My apologies for not having posted anything in the past four months. Hope everyone enjoyed the summer (or whatever the appropriate season in your hemisphere). Thanks to all who have purchased the new releases. Thanks in advance to those of you who will. And thanks to everyone for reading. Perhaps this current installment will make up for the lack of recent activity on the blog.
I'd like to call attention to a recent interview I did for Jake Wunsch which is being hosted by Ethan Iverson's blog "Do The Math". Jake Wunsch is a clarinetist who has been studying with me regularly for some time. Jake's idea was to structure the interview as a sort of pseudo "blindfold test". All of the selections that we listened to were versions of standards that I had recently recorded for my "Trio New York II" release (with organist Gary Versace and drummer Gerald Cleaver). Some of these versions I was familiar with and knew well. Others were in fact new to me. Interestingly, this process allowed us to touch upon a great many topics and I was happy to have had the opportunity to think through and articulate some ideas concerning the "bigger picture" of music making in the present time.
Here is the link. And this is what we listened to and discussed:
The Midnight Sun
Paul Motian Trio 2000 + 2, “Midnight Sun” (from ON BROADWAY VOL. 5, Winter & Winter, 2009) (Paul Motian, drums; Loren Stillman, alto saxophone; Michaël Attias, tenor saxophone; Masabumi Kikuchi, piano; Thomas Morgan, bass)
Just One of Those Things
Lee Konitz & Red Mitchell, “Just One of Those Things” (from I CONCENTRATE ON YOU, SteepleChase, 1974) (Lee Konitz, alto saxophone; Red Mitchell, bass)
Thelonious Monk, “We See” (from PIANO SOLO, Vogue, 1954) (Thelonious Monk, piano)
Branford Marsalis Quartet, “My Ideal” (from FOUR MFs PLAYIN’ TUNES, Marsalis Music, 2012) (Branford Marsalis, tenor saxophone; Joey Calderazzo, piano; Eric Revis, bass; Justin Faulkner, drums)
Coleman Hawkins acc. by Leonard Feather’s Esquire All Stars, “My Ideal” (from COLEMAN HAWKINS: THE BEBOP YEARS, Proper, 2004) (Coleman Hawkins, tenor saxophone; Cootie Williams, trumpet; Edmond Hall, clarinet; Art Tatum, piano; Al Casey, guitar; Oscar Pettiford, bass; Sid Catlett, drums)
After You've Gone
James P. Johnson’s Blue Note Jazzmen, “After You’ve Gone” (from BEN WEBSTER: COMPLETE SMALL GROUP RECORDINGS, 1943-1951, Definitive Records, 2001) (Sidney De Paris, trumpet; Vic Dickeson, trombone; Ben Webster, tenor saxophone; James P. Johnson, piano; Jimmy Shirley, guitar; John Simmons, bass; Sidney Catlett, drums)
Jimmy Smith, “Flamingo” (from THE SERMON!, Blue Note, 1958) (Jimmy Smith, organ; Lee Morgan, trumpet; Kenny Burrell, guitar; Art Blakey, drums)
Don Byas, “Flamingo” (from DON BYAS, 1947-1951) (Don Byas, tenor saxophone; Art Simmons, piano; Jean-Jacques Tilche, guitar; Roger Grasset, bass; Claude Marty, drums)
Earl Bostic, “Flamingo” (from FLAMINGO, Proper, 2002) (Earl Bostic, alto saxophone; Lowell Hastings, tenor saxophone; Clarence Redd, trumpet, vibraphone; Rene Hall, guitar; Clifton Hall, piano; William Betts, bass; Jimmy Cobb, drums)
Special thanks go to Ethan Iverson for hosting this interview. I've been a fan of "Do The Math" since it's inception. I think Ethan has raised the bar in terms of the quality of music writing with his thoughtful and well articulated articles.