Forumesque 11

I'm giving two masterclasses in August. They are free. 

 Saturday August 11 and Saturday August 18, 3-6 PM. 

70 Willoughby Street (between Lawrence St. and Bridge St.) in downtown Brooklyn. When you are on my block, you will see a Petland store and a fish market. In between them is a doorway that has a purple awning above it that says "Fatou" beauty salon and the street number 70. This is the door to my building. Our studio is #2A. Go up one flight of stairs, and then follow the signs on your left for "The Drawing Room." There are subways everywhere to this location, the very closest stop is "Jay St./Metrotech" on the R. 

For the first one I will talk about an imminent recording with Lee Konitz, Larry Grenadier, and Jorge Rossy. The next one will cover the Vanguard repertoire for Ben Street, Tootie Heath, and me (Aug. 21-26). But I will also listen to anyone who wants to play, time permitting.

(Mainly for pianists, but if you play something else and really want to come by, that's OK, too. Not sure how much non-pianists will play though. I'm new to managing this stuff.)

No RSVP required, just show up.

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Some recent CDs on the stereo:

Dexter Gordon, Daddy Plays the Horn recommended by Martin Porter and Red Sullivan, two who listen to more straight-ahead jazz than I do. Amazing record from 1955 with Kenny Drew, Leroy Vinnegar, and the late Larance Marable, who I believe still lacks an obit from any mainstream paper of note. Presumably there will be mentions in the jazz magazines...

Lee Konitz and Warne Marsh Also from 1955. Everytime I've heard this classic -- everytime since high school, for crissake -- I've been turned off by Billy Bauer's guitar comping, for my money the worst comping ever heard on an otherwise great record, especially the loud and rhythmically imprecise chatter on the opening "Topsy." Still a crucial document, especially for the interracial pollination (Pettiford and Klook meet the Tristano school).

Lee told me to learn the Marsh solo on an earlier confab, "Fishin' Around." It unfurls like a real song, and indeed, I've heard that Warne Marsh would play this solo as a head for his own gigs. Makes sense.

"Marshmallow" is  from the same June 1949 date with Sal Mosca, Arnold Fishkin and Denzil Best.  I've been meaning to learn that piece of science fiction for several years now...

 

Warne Marsh on Marshmallow

Warne Marsh on Fishin' Around

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I rarely listen to recent jazz records unless I buy them myself. Matt Merewitz gave me some more CDs at Newport last weekend, and I told him, "I never listen to the records you give me." That's not entirely true, but regrettably it's close enough. If I could listen to everything I would, but as should be clear from DTM, I constantly study and fiercely engage with my collection mostly to selfishly further my own development (mostly old jazz and modern classical) and just don't have the time to catch up with peers, let alone new artists. 

But Matt did give me a record that I had to listen to right away: Russ Lossing, Drum Music: Music of Paul Motian for solo piano. I had thought of doing something like this myself; probably Russ's record will only be the first of several looks at this canon from a solo keyboard perspective. Lossing has impressive technique in both hands and understands the essential "looseness" of this music. I'll try not to be too influenced by it.

(BTW, there have been some requests for the set of TBP/Bill Frisell playing mostly Motian at Newport to be streamed. As far as I know, that wasn't ever planned, but I personally am not against it being made available, it was a nice set. If something changes I'll update this space. Newport sets by others (what a great cast!) can be heard here.

UPDATE: It's up! Setlist: The Owl of Cranston, Mumbo Jumbo, No Moe, It Should've Happened A Long Time Ago, Abacus -- all Motian except Rollins at midpoint.)

Speaking of solo records by peers, my mind is fairly blown by Jacob Garchik's The Heavens: The Atheist Gospel Trombone Album. A miracle of multi-instrument overdubbing, this has to be heard by all brass players. Jacob's arsenal includes trombone, sousaphone, baritone horn, slide trumpet, and alto horn. The album has a heavenly length, too: only 28 minutes, perfect. The opening blare of C minor, "Creation's Creation," really ought to show up in a movie somewhere.

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Because the real business of DTM is text, new books will be mentioned here more frequently than new records. My Bud Powell posts are updated with my review of Peter Pullman's essential biography, Wail: The Life of Bud Powell. The chronology on Peter's website is stunning; the Amazon page has some great reviews. Important note: you don't need a Kindle to read Wail, you can download an e-reader on to any computer for free.

I am name-checked as a reader inside Ted Gioia's brand-new The Jazz Standards: A Guide the Repertoire, but honestly I didn't do much but say, "Nice job!" after looking at a couple of chapters. I'm pleased to now have the whole thing on my shelf.  The stories behind some of the most familar tunes are fascinating, especially those that came from a Broadway show.  Interview with Marc Myers here. 

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Forumesque 11 is an opportunity to weigh in on recent posts and anything in the contents. Factual corrections are welcomed;  general questions are fine too.  I'll close the forum Sunday night.

UPDATE: comments running to two three pages.

08/06/2012

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Comments

[J.B.]

I was listening to TBP at work with one of my coworkers who had never heard you guys before (she loved it btw) and when we came to Mint from Prog she said it sounded very familiar. My friend is a saxphonist and is currently learning ''Prelude, Cadence et Finale'' by Alfred Desenclos and said that she heard a lot of parallels to Mint. I was wondering if this piece was at all an influence when you were composing it. http://www.youtube.com/watch?v=zfnVxs8Lfno

Also, i am very excited to hear that you guys are ramping up to tour the new album in the fall. I've heard some new tunes when i saw you live and they were great! is there any concept to this album either in selections of songs (For all i care was all covers, Never Stop was all originals, etc) or the sound you guys went after, like how Never Stop was recorded all together in one room, rather than different isolation booths.

Who's He? has always been a favourite of mine when i see you live and i cant wait to hear the studio version (assuming it's on the album). I've had the NPR New Year's eve recording on my ipod for a while but it's not exactly a high fidelity recording :D.

Anyways, thanks for the great music and blog.

J.B.

[Ethan Iverson]

@J.B. Thanks, I never heard of that Desenclos piece before, although I just learned it is a major piece for sax recitals. I like it! But the "influence" would just be an interest in modern classical music, I guess.

MADE POSSIBLE has some electronic candy thanks to Reid. All originals and one Paul Motian tune.

"Who's He" didn't make the cut this time, but J. Redman really killed it on tour, maybe if we record with him at some point but you never know. THANKS

[greg]

just want to say thanks for turning me on to lee morgan's "the procrastinator" with your post on the album. wow! it kicked off a ron carter listening binge that's been fueled by repeated references to your great interview with the bass maestro.

you mentioned his rare hook-up with billy hart, which sent me to the very swingin' pepper adams joint, "the adams effect." are there any other records you can recommend with the carter-hart team?

[shy fan from england]

ethan, just wondering if many other musicians are into Dr. who the way you seem to be. are reid and dave into it?

[Ethan Iverson]

@Greg. Very cool! There are only a couple other Carter-Hart records. Billy's first record (I think) with Buddy Montgomery, Wayne Shorter ISKA (not sure if that counts), rare Azar Lawrence, and Jamey Aebersold Herbie Hancock play-a-long (worth hearing as I recall). I actually don't own any of those at the moment. They have also played quite a bit live together, I think.

@shy fan from england: No, Dave and Reid are NOT into Doctor Who. I wonder if they have even ever really seen it! I remember I showed Reid and Jorge Rossy a little bit of PYRAMIDS OF MARS years and years ago. They were surprised at how good the music was, and thought that Dudley Simpson might be an influence on me. (True.)

I have never talked about Baker-era Who with another jazz musician that I can recall. These days, of course, some younger cats must know the reboot...

[Michael Jenner]

Re: 1973-1990 I was wondering if you were hip to Al Cohn and Jimmy Rowles' "Heavy Love" on Xanadu? Some of my favorite duo playing of all time. Comping does no justice describing Rowles playing. Keep up the great work.

[RCS]

I noticed on the upcoming concert series at one of my local venues the string quartet Brooklyn Rider was advertised as performing pieces by "jazz and indie rock greats" including yourself. This led me to wonder if they were performing a classical work of yours or an adaption of one of TBP's pieces. If the former, do you do much classical composing and could you say anything about the piece and/or your main classical influences compositionally?

[Ethan Iverson]

@Michael Jenner: That record has come on this forum before. The sad thing is, I used to have it, but I think I got rid of it because I wasn't adult enough or something. I will re-purchase! I love Rowles. Cohn I don't know so well but I know he was great.

@RCS: I'm NOT a classical composer. This was a particular event where I wrote my first chamber piece...I can't reveal more details at this time, but there was good reason for it to happen. That's a great string quartet, go to the gig regardless of my piece!

[Jeff Parker]

I will preface this post by stating that I haven't listened to the aforementioned records for a long time - but the main thing that I really dug about Billy Bauer's guitar playing was his comping. I dug it on the Konitz and Marsh LP, and also on the Konitz quartet date on Atlantic (the one where they do "Kary's Trance"). I always liked his simple voice leading.

[Max H]

Hey Ethan, I just want to say how much I love the Ethan Iverson/Ben Street/Albert "Tootie" Heath Live at Smalls record. I am looking forward to whatever is in store for that band.

[Ethan Iverson]

@Jeff Parker: You are hearing something I'm not! The blues comping on that record as well I find inexplicable. However, I do know Konitz liked it, so...

@Max H: Thanks! We are broadcasting for sure, maybe recording live too if it feels really right.

[Peter]

I wanted to thank you for your lengthy interview with Fred Hersch. Ever since your blog led me to his music it's been a huge influence to the point of attempting several "write a tune like fred hersch did" projects. Also I'm always happy to hear jazz musicians sling shit about other jazz musicians...

Also I was wondering if there was ever any chance of you releasing a Bad Plus songbook or anything that helps to document the composition process between you, Dave and Reid. Whenever I've written it's been a solitary thing which other musicians bring to life after the fact. With TBP it seems like every tune, regardless of composer, requires the three creative minds together.

I couldn't imagine what another pianist would sound like on one of Dave's tunes or what another drummer would sound like on one of Reid's tunes. I guess my interest in the idea of seeing the ink would be just to have further insight into this process and see how much was on the page at time of recording, kind of like Fred Hersch's hand-written PDFs.

Can't wait for the new TBP album as well as your other ventures! See you in STL after the new year.

Oh yeah, one last question... the song "People Like You" from Never Stop... is that supposed to be:

A: An accusatory phrase "people like you are the reason..."

B: An uplifting statement "and gosh darn it, people like you!"

C: A neutral statement "i've known people like you before"

I've had arguments over this... for me it means answer "B". Heavy tune, man.

[Ronan Guilfoyle]

Hi Ethan

In relation to Konitz - have you ever heard that live recording of Konitz with Chet Baker, Keith Jarrett, Charlie Haden and Beaver Harris? I picked it up on LP in the mid 80s in Holland and I've yet to see it on CD - though I'm sure it must be on CD somewhere..... I've no idea of the circumstances of that recording - date or place or anything, but I'm guessing it's recorded in the late 60s/early 70s, and it's probably a radio broadcast, or an excerpt from one. It's a fascinating document and a unique line-up (Chet and Beaver Harris!) and of course hearing Jarrett and Konitz together....... Konitz plays an unbelievable solo on 'Donna Lee' - I remember having Steve Coleman over in my house and playing that for him, and I had to take a phone call and while I was speaking on the phone, I could hear Steve in the other room lifting the needle and replaying the solo over and over again. Do you know this recording, or anything about it? Would love to know the background......

Great to see you in Dublin, nice hang - but too short!

All the best

Ronan

[Chris P]

Hi Ethan, fanboy stuff first: Really looking forward to the new The Bad Plus album!

Apologies if this has been touched on previously, but are there any plans to record and release albums of Rite of Spring, TBP w/ Redman or TBP w/ Frisell? Any plans to record with Wendy Lewis again? Any chance of cameo appearances by Redman/Frisell/Lewis (or anybody else for that matter) on future TBP recordings?

In your Fred Hersch article you touched on Dave Brubeck... any plans to do a full DTM article on Brubeck at some point? I've been really getting into Brubeck's music in the last year or so and would be keen to hear your (extended) thoughts, whether positive, negative, ambivalent or all of the above. Thanks for your time; best wishes and thanks as always for all the great music.

[Trevor]

Ethan: my sons & I loved seeing TBP in Wellington at the NZ Arts Festival a few years ago. Is there any prospect of your coming back to NZ some time soon?
Also, can I ask here about the status of the Rite of Spring arrangement you have been performing? I managed to hear some of it streaming (on NPR I think?) but I haven't seen any chat about a recording being released. Surely I'm not the only fan who would be interested in it!

[Hugo]

Hi Ethan - long-time reader, first-time poster. Just rereading your '73-'90 Redux article and noticed that you name-check MJQ's In Memoriam album. This was one of the handful of modern jazz LPs in my parents' collection, all of which were really responsible for getting me into the music (others were MJQ's Collaboration and Plastic Dreams albums - the former, with Laurindo Almeida is still my favourite of theirs - Getz/Gilberto (inevitably!) and some Billie Holiday and Earl Hines compilations). I haven't listened to In Memoriam for years, but remember that it helped get me through a tough set of exams when I was in my mid-teens. It's about time it appeared on CD!

[matt]

hey Ethan

awhile back you mentioned the possibility of a morton feldman post. this would make me very happy. i hope you are still considering it.

[Ethan Iverson]

@Peter: Thanks! The idea of a songbook has come up but we never do anything about it. There is very little paper so far, that's one of the problems. I presume you heard Dave's solo record on piano, INDELICATE?

I can't speak for Reid's tune title, "People Like You." I mean, I have an opinion, I'm sure he does too. They are probably different opinions.

@Ronan: I have that, of course, but honestly I've always thought that it was the wrong drummer. But now I will have to go back. Yeah, don't sleep on Konitz in the 70's, he was playing some amazing stuff, there's that record with Ted Brown and Albert Dailey that sounds like the alto is on fire.

Indeed, nice to meet!

@Chris P: Everything you suggest is possible! But I can't say what is really go going to happen, or in what order... THANK YOU

Brubeck! Yes, I have a lot to say, I even have the working title of an essay. It needs to keep baking, though.

@Trevor: honestly, we can't imagine NOT recording the Rite but at this precise moment there are no firm plans to do so.

@Hugo: Ah, someone else has heard this record! It's a special piece of music. What I've heard of Collaboration I though was really great too.

@matt: H'mm, I don't really know Feldman that well. I searched DTM and saw that I wrote, "I have a date with him in the future." Regrettably, he's still waiting for me to show up to the hang...one of these days I'll get to him!

[Grant]

Hey Ethan,

Seeing the Rite in NYC has been one of the highlights of the summer - watching the stage light up as you guys started playing the Augurs blew me away. A quick question: was Brandt Brauer Frick Ensemble your guys' choice? Loved them too!

Here's a longer question (I apologize): as someone that eschewed the jazz school path and didn't take ear training courses and whatnot, what kind of things did you do to develop your ear? I mean, did you do specific exercises daily during your practice routine, or is it more something you just let happen from playing/listening a lot? Thanks!

[M. Maxwell Howard]

Two things:

1. I finally got around to reading your interview with Hamelin. He's been my piano hero for a few years now and it was great to find out he's such a humble guy. He said something about how he's not sure if anything he's done will be long lasting (or something along those same sentiments... I can't find the quote again), but come on, who could record a better Bolcom Etudes than him? Thanks for the great read.

2. I hope you got around to listening to the Mendelssohn Octet!! What did you think? It's one of my favorite chamber works (my favorite being the Schubert C Major quintet, which I hope you know!).

[Ethan Iverson]

@Grant: Thanks! No, Bill Bragin (promoter of LCOOD) discovered Brandt Brauer Frick.

I think the general consensus about developing one's ear is to listen constantly and transcribe. I never used to transcribe solos (my ears weren't good enough before Amazing Slow Downer) but I did learn tunes. Do you have Amazing Slow Downer? Get it! It is truly Amazing.

@ M. Maxwell Howard: Yeah, Hamelin is such a nice and down-to-earth cat even though he is a total god at the piano.

I did check out out the Mendelssohn. Lotta E-flat! I know the Schubert only a little, I should put both into steady rotation. I'm very sadly chauvinistic, I tend to pay a little less attention to core classical music if there's no piano. (dumbass.)

[David R]

Bravo for another must read interview (w/ Fred), Ethan.

Do we need to rsvp for the master classes?

[Ethan Iverson]

@David R.: Thanks.

Good question! I updated the post. No RSVP. You in town? be nice to see you.

[goliono]

Um, I feel like a may be saying something stupid here, as usual, but what the hell: in the transcription above, it looks like the measures with the triplets have 5 beats.

Regarding Chopin interpreters, you ever listen to Volodos (who's been popping up in my last.fm station)? I did a search of the blog, and the only mention I found was by an interviewee. He does a "Horowitz transcription), and seems to be really trying to play it like Horowitz, which I guess isn’t the personal approach you want exactly, but the results sound good to me.

Hey, once you want to get the getty, getty, and the problem will get real dretty, dretties.

[Ethan Iverson]

@goliono: You are right to complain about the confusing, weirdly-notated nested triplets in Marshmallow. Finale is to blame as much as me, I can't make it submit to my will. Should take a lesson with DJA to figure it out maybe. But the program def only allows four beats to the bar. No fives...

I have never heard Volodos play Chopin, and a quick search suggests he has never recorded that composer, at least in an obvious place. Something to look forward to, perhaps. Great pianist, of course!