Tuesday, October 31, 2006

Jazz Odyssey

Transferred all of the downloaded music from the past few weeks into a playlist (yeah, Windows Mediaplayer, real cutting edge 'round here) and up now is Julian Priester's "Love,Love." Large ensemble, great groove in 15, somewhat dated electronic effects (but charmingly retro-analogue, and damn it I adore the Fender Rhodes, one of the most underrated of all 20th Century instruments). Most of the downloaded music in my files is from the inestimably valuable and tasty destination-out.com. Surprising to see that the playlist totals more than 6 frikkin' hours.

Also up is some Tim Berne, sample mp3's from the lovely screwgun records site, and some Clifford Thornton with Jimmy Garrison and Joe McPhee as well as late '60s Brotzmann from a site called epitonic, that sadly seems defunct or something, despite having live downloadable complete tracks, some of which are quite long. Brotzmann's "Nipples," for example, with Evan Parker and Derek Bailey and a host of others. I keep meaning to digitize my FMP vinyl (and maybe about 50-75 other records) and I keep...not.

The unreliable narrator has offered some of her lovely server space for me to upload mp3's and I look forward to offering links to my own performances as well as music of others.

I'm planning a "jazz fusion" show for this week on KSFR, seeing as how The Zawinul Syndicate played at Lincoln Center last weekend. Like every genre in "jazz," so-called fusion is, well, a lot of different genres. Sadly, the wealth of great music boxed into the confines of "fusion" gets obscured by either the wanktastic proclivities of some who carried the torch for the genre just after the first vital wave (The formidable Derek Smalls composition "Jazz Odyssey" as performed by Spinal Tap, for parodic example), or by the wet kleenex smooth jazz approaches. It's particularly funny to me that Miles Davis gets blamed for creating the genre in the first place. It's clear to anyone with ears that Davis's most aesthetically challenging and prolific creative period was 1969-1975. It should also be clear that the music was a natural extension of what the "second great quintet" was up to, in combination with Davis's unbelievable ears. Hilarious to observe the jazz critics "re-evaluate" this period. (Reminded of the two-star review of On the Corner that ran in Downbeat when On the Corner first came out, containing the statement: "I hate to think that anyone is so easily pleased as to dig this record to any extent.")

Thank God for Windows Mediaplayer, now delivering the roiling, discursive, recursive John Coltrane solo from "Creation," via Ethan Iverson's blog, via Billy Hart.

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