#The New Gary Burton Quartet

[jazzdailyblog]

Gary Burton: The Vibraphone Virtuoso Redefining Jazz

Introduction: In the realm of jazz, there are instrumentalists who leave an indelible mark on the genre, pushing its boundaries and redefining its possibilities. One such luminary is Gary Burton, a masterful vibraphonist whose innovative approach and technical virtuosity have made him a true icon in the jazz world. This blog post delves into the life, career, and musical contributions of Gary…

[theloniousbach]

CONSIDERING KEITH JARRETT’S AMERICAN QUARTET

At the end of February, pianist/critic Ethan Iverson called his Transitional Technology/Do the Math readers’ attention to an YouTube interview with Keith Jarrett conducted by Rick Beato. Besides archival performances, commentary, and conversation, there were incredibly poignant latter-day one handed performances. Post-strokes the genius is still there, but it is cut literally in half.

Keith Jarrett was hugely influential on me as a new jazz fan. As with so many, that he played with Miles Davis (electric piano and organ (!?!) on at Fillmore and Live-Evil) put him on my radar. I had the Bremen/Lausanne solo concerts even before the justly legendary Koln. I had Belonging by the European Quartet and Reflections and Fort Yawuh with Dewey Redman, Charlie Haden, and Paul Motian. I also really liked the album with Gary Burton from this same period. More on that later.

I liked my albums and played them frequently. When the 10 discs of Sun Bear came out as the next solo concerts, that was too expensive for me to be a completist. As remarkable as Bremen/Lausanne and Koln were, I felt I knew what Jarrett was up to. Those vamps, melodies, gospel elements, free breakdowns were also present in the band records. It was all conceptually fascinating, but the experiments and juxtapositions were always adventurous but not always successful. In the moment, there too I thought I had a bead on what was going on, but didn’t think I needed more.

When I returned to the music, the Standards Trio with Gary Peacock and Jack DeJohnette better suited my aesthetic. I found “my” albums again and gave them a single fond refamiliarizing listen. I have now listened to all the American Quartet albums and a 3 1/2 hours playlist derived from Iverson’s extensive, tune-by-tune review of the band’s entire output. He is quite impressed with the later Shades of Jazz and some of Bya-Blue too.

But with those exceptions, I don’t think I missed that much and so bristle a little bit at the suggestion that this was the last great band. As a contrarian, I nominate the Dave Holland Quintet and maybe Woody Shaw’s band. But it was something special—a young phenom recruits the elders Paul Motian from THE Bill Evans Trio and Dewey Redman and Charlie Haden from Ornette Coleman and ambitiously mashes them up with elements of his own aesthetic from the solo concerts.

It’s an interesting mix—Motian’s free sense of time up against Haden’s solidity with Redman’s earthy primitivism at the service of Jarrett’s capacious vision. Again, it’s not always successful, but they are unavoidably interesting.

Iverson doubles down on a judgment drawn from initial reportage that Jarrett didn’t do his bebop homework because of this:

“In the Beato video, Jarrett says that when he was finding his voice, he didn’t want to play modal like McCoy Tyner. He then says he wanted to be more “Bach-ian,” meaning voice-leading in the contrapuntal European tradition like Bach.”

So, yes, Jarrett has a cerebrality that maybe wears thin or that prompts admiration first with affection following—or not.

But the other interesting idea is that there is a Midwestern “country” or at least folk aesthetic that draws on major chords. Iverson draws a line that also includes Pat Metheny, Charlie Haden, Gary Burton, and even Ornette—and maybe Fred Hersch from Cincinnati belongs too. And that makes the Jarrett/Burton album stand out as probably the best Jarrett band album. Burton and Steve Swallow with his compositions structure and rein in Jarrett while he adds to a tough appealing set.

I am left after this valuable exercise with fond memories and admiration for Keith Jarrett, but my affection still lags.

[jazzophilia]

I want an all jazz Fantasia

-Freddie Hubbard "Red Clay" -Dave Brubeck Quartet "Blue Rondo a la Turk" -"Night in Tunisia" either the legendary Charlie Parker 1946 recording or the Supersax recording (its note for note the same but with a whole sax section added :3) -Duke Ellington "Take the A Train" or "Satin Doll" -John Coltrane "My Favorite Things" -Horace Silver "Gregory Is Here" -Louis Armstrong "West End Blues" -"Birdland" as recorded by Maynard Ferguson -Herbie Hancock "Watermelon Man" (Head Hunters) -Chick Corea & Gary Burton "Bud Powell" (from The New Crystal Silence 2008) -Snarky Puppy & Metropole Orkest "Sintra" into "Flight" into "Atchafalaya"

and if we were to add some charts with vocals -Nina Simone "I Wish I Knew How it Would Feel To Be Free" (live at Montreux 1976) -Lalah Hathaway & Snarky Puppy "Something" -Magda Giannikou & Snarky Puppy "Amour t'es la?"

[sheetmusiclibrarypdf]

Keith Jarrett - The Art of Improvisation COMPLETE (full 2005 documentary, with extra interviews)

Keith Jarrett - The Art of Improvisation COMPLETE (full 2005 documentary, with the extra interviews) Video Link:Best Sheet Music download from our Library.Please, subscribe to our Library. Thank you!Directed and narrated by Mike Dibb. Program consultant; Ian Carr.All About Jazz reviewBrowse in the Library:Best Sheet Music download from our Library.

Keith Jarrett - The Art of Improvisation COMPLETE (full 2005 documentary, with the extra interviews) Video Link:

https://www.youtube.com/watch?v=_fB5YXgNX-w

"In this in-depth portrait of one of the world's superstars of Jazz, pianist Keith Jarrett talks about the range of his music, the importance of improvisation, the great artists he has worked with, and about the highs and lows of his life. Further insights are provided by fellow musicians, family members and other musical associates. Incorporating recordings and rare archive footage of concerts dating back to the 1960s and including such greats as Miles Davis and Charles Lloyd, this first-ever major documentary has been made with the full cooperation of Keith Jarrett himself." "With, in order of appearance, Keith Jarrett, Manfred Eicher, Gary Peacock, Jack DeJohnette, Steve Cloud, Scott Jarrett, George Avakian, Gary Burton, Toshinari Koinuma, Chick Corea, Charlie Haden, Dewey Redman, Rose Anne Jarrett and Palle Danielsson." Directed and narrated by Mike Dibb. Program consultant; Ian Carr. Keith Jarrett in extended interview about his work illustrated by numerous tv clips of the musician in performance over the years and with interviews by colleagues Ian Carr, Miles Davis, Manfred Eicher, Gary Peacock, Jack DeJohnette, George Avakian, Gary Burton, Chick Corea, Charlie Haden, Dewey Redman, Palle Danielsson and Jon Christensen. (Personnel on Camera)

All About Jazz review

While he can often engender all manner of contention and argument, it's unquestionable that Keith Jarrett is one of the most significant pianists to emerge in the second half of the 20th Century. An artist who has done it all — performed his own sometimes lyrical, sometimes free-spirited compositions with two groundbreaking quartets in the '70s, taken solo improvisation to a whole new level with a series of important recordings including the classics Facing You and The Köln Concert; contributed a fresh spontaneity to the Great American Songbook with his Standards Trio. Tackled the challenging classical repertoires of Bach, Mozart and Shostakovich and composed his own classical works; and played in landmark groups including Charles Lloyd in the '60s and Miles Davis in the '70s — Jarrett is also more than a little enigmatic. Fastidious, perfectionist and, some might argue, highly controlled in his life, Jarrett paradoxically defines the concept of pure abandon in his playing. With a life's work that, classical repertoire aside, has always been about spontaneous creation, Jarrett is in an especially capable position to shed light on the true meaning of improvisation. And so, British producer/director Mike Dibb, responsible for '02's The Miles Davis Story, has fashioned a new documentary which, while never explicitly defining what that elusive meaning is, nevertheless manages — after 85 minutes and a series of remarkably erudite interviews with Jarrett and those who have been close to him over the past 30 years — to create a vivid impression that is both inspirational to aspiring musicians and uniquely clarifying to others who want to understand the process of how musicians create something out of nothing. Rather than present a chronological examination of Jarrett's life thus far, Dibb chooses, much like Jarrett's own work, to use a seemingly non-linear approach that focuses on Jarrett's improvisational process although, in the final analysis — just like Jarrett's extemporization — there is an arc. Beginning with the Standards Trio, then jumping back to his early days and ultimately ending with his European Quartet including saxophonist Jan Garbarek, bassist Palle Danielsson and drummer Jon Christensen, what becomes evident is that Jarrett's goal has essentially been the same as when, precociously, he would add both his own original compositions and spontaneous creations to the classical repertoire of recitals dating back as early as when he was only eight years old. Amongst the many interviews with past and present collaborators including Garbarek, Danielsson, Christensen, Charlie Haden, Gary Peacock, Jack DeJohnette, Chick Corea, Gary Burton and Dewey Redman, perhaps the most significant footage is that with ECM label owner and producer Manfred Eicher, with whom Jarrett found the perfect creative partner early in his career. Jarrett goes as far as saying that his albums are the product of two people — himself and Eicher — which is a significant distinction. That Eicher has recorded far more Jarrett performances than have ever been or will ever be released in order to catch those moments of pure magic, those performances where Jarrett alone or with a group is truly at the moment, also demonstrates the high standard and level of discernment that both he and Jarrett apply to deciding what will ultimately be commercially distributed. That Jarrett has, for 20 years, chosen only to document live performances, rather than record in the studio, is another distinction, one that points to a belief that the audience is, indeed, an integral part of each and every performance. Jarrett comes across as deeply committed, albeit unquestionably idiosyncratic and unapologetically purist; while he admits to enjoying his time with Miles Davis — the only time in his career where he totally gave up acoustic piano for electric instruments — he also dismisses his electric work by calling such instruments "toys. Few, if any, pianists other than Jarrett insist that a choice of pianos be provided for each performance, so that he can choose the best one for the concert hall. And the sheer physicality of his playing, along with his total and absolute involvement with the music to the exclusion of anything else, paints a unique picture — as does his level of communication. Virtually all concert footage — including performances with Lloyd, Miles, the Standards Trio, and the American and European Quartets — demonstrates the incredible interaction that exists at every performance. Jarrett has, in recent years, come under criticism with regard to the Standards Trio which, at over 20 years, is the longest-lasting group of his career — and, with rare exception, is one of the longest collaborations in the jazz period. Some say that the group has lost its creative edge. But watching the footage of the trio, and listening to Jarrett, Peacock and DeJohnette discuss how little rehearsal takes place — in fact, rehearsals typically only occur in sound checks before concerts, and it's not uncommon for the trio to work on something at a sound check and never actually play it in concert — one is truly drawn into the sense of adventure applied to every performance. And the performance footage, in concert with the interview clips, manages to demonstrate the kinds of risks the trio take with each and every tune; how any one of the members can suggest a new direction with complete confidence that the others will follow. By the time Dibb's documentary reaches its end, one may not be able to explicitly define the art of improvisation, but there are profound conclusions implicitly reached. And the documentary compels one to either play some Jarrett recordings or, if Jarrett's music is new to the viewer, to go out and find some. The level of excitement and discovery is so vivid that even those who have become jaded with Jarrett in recent times may find themselves with renewed interest. While some bemoan Jarrett's abandonment of writing, what becomes clear — and Jarrett articulates this at one point — is that every performance involves the act of composition. And that, perhaps more than anything, is the true meaning of improvisation. Visit Keith Jarrett on the web. Interviews with: Keith Jarrett, Manfred Eicher, Gary Peacock, Jack DeJohnette, Steve Cloud, Scott Jarrett, George Avakian, Gary Burton, Tashinari Koinuma, Chick Corea, Charlie Haden, Dewey Redman, Rose Anne Jarrett, Jan Garbarek, Jon Christensen, Palle Danielsson Chapter Listing: Essentially an Improviser; Three is Not a Crowd; Small Hands; A Potential Star; Moments to Echo; Solo; Invader in the Ranks; Sounds and Pulses; Musical Seduction; The European Group; Sacrifices; Epilogue Bonus Features: The Keith Jarrett Trio, Live in Concert perform "Butch and Butch ; Extra interviews with Keith Jarrett, Gary Peacock and Jack DeJohnette. Read the full article

[cdbrainrecords]

Gary Burton Quartet - In Concert (LP, Album)

Vinyl(VG+) Sleeve(VG+) Obi(missing) / / missing Obi 帯なし / コンディション　盤 : Very Good Plus (VG+) コンディション　ジャケット : Very Good Plus (VG+) コンディションの表記について　  [ M > M- > VG+ > VG > G+ > G > F > P ] レーベル : Victor – SHP-5737 フォーマット : Vinyl, LP, Album, Stereo 生産国 : Japan 発売年 : 1968 Recorded Live at Carnegie Recital Hall, New York City, February 23, 1968 Black labels ジャンル : Jazz スタイル :    収録曲 :  A1. Blue Comedy…

[bamboomusiclist]

10/1 おはようございます。Santana / Welcome Pc32445 等更新しました。

Milt Jackson / At The Museum Of Modern Art lm82024 Johnny Smith / plus the Trio lp2243 Freddie Redd Hamp Hawes / Piano East West PRLP7067 Phineas Newborn / Piano Portraits by R52031 Hank Mobley / No Room for Squares bst84149 Duke Ellington / & John Coltrane As-30 Cedar Walton / Third Set Scs1179 Kenny Drew / Dark Beauty scs1016 J.B. Lenoir / JB Lenoir 24-4011 Change / A Lover's Holiday - The End RCS49208 Roy Shirley / Move All Day - Keep Your Eyes On The Road WIM+28/WIM+57 Dr Buzzards Original Savannah Band / Dr. Buzzard's Original Savannah Band pl11504 A Tint of Darkness / A Tint of Darkness S-32250 Gary Burton / The New Quartet ecm1030st King Crimson / in the Court of th Crimson King ilps9111 Santana / Welcome Pc32445

~bamboo music~

info@bamboo-music.net  

530-0028 大阪市北区万歳町3-41 シロノビル104号

06-6363-2700

[whileiamdying]

Upswing Is Seen for jazz As Newport Series Nears

by John S. Wilson [Jazz Critic, the New York Times] June 26, 1970

Jazz reached a nadir of popularity last year, according to George Wein, producer of the Newport Jazz Festival.

“But this year will be a jazz year,” he predicted as he prepared for the 17th year of the festival, “because there is now more concern among jazz fans. They realize how close their music has come to being extinct. The festival's advance sale is al ready 20 per cent ahead of 1968, which set a record.”

Last year was the year when Mr. Wein spiced up the Newport Jazz Festival with rock groups, offering pro grams that produced a strong divergence of opinion among jazz followers and attracted crowds, which, during one concert, battered down a seg ment of the wooden fence surrounding Festival Field. After the festival, Mr. Wein was required by the City of Newport to install a chain link fence and to make changes in the method of policing the area around the field.

Details of Cutback

Because of these expenses, which were shared by the Newport Folk Festival, and reaction to the turmoil at the Jazz Festival, the Folk Festival, held two weeks later, wound up with a financial loss.

As a consequence, there will be no Folk Festival this year, the Jazz Festival will be reduced to three nights (July 10 to 12) instead of the customary four, and no rock groups will perform — not even jazz‐influenced rock groups such as Blood, Sweat and Tears, which played last year.

“Even the jazz fans who complained about rock last year generally considered Blood, Sweat and Tears acceptable,” Mr. Wein ad mitted.

This year, during three evening concerts and two afternoons, Mr. Wein will place the musical focus directly on jazz, starting with an open ing night tribute on July 10 to Louis Armstrong, who will celebrate his 70th birthday on July 4. Mr. Armstrong will be present with a contingent of long‐time New Orleans musicians, including the Preservation Hall Band, the Eureka Jazz Band and the New Orleans Ragtime Band, as well as another New Orleans native, Mahalia Jackson, the gospel singer.

Afternoon workshops, a regular feature of the Folk Festivals, will be adapted to the Jazz Festival this year with drum, trumpet and vio lin sessions scattered around the field on Saturday after noon, July 11.

Cosby and His Band

On Sunday afternoon, Bill Cosby, the comedian who is a jazz fan and an enthusiastic drummer, will appear with his group, Badfoot Brown and the Bunions Bradford Marching and Funeral Band.

Among other musicians scheduled to play are the Gary Burton Quartet, the Chico Hamilton Quintet, the Tony Williams Lifetime and the Elvin Jones Trio on Saturday afternoon; the Dizzy Gillespie Quintet, Don Byas, Nina Simone, Ike and Tina Turner, Kenny Burrell, Herbie Mann and a quartet of violinists — Stephane Grappelli, Jean‐Luc Ponty, Ray Nance and Joe Venuti—on Saturday night.

[aliveandfullofjoy]

2019 Tony Awards Trivia

This is the stat that I’ve seen get the most attention, and it’s a really cool one: Jeremy Pope, who’s nominated in Leading Actor in a Play for Choir Boy and Featured Actor in a Musical for Ain’t Too Proud, is the sixth actor in Tonys history to be nominated in two different categories in the same year. Pope is only the second to be nominated for both a play and a musical in the same year, the first actor of color to achieve this distinction, as well as the first member of the LGBTQ+ community. The others are: Amanda Plummer (Leading Actress in a Play nominee for A Taste of Honey and Featured Actress in a Play winner for Agnes of God in 1982), Dana Ivey (Featured Actress in a Musical nominee for Sunday in the Park with George and Featured Actress in a Play nominee for Heartbreak House in 1984), Kate Burton (Leading Actress in a Play nominee for Hedda Gabler and Featured Actress in a Play nominee for The Elephant Man in 2002), Jan Maxwell (Leading Actress in a Play nominee for The Royal Family and Featured Actress in a Play nominee for Lend Me a Tenor in 2010), and Mark Rylance (Leading Actor in a Play nominee for Richard III and Featured Actor in a Play winner for Twelfth Night in 2014).

A few notable firsts: Ali Stroker (Oklahoma!) is the first actor who uses a wheelchair to be nominated for a Tony. Paddy Considine (The Ferryman) is the first actor with autism to be nominated for a Tony. 

Heidi Schreck (What the Constitution Means to Me) is the third person in Tonys history to be nominated for Best Play and Best Actress for the same show in the same year. She joins Anna Deavere Smith (Twilight: Los Angeles, 1992) and Claudia Shear (Dirty Blonde). 

Oklahoma! is one of the landmark American musicals and, as of yesterday’s nominations, has received a total of seventeen competitive nominations and a special award in 1993. The only competitive award the show has ever won is for Featured Actor in a Musical in 2002 for Shuler Hensley. 

Director Rachel Chavkin only has two Broadway credits to her name, but both shows led the nomination count in their respective Tonys ceremonies: Natasha, Pierre and the Great Comet of 1812 received twelve (eventually winning two), while Hadestown scored fourteen nominations. 

Anaïs Mitchell (Hadestown) is the 41st woman nominated in the Best Score category. If she won, she would be the seventh woman to win (joining Betty Comden, Lynn Ahrens, Lisa Lambert, Cyndi Lauper, Jeanine Tesori, and Lisa Kron), and she would be only the second woman to win the award as a solo composer, following Lauper in 2013.

Dominique Morisseau (Ain’t Too Proud) is the first black woman nominated for Best Book since Lita Gaithers in 1999, who was nominated for It Ain’t Nothin’ But the Blues. 

If either Kiss Me, Kate or All My Sons wins their respective Best Revival category, they would join The King and I, La Cage aux Folles, Death of a Salesman, and A View from the Bridge as the only shows to win Best Revival twice. 

Some of the roles nominated this year have previously been nominated for or won Oscars. These roles include Scout Finch (To Kill a Mockingbird), Michael Dorsey (Tootsie), and Sandy Lester (Tootsie), while the roles Howard Beale (Network), Atticus Finch (To Kill a Mockingbird), and Julie Nichols (Tootsie) have all won Oscars. 

A few actors are back with a returning Tony nomination after a lengthy gap: Annette Bening (All My Sons) received her second nomination, her first coming in 1987 for Coastal Disturbances; Fionnula Flanagan (The Ferryman) also received her second nomination, with her first coming from further back in 1974 for Ulysses in Nighttown. Mary Testa and André De Shields both received their third nominations (she for Oklahoma!, he for Hadestown), the first for each of them since their last nomination in 2001 (she for 42nd Street, he for The Full Monty). 

Some roles that received nominations this year that have previously been nominated or won: Chris Keller in All My Sons (Benjamin Walker in 2019, Jamey Sheridan in 1987), Larry in Burn This (Brandon Uranowitz in 2019, Lou Liberatore in 1988), Lilli Vanessi in Kiss Me, Kate (Kelli O’Hara in 2019, Marin Mazzie in 2000), Curly in Oklahoma! (Damon Daunno in 2019, Patrick Wilson in 2002), and Aunt Eller in Oklahoma! (Andrea Martin in 2002, Mary Testa in 2019).

Ain’t Too Proud is the first jukebox bio-musical nominated for Best Musical since Beautiful in 2014, and the sixth ever nominated, joining The Boy from Oz (2004), Jersey Boys (2006), Fela! (2010), Million Dollar Quartet (2010), and Beautiful (2014).

With his double nominations for Tootsie and Beetlejuice, William Ivey Long remains the most nominated costume designer in Tonys history, with 17 total. This is also his second year with two nominations, having also been nominated for both La Cage aux Folles and A Streetcar Named Desire in 2005. 

This is the first time ever that there are six nominees in the Best Score category. To Kill a Mockingbird is the eighth non-musical play to be nominated in this category, joining Much Ado About Nothing (1973), The Song of Jacob Zulu (1993), Twelfth Night (1999), ENRON (2010), Fences (2010), Peter and the Starcatcher (2012), One Man, Two Guvnors (2012), and Angels in America (2018). This is the first time a non-musical play has been nominated in this category in consecutive years.

Kelli O’Hara received her seventh Tony nomination for Kiss Me, Kate, her sixth in the Leading Actress in a Musical category, tying her with Sutton Foster and Bernadette Peters. Chita Rivera still reigns supreme in that category, with eight nominations.

The Prom is the 14th musical to get multiple Leading Actress nominations. The others: New Girl in Town (1958), Company (1971), Follies (1972), Chicago (1976), Annie (1977), Dreamgirls (1982), The Rink (1984), Black and Blue (1989), Guys and Dolls (1992), Side Show (1998), Urinetown (2002), Wicked (2004), and War Paint (2017). 

If Tootsie wins Best Musical, David Yazbek will be the fourth person to work as composer on back-to-back Best Musical winners, joining Richard Adler and Jerry Ross (The Pajama Game and Damn Yankees) and Cy Coleman (City of Angels and The Will Rogers Follies). 

With both Ain’t Too Proud and Hadestown, This is the fifth time that two shows received at least two nominations in Featured Actor in a Musical. The others are Fiorello! and The Sound of Music (1960), The Producers and The Full Monty (2001), Hairspray and Movin’ Out (2003), and Something Rotten! and An American in Paris (2015).

Scott Ellis (Tootsie) has broken his tie with James Lapine to become the director with most nominations for Direction of a Musical without a win.

With his nomination for Kiss Me, Kate, orchestrator Larry Hochman is a nine-time Tony nominee and is now second behind Jonathan Tunick as the most nominated orchestrator of all-time.

Peter Nigrini is the first person in Tonys history nominated for both Scenic Design of a Musical and Lighting Design of a Musical in the same year. He’s nominated for Ain’t Too Proud’s set with Robert Brill and for Beetlejuice’s lights with Kenneth Posner.

Some stats on how many times the ten nominated directors have been nominated before: this is the tenth directing nomination for Gary’s George C. Wolfe (previously won for Angels in America: Millennium Approaches in 1993 and Bring in ‘da Noise, Bring in ‘da Funk in 1996, and previously nominated for Jelly’s Last Jam in 1992, Angels in America: Perestroika in 1994, Caroline, or Change in 2004, The Normal Heart with Joel Grey in 2011, Lucky Guy in 2013, Shuffle Along in 2016, and The Iceman Cometh in 2018); this is the ninth directing nomination for Tootsie’s Scott Ellis (previously nominated for She Loves Me in 1994, Steel Pier in 1997, 1776 in 1998, Twelve Angry Men in 2005, Curtains in 2007, The Mystery of Edwin Drood in 2013, You Can’t Take It With You in 2015, and She Loves Me in 2016) and To Kill a Mockingbird’s Bartlett Sher (previously won for South Pacific in 2008, and previously nominated for The Light in the Piazza in 2005, Awake and Sing! in 2006, Joe Turner’s Come and Gone in 2009, Golden Boy in 2013, The King and I in 2015, Oslo in 2017, and My Fair Lady in 2018); this is the fifth directing nomination for Ain’t Too Proud’s Des McAnuff (previously won for Big River in 1985 and The Who’s Tommy in 1993, and previously nominated for How to Succeed in Business Without Really Trying in 1995 and Jersey Boys in 2006) and The Prom’s Casey Nicholaw (previously won with Trey Parker for The Book of Mormon in 2011, and previously nominated for The Drowsy Chaperone in 2006, Something Rotten! in 2015, and Mean Girls in 2018); this is the second directing nomination for Hadestown’s Rachel Chavkin (previously nominated for Natasha, Pierre and the Great Comet of 1812 in 2017), Ink’s Rupert Goold (previously nominated for King Charles III in 2016), The Ferryman’s Sam Mendes (previously nominated with Rob Marshall for Cabaret in 1998), and Network’s Ivo van Hove (previously won for A View from the Bridge in 2016); this is the first directing nomination for Daniel Fish (Oklahoma!).

[jazzviewswithcjshearn]

In depth live review: Pat Metheny Side Eye at Sony Hall, September 13, 2019

Pat Metheny Side Eye, Sony Hall, 9/13/19

Pat Metheny: acoustic, and electric guitars, orchestrionics, guitar synth; James Francies: acoustic piano, keyboards, electronics; Marcus Gilmore: drums.

Over the past few years guitarist Pat Metheny has been extending the tradition in jazz of mentoring young musicians on the band stand the way Miles Davis, Art Blakey, and currently, the way Wallace Roney, Herbie Hancock, Gary Burton and Chick Corea have done.  It's a practice that is rarer and rarer in the music as some of the  legends who have done so have passed on, and because the music got a boost in the 70's from academia, the kind of university of the street aspect of playing on the road has been minimized.  The guitarist's Side Eye project premise is simple: play with young musicians who've grown up on his music that have caught his attention and see the ways in which they can approach his massive catalog.   It is thoroughly in the tradition, albeit his own unique tradition and spawns from his invitation of young musicians to his New York home, and spending large amounts of time with a wide cross section of his own tunes.   On the evening of September 13th at Sony Hall in New York City flanked by cameras for an NHK Japanese broadcast, the group, spurred on by an appreciative sold out audience played a continuous two and a half hours of inspired music making.

Indeed, the sort of all encompassing approach of including his entire catalog under one roof has been in play for quite a long time now. For the past several years with his current quartet featuring pianist Gwilym Simcock, bassist Linda May Han Oh, and drummer Antonio Sanchez, and on the final Japanese tour of the Pat Metheny Group with the core quartet, Metheny explored rarely played classics to the delight of audiences all over the world. Though the cast of musicians has rotated including Nate Smith, and Anwar Marshall, James Francies on keyboards and synth bass has remained a constant. With the trio of  Francies  and Marcus Gilmore on drums for the summer tour not only did he investigate gems from his book of more than 500 compositions, he expanded on them, and wrote new music that took the band's individual personalities to full effect without sacrificing the selfless whole of the superior musicianship on display.

James Francies has been rising quickly on the jazz scene with his Blue Note debut Flight. He is among a cadre of musicians helping bring younger audiences to jazz blending hip hop, R&B, soul and gospel influences along with Robert Glasper, Derrick Hodge, Chris Dave and Unity Band/Unity Group alumnus Ben Williams.  In Francies, not only has Metheny found an ideal partner that pianistically is a huge contrast to Hancock, Lyle Mays, Paul Bley, Brad Mehldau, and Simcock, but is equally fearless in presenting a borderless perspective to the music.  Marcus Gilmore the 32 year old grandson of the legendary Roy Haynes,  has logged valuable time with Chris Potter, Chick Corea's Vigil, and Vigelette trio, David Virelles, and Will Vinson. Like Francies he is deeply immersed not in only Metheny's universe but everything in the contemporary music scene.  

As the lights gradually faded up on stage, the guitarist uncharacteristically, and energetically began the evening by speaking to the audience, about how great his musical compatriots were and they wasted little time, getting into the first of a pair of Ornette Coleman compositions during the evening, the classic “Turnaround” that Metheny recorded on 80/81 (ECM, 1980).  Metheny dug right into Gilmore's medium tempo swing on the basic 12 bar blues form. Around the third or fourth guitar chorus, Francies dropped out so Metheny could stroll with Gilmore's support and with a chordal instrument like piano dropping out, there is no safety net with the harmony so things become totally open. Buoyed by Gilmore's insistent ride, the guitarist  swung harder, and harder.  When it was Francies turn to take the first of several dazzling solos, Metheny demonstrated a rarely shown aspect of his comping by playing four to the bar chords a la Freddie Green in the Count Basie band.  The only recorded evidence of Metheny applying the technique appeared on “The Moon Song” from Beyond the Missouri Sky (Verve, 1997) with Charlie Haden, and in the context of the Coleman blues, showed his deep love of the jazz guitar tradition.

Francies was transcendant on “Bright Size Life” with a turn on Rhodes that displayed some dizzying counterpoint between his left hand on synth bass, and right hand on Rhodes.  He is a very lyrical, melodic player and has chops in spades, but never overwhelms.  At 22 years old he is absolutely prodigious, not only with a thorough knowledge of the jazz traditional but equally at home in gospel and R&B. When the keyboardist moved to Hammond organ (playing a Hammond  XK-5, a digital, compact version of a B-3) for Metheny's rarely played “Timeline” from the late Michael Brecker's Time is Of the Essence (Verve, 1999) he revealed another sterling aspect of his musical personality. Boosted by Gilmore's deep pocket swing, he soloed with the right hand on the lower manual with first three drawbars out; percussion off, and went from the blues to gospel with ease, supported by his own solid left hand bass on the upper manual. The technique is the opposite of the jazz organ style and stems from Francies gospel roots.  The piece was a window into what a Metheny organ trio would have been like, entrenched in the established paradigm but pushing forward in it's own way.  Metheny  was relaxed, swinging and diving into his improvisation with fervor, mid solo, stepping on a pedal to let a note on his Slaman hollow body ring out emulating the shout, or drone pattern. The drone pattern is something  countless organists from Jimmy Smith, Jack McDuff, Don Patterson and Joey DeFrancesco have used.  It involves holding down the tonic (involving only notes proper to the prevailing key without chromatic alteration constructed from a diatonic scale) , and “shouting” with the other notes around it,  a technique originated from the church.  Metheny also used this technique on “Tune Blues” from The Cuong Vu Trio Meets Pat Metheny (2015) a throwback to his days of playing in organ trios coming up in Kansas City, and this exploration of another rarely heard facet of his musical personality was a joy, and shows how his playing is entering a new phase.

Over the first hour as the guitarist examined old favorites with gusto, the most striking revamp was on “Better Days Ahead”. Though the tune has early versions in collector's circles dating back to 1981 or 2, it was first recorded in 1989 with the PMG on Letter From Home.  Taking into account a zone that Francies, and Gilmore are well acquainted with, Metheny turned the sunny Brazilian inspired melody into a dark, smoky, sexy funky R&B backbeat that framed his signature lyrical delivery in a new way with the guitarist leaning deep into Gilmore's groove. The drummer, who had a smoking feature a bit earlier on Coleman's “The Good Life” took a bit from the Steve Gadd R&B feel, playing the kick drum on 1 and 3, complemented by streaming cymbals up top adding to the funkines.  It was easily one of the most radical transformations of a classic Metheny tune, and a highlight over 2 and a half hours.

After a tender “Message To A Friend” which debuted on John Scofield's I Can See Your House From Here (Blue Note, 1994) the center piece of the set was a suite of three new pieces composed for the band.  Metheny explained to the audience that the flexibility of Francies and Gilmore gave him free reign to go into the area that interests him humorously quipping “I can write a piece with 49 pages of written material”.  Francies set the tone with glittering sequenced synths, that served as an extension of the electronics heard on the title track of the Unity Group's Kin (<->) as some trademark Metheny harmonies from synths, wafted into the atmosphere.  The guitarist began with a descending melody line doubled by bass that transitioned into different sections aided by a baby version of the large Orchestrion, the acoustic mechanical instrument ensemble a part of his arsenal now for a decade.  Metheny took two solos on the venerable Roland GR300 guitar synthesizer, with the second in heightened intensity guided by the heavy African flavor of the Orchestrion in tandem with Gilmore's cymbals.  Gilmore demonstrated his fluency in Metheny's distinct bebop based camouflaged ride cymbal approach here, but was still infused with a looseness from his constant interaction with the guitarist.  Throughout, Francies punctuation with gorgeously ambient analog like synth, and organ provided colors not heard in the music since Lyle Mays' tenure in the Metheny orbit, but his use of these electronica spiced colors added something found in the Houston based pianists own music, that is new an fresh in Metheny's oeuvre.  After Metheny reprised the initial melody, the enthralling, cinematic new piece faded into the ether.

From there, Carolyn Chrzan, Metheny's long time guitar tech handed him a solid body electric that has been  rarely seen (though it is spotted in the Orchestrion World Tour 2010 poster) and the trio launched into a moody, blues-rock ballad.  Metheny started alone, playing a melody that at first vaguely seemed to suggest “Travels” but as it turned out was something completely new.  Fans who have seen Side Eye have reported the tune as sounding seemingly un Metheny like, more in line with Eric Clapton or Eric Johnson. While they are correct the tune is somewhat reminiscent of music from them, and improvisation wise took him to less traveled roads, the melody was pure Metheny.   He built into a distorted solo of raging intensity, Gilmore's rock beat and Francies' organ unyielding behind him.  From the shouts in the audience, and heads bopping, the tune was completely satisfying and would be a winner on a recording as would the first new piece. Metheny returned to the GR300 for the final new tune, starting with a Coltrane like meditation, and once more, building up to a slow tension and release, utilizing his favorite double time device with drums and Orchestrion.  His guitar synth playing this night was vibrant, energized, and he played more GR300 than perhaps any time I've seen him.  With the GR300 he can get into the range of an alto or soprano saxophonist and in small group settings, as with the closing, much faster than usual “When We Were Free”  (featuring a gorgeous Pikasso guitar intro) he can really channel the mid to late period Coltrane vibe, mixed with Ornette Coleman harmolodic asides. On both hollow body and guitar synth, the trumpet like aspect of his playing was on display more than ever as well.  The show closed with an evolved acoustic medley of favorites that has been played as a closer since the Kin (↔) tour.

Pat Metheny, like Miles Davis, has been constantly evolving as a musician.  His playing has been arguably better than ever and Side Eye is a wonderful forum to house all his instincts in one place, perhaps moreso than the Unity Group band and tour.  As great as that band and resulting albums were and are, Side Eye offers something undeniably vital.  Jazz is a music that thrives on adding to it's rich traditions and history. At it's best the music reveres it's tradition while moving things ahead into the possibilities of the present and looks towards the future.  While there are a segment of fans who pine for the return of the Pat Metheny Group, which dissolved in 2010 after more than 30 years, Metheny is giving younger generations who grew up completely familiar in his unique musical universe, the chance to make their mark in their voice, opening new vistas.  The thing that everyone loves about him is still there, Metheny can play densely or lyrically-- it's just expanded to greater capacity, eschewing the fat for more concise solos and tunes.  He's doing what every great jazz musician should do and that's move forward.  Side Eye very well may be the finest group he’s lead in years.

[bongorama]

Mick Goodrick 1945-2022

ECM Records: Guitarist Mick Goodrick has died, aged 77. Long regarded as a musician’s musician, widely admired for the subtlety of his playing, Goodrick devoted much of his life to teaching, helping other guitarists to find their paths as improvisers. On ECM he was first heard on Gary Burton’s The New Quartet in 1973, soon followed by further Burton albums, including Seven Songs for Quartet and…

[theloniousbach]

50 YEARS OF GOING TO SHOWS, Pt. 6: BECOMING A JAZZ FAN IN KANSAS CITY

As  I often do, let me start this reminiscence with a guitar player or three.  My brief here is to recall the formative jazz experiences that have been part of being in the thrall of live music just as often as I can.

So, even though this is jazz and the piano is the most versatile and enthralling instrument at the center of the music for me, I do come to this iteration of musical virtuosity, intelligence, and intricacy from '60s rock--blues and psychedlia.  Fusion, jazz-rock was created for the likes of me and Miles's "Bitches Brew" with John McLaughlin was the first jazz album of my teen years. So we start with seeing the Mahavishnu Orchestra at the University of Kansas.  I remember being in the balcony and so leaning forward physically while metaphorically being blown back into my seat.  They were loud, both actually and filling every aural space with rapid fire notes in intricate array, mostly from McLaughlin's still just a single neck guitar but also Jerry Goodman and Jan Hammer.  But it was equally Billy Cobham's drums that just pulsed in astoundingly complex rhythms.  Later when I got to know Balkan music, I wondered if those rhythms were head trips, intellectual exercises, or tied to Eastern European dance rhythms (Hammer is Czech, after all).  Pure invention.  It was amazing.

In the same hall, I saw the beloved Jerry Hahn, with Brotherhood brothers, but playing a straight ahead jazz show.  He warmed up for this just emerging band with some local appeal, Kansas.  They too were loud and already pretentious.  We left wrapped in our own pretension of jazz snobbery.

One last guitarist, Pat Matheny, a local hero just a year older than us.  The drummer in Fast Eddie and the Juicers, the garage/basement band I hung out with with some very good friends, had played in a middle school jazz band with him.  He was 16, maybe 17, when he played numerous sets at the all day Kansas City Jazz Festival in Municipal Auditorium.  It was a mostly Buddy Rich, Clark Terry, Marilyn Maye (who was then just the jazz singer in town), Gene Harris and the Three Sounds kind of show.  But Matheny played his own set in late afternoon and then kept being asked to sit in.  He later did two or three Xmas season shows often at UMKC (my alma mater, my Dad's employer) with his original quartet with Lyle Mays with "Phase Dance" to open and "San Lorenzo" to close gloriously.

But, particularly now, I don't seek jazz guitar and appreciate more than enjoy such luminaries as John Scofield (though I have seen him with Joe Lovano and also in Jack DeJohnette's Hudson and do like to see him in rockish setting with Phil Lesh and Warren Haynes) and Bill Friesell.  No, it's the piano, best with just bass and drums, that defines the music for me.  

I had a singular formative experience--seeing Oscar Peterson with Ray Brown and Ed Thigpen open ($#%Q%#) for the New Christy Minstrels at UMKC in about 1964.  I was 8 or 9 and felt at home where Dad worked, so I just was drawn into the music and sat on stage behind the speaker column.  They were playing selections from the "Canadiana Suite," so that was an album I got my parents to buy for "us."  But they were magical, so fluid and telepathic and powerful.  I treasure the drum sticks Ed Thigpen gave me.  I got to see him here at a conference on Miles Davis with Sam in tow when he was about the age I was then and told him how meaningful that was.

I saw Count Basie (and possibly Duke Ellington) at a free concert but that made little impression except that Basie was bluesy and from Kansas City.  I saw him, once again in Lawrence, probably in that same auditorium, in the 1970s.  By then I had absorbed the Basie aesthetic.  Even if big bands were more than a little corny, this one swung hard, Basie was eloquently powerful with his little right hand lines, Freddie Green was unflappable, and the horns played the charts well with Jimmy Forrest being the tenor star.

Since I've already talked about Herbie Hancock with both his Mwandishi band and the Headhunters as well as Chick Core with Return to Forever and even Weather Report, I will proceed into a remarkable series of largely free jazz in the park concerts, mostly in Kanas City.

A glorious exception was seeing Charles Mingus with the Changes line up (George Adams, Don Pulled, Dannie Richmond, not necessarily but possibly Jack Waltrath) in Bryant Park, for a noon time set while we were in New York City.  That same band did a concert in the park in Kansas City.  I remember no juicy details--particular tunes from the deep Mingus canon, only Mingus in black fully unprepared to suffer fools.

The Kansas City Parks had a great series with Gary Burton a couple of times (I was also a hanger on at a master class on vibraphone at a music store the next afternoon and saw something about how to use two mallets in each hand) and San Getz with Richie Beirach, maybe George Mraz.  It might have been that I saw Mraz with Roland Hanna and homeowner Richie Pratt on drums in another open air setting.  I was probably just another punter in the crowd; I think anymore I would be annoyed at people there for atmosphere and the party.

I saw the Modern Jazz Quartet with the Kansas City Symphony with the orchestra contributing to some suite, almost certainly John Lewis's, before a few tunes by the MJQ itself.  I was bouncing in my seat a bit too enthusiastically for the regular Symphony goers around me.  Sigh.

Dizzy Gillespie played KC a couple of times.  I saw him out of reverence but wished I could have brought more to the table, more lore.  He wasn't Miles but he was playing probably with James Moody and solid jazz guys on Rhodes and electric bass.  I should have gotten more out of that experience than to say, yeah, I saw Dizzy's cheeks and schtick (certainly a subtle Latin rhythm). I lived in Chicago and had a friend with great jazz ears.  He introduced me to Arthur Blythe and some South African players among many others.  I was part of a gang that went a couple of times to the Jazz Showcase, including once to the original near North Side location, once to the one in a Loop hotel, to see Dexter Gordon in the post-Homecoming days.  Again I wish I could savor more details than the impression of his tall elegance, liquid lines, and deep deep repertoire.  That's as much a reconstruction from the albums and the legend but, details aside, I have a strong image of Dexter Gordon and he was the most formidable tenor player I ever saw.  Now, I did see Sonny Rollins in his late 70s and that was remarkable (more in a follow up to this on my jazz revival) but Gordon was in significant command of his craft then and was doing vital music.

Finally, the Chicago Jazz Festival was a relatively new thing when I was there in the late 1970s/early 1980s.  I'm sure I saw as much as I could.  My sole memory--and it is a grand one--is sticking out a rain shower to see Jack DeJohnette's Special Edition to play to a too small crowd, including the absolutely stunning "Pastel Rhapsody" with DeJohnette starting on piano.  It's a glorious tune and DeJohnette's piano is both strong and revelatory.  I learned so much about him as a drummer from that tune.

My rediscovery of jazz over the past four years or so is based on this foundation.  It is also been the basis of so much of this ongoing writing exercise.  

These are powerful memories.

[blackkudos]

Bobby Hutcherson

Robert Hutcherson (January 27, 1941 – August 15, 2016) was an American jazz vibraphone and marimba player. "Little B's Poem", from the album Components, is one of his best-known compositions. Hutcherson influenced younger vibraphonists including Steve Nelson, Joe Locke, and Stefon Harris.

Biography

Early life and career

Bobby Hutcherson was born to Eli, a master mason, and Esther, a hairdresser. Hutcherson was exposed to jazz by his brother Teddy, who listened to Art Blakey records in the family home with his friend Dexter Gordon. His older sister Peggy was a singer in Gerald Wilson's orchestra. Hutcherson went on to record on a number of Gerald Wilson's Pacific Jazz recordings as well as played with his orchestra. Hutcherson's sister personally introduced Hutcherson to Eric Dolphy (her boyfriend at the time) and Billy Mitchell. Hutcherson was inspired to take up the vibraphone when he heard Milt Jackson play "Bemsha Swing" on the Miles Davis and the Modern Jazz Giantsalbum at the age of 12. Still in his teens, Hutcherson began his professional career in the late fifties working with tenor saxophonist Curtis Amy and trumpeter Carmell Jones, as well as with Dolphy and tenor saxophonist Charles Lloyd at Pandora's Box on the Sunset Strip.

He made his recording debut on August 3, 1960, cutting two songs for a 7-inch single with the Les McCann trio for Pacific Jazz (released in 1961), followed by the LP Groovin' Blue with the Curtis Amy-Frank Butler sextet on December 10 (also released by Pacific Jazz in 1961). In January 1962, Hutcherson joined the Billy Mitchell-Al Grey group for dates at The Jazz Workshop in San Francisco and Birdland in New York City (opposite Art Blakey). After touring with the Mitchell-Grey group for a year, Hutcherson settled in New York City (on 165th street in The Bronx) where he worked part-time as a taxi driver, before fully entering the jazz scene via his childhood friend, bassist Herbie Lewis.

Blue Note Records

Lewis was working with The Jazztet and hosted jam sessions at his apartment. After hearing Hutcherson play at one of Lewis' events, Jazztet and Jackie McLean band member Grachan Moncur III felt that Hutcherson would be a good fit for McLean's group, which led to Hutcherson's first recording for Blue Note Records on April 30, 1963, McLean's One Step Beyond. This was quickly followed by sessions for Blue Note with Moncur, Dolphy, Gordon, Andrew Hill, Tony Williams and Grant Green in 1963 and 1964, later followed by sessions with Joe Henderson, John Patton, Duke Pearson and Lee Morgan. In spite of the numerous post-bop, avant-garde, and free jazz recordings made during this period, Hutcherson's first session for Blue Note as leader, The Kicker (recorded in 1963 but not released until 1999), demonstrated his background in hard bop and the blues, as did Idle Moments with Grant Green.

Hutcherson won the "Talent Deserving of Wider Recognition" award in the 1964 Down Beat readers' poll, and Blue Note released Hutcherson's Dialogue in 1965. The 1966 record Stick-Up!, featuring Joe Henderson, Herbie Lewis, and Billy Higgins, was the first of many recorded sessions Hutcherson made with McCoy Tyner throughout their careers. Stick-Up! was also the only album out of ten Hutcherson recorded as leader for Blue Note between 1965 and 1969 which did not feature drummer Joe Chambers or any of Chambers' compositions. Spanning the years 1963 to 1977, Hutcherson had one of the longest recording careers with Blue Note, second only to Horace Silver's.

Return to the West Coast

Hutcherson lost his cabaret card and taxi driver's license in 1967 after he and Joe Chambers were arrested on a drug violation in Central Park, so he moved back to California, but continued to record for Blue Note. This return to the West Coast resulted in an important partnership with Harold Land, with whom Hutcherson recorded seven albums for Blue Note, featuring a rotating lineup of pianists such as Chick Corea, Stanley Cowell, and Joe Sample, and usually Chambers on drums. The Hutcherson-Land group broke up in 1971, and that same year Hutcherson won the title of "World's Best Vibist" in the International Jazz Critics Poll. After the release of Knucklebean in 1977, Hutcherson recorded three albums for Columbia Records in the late 1970s.

Land and Hutcherson reunited in the early 1980s for several recordings as the "Timeless All Stars," a sextet featuring Curtis Fuller, Cedar Walton, Buster Williams, and Billy Higgins which recorded four albums for the Dutch label Timeless Records. After switching between several labels in the early 1980s for his solo material, Hutcherson recorded eight albums for Landmark Records from the 1980s into the early 1990s, and continued to work steadily as a sideman during this time. His recorded output slowed somewhat during the past few decades, although he did release albums for Atlantic and Verve in the 1990s, three for the Swiss-based label Kind of Blue in the 21st century, and continued to tour.

Later years

In 2004, Hutcherson became an inaugural member of the SFJAZZ Collective, featuring Joshua Redman, Miguel Zenón, Nicholas Payton, Renee Rosnes, and Eric Harland, among others. He toured with them for four years, and made an appearance at the SFJAZZ Center's grand opening in 2013. His 2007 quartet included Renee Rosnes on piano, Dwayne Burno on bass and Al Foster on drums. His 2008 quartet included Joe Gilman on piano, Glenn Richman on bass and Eddie Marshall on drums. In 2010 he received the lifetime Jazz Master Fellowship Award from the National Endowment for the Arts and performed at Birdland in a quintet featuring Gilman, Burno, Marshall, and Peter Bernstein. 2014 saw Hutcherson return to Blue Note Records with Enjoy the View, recorded at Ocean Way Studios in Hollywood with Joey DeFrancesco, David Sanborn, and Billy Hart. The quartet performed four sold-out shows at the SFJAZZ Center in February, prior to the album's release.

Acting career

Hutcherson's intermittent acting career included an appearance as the bandleader in They Shoot Horses, Don't They? (1969), and as Ace in Round Midnight (1986).

Personal life

Hutcherson has a son, Barry, from his first marriage to Beth Buford. Hutcherson wrote the waltz "Little B's Poem" for Barry in 1962. Due to the success of "Ummh" from the album San Francisco, one of Hutcherson's few entries in the jazz fusion style, he was able to buy an acre of land on which he built a house in Montara, California, in 1972. That same year, he married Rosemary Zuniga, a ticket taker at the Both/And club in San Francisco. The couple had a son, Teddy, who is a production manager for SFJAZZ. Hutcherson attended an African Methodist Episcopal Church as a youth and converted to Catholicism later in life.

Hutcherson died in Montara, California on August 15, 2016, from emphysema.

Style and critical reception

"Bobby's thorough mastery of harmony and chords combined with his virtuosity and exploratory intuition enabled him to fulfill the function that is traditionally allocated to the piano and also remain a voice in the front line. He did this to perfection in the bands of Dolphy, McLean, and Archie Shepp. His approach to the vibes was all encompassing; it was pianistic in the sense of melody and harmony and percussive in rhythmic attack and placement. He brought a fire and a passion back into the instrument that had been lost since the prime of Lionel Hampton. He was firmly rooted in the be bop tradition, but constantly experimenting and expanding upon that tradition."

"I love playing with Bobby. He's an exceptionally gifted jazz improviser... It's always a lot of fun to play with him, always enlightening, emotional as well as intellectually challenging. Bobby is a very honest person. He couldn't play the way he does without that honesty. He has an innocence that's childlike in a way. He's a great player and a great person, and that helps boost humanity a little bit."

AllMusic contributor Steve Huey stated that Hutcherson's "free-ringing, open chords and harmonically advanced solos were an important part of Dolphy's 1964 masterwork Out to Lunch!," and called Dialogue a "classic of modernist post-bop," declaring Hutcherson "one of jazz's greatest vibraphonists." Huey went on to say: "along with Gary Burton, the other seminal vibraphone talent of the '60s, Hutcherson helped modernize his instrument by redefining what could be done with it – sonically, technically, melodically, and emotionally. In the process, he became one of the defining (if underappreciated) voices in the so-called "new thing" portion of Blue Note's glorious '60s roster."

In his liner notes to the 1980 release of Medina, record producer Richard Seidel (Verve, Sony Masterworks) wrote that "of all the vibists to appear on the scene contemporaneous with Hutcherson, none have been able to combine the rhythmic dexterity, emotive attack and versatile musical interests that Bobby possesses." Seidel concurred that Hutcherson was "part of the vanguard of the new jazz developments in the Sixties. He contributed mightily to several of the key sessions that document these developments."

Interviewed by Jesse Hamlin for a piece on Hutcherson in the San Francisco Chronicle in 2012, collaborator Joshua Redman said that "We talk a lot about how music expresses universal values, experiences and feelings. But you don't often witness that so clearly and so profoundly as you do with Bobby. His music expresses the joy of living. He connects to the source of what music is about."

In an April 2013 profile for Down Beat magazine, Dan Ouellette wrote that "Hutcherson took the vibes to a new level of jazz sophistication with his harmonic inventions and his blurring-fast, four-mallet runs... Today, he's the standard bearer of the instrument and has a plenitude of emulators to prove it." Ouellette quoted Joey DeFrancesco as saying "Bobby is the greatest vibes player of all time... Milt Jackson was the guy, but Bobby took it to the next level. It's like Milt was Charlie Parker, and Bobby was John Coltrane."

Wikipedia

[curry-cook]

1日数食日記

2020/11/5 Thu

休日。仕事はしていたが職場に行かないだけでだいぶ気が楽だ。朝ごはんにカレーを食べて、そのあとチョコなどを食べ、ひと段落つくまでPCに向かう。そのあと『言葉は何のためにあるのか』をひたすら読み、途中で寝落ちし、また読む。久しぶりに腕立て伏せをし、勢いでスクワットも。妻を迎えに行き、帰って晩ご飯をいただく。チキンとサラダのプレートだけかと思いきや、豚肉のペペロンチーノも出てきて、大満足。さすがにカロリーと糖質が気になり、食後のおやつは控える。本の続きを読み、読了。就寝。テレビは一度もつけなかった。

◇生活の供：

　SCOOBIE TWOのトーキン・リズム＆ブルース #039（podcast）

　Sundowner／Kevin Morby（Apple Music）

　Candid／Whitney（Apple Music）

　Eli and the Thirteenth Confession／Laura Nyro（Apple Music）← 久しぶりに聴いたけど、やっぱとんでもない名作。

　13／Blur（Apple Music）

　Monk's Dream／Thelonious Monk Quartet（Apple Music）

　Restoration Ruin／Keith Jarret（Apple Music）←堀込高樹氏がある雑誌で紹介していたのを見て以来探しつづけてはや10年、いや結婚前だから15年以上前かも。まさかサブスクにあろうとは。60年代末ごろのThe Kinksみたい。"Sioux City Sue New"はコリン・ブランストーンの『1年間』に入ってそうな曲。うん、いいなあ。

　Throb／Gary Burton & Keith Jarret（Apple Music）

　

[bungitonthen]

30/4/20

so what - miles davis;

giant steps - john coltrane;

better git it in your soul - charles mingus;

blue rondo a la turk - the dave brubeck quartet;

ramblin’ - ornette coleman quartet;

work song - cannonball adderley;

wrap your troubles in dreams - sarah vaughan;

my favourite things (single version) - john coltrane;

waltz for debby - bill evans; 

round midnight - george russell sextet;

cotton tail - ella fitzgerald / duke ellington & his orchestra

isfahan - duke ellington & his orchestra;

the new anthem - gary burton;

matrix - chick corea;

miles runs the voodoo down - miles davis;

celestial terrestrial commuters - the mahavishnu orchestra;

watermelon man - herbie hancock;

  -  (jazz: the smithsonian anthology)

[bamboomusiclist]

6/1  David Sylvian / Gone to Earth vdl1  等更新しました。

おはようございます、更新完了しました。https://bamboo-music.net

Lionel Hampton Stan Getz / Hamp and Getz mgn1037 Chet Baker / Groovin' prst7460 Miles Davis / Esp cl2350 Red Garland / at the Prelude Prlp7170 Bill Evans / Speak Low 673023/rlp12-223 Fran Warren / Sings sds126 Benny Goodman / and His Orchestra cl534 Les Paul and Mary Ford / the Hit Makers t416 Lorez Alexandria / Band Swings Lorez Sings 657 Gary Burton / the Groovy lsp3360 Gene Ammons / Free Again Prlp10040 Gary Burton / The New Quartet ecm1030st Holy Modal Rounders / Indian War Whoop esps1068 David Sylvian / Gone to Earth vdl1 Flashlight / St Pg8000 Ace Spectrum / Inner Spectrum sd7299 Originals / Game Called Love s6-740s1 Originals / Green Grow the Lilacs ss716 Carole King / Music sp77013 Carole King / Rhymes & Reasons sp77016

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