#nasheet waits

[soundgrammar]

Jazz drummer Nasheet Waits

[donospl]

Co w jazzie piszczy [sezon 2 odcinek 28]

premierowa emisja 7 sierpnia 2024 – 18:00 Graliśmy: Hamilton de Hollanda, Gonzalo Rubalcaba  “Blues Lundvall” z albumu “Collab” – Sony Music Brazil Nasheet Waits “Snake Stance” z albumu  “New York Love Letter (Bitter Sweet)” – Giant Step Arts Tarbaby “Dee Dee” z albumu “You Think This America”  – Giant Step Arts Ola Kvernberg & Trondheim Symphony Orchestra “The Purple Jack – Overture” z…

[ceevee5]

[goodjohnjr]

Christian McBride's New Jawn: Tiny Desk Concert

Christian McBride’s New Jawn: Tiny Desk Concert What Is It? The YouTube video Christian McBride’s New Jawn: Tiny Desk Concert by the YouTube channel NPR Music: Christian McBride’s New Jawn: Tiny Desk Concert Description: Suraya Mohamed | August 30, 2023 The start is chaotic, for sure, but that’s the intent. Two minutes of craziness is an accurate description of the intro and outro of “Head…

[sinceileftyoublog]

Christian McBride’s New Jawn Live Show Preview: 3/23, Constellation, Chicago

Photo by Ebru Yildiz

BY JORDAN MAINZER

Jazz bassist Christian McBride has been especially prolific the first few years of this decade, whether leading his own bands or playing as part of Joshua Redman’s venerable quartet. His latest offering is Prime (Mack Avenue) the sophomore record from the wonderfully named New Jawn, a band made up of trumpeter Josh Evans, saxophonist and bass clarinetist Marcus Strickland, and drummer Nasheet Waits. It’s a balanced affair, consisting of 8 songs, 5 of which are originals, at least one written by each member. The diversity in artistic voice shines through, some tunes chaotic and boisterous, others deliberate and contemplative, always stunning.

There’s a self-assuredness to the playing on Prime, an album named after the idea that each band member is close to reaching their creative apex. The Strickland-penned title track exemplifies the record’s strutting attitude, as each of Strickland, Waits, and Evans showcase their skittering expressions. The band’s performance of Larry Young’s “Obsequious” is a limber free bop workout, Evans’ dazzling, flitting trumpet and Waits’ careening drums leading into a syncopated, harmonic jam. Evans’ “Dolphy Dust” clearly harks to the fluttering trumpets of Eric Dolphy, Evans’ chemistry with Strickland recalling that of Dolph and Booker Little on records like Far Cry.

Yet, it’s no coincidence that as the band leader, McBride wrote the album’s two best songs, and that they occupy each end of the album’s spectrum. Opener “Head Bedlam” is a topsy turvey crash of horn squeals and drums before settling into a funk groove, led by his bopping bass line. And his bowed playing on the slowed, barroom lament “Lurkers” is Prime’s subdued highlight beneath all the noise, effectively proving once and for all that you can be in your prime while confidently paving the way for the future.

Catch Christian McBride’s New Jawn tonight at Constellation. The band plays two shows, one at 7:30 PM and one at 9:30. Tickets still available at time of publication.

[projazznet]

Mark Turner – Dharma Days

Dharma Days is an album by saxophonist Mark Turner which was recorded in 2001 and released by the Warner Bros. label. Mark Turner – tenor saxophone Kurt Rosenwinkel – guitar Reid Anderson – bass Nasheet Waits – drums

[rich4a1]

Andrew Hill Sextet Plus Ten A BEAUTIFUL DAY, REVISITED

ANDREW HILL SEXTET PLUS TEN A BEAUTIFUL DAY, REVISITED Palmetto Records Andrew Hill, piano/composer; Scott Colley, bass; Nasheet Waits, drums; Marty Ehrlich, alto saxophone/clarinet/bass clarinet/flute; Greg Tardy, tenor Saxophone/clarinet/bass clarinet; Ron Horton, trumpet/Musical Director; Aaron Stewart, tenor saxophone; John Savage, alto saxophone/flute; J.D. Parron, baritone saxophone/bass…

[don-lichterman]

Featuring Cassandra Wilson, Ravi Coltrane, Sonia Sanchez, Saul Williams, Nasheet Waits & more. Video by Alyson Shotz. Experience the magic of jazz at the New…

[theloniousbach]

FOUR PIANO TRIOS AT MEZZROW’S, 28 JANUARY-1 FEBRUARY 2023, Second Sets

AARON PARKS with Vicente Archer and Nasheet Waits, 28 JANUARY 2023

ALAN BROADBENT with Harvie S and Billy Mintz, 30 JANUARY 2023

LAURENCE HOBGOOD with Matt Clohesy and Jared Schonig, 31 JANUARY 2023

BRIAN CHARETTE with Alex Claffey and Jochen Ruekert, 1 FEBRUARY 2023

It’s not surprising that Mezzrow’s would have piano trios nor even a run like this nor even that I’d want to see and write about them. I should throw in that I skipped 29 January because that’s the day I finally could take in the Smoke show from Friday with Bill Charlap, Peter Washington, and Kenny Washington. And Charlap came after three straight sets of Marc Copland with Drew Gress and Billy Drummond.

So I’ve been on quite a run.

I’m able to see ALAN BROADBENT regularly and rarely miss the chance for his touch and almost Charlap-ian grasp of the canon. BRIAN CHARETTE plays less frequently but often enough and has an organist’s right hand fluidity but then throws in big block chords and intriguing bits of repertoire. AARON PARKS and LAURENCE HOBGOOD are rarer birds with maybe a Jazz Gallery set from Parks and Hobgood never, though I recall not putting him on the first year’s list at Jazz St Louis. Even with Broadbent there were surprises. Like,

AARON PARKS, one half of Jonathan Blake’s tribute tune Parks and (Sam) Rivers, was the right mix of accessible (a mid set run of Ellington’s Warm Valley, Kenny Barron’s Voyage, and his own tribute to Kenny Wheeler) and challenging enough. He identified Barron as a teacher of his and, though, they aren’t the same, they are enough alike. And, given the Blake tune, I think of Sam Rivers as far more out there than Parks is. He did play several of his own tunes, but they were as often brooding (the closing prayer, That’s Fine) and quiet (his tribute to his wife, For Maya.). The opener Wilbur’s Red Cross was by Mr Ware and established earlier that Vicente Archer would matter throughout. Indeed, he and Nasheet Waits would make everything pulse or groove as needed. Waits was crisp, smart, and deft.

ALAN BROADBENT opened with standards (Flamingo, Honeysuckle Rose, What’s New, and You and the Night and the Music) and then, oddly, Monk’s Dream which started with wonderful overtones and strums from Harvie S and later bowing. Broadbent is not very Monkish as a pianist, but he knows a melody and Monk’s tunes as tunes are among the best. So it both worked and gave me something more to think about. That led, “in the same vein,” to a Dizzy Gillespie medley I’ve seen them do before, I Waited for You solo by Broadbent into Woody’n’You which was bright and gave the always spare Billy Mintz a showcase. The crowd was appropriately enthusiastic, so they earned an encore, East of the Sun, which swung us out nicely.

LAURENCE HOBGOOD was much much bigger and two fisted than I expected from Kurt Elling’s accompanist. But the Give Me The Simple Life opener was from an Oscar Peterson recording and the gospel-y original The Road Home was for Charlie Haden. So there was heft and Matt Clohesy had fat bass lines. He had done an album with a string quartet that included rock songs (Suite: Judy Blue Eyes?!?), but we were spared that for Blackbird which begins with rich harmonies from Macca that they took for an even wilder ride as Jared Schonig was even more frisky than usual. Prayers For The Enemy written in response to the Second Gulf War was brooding with interludes of just crystalline chords. They closed with Poinciana which opened much thicker than one would expect and the melody was there before they opened the space for it to lilt as it should. This was the set that made me more curious, so I’ll come back for the opening set.

My expectation is that BRIAN CHARETTE as an organist will play with a very spare left hand and fluid single notes in the right hand. That’s true often enough, but there are some chords and Pennies From Heaven which he sung with Alex Claffy’s bass had some barrelhouse chords when he returned to piano playing. And then there was a tune that sure was familiar and was, was it, one of those French Impressionist melodies that gets jazzed up. Nope. His hero, Chick Corea. They closed with Wayne Shorter’s ESP which also nicely confounded expectations. Claffy deserves more mention for a nice thick tone, especially on Darn That Dream.

I stand by the notion that I’ve been on quite a run of pianists these past two weeks.

[alivesoul]

Nasheet Waits, Drums (You really should see him play live, it's an experience.)

[supersecretrecords]

I was fortunate to see Christian McBride (who just won his 8th Grammy!) with the New Jawn band - and as the video shows it was great. Check out their album linked below - it’ll be worth your time. All the players are fantastic.

[donospl]

Yuriy Seredin „Asylum Search”

[ceevee5]

Chris Potter Trio, live in Paris, 13 Oct 2021

[jazzviewswithcjshearn]

Florian Weber: Lucent Waters (ECM, 2018)

Ralph Alessi: trumpet; Florian Weber: piano; Linda May Han Oh: double bass; Nasheet Waits: drums.

Lucent Waters the new ECM release from pianist Florian Weber, with the phenomenal cast of trumpeter Ralph Alessi, the phenomenal bassist Linda May Han Oh, and Nasheet Waits on drums appears to carry a nautical theme with some of the music, but it is clear that it's a carefully conceived exercise in drama through it's various tone poems and the sound scapes created.  When a listener thinks of a nautical thematic thread for jazz, probably Herbie Hancock's title track to Maiden Voyage (Blue Note, 1965) comes to mind with it's timeless melody and vibe redolent of a slow moving sea vessel, but Weber's present recording at hand concretely in part, through sound brings to mind various states of water and expertly crafted moods.  The four distinct personalities of the players form an appealing band dynamic as well.

Weber likes to make room for lots of freedom in his music.  With the musical personalities mentioned above through their differing means of expression a harmonious whole is achieved.  The pianist is generally thoughtful, while Waits' forward momentum generally pushes things along with a marked intensity, May Han Oh's bass brings a distinct clarity grounding everything.  As she has done on her own as a leader, with pianist Fabian Almazan, and most recently with Pat Metheny in his quartet, much like Wilbur Ware, Ron Carter and Paul Chambers before her, her rich tone and perfect note choice guides things along.  When she steps to the spotlight on the tumultuous “The Melody Of A Water Fall” amidst her flurry of notes, there is something to hold onto as the turbulent sea of Waits' drums freely erupts behind her.  The drummer is superb on the track emulating Japanese koto drums to  a degree, as the track is informed by the sound of Japanese drums.  Ralph Alessi appears for the first time on “From Costeau's Point Of View” which is intriguing due to the use of simultaneous meters in 3 and 7, though with the delicateness of Waits' cymbals the listener is generally directed to it's easy going floating feeling.  The pianist's solo explores the crevices between the drums  where the light cerulean shade of underwater contrasts with brightly colored coral reefs.  “Butterfly Effect” demonstrates how good the quartet is at listening as they navigate the labyrinth canvases they are given to improvise.  The melody, led by Alessi's brightly brassy sound, moves with the grace of some of the great Wayne Shorter pieces on Miles Davis' classic Sorcerer (Columbia, 1967) and in a sense captures some of the same spirit the Second Quintet had at interacting in lightning fashion.  For example, Weber piggybacks off of Alessi's last phrase as a motif to jump off of, and from there he naturally brings the piece to conclusion.  The pianist is an expert of various moods, as the opening meditation of “Brilliant Waters” finds him strumming piano strings softly, inadvertently creating a wonderful way for “The Melody Of  A Waterfall” to start.  The closing “Schimmelreiter” buoyed by May Han Oh's pedal point and the pianist's subtle melody line suggests surreal portrait of a horse galloping in super slow motion.

Lucent Waters makes so much out of contrasting styles utilizing a common ground to create music with wonderful imagery.  As Weber, May Han Oh and Alessi have all played often in seperate contexts, there is a familiarity with each other that allows things to naturally happen with the quite open nature of the compositions.  Hopefully the group collaborates more in the future as the album is a superb late year treat.

Rating 9.5/10

[diyeipetea]

INSTANTZZ: Chris Potter Trio (53è Festival de Jazz de Barcelona / Conservatori del Liceu, Barcelona. 2021-09-23) (I/XIII)

INSTANTZZ: Chris Potter Trio (53è Festival de Jazz de Barcelona / Conservatori del Liceu, Barcelona. 2021-09-23) (I/XIII)

53è Festival de Jazz de Barcelona Fecha: sábado, 23 de octubre de 2021 Lugar: Conservatorio del Liceu (Barcelona) Grupo: Chris Potter Trio Chris Potter, saxo tenor y soprano Craig Taborn, piano Nasheet Waits, batería Tomajazz: © Joan Cortès, 2022 53è Festival de Jazz de Barcelona en Tomajazz https://www.tomajazz.com/web/?tag=53e-festival-de-jazz-de-barcelona Chris Potter Trio anteriormente en…