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Come Sunday #2 - 14/01/2006@deSingel, Antwerpen specials be.myspace jazz and blogs jazz blog glossary

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you said the improvising guitarist: be.jazz has had some fine articles, but, for me, this is the finest (and most thought provoking) I�v... jacques: Great reporting Mwanji. Thanks. Tim: Wow, what an excellent post. You are in a class by yourself. mwanji: Thanks! DJA: Welcome back! Esteban Novillo: Quiero darte a conocer Las 1001 M�sicas del Jazz, un programa dedicado al Smooth Jazz y Jazz Fusion.... DJA: Karl Jannuska! He's an old friend from my McGill days. Great fucking drummer, and great guy. I actua... Oana: you'll get there.

Powered by HaloScan Before leaving the house, I was quite saddened to learn of the near- simultaneous deaths of Alice Coltrane and Michael Brecker. Both were head out unfortunate surprises: I hadn't heard that Coltrane was doing poorly and thought that Brecker was getting better after his transplant and the surprise di 20. mrt-do 19. apr 2007 appearance at a Herbie Hancock concert. wo 21. mrt 2007 Stéphan Oliva/François Raulin Quintet 20:00 Stépha Oliva, François Raulin - p And The Laurent Dehors - cl, bcl, contrabass cl Bandwagon Christophe Monniot - as, bs, sopranino do 22. mrt 2007 Sébastien Boisseau - b 20:30 Bojan Z Trio vr 23. mrt 2007 20:30 VVG Trio + Magic Malik 20:30 Susie Ibarra Trio za 24. mrt 2007 17:00 Yves Peeters http://be-jazz.blogspot.com/2007/01/come-sunday-2-14012006desingel.html Pagina 1 van 5 be.jazz: jazz blog 20-03-2007, 02:50 PM

stay in mp3 Destination: Out Red Hot Jazz musicians Armen Nalbandian Bobby Broom Christian McBride's My Thang Clap clap (old) Clap clap Classical Pontifications with Professor Heebie McJeebie Darcy James Argue's Secret Society Dark Forces Swing Blind Punches Dave Douglas's Greenleaf Music David Valdez Do The Math Do You Come Here Often? Greg Sandow Raulin is on the right, Oliva on the left Improvising Guitar It Is Not Mean If It Is True (Attack Attack Attack) JazzWord Jazz: The Music of Unemployment This quintet, along with guitarist Marc Ducret, did an album of Tristano Laurent De Wilde repertoire a few years ago, and now they're doing something similar to the Postclassic compositions of stride and ragtime-era pianists such as James P. Johnson, Pulse Willie "The Lion" Smith, Fats Waller and Earl Hines, as well as a piece by Bix Scratch My Brain Beiderbecke. It was inevitable that I be reminded of Air's own take on ragtime Settled In Shipping SpiderMonkey Stories standards, even if Destination: Out hadn't posted a couple of tracks from Air Stochasticactus Lore recently. In both instances, a fairly direct line was drawn between two stop the play and watch the audience nominally different eras: the collective energy of the 30s was always close to THE ?uestosphere!!!!!!!!!!! exuberant cacophony anyway, which, I guess, makes it a prime candidate for The Zone | Jessica Williams translation to a post- context. It also helped that the arrangements by Think Denk visionsong Raulin and Oliva were impressively thought-out. Except for one bass solo, the Yvinek basic material was never left behind, never a mere frame for free playing. In podcasters this regard, I found the progression from one era to another more satisfying D.D. Jackson than at the Dave Burrell concert. Jazz Podcast Network Klara Portland Jazz Jams Christophe Monniot provided gutsy, barn-storming r'n'b-inflected solos, while on Robin Eubanks "Carolina Shout," Laurent Dehors's linked dixieland whoops to free jazz soapboxes shrieks. Solos were concise, in keeping with the spirit of the times. Both Alex Ross François Raulin and Stéphan Oliva are fearsome pianists, who, Schlippenbach- Bagatellen like, could slip distant rhythmic echoes into modern, abstract playing. They also Blissblog Don't Explain knew how to have a good time: on the last piece, Raulin dashed across the erg stage to join his partner for a 4-handed stride romp. godoggone Jazz (or Jass) Recasting old music in this way throws up a lot of questions and establishes Jazz & Blues Music Reviews connections. While the Beiderbecke piece was more obviously proto-Cool Jazz Jazzques Just Outside than the rest of the material, Willie "The Lion" Smith's "Morning Air" and "Echoes K-Punk Of Spring" (I particularly love the latter, with its introverted-but-intense, Night After Night stroll-in-the-park joy - check it out) showed that black musicians, too, had Rifftides developed their own cooler forms (and Bix's "In A Mist" draws its own Running The Voodoo Down connections to stride and rag rhythms). The music, often organised into suites Samizdjazz S/FJ of interconnected themes, solos and collective improvisation, betrayed a huge Song With Orange amount of work and might have seemed over-intellectualised had Monniot's Sound Of Jazz over-the-top body language not underlined how much fun the music was, too. I Status Ain't Hood mean, if you can't party with ragtime - you can't party at all. So, rather, it St. Louis Jazz Notes came to seem that they were drawing out the intellectual possibilities already The Rambler The Jazz Clinic embedded into the music, but perhaps more visible with a few decades' Zoilus hindsight. chatterboxes Citizen Jazz Forum Sal Mosca Dissensus Jazz Corner Jazz Forum glossies Blogcritics Citizen Jazz Jazz in Belgium London Improv One Final Note Philippe Baron's Jazz 3 Point of Departure Vibrations

listening spots Ancienne Belgique Archiduc Athanor CC Luchtbal Comptoir des étoiles De Werf F-Sharp Flagey Hnita-Hoeve

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Hopper Jazz Station Musée des Instruments de Musique PP Café Sounds Théâtre Marni Vooruit

I'd barely heard of Sal Mosca, but was intrigued by his past as a Tristano disciple. Despite the occasional brief hesitation (which were, I think, more a when in bxl matter of remembering how a tune went than of technique), Mosca played a jazz listings RTBF short and wonderful set of standards. His sound, touch and style were decidedly Jazz in Belgium agenda of his era: the under-the-armpits trousers said it all, while the slightly go out arpeggiated chords he used on the opening number - something you'd never Agenda.be hear a post-60s pianist do - confirmed it. It was a reminder that, when these Arsène 50 songs are played by people who actually have them embedded in their DNA, Net Events Que Faire they're still awesome. Ken Vandermark would tell me afterwards that there was The Clubbing no way he could ever play that music the way Mosca had, and this observation Vazy! applied to the Oliva/Raulin Quintet as well: you didn't get the impression that Monsieur Ducobu Mosca really "did" anything to the tunes, the way the Frenchmen had to, to eat make it interesting even though he actually really personalised each one. So, Resto.be Sensum the next time you get that "not standards again" reaction, blame the misc interpreter, not the material. Brussels Life

That said, all three pianists applied forms of loving deconstruction to the standards that, in the end, weren't as conceptually distant as might have been expected. What was modern and interesting (or maybe just puzzling) about archives Mosca's playing way back when was still exciting yesterday. Both Mosca and August 2003 Raulin/Oliva did "Ain't Misbehavin'," and Mosca's version recognisable than the September 2003 quintet's, because it decidedly wasn't a romp, but I also kind of suspect that he October 2003 November 2003 didn't really play the song's chords. December 2003 January 2004 When Mosca played "Somwhere Over The Rainbow," it was easy to imagine it as February 2004 a big Hollywood production number, swirling harps and string orchestra March 2004 included, but he managed not to make it sappy. At the end of most songs, he April 2004 May 2004 would use the sustain pedal on the last note, but abruptly cut it off long before June 2004 it had decayed, as if to ward off any excess sentimentality. On "All Of Me," left July 2004 and right hands scrambled together, creating a thick but impressively non- August 2004 dissonant texture. September 2004 October 2004 November 2004 According to AMG, Mosca is turning 80 this year, so no-one was surprised that December 2004 the set was fairly short, at just about 40 minutes. That's more than can be said February 2005 for his 21-year-old saxophonist student who, I learnt after the concert (as it April 2005 wasn't announced in the program), was meant to accompany him: apparently May 2005 he fell asleep at the hotel. June 2005 July 2005 August 2005 Ken Vandermark's The Frame Quartet September 2005 Ken Vandermark - ts, cl October 2005 Fred Lonberg-Holm - cello November 2005 Nate McBride - b, el b December 2005 January 2006 Tim Daisy - d February 2006 March 2006 April 2006 May 2006 June 2006 July 2006 August 2006 September 2006 October 2006 November 2006 December 2006 January 2007 February 2007 March 2007

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The posters claimed that this was a world premiere, but in reality this group had already performed once in Chicago, and the members are long-time associates anyway. Regardless, The Frames Quartet is the latest in Ken Vandermark's seemingly endless string of bands. After the concert, I interviewed him (thanks to camera-man extraordinaire Pierre-Michel, who's practically a member of Vandermark's road crew, it seems), and he laid out very clearly what he was trying to do with it. I hope to have a transcript and maybe audio (and even video?) of that up in a few weeks. In short, the compositions for this band are made up of pre-determined modules whose sequence and interactions are determined in real-time through a series of cues. His two aims were to continue delving into the composed/improvised interface and to create structures that could not be learnt, so that the problems the musicians had to solve changed every time, forcing them to come up with new, or at least different, solutions. To me, the results were very interesting, though still raw. The injection of pre-determined forms, cues and strategies gave a sense of external structure, but nonetheless created an overall sound inherited from total improv.

Vandermark hasn't abandoned his tradition of dedicating each one of his pieces to someone. "First Papers"'s dedicatee was James Brown. It started with the tenor's r'n'b-influenced wailing over a 3/4 beat, then arrived at a more peaceful line, accompanied by turbulent from the rest of the group, which suggested earthly confusion below and heavenly peace above. It finished with full-blown, aggressive skronk, but not before an unexpected, much quieter section of boppish tenor over a walking bass.

That bass-tenor section, as well as the sequence of unisson themes Fred Lonberg-Holm and Nate McBride played throughout the second piece, exemplified the functional pairs Vandermark divides the quartet into for each composition. While the two string instruments segued from theme to theme at (I imagine) their own discretion, Tim Daisy and Vandermark alternated leading free improvisation over the top.

The third and last piece was "Straw," which was anchored by a percussive loop of what I think was a grating, staccato cello chord. Daisy and McBride struck up a funky back-beat over which Holm could play heavily distorted arco, somewhere between a noisy, textural rock guitarist and computer static.

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Due to a misunderstanding, the group played for only about 45 minutes, about half the time that had been allotted to them. This was a shame for the audience, as even an extra half-hour would have been very helpful in really apprehending the music.

In parting, some advice: if you're ever invited to partake of the musicians' post- concert dinner at deSingel, do so, immediately. It's delicious.

Labels: concerts, deSingel, ken vandermark

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