Recent Faves from Pop Vets

The Human Hearts - Flag Pin EP
Franklin Bruno's recent EP is a digital-only appetizer for the forthcoming full-length Human Hearts album Another, which is getting a Kickstarter-funded vinyl release. I'm not familiar with the entire Bruno discography - it's extensive and spans many years and many tiny labels - but I've enjoyed his work with John Darnielle as the Extra Glenns/Lens, his '90s solo material collected on Local Currency, and, especially, the album of his songs recorded with Jenny Toomey and Calexico, Tempting. The title track of the new EP is a rocker that deals with a subject that was (thankfully) more-or-less absent from the recent campaign season. "Flag Pin" features one of the best Bruno vocals I've heard and, as with many of his songs, is a bit more complex than it sounds at first listen. "Plot of a Romance", currently my favorite track on the EP, is a smart, self-aware love song, a bit meta though not unsincere, the kind of song I associate with New Wave, especially early Joe Jackson and Elvis Costello (Bruno is the author of one of the most musically insightful volumes of the 33-1/3 Series, on EC's Armed Forces). Though it nods to the Attractions sound, this is a Franklin Bruno song through and through - who else (outside of the English folk revival) would refer to the couple in the song as "fair maid, ardent swain"?

A.C. Newman - Shut Down the Streets
Carl Newman's latest is for me the first of his solo records to match up to the best of the New Pornographers (by my definition, their first three records). Newman's songwriting took a somewhat different direction after Twin Cinema, and that direction seems to have finally, fully paid off with Shut Down the Streets. Not only did he write a batch of superb songs, but he found the right group of musicians to realize them. At the Rock Shop record release party, I was struck by just how beautiful and intricately detailed the arrangements of these songs are (incorporating flute and banjo, among many other instruments) and how well Newman and the group were able to translate them to the stage. "I'm Not Talking", perhaps the most memorable song on the record, is sequenced first, but I wouldn't call Streets front-loaded. There are plenty of other high points, like "Encyclopedia of Classic Takedowns" - the most New Pornographers-y track here, both in sound (Neko Case's harmonies are prominently featured) and title - and "There's Money in New Wave", one of the best (and least treacly) father's-advice-to-his-young-son songs I've ever heard.

Redd Kross - Researching the Blues     
Though Redd Kross' music has been described many ways ("sugar-punk"?!), I would just say that this is one of the best power pop records I've heard in ages. I need to revisit Neurotica, often considered this band's masterpiece. My recollection is that that record, from 1987, had some rather un-assimilated punk and metal elements while Researching fits more comfortably in the lineage of classic guitar-pop, though there is certainly punk attitude. It's a brief album, unabashedly Beatlesque in places (even the total running time is very 1965) and full of brief, super ear-catching gestures - twin George Harrison-style melodic slide guitars, a distorted guitar that appears to play a couple of sustained, bent notes before vanishing, and even some good-old-fashioned "la la la" harmonies. The best of the best for me is "Stay Away From Downtown", the track that the band and their label (the great Merge Records) seem to have recognized as the catchiest thing on a record full of them, promoting it with a KISS-inspired video. "Stay Away" is a three-and-a-half minute masterpiece, with an unstoppable and unforgettable main riff. Another favorite is "Winter Blues", which, despite the title, could be considered one of the great odes to California sunshine ("solar-regulated days"), a category of song that's certainly been well-represented in pop music since the '60s.

Masters

The Master
One of the best movie experiences I've had in a long time was seeing The Master in 70mm at the Ziegfeld Theater. I avoided reviews before seeing it, and still haven't caught up with them (so some of my comments may be inadvertently repeating critical conventional wisdom), but I did see some chatter about the 70mm format possibly being a gimmick. Maybe the images on the screen would've been just as impressive in 35, but on the genuinely big screen of the Ziegfeld, this was a flat-out beautiful-looking movie. One particular beauty shot stands out in my memory, of The Master's Fitzcarraldo-looking ship sailing under the Golden Gate Bridge.

The Master seemed like a further exploration by Paul Thomas Anderson of some of the themes/conflicts/relationships seen in There Will Be Blood. Some of those themes, and certainly the title character, made me think of Orson Welles. The Master, Lancaster Dodd, would've been a natural role for Welles - a charismatic patriarch with serious flaws and an outsized gift for bullshit (not to mention a somewhat outsized waistline). Philip Seymour Hoffman (who is commanding in the role) and Anderson surely must've had Welles in mind, at least as one reference point. Joaquin Phoenix is captivating and weird and brilliant, and despite a fairly large cast, the movie almost feels like a two-hander between Phoenix and Hoffman, with the other characters receding into the background when these two are in the same scene.

Oliver Lake
If you've been wanting to see Oliver Lake play in NYC, the last couple months (centered around his 70th birthday) have offered plenty of opportunities. During his multi-group run at Jazz Standard, I saw a set of Trio 3 (Lake, Reggie Workman and Andrew Cyrille) with Geri Allen. This trio, whose combined discographies must be mind-boggling, has a wonderful chemistry, perhaps partly due to their being more-or-less contemporaries, having each made important contributions to the development of the jazz avant-garde. The trio has a strong book of compositions, and Geri Allen was featured effectively, but I was most impressed by Reggie Workman - his sound, his time, and his melodic ideas were all exquisite.

I also saw Lake around the same time with Tarbaby, one of the most exciting groups going, and one Lake has been collaborating with since his appearance on their End of Fear album. Their show at Le Poisson Rouge included a number of compositions from a new, commissioned project inspired by the anti-/post-colonialist writer Frantz Fanon (The Wretched of the Earth). I didn't make any notes from which I could try to describe this new music, but there were at least one or two pieces that didn't sound to me like anything this band has done before. The album will definitely be on my must-buy list whenever it appears.

Tarbaby members Orrin Evans and Nasheet Waits were scheduled to be on Oliver Lake's night of improvised duos at Roulette over the weekend, but Waits was apparently under the weather and had to cancel. I only managed to catch one set, but Lake's duo with Evans was a highlight, with the pianist touching on blues, gospel, and what sounded to me like Milton Babbitt. Another of Lake's duo partners, Joe Daley, on tuba, was something of a revelation. I don't have much of a point of comparison for tuba in this context, but Daley seemed to be doing things technically that I hadn't imagined a tuba could do. I missed Lake's Big Band the next night, one of his groups that I have not yet seen, but I did see another excellent big band at Shapeshifter Lab, Andrew D'Angelo's DNA Orchestra. Driven by D'Angelo's charismatic playing, conducting, and composing and a powerful rhythm section of drums and electric bass and guitar, the music embraced relentless rhythm, daunting complexity and unabashed emotion. Both Lake's and D'Angelo's big bands have records on the way, and I'm sure both will be highly worthwhile.

A Patrick Leigh Fermor Glossary

Since completing the first two parts (A Time of Gifts and Between the Woods and the Water) of Patrick Leigh Fermor's as-yet unfinished trilogy (the final, posthumous volume is apparently being assembled for publication as early as next year) recounting his journey between Holland and Constantinople in the early 1930s, I've been compiling a list of some of the more unusual and striking words he uses in these books. Many of them come from the worlds of medieval European architecture, horsemanship, agriculture, warfare, and nobility/heraldry, among other more or less arcane subjects, along with Britishisms and a few archaic words that Fermor must've just liked the sound of. It's a tribute to Fermor's writing that somehow these books make for very smooth and enjoyable reading despite being minefields of obscure words.

I'm not sure whether I'll be able to summon the courage to go through this exercise with Between the Woods and the Water, but here are some of the best and, to me, most unusual words I found in A Time of Gifts, presented roughly in the order they were encountered in the text:

impecunious - penniless
teazles - plant, genus Dipsacus
spinney - a small wood with undergrowth or a thorny thicket
pursuivant - officer of arms, ranking below a herald
aedile - type of Roman official
puttee - strip of cloth wound spirally around the lower leg or a leather legging covering the same area
oleograph - color lithograph in imitation of oil paint
jonkheer - Dutch honorific, “young lord”
besom - broom made of bundled twigs
punctilio - minute detail of (often ceremonial) conduct
aurochs - European wild cattle, ancestors of domestic cattle, Bos primigenius
impedimenta - baggage or objects that impede or encumber
gorgeted - wearing a collar-like piece of armour to protect the throat or (on a bird) having differently-colored feathers covering the same area
mangolds - Swiss chard
postilion - rider guiding the horses of a coach
beetle (noun) - heavy, wood-splitting maul
beetle (verb) - to be suspended over or overhang
caracoling - performing a half turn (by a horse and rider)
margravine - female aristocrat w/ military responsiblities in border territory of a kingdom (margrave is male)
ramify - to have complicating consequences or to divide into branchline parts
toper - drinker [interestingly, my search for this word also returned an image of Amy Winehouse]
undercroft - traditionally, a brick cellar, storage room or crypt, often vaulted
shako - tall cylindrical military cap
comitadjis (or komitadjis) - a band of resistance fighters or irregulars
machicolated - having machicolations - openings btwn. corbels of a projecting gallery or battlement through which stones, etc. could be dropped on attackers
velleity - slight or mild wish or inclination
puggaree - light scarf wrapped as a band around a sun helmet
sabretache - flat bag or pouch worn from the belt of a hussar calvary soldier along with the saber
uhlan - Polish or Prussian light cavalry
czapka - Polish cavalry hat
aigrette - tuft or spray of feathers (esp. from an egret) worn as a headdress
bustards - large, terrestrial European birds
capercaillies - large European grouse
roodscreen - ornamental partition separating choir from nave in Medieval churches
brindled - tawny or grayish with obscure streaks or spots of a darker color
fimbria - Latin for fringe, often used in science and medicine
monstrance - vessel for display of the Eucharistic host in Catholic churches
congener - a person or thing like another in character or action
ostler - stableman, esp. at an inn
purulent - suppurating, full of or discharging pus
ewer - vase-shaped pitcher
scumbled - softened or dulled color by application of thin opaque coat
grisaille - decorative painting in shades of gray, often to represent three-dimensional relief
hawser - thick nautical cable or rope for mooring or towing
loden - water-resistant material made from sheep’s wool, usually green and associated with Austrian traditional dress
junkers - landed nobility of Prussia and eastern Germany (perjorative)
mediatization - process by which a lesser state is annexed by a greater state, permitting ruler of lesser state to retain title
hospodar - Slavonic lord or “master”
boyars - Bulgarian or Old Russian aristocrats
quinquereme - ancient Roman galley with five banks of oars
cicerone - a museum or gallery guide for sightseers
pavane - slow, stately dance of the 16th and 17th centuries
baldachino (or baldacchino or baldachin or baldaquin) - canopy of state over an altar or throne (as Bernini’s in St. Peter’s), originally fabric, later of costlier materials
jocund - cheerful and lighthearted
cincture - belt or sash worn as a liturgical vestment
forage-cap - non-dress (“undress”) military cap, originating with the cap worn by 18th-century British cavalry while gathering forage for their horses
pelf - money, esp. acquired by dishonesty
guerdon - reward
fardel - pack or bundle
creel - wicker fisherman’s basket
kepi - cap with a flat circular top and a visor, associated with the French military
crapulous - marked by intemperance in eating/drinking
noctambulism - sleep walking
crosier - stylized pastoral staff carried by high church officials
manege - a riding academy
lavolta - a Renaissance dance
coranto (or courante or corrente) - a triple meter dance of the late Renaissance and Baroque era
limpet - type of gastropod/mollusk/snail
yatagan - Ottoman knife or short saber
damascened - decorated (metal) with patterns of inlay or etching
sapper - combat engineer
spahis - light cavalry of the French army recruited from North Africa
deracination - act or process of uprooting or displacement from native environment
tarn - glacial mountain lake or pool
spoor - track, trail, trace or scent of animal or person being tracked
danegeld - originally a tax raised in Anglo-Saxon England to pay tribute to Danish invaders or finance protection against them
virago - noisy, domineering woman or strong, heroic woman
swart - swarthy
puszta - Hungarian grassland/prairie
crockets - hook-shaped decorative elements in Gothic architecture
diapered (architecture) - decorated w/ geometric patterns
stickle-back - type of scaleless fish
banneret - rank of knight who led troops under his own banner
ogee - architectural molding in the shape of an s-curve
incunables - books printed in Europe before 1501
uncials - Greek and Latin capital-letter script used from 3rd to 8th Century
imberb - beardless [http://obsoleteword.blogspot.com/2008/05/imberb.html]
pargetted - plaster-coated, as a wall or chimney, often ornamental
irrefragable - irrefutable, indisputable
apricocks - apricots (archaic)
twigged - realized, understood
nacreous - pearly, iridescent (esp. of a cloud)
charabanc - open-topped horse-drawn or early motor coach used for sightseeing outings
dolman - Turkish robe-like garment or uniform jacket worn by hussars

Heard and Seen - Projectors, Shipp on Farfisa, Konitz, Ornette on Film

Dirty Projectors - Swing Lo Magellan  
The new DPs album has grown on me after some initial disappointment. Though I've found much to like, I still have a hard time seeing it as a step forward from its predecessor, Bitte Orca, an album that sounded like a sustained, cohesive statement of a new direction without obvious predecessors. Swing Lo is a more stylistically diverse record, but perhaps as a result, there are more weak spots, and I don't think the more Bitte-like songs (like the opening "Offspring Are Blank") quite reach the highs of "Cannibal Resource" or "Temucula Sunrise" (to be fair, that's a very high standard to meet). 

I'm not sure whether to describe it as cloying or grating, but "Dance for You", programmed smack in the middle of the record, breaks up the flow for me to the point where I've taken the liberty of editing it out of the album. Its admittedly strong melody did succeed in getting stuck in my head, but I wish Dave Longstreth had left the melisma on this one to Amber Coffman and Haley Dekle. I'm not quite ready to accept Longstreth singing more or less directly about love and feelings, but he does pull off a solid, honest-to-God love song with "Impregnable Question", an undeniable album highlight. 

While Swing Lo isn't a Nashville Skyline-level WTF? veer into romantic crooning, Longstreth does seem to be trying out some new vocal personas. He really is crooning on the closing "Irresponsible Tune", doing what sounds to me like an impression of late-model Nick Lowe, and it works, so much so that I'd like to start the campaign to get Nick to cover it. Another successful move into what sounds like new territory is "Unto Caesar", with lyrics written in some sort of courtly, high Dylanese leavened with casual, sassy responding harmony vocals and a horn section (plus some prominently mixed studio chatter). Just the sort of eccentric mix of elements that get this band accused of being pretentious or weird-for-weird's-sake, but it all adds up and makes a strong impression, especially sequenced after the beautifully minimal arrangement, featuring (amplified? synthesized?) thumb piano, of "The Socialites". For me, this is one of those rare backloaded albums, with a strong run of tracks at the end making up for some weak spots in the middle.

Black Music Disaster 
A single live improvised track with two electric guitars, a Farfisa organ, and drums. Hearing a Farfisa in this kind of long form, rock-leaning improvisational context makes me think of Rick Wright on the early Syd-era Pink Floyd records - not a reference point you'd normally expect when the keyboardist is Matthew Shipp. John Coxon from Spring Heel Jack and J. Spaceman (Spiritualized) are the guitarists and British improviser (and Derek Bailey collaborator) Steve Noble is on drums. I don't know about Noble, but Spaceman and Coxon have recorded with Shipp before, and it was my appreciation of Spring Heel Jack's Live album (which also features Han Bennick, Evan Parker, and William Parker!) that made me pick this one up. I haven't listened to Live in a while but recall it having quite a bit more space than this record, which is pretty full-on start to finish, with Shipp's seething Farfisa expanding into all the sonic cracks like a luridly colored psychedelic fog. 

Lee Konitz - Satori and Enfants Terribles
One of my better finds at Chicago's great Jazz Record Mart last month was Lee Konitz's mid-'70s Satori. The lineup is pretty stacked - Martial Solal, Dave Holland and Jack DeJohnette, with producer Dick Katz sitting in on electric piano on the free, swinging, and seemingly collectively improvised title track. Though I've never really connected with the only other record I've heard with Konitz and electric piano - Pyramid, with Paul Bley and guitarist Bill Connors - the two electrified tracks here (Solal also switches to electric on "Sometime Ago") fit just fine with the rest of the album - Konitz's approach remains the same and it's just a different texture added to the mix. Solal - virtuosic, restless and unpredictable - has a fine rapport with Konitz developed over many collaborations (their shared, deep commitment to improvisation is very much in evidence on the fine live duo album Star Eyes). Though each has recorded with the saxophonist separately, this is the only Konitz record I'm aware of with both Holland and DeJohnette. Only a few years removed from their epochal recordings with Miles Davis, they're relatively restrained here, but swinging and subtly easing the music forward into adventurous territory. Holland and Konitz have a nice duo passage on "On Green Dolphin Street" which helps make it one of the standout cuts on the album.

Konitz himself is in good form (he sounds particularly strong to me on the closing "Free Blues"), as he was recently at the Blue Note with another sterling lineup - Bill Frisell, Gary Peacock and Joey Baron - playing under the name Enfants Terribles. Some of the tunes I remember hearing were "Devil & the Deep Blue Sea" (intro'd by Peacock), "Subconscious-Lee", "I'll Remember April" (with a beautiful intro and melody statement by Frisell), and at some point, a little hint of "Misterioso". This group has a live album coming out from an earlier Blue Note appearance, which, based on the performance I saw, should definitely be worth getting.

This is another band, like Bill McHenry's quartet with Orrin Evans and Eric Revis, that I imagine might've featured Paul Motian if he was still with us. But as with Andrew Cyrille in McHenry's group, having Joey Baron is not exactly "settling" - it's just a different kind of awesome. This was my first time seeing Konitz live, though I've heard live recordings from various periods of his career, including two highly recommended albums with Motian recorded 50 years apart - Live at the Half Note with Warne Marsh, Bill Evans and Jimmy Garrison, and Live at Birdland with Brad Mehldau and Charlie Haden. While the early records with Warne Marsh featured some very tight and tricky heads, these days Konitz seems to cultivate a loose atmosphere in which improvisation is valued above all else and form can take care of itself. I don't know at what point Konitz started moving in this direction, but it was already coming into focus (or becoming more diffuse, depending on how you look at it) on Satori. Since Konitz has returned to many of the same tunes throughout his long career, it would be possible (and fascinating) to trace his development by comparing some of the various versions - "Just Friends", for example, or his own "Subconscious-Lee" which he's been playing for over 60 years at this point (for a little context on that, try to imagine how Charlie Parker might've been playing "Confirmation" if he had lived into the Obama administration).

Ornette: Made in America
Finally, I'd urge anyone who's an Ornette Coleman fan to try to see Shirley Clarke's restored and rereleased documentary, Ornette: Made in America, which recently opened at IFC in New York. Made in the mid-'80s and focusing on a Fort Worth (Ornette's birthplace) performance of Skies of America with Prime Time and the Fort Worth Symphony, this is far from cinema verite. Clarke, who directed and edited, deploys a large battery of devices and effects to get at the nature of Ornette and his music - otherwordly, forever futuristic but always rooted in the blues. We see a (very much pre-CGI) Ornette on an exercise bike in space, Ornette eating BBQ and talking about King Curtis, a string quartet (w/ Denardo) in a Buckminster Fuller terrarium, and William Burroughs (no special effects needed), among many other strange and wonderful things. Ornette's early music isn't much represented (and I don't think the great Billy Higgins appears at all), but there is some amazing footage of Ornette and Charlie Haden rehearsing with 12 year old Denardo, plus a bit of Blackwell and Cherry, and Ornette and Robert Palmer playing with the Master Musicians of Jajouka. In other words, wonders upon wonders.   

Recent Listening - In Their Absence

Thoughts on two records featuring the compositions, but not the playing, of two of the most distinctive instrumentalist-composers of the past fifty (or so) years:

Charlie Haden w/ Don Cherry & Ed Blackwell - Montreal Tapes
I've been gradually acquiring Haden's Montreal Tapes albums as I come across them. There are ten or so in all, recorded live in '89 and each featuring Haden with a different lineup. This is one of the best I've heard so far and one of the best of the "Ornette without Ornette" genre that is best exemplified by Old & New Dreams. This is essentially that group minus Dewey Redman, or to think of it another way, the Ornette Coleman Quartet of This Is Our Music minus Ornette. Ornette's music tends to bring out a special dimension in Haden's playing, and his sound is very much large and in-charge on this set, which is made up of six Ornette tunes and two from Cherry. There's a wonderful moment in "Lonely Woman" when Haden starts playing the old folk outlaw song "John Hardy" ("...was a desperate little man / carried two guns every day"), flaunting the freedom available in Ornette's music, which is large enough and open enough to contain the folk and country Haden grew up with. And what really makes this passage work is the way Blackwell comes in to simply but perfectly support Haden's line. (Apparently, "John Hardy" also pops up on the Ornette Reunion 1990 live set, which I intend to get soon.) I tend to enjoy Don Cherry most when he's playing Ornette's music - I love hearing those unison heads and his interactions with Ornette and/or Dewey Redman - but he carries the front line very well here on his own, standing on the powerful yet fluid foundation created by Haden and Blackwell.

I also revisited the Quartet West record Haunted Heart after reading Haden's comments on the passing of drummer Larance Marable on DTM and it was even better than I remembered it - a super-evocative and well-balanced blend of standard ballads, bebop tunes (by Charlie Parker, Lennie Tristano, and Bud Powell), and originals inspired by classic Hollywood and/or noir. On the ballads, Haden reverses the procedure sometimes used live by the Bandwagon of playing a recording (of Billie Holiday, for example) and then launching into an improvisation based on it. Here, the vintage vocal performances (by Jeri Southern, Jo Stafford, and Billie Holiday) follow and sort of flow seamlessly out of Quartet West's renditions of the tunes. As this is the only one I've heard, I certainly need to catch up with the rest of Quartet West's output.


Motian Sickness - For the Love of Sarah
I mentioned this album in my previous post and have now had the chance to check it out in more depth. Motian Sickness is West Virginia/DC-area drummer Jeff Cosgrove's Paul Motian tribute project, apparently conceived and recorded before but not released until after Motian's passing last year. After the group name, the instrumentation is the first thing that might raise eyebrows - mandolin/viola/bass/drums. While the mood and the approach taken to the compositions is very much in the spirit of their composer - this isn't Pickin' on Paul: A Bluegrass Tribute to Paul Motian - the mandolin does give the music a dimension that isn't present on any Motian recordings I know of. There's no one dominant voice, but the mandolin (played by Jamie Masefield of the stylistically eclectic Jazz Mandolin Project), with its distinct timbre and characteristic tremolo picking technique, is the element that first grabs the ear in this context.

There's some good background on the album in this interview with Cosgrove. One interesting point is that the album was originally supposed to feature fiddle and that violist Mat Maneri was a last-minute sub. As Maneri is a strong and distinctive musical voice and a veteran of a few different Motian groups, I can only imagine that this would've been a very different record without him. Despite the unusual instrumentation and charismatic players, Motian's compositions still exert the strongest influence on the overall sound - it seems that however they're arranged, they bring their own inescapable mood, evoking sometimes nameless emotions. "Dance", which originally appeared on an ECM trio record with David Izenzon and Charles Brackeen, works well here as an opener.  Relatively brief and upbeat but a bit thorny, it's a good intro into the Motian sound-world, preceding a plunge into the deeper, darker waters of "Conception Vessel".

Many of the following tunes are ones I associate with Motian's Soul Note era (though he recorded most of them multiple times), and the tracklist reminds me of the depth of Motian's catalogue (and the potential for a Motian Sickness sequel) in that it's full of strong tunes despite the fact that it includes almost none of the ones I might list as my favorites or the ones I'd be most likely to recognize in a few notes (there's no "Abacus", "Etude", "Byablue", "Cathedral Song", "Blue Midnight", "Yahllah", or "Drum Music"). Motian Sickness has already brought me back to the Soul Note records (some of the best and, until the recent box set reissues, perhaps least known of Paul Motian's recording career as a leader) with renewed attention and given me a deeper appreciation of tunes like "The Owl of Cranston" and "The Story of Maryam". Ending with "Trieste" was another good sequencing choice, closing the record with one of Motian's loveliest and most melancholy tunes, highlighted by Maneri's viola.

Cosgrove has, of course, the difficult task of being the drummer on a Paul Motian tribute record, a situation that doesn't exist on recent Motian-themed records by Russ Lossing (solo piano) and Joel Harrison (on guitar with his String Choir). He doesn't seem to be copying Motian's style (which would probably be impossible to pull off convincingly, anyway), but his playing does seem to embrace the more open, free, coloristic side of Motian, with an emphasis on interplay and reaction. The bassist, John Hebert, set himself a similar challenge last year when he assembled a Charles Mingus tribute group at the Stone (one of the best sets of music I saw all year). I don't know if he ever played in any of Motian's bands, but they did play together (here's some video of them with Russ Lossing) and, as seems to be the case in just about any situation, his sound and his ideas play a major role in shaping the music on this album. Insomuch as there's any such thing as a "standard repertoire" anymore, I hope For the Love of Sarah will play a part in cementing Paul Motian's place in it.

[Update: Just noticed that the Bad Plus plus Bill Frisell set from Newport has been posted. Four of five tunes in the set are by Paul Motian. If you've somehow read this post to this point and are not already aware of this set of music, YOU ARE ADVISED TO LISTEN TO IT IMMEDIATELY. Frisell's guitar sounds on this. Oh man.]

Bonus Links
I've been reading some older essays on Kyle Gann's blog lately (his pieces on just intonation and historical tunings are by far the clearest explanation of these subjects I've ever seen) which led me to this series on the history of American piano music by pianist-composer "Blue" Gene Tyranny. All of this has had me Googling and YouTubing all sorts of amazing piano works. One new favorite is Lou Harrison's Piano Concerto from the mid-'80s performed by Keith Jarrett.

Next time out, I'll probably be talking recent pop/rock-oriented records and stuff I bought in Chicago (good haul at the Jazz Record Mart).

Talking Motian

Check out this panel on Paul Motian with the drummer Matt Wilson (who recently organized a tribute band, Mumbo Jumbo) and frequent Motian band members Steve Cardenas and Chris Cheek (video is in 4 parts starting here). They tell some good stories and provide some insights on the man and his music. And unlike so many panel discussions, the moderator mostly stays out of the way and lets the participants have a free-flowing conversation. I hope somebody can make the imagined book of Motian compositions that's discussed into a reality - that's one Kickstarter campaign I would most certainly contribute to. I also hope the Mumbo Jumbo band plays in NYC soon. One last link: the Motian tribute with bluegrass instrumentation that's mentioned in the panel can be found here and it sounds mighty fine.

Talibam! & Sam Kulik's Discover AtlantASS

In a Village Voice piece previewing the initial production of their Discover AtlantASS project, the musical duo Talibam! dropped (coined?) the term "post-goof", which is not a bad way to describe something that features the production values of a grade-school play, music that combines substantial chops with sub-juvenile humor, and includes, among other attractions, a more-than-healthy amount of simulated sex with stuffed animals, including a Muppet-like crab (and yes, they seize the opportunity for a "crabs" joke) who is actually something of a major character.

Kevin Shea as Franklin, the boy who comes from "the surface" with his magic pillow to save Atlantis (further plot summary would probably have diminishing returns), brings the same manic energy to acting as he does to drumming. Even with all the other strange things happening on stage, he's hard to look away from. Musical interludes are frequent, often taking the form of pop song-length, plot-related pieces with Kulik most often on vocals and either bass or trombone, and the Talibam! duo on their usual instruments, drums and effects-juiced keys (though all three contribute vocals, sometimes shifted an octave up or down). If the idea of avant rock/jazz/improv dudes performing songs like "Squeeze My Nuts in the Barnyard" while wearing funny pants sounds like your kind of thing (and I didn't realize it was my kind of thing until I saw it), I'd certainly recommend checking out AtlantASS if it's ever staged again. If that doesn't happen, there is a CD/comic book package available.

The show had various "opening acts" throughout the recently concluded run upstairs at St. Mark's Church. I was lucky enough to see Christopher Meeders' performance of Ursonate ("Ur-sonata"), the proto-sound poem by collagist Kurt Schwitters. It was virtuoso stuff, both hypnotic and funny, and seemed to put the audience in the appropriate anything-can-happen frame of mind to appreciate what followed.