#brad jones

[mayanhandballcourt]

Photographer Brad Jones

[soundgrammar]

Listen/purchase: Swerve by JAMES BRANDON LEWIS QUARTET with Aruán Ortiz, Brad Jones and Chad Taylor

[wonderfulworldofmichaelford]

Got to meet one of my idols and biggest influences today: Brad “The Cinema Snob” Jones. Without his videos as inspiration, I probably wouldn’t be reviewing movies or even villains (and I DEFINITELY never would’ve reviewed porn). I didn’t get a picture because I was really overwhelmed by meeting him, but I DID get an autograph!

[hotmonkeelove]

Cinema Snob: L´s Father (Death Note)

I think this is my favourite snob riff, followed by, “Billy Preston, what are you doing here?!” 

[dustedmagazine]

James Brandon Lewis Quartet — MSM Live (Intakt)

MSM Molecular Systematic Music - Live by JAMES BRANDON LEWIS QUARTET with Aruan Ortiz, Brad Jones and Chad Taylor

James Brandon Lewis’ molecular systematic music is an unfolding phenomenon. It begins with the tenor saxophonist’s self-directed study of molecular biology, an investigation into the building blocks of life itself. That study has inspired an abstraction of structural concepts into a book of tunes, which he then hands over to his Quartet. 

Molecular systemic music doesn’t necessarily result in music that overtly follows double helix pathways, or manifests a Cecil Taylor-like cellular organization. Its processes are invisible to the casual listener, and it’s entirely possible to relate to molecular systemic music at the more widely accessible levels of melody, rhythm, energy and emotion. Lewis’ background includes lengthy stints playing church music; he knows all about fostering an affective connection with people who aren’t concerned his with technique and methodology. But the quartet does use this system to make music that maintains a high level of cohesion while providing room for its musicians to manifest their dialogic and improvisational skills that delivers the interactive charge that draws listeners to jazz. 

That charge pulses throughout MSM Live. Recorded after a COVID-imposed layoff in Zurich, Switzerland, it is the third album by Lewis, pianist Aruán Ortiz, bassist Brad Jones, and drummer Chad Taylor, following two studio recordings that were also released by Intakt Records (it seems that Lewis likes to find homes for certain of his projects, and then let them grow there). That means that the energy here is fueled by all the emotions stirred by an overdue reunion. Spread across two CDs, one gets to hear the musicians sparking ideas back and forth across chasms of open space in almost synaptic fashion. On “Cesaire,” a tune named for a Haitian poet, Ortiz and Taylor toss dizzying keyboard runs and correspondingly intricate percussion sequences in each other’s direction. The exchange is not so much a call and response as an overlapping conversation, enacted while Jones lucks pithy figures that seem to complete both their phrases. Lewis cuts through their turbulent stream of sound, channeling the density of sheets-of-sound era Coltrane. 

A listener hearing this group for the first time will pick up certain antecedents. There’s Coltrane, of course and a bit of the David S. Ware Quartet’s layered wall of sound. But the musicians’ individual characters soon come into play. Ortiz applies his conservatory-schooled facility with classical material to quicksilver dynamic shifts, and introduces judicious dashes of Cuban vernacular. Jones and Taylor have been part of his band, as well this quartet; as a unit, they toggle easily between dense, collective creation and conventionally supportive, figure-and-ground relationships, such as Jones’ fluent extended solo on the ballad, “Loverly.” They aren’t just running their own show behind the boss’s back, though. They’re closely attuned to the requirements of Lewis’s music, as evidenced by their playing on “Neosha,” where they realize an exquisitely braided framework the saxophonist’s bold, imploring melody, and the darting elaborations that follow.

Bill Meyer

[jewkbox]

If you're a member of a religious minority in the West, or a Christian who's sick of the Fundaloons bastardizing your faith, this review is comedy gold.

[readingrecap]

🕙 Rep. Brad Jones Office Hours Today

Representative Brad Jones will be having his monthly district office hours today, July 12th. Brad or a member of his staff will be available at the Reading Public Library located at 64 Middlesex Avenue, from 10:15AM until 11:15AM. You can always reach out to Representative Jones anytime via his email address: Bradley.Jones@mahouse.gov or by emailing his Director of Local Affairs and Scheduling,…

[donospl]

Co w jazzie piszczy [sezon 2 odcinek 9]

premierowa emisja 6 marca 2024 – 18:00 Graliśmy: Lynne Arriale Trio  “Gratitude” z albumu “Being Human” – Challenge Records International Little North ft.  Oscar Andreas Haug “Le Guin” z albumu “While You Wait” – ACT Music Emile Parisien Quartet “Pralin” z albumu  “Let Them Cook” – ACT Music Mamiko Watanabe “Peacocks” z albumu „Being Guided By The Light” – JoJo Records Joe Webb “Munchin In…

[15tarlit5kyline]

B i n g e

[mayanhandballcourt]

Photographer Brad Jones

[soundgrammar]

Brad Jones

[longliverockback]

Elvis Costello North 2003 Deutsche Grammophon ————————————————— Tracks: 01. You Left Me in the Dark 02. Someone Took the Words Away 03. When Did I Stop Dreaming 04. You Turned to Me 05. Fallen 06. When It Sings 07. Still 08. Let Me Tell You about Her 09. Can You Be True? 10. When Green Eyes Turn Blue 11. I’m in the Mood Again 12. Impatience 13. Too Blue —————————————————

Tim Cobb

Elvis Costello

Jacqui Danilow

Peter Erskine

Michael Formanek

Brad Jones

* Long Live Rock Archive