#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.

[vpjdrums]

My Totally Biased Top Ten Albums of 2024

There really is no top or best and in reality it's all subjective and opinion based. Hence me poking fun at the whole thing in the title. But, these are the albums I enjoyed this past year.

In no particular order…

Tarbaby You Think This America (Giant Step Arts)

This is New York Times’ best jazz album of 2024 and their year end review opens with, "The pianist Orrin Evans, the bassist Eric Revis and the drummer Nasheet Waits have each been indispensable to 21st-century jazz… ". That's all you need to know about this album. Just a phenomenal recording from this decades spanning jazz juggernaut of a trio.

The Bad Plus Complex Emotions (Mack Avenue)

It's always fun to see what TBP is going to do next. If you've embarked with them on their ever changing aural journey you're bound to expect some twists, turns, and pleasant surprises. And this album is no exception. To my ears this is the most expressive and layered TBP album yet. A completely natural and stellar amalgam of no wave/post-punk with ethereal and modal jazz sounds. Stand out tracks: Grid/Ocean, Cupcakes One, Tyrone’s Flamingo, and Li Po.

Orrin Evans and The Captain Black Big Band Walk A Mile In My Shoe (Imani)

Another superb offering from an Orrin Evans lead collective and it's no surprise this album has also been topping critics' and publications' best lists this past year. This album really is the story of Orrin's life, featuring some unique and wonderfully executed renderings of some old and new favorites. So many great vocalists on here. Of course, the greats, Bilal and Lisa Fischer, but also New Jersey based crooner, multi-instrumentalist, composer, and arranger, Paul Jost. Jost, in my opinion might be the secret weapon on here. I also did the layout and artwork with the fantastic Chris Kayfield, photographer extraordinaire.

Ethan Iverson Tecnically Acceptable (Blue Note)

Surprise, surprise, another album from a TBP alumnus and much like Orrin, this too has been in the critics’ favorite pile. This is Ethan's second Blue Note album and according to All That Jazz's Mike Jurkovic, this is the first Blue Note release to feature both a theremin performance and a piano sonata. That's the sort of invention and innovation you'll expect from this soulful bop infused body of work.

DIIV Frog In Boiling Water (Fantasy)

This might be my favorite indie rock album of the year. It further leans into the shoegaze, art rock, and dark textures/sounds of their previous album, Deceiver. It many ways, FIBW feels like a companion/sibling album to it, but this younger brother surpasses it’s older sibling in some aspects and it's definitely their best release yet. If there was a way to describe this album it's a soft inviting pillowy cloud floating around uneasily and autonomously. The more discernible influences of My Bloody Valentine, Autolux, Sonic Youth, and Slint are all there, but underneath the surface are more layered, lush, and intricate soundscapes that are all inherently DIIV.

Gustaf Package Pt. 2 (Royal Mountain)

I've always said sophomore albums are make or break for artists and bands. They have to deliver and be as good if not better than the debut. Package Pt. 2 is that and then some. In a world where "post-punk" has become so widespread, Brooklyn based Gustaf have held their own, carved out their own space, and in many respects set themselves apart from their contemporaries. What I love about this album is that it's both sensitive/vulnerable and fierce/daring at the same time. Equal parts introspective and in-your-face. It's no surprise they've become favorites of the likes of Beck, James Murphy, Kathleen Hanna, and Idles.

Starflyer 59 Lust For Gold (Velvet Blue)

SF59 is among the most important American dream pop/shoegaze bands. If you haven't heard them please stop everything and go check out their early (there’s three decades worth of material, so start with those) albums. Jason Martin's contributions from SF59 to The Brothers Martin to Low & Behold (with with Ryan Clark of Demon Hunter) to Lo Tom (supergroup featuring Dave Bazan, TW Walsh, and Trey Many) should have placed him in the ranks of Evan Dando, Lou Barlow, Joe Pernice, and the late great Jason Molina. But, for whatever reason never quite saw center stage like his contemporaries, Dave Bazan and Damien Jurado. However, this album is no short of what his peers have conjured in recent years. A dense and involved offering that is on all levels nostalgic (Lust for Gold’s artwork colors bronze and red is a call back to the first three albums, Silver, Gold, and Americana) for place, time, and sound. Just a beautifully crafted album with absolutely no low points.

Sunny Day Real Estate Diary Live at London Bridge Studio (Sub Pop)

What else is there to say? It's one of the most seminal, heralded, and influential albums of the 90s played live by the artists who created and wrote it. However, this time around presented by a much more sonically and spiritually cohesive outfit performing the songs in the way they've always wanted them to sound.

Keith Jarret, Gary Peacock & Paul Motian The Old Country (ECM)

The original Deer Head Inn album, At the Deer Head Inn, recorded in 1992 and released in 1994, temporarily brought Paul Motian back to the drum throne after a 16-year separation. The album represents what’s memorable of Jarrett’s middle-to-late-period work. A fantastic dive into a refreshing repertoire of classics and standards that few have able to present in that sort of idiomatic fashion. Now we have another collection of songs that ECM has made available of previously unreleased material from that 1992 live recording before a packed crowd of about 200 in the small performance space in the Pocono Mountains. It’s great to hear Paul Motian with Keith Jarret and Gary Peacock, bringing an airy yet crisp and worldly percussiveness once again to the fold.

Tigran Hamasyan The Bird of a Thousand Voices (Naïve)

This is Tigran's most personal and spiritual project yet. Inspired by an ancient Armenian folktale about an anthropomorphic bird, the story presents an era of unrest catalyzing the bird to embark on a spiritual quest to seek world harmony. As Tigran states it struck him as a metaphor for the problems confronting today’s world; conflict, inequality and ecological disasters. In many way the album is also reflective of Tigran himself, blending together many aspects of his singular and artistic life.

Honarable mentions…

Julie My Anti-Aircraft Friend (Atlantic)

This album snuck up on me. I didn't know anything about this band until a friend of mine had reposted a snippet from one of their recent live performances on IG. I was immediately prompted to check them out. This LA based trio is of the new school/recent wave of modern shoegaze bands and I have to say one of the best from that revival. There's the recognizable hints of My Bloody Valentine, Slowdive, Sonic Youth, Lush, and Morella's Forest, but also the bombast and ferocity of Hum, Failure, Dinosaur Jr., Nirvana, and Swervedriver. The shared "girl and guy" vocals dynamic also brings to mind bands like Rainer Maria and Blake Babies, which is very refreshing to hear these days. The fusing of all these along with their journal entry-esque lyricism/songwriting makes for a fun and compelling listen.

The Messthetics and James Brandon Lewis S/T (Impulse)

What happens when two seasoned jazz musicians get together with two of the most respected and legendary musicians from the post-hardcore/punk world? Something really good, that's what. I disagree with a lot of critics' description of them merely as 'Fugazi with free jazz'. I think the intention was to provide a punk painted open canvas to allow for free improvisation. Punk jazz is nothing new, but this is a fresh and welcome addition to the art form, executed at the highest level.

The Jesus Lizard Rack (Ipecac)

They’re back and it’s like nothing has changed. Still the MFn’ noise rock n’ roll titans and just as inauspicious as ever. They’ve arisen like a phoenix and are engulfing us all in their sonic onslaught. My one regret is missing seeing them live when they were here last month. The life of having two small children. Next time.

Pedro the Lion Santa Cruz (Polyvinyl)

Speaking of Dave Bazan, here's the third installments of his ongoing memoir (the two prior being Phoenix and Havasu) series. This moody synth layered collection of indie rock is Bazan's most personal recording yet. Revealing many parts of his Christian upbringing and his exvangelical adulthood, which for many is very relatable. This album seems to be more of a collaborative effort compared to prior releases with contributions coming from his usual cohorts, guitarists/songwriters, Andy Fitts and Erik Walters, and producer/songwriter, Andy D. Park back at the helm.

Ron Miles Old Main Chapel (Blue Note)

Rest in Power Ron Miles (1963–2022) Just go listen to this album.

[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

[tejedac]

Bunky Green

Another place, 2006 · Play album

Bunky Green (as), Jason Moran (p), Lonnie Plaxico (d) & Nasheet Waits (d).

Recorded November 27th and 28th 2004 at Systems Two (Brooklyn).

* Lp info

[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…

[alivesoul]

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

[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

[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.