1972. David Bowie and Ken Scott, prods.; Ken Scott, John Webber, engs.
Performance *****
Sonics *****
Ziggy Stardust and the Spiders from Mars was one of the first albums I ever purchased. A week before, an uncle had given me his old red Dansette record player; I used collected pocket money to christen it. After just one play, the 10-year-old me was blown away. But it wasn't just elementary school kids who loved this album, causing it to break into the top 30 US and UK album charts. This was the album that launched Bowie to superstardom.
Henry Threadgill Ensemble: The Other One
12-piece ensemble; Threadgill, conductor
Pi PI97 (CD, available as download). 2023. Liberty Ellman, prod.; Stephen Cooper, Eric Shekerjian, engs.
Performance ****½
Sonics ****½
At 79, Pulitzer Prize winner and NEA Jazz Master Henry Threadgill is one of the last men standing among the founding fathers of the jazz avant-garde. Because his output of recordings is not voluminous, every new Threadgill release is an event. The Other One is more of an event than most because of its ambition (it is an album-length suite) and its scale: It introduces a new 12-piece ensemble.
DeJohnette, Grenadier, Medeski, Scofield: Hudson
John Scofield, electric guitar; Larry Grenadier, bass; John Medeski, keyboards; Jack DeJohnette, drums.
Motema CD-228 (CD). 2017. Hudson, prods.; Scott Petito, eng.; Beth Reineke, asst. eng. DDD TT: 69:92
Performance ****½
Sonics ****½
Sometimes, a successful recording is not about the material, the studio, the producer, or even the players involved. Sometimes, it's about a shared feeling that grows among the players and conjures a groove. Grooves can be hard to find, especially among accomplished players recording together for the first time who have styles, ideas, and egos of their own. But once achieved, this invisible bond, this feeling of being in sync, should sound easyas if there's nothing to it. It's this sort of natural, authentic pace and feeling that makes Hudson, the first recording from the quartet of Jack DeJohnette, Larry Grenadier, John Medeski, and John Scofield, such a success.