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An occasional blog about populist politics and popular music, not necessarily at the same time. LinksLocal Links Social Media My Other Websites Music Politics Others Networking Music DatabaseArtist Search: Website SearchGoogle: Recent Reading
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Monday, July 28, 2014 Music Week
Music: Current count 23570 [23527] rated (+43), 541 [548] unrated (-7). Finally got hot here in Wichita last week, so I spent most of my time inside, listening to music, trying to add some flesh to the bones of a Rhapsody Streamnotes column that should be posted before July burns out. The new jazz queue is running low, and much of what remains (possibly including some records below) doesn't officially release until September, so I focused on Rhapsody. So I wound up going for old jazz, glancing at my Penguin Guide 4-star list but digging a little deeper when something caught my fancy -- for instance, Trevor Watts' The Deep Blue was never reviewed by Penguin Guide (although an earlier, similar solo album was). The Chris Anderson and Nancy Harrow twofers also came out later: Anderson I looked up when I was doing his Charlie Haden duo last week, and I noticed Harrow as a side-effect. The big discovery was Conrad Bauer's wonderful Zentralquartett. I had previously heard (and graded A-) their 2006 album, 11 Songs -- Aus Teutschen Landen, back when I was on Intakt's mailing list, and had long had Plié on my "shopping list," so I expected good things and found even better. Intakt is making more and more of their catalogue available on Rhapsody, and I'm picking them up about as fast as I can find them: 27 in past Streamnotes columns (including a deep dive into Irène Schweizer's work -- her Portrait and Alexander von Schlippenbach's Monk's Casino were the two top releases of my tenure with the label) -- and eight more below. I'll also note that when I received them, their jewel boxes were packed precisely into indestructible mailers, by far the most impressive attention to detail I've seen. (Swiss, you know.) Not much in the mail this week, but there was one prize, a book by Rick Lopez: The William Parker Sessionography: A Work in Progress. Back cover says, "Attempting a complete historical arc." The book comes to 482 large (8.5x11-inch) pages with 370 illustrations, paperback, weighs 3.2 lbs., and sells for $50 list. The data has long been accumulating on Lopez's website, conveniently in one huge file here, and it chronicles everything Parker played since January 19, 1974 (or February 1, 1974, since Parker noted that he was not at the previous concert), up to the moment. The book, of course, will be instantly obsolete -- the last entry there is for the four sets Parker played at the Nineteenth Annual Vision Festival June 11-15 this year, but it's lovely just to thumb through. Presumably I got my copy because Lopez used a quote of mine as a blurb: "I want to point out the wonderful discographies that Rick Lopez has produced . . . -- treasure troves of information, some of the finest scholarship available on the internet today." As the plural indicates, Parker has not been the only musician blessed with Lopez's attention, but he has been by far the most prodigious. The quote saves me from writing a review -- not that I won't someday -- but for now let's add that it's also, or should soon be, some of the finest scholarship available in America's finer libraries. My quote, by the way, comes from a piece I originally wrote for Static in 2003, called Bass Fiddles and Nu Bop: A Consumer Guide to William Parker, Matthew Shipp, et al., which offered Consumer Guide-style reviews to 57 albums. (The link goes to my archive, which includes many additional notes -- that's where you'll find the blurb comment.) The idea for the piece came up after Shipp and Thirsty Ear sent me a huge pile of albums for my Rolling Stone Record Guide entry on Shipp, then Steven Joerg of AUM Fidelity matched that with a deep selection of Parker's work for his label. Several other musicians and label heads helped out, and I made a few strategic purchases. At the time, I distilled a discography from Lopez's data (and other non-Parker sources), listing 259 records, 97 of which I had heard. At some point I should collect all the subsequent reviews and create an updated page -- there must be another 50-100 records since 2003, depending on tightly we narrow the focus on Parker. A couple more listening notes: I finally broke down and gave the new Miles Davis bootleg one fast 4-hour spin, so the grade there is very perfunctory. The Jarrett-Corea combo is more famous than great, with neither doing what they do best but having fun nonetheless. There's a good chance that comparative listening would have found some chunks (relatively speaking) in this particular set -- certainly Dark Magus and Live at Philharmonic Hall are superior. I note that the one the new release build on is the second weakest of the five -- the worst is the slightly earlier Miles Davis Live at the Fillmore East (March 7, 1970), with Jarrett-Corea the main culprits. Still, I haven't listened to any of those records in years, so it's possible that I was swayed by the reacquaintance with the always attractive trumpet-on-rhythm shtick. On the other hand, the 4-CD set offers more choices that are less exhausting than one 4-hour fly-through. And like I said, listening through my computer I can neither confirm nor deny reports of superior sound. In a set this size, all this matters more than usual. This is one case where I requested a copy and didn't get a reply. The New Orleans Rhythm Kings also got a relatively cursory one-shot listen. Again, actual CDs would have been a plus, but I was inclined to be generous: I have about half of this on a 1992 Milestone release (the Jelly Roll Morton sides), a set I love, and the sound here (even on computer) is clearly better; the record is a Penguin Guide Crown selection, historically important -- the sort of thing many of us would want to have just to have a proper overview of the history -- and the last third or so simply blew me away. Normally, I wouldn't give a full A to a record heard just once, but consider this a very educated guess. That's probably true of Cecil Taylor's Silent Tongues as well, but being a single I gave it two spins. What I didn't do was any comparative listening to other Taylor solos, of which there are many. Penguin Guide has this at 4-stars, but they rate two others even higher (For Olim and The Tree of Life, both in their "core collection"). I have those records at B and B+ respectively, last heard long ago and quite possibly underrated. With Taylor as with Tatum, you are probably an all-or-nothing type -- at least most critics are, Morton & Cook included. I'm not: I admire both but don't want to be inundated by either, and I recall I went through a stage where a lot of Taylor's stuff turned me off. More depth on all of this in Rhapsody Streamnotes, out later this week. Don't know whether I'll continue this pace into August. Maybe travel of something to take a break. By the way, three A- records among the relatively hit-and-miss new records. One was recommended by Jason Gubbels, one came off Chris Monsen's list, one came from both plus Michael Tatum (who gave me the first heads up). Also one A which just popped up in my mailbox. Recommended music links:
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Recent reissues, compilations, and vault discoveries rated this week:
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Unpacking: Found in the mail last week:
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