Just back from an amazing time at the Chicago Jazz Festival…really, really amazing.  Here’s a clip:

Enjoy, R.

I have been struck by the importance of balancing my performing/teaching career with the business of music in the 21st century.  It’s not easy to focus on being an artist…no wait, a teacher…no wait, a businessman…no wait, a person.  There are many, many ways in which those things combine to create a less schizophrenic Rick, but sometimes those things are disparate entities.  As an art-driven person, it has always been easy for me to live in a musical fantasy world, stepping outside of it long enough to articulate aspects of that world to colleagues and students.  But harder has been the quantification of that realm, translated into a business-model.

In the 1980s, the trick was to find a way to document your work somehow, and it took a lot of expense and time to get that done.  In the 1990s, things became less expensive to document, but relating it to the rest of the world was still tricky, depending upon how you feel about the intersection of music, technology and business (remember the old Napster?).  Now, it’s super easy and fairly inexpensive to document your work, but getting the new, global, digital audience to pay any attention whatsoever is still hard.

The tool in the 1990s that most musicians I know used was a minidisc (MD) recorder.  This was a relatively inexpensive, decent sounding recording device which enabled the capture of an artist’s music for later dissemination.  The “capture” was easy, but the “dissemination” was very hard.  Convert to cassette, or burn a CD?  If you can imagine, there was actually a time when the MD recorders (one major manufacturer comes to mind) would not allow a musician to record his/her own concert on the MD, transfer the file to the computer, and then burn a CD of it.  Sure, you could record all you wanted to, and you could even upload your files to the computer.  But no burning.  I understand why that decision was made, but it rendered the entire MD experience useless because the practical application of the product vanished the moment you tried to use it for anything but archiving.

I have a real chip on my shoulder about that because it meant that the only reasonable tool was a disaster of sound recording.  Remember this:

Most of my friends, way back when, actually used this to record concerts and rehearsals, and then to make cassette demos.  Cumbersome!  Time consuming!  Uh, not very fantastic sound!

Ok, well lots of time has passed, and the RIAA and Napster have come to some kind of agreement which has meant that consumer recording devices are actually made in a way that is reasonable for musicians.  I have a Roland Edirol, which I love, but there are some issues with it – it’s very big, and lately I have been having problems with setting peak levels, so I get lots of distortion.

When Sanyo’s people asked me about reviewing their Xacti, I sent this back to them:

I have been using the Sanyo Xacti for the past month in a wide variety of situations, from concert performances and rehearsals, to teaching classes and private lessons.  For about 10 years, I have been searching for a reasonable replacement for my minidisc recorder, which I used religiously, but I couldn’t find anything that met my expectations for 21st century/digital convenience, plus sound quality.  The Xacti fills this gap nicely, adding things like portability – it is tiny – and on-board editing tools to the equation.  Connecting to the computer to recharge the battery seems strange at first, but this combined with the easy back-up of files makes this very, very reasonable.  An excellent companion for gigging/teaching musicians.

So, I like it.  I’m using it.  It’s a good thing.  Really.

Wait a minute – that wasn’t funny at all!  Well, here’s a link to Krusty the Clown’s product endorsement agreement, and list of endorsements.

Best, R.

A really great concert…

Best, R.

Rick McLaughlin Sextet debut concert
August 4, 2010, 8pm – midnight
Beehive, 541 Tremont Street, Boston
For more, visit.

This is going to be great!  The band is amazing:

Allan Chase – alto saxophone
Phil Grenadier – trumpet
Jamie Stewardson – guitar
David Zoffer – piano
RM – bass
Pablo Bencid – drums

The music will be a mix of originals and, um, well, I’m really interested in what happens when the music of Freddie Hubbard and Cannonball Adderley meets the music of Bjork and Kate Bush.  So, that’s what it will sound like.

Hope to see you there!

Best, R.

• Abby and Norm Group – Volume I: The Book of Norman – I have known Norman Zocher since the mid-1990s.  He is an incredible guitar player and composer, which – as this CD so very clearly shows – tons of breadth.  Also in this band are Brooke Sofferman (fantastic drummer; friend since 1995), Bevan Manson (pianist, former teacher of mine), and the great George Garzone (tenor saxophone, also a former teacher).  Oh, wait, also the “Abby” part of the group, Abigail Aronson.  Speaking of Abby…
• Abby and Norm Group – Melodic Miner’s Daughter – This would be the Volume 2: The Book of Abby portion of the series, if it were not for the fact that they came up with the world’s most tongue-in-cheek/nerdy album title ever.  This title is a mash-up of Coal Miner’s Daughter and the very hip scale, melodic minor.  Abby’s playing on both CD’s is fantastic.  I always liked her bass playing, in part because she does a great job of laying down the foundation, but also because of her overtly lyrical approach to her bass lines.  That style of bass playing is not so incredibly common among the total-jazz-immersion bass players; we need the Rock and Roll music to make the bass line a little more…uh…lyrical.  Really nice CDs.
• John Abercrombie – Timeless – Man, oh man, I love this CD.  I know, I know, it must be so boring to read those words from me after months and months of writing that, but this CD is just fantastic.  It’s a trio record with Jan Hammer at the peak of his fusion powers and Jack DeJohnette at the end of his own fusion explorations in the band Compost (or at least, around the end of that time).  “Lungs” is so cool!  “Ralph’s Piano Waltz” was in the repertoire of the band that I toured Europe with the first few times.  Gotta get that tune back into my life…
• John Abercrombie – Gateway – Some of my favorite Dave Holland, and Jack DeJohnette is amazing as always.  Great writing on this CD, too, especially “Back-Woods Song” and “May Dance.”
• John Abercrombie – Abercrombie, Johnson, Erskine – This CD was one of the first Abercrombie CDs I ever purchased, and it made a very strong impression upon me.  I thought that the patience of “Alice in Wonderland” was unmatched, and the curiosity found in their solos on “Stella By Starlight” and “Beautiful Love” was inspiring, to say the least.  Plus, it was recorded at Nightstage, in Cambridge.  The club isn’t there anymore, but when I found the old building, with the sign still up, only a few blocks from where I used to live, well, it was a cute little moment for me.  Oh, and this recording is my 2nd favorite one of Mark Johnson; the first being a Paul Motian CD called Bill Evans, on the JMT label.
• Stan Getz – Stan Getz & J.J. Johnson at the Opera House – So swinging.  J.J. Johnson sounds amazing on this CD.  The medium tempo “My Funny Valentine” takes are really excellent.
• Stan Getz – Stan Getz and the Oscar Peterson Trio – Have I said the word “swinging” yet?  And Ray Brown is an absolute monster on this CD.
• Sonny Clark – Sonny’s Crib – Incredible.  The two versions of “With a Song in My Heart” and “Speak Low” are a delight to listen to and compare.  Coltrane, Donald Byrd, Curtis Fuller, Paul Chambers, Art Taylor.
• Horace Silver – Doin’ the Thing/Live at the Village Gate – This is probably the first Horace Silver record I ever heard.  My dad had this one, The Jody  Grind, and Song for My Father.  They were probably original Blue Notes, not reissues.  Anyway, we listened to those records a lot at my house when I was a kid.  Doin’ the Thing is a delight; not quite as shredding as the other two I mention, but still amazing.  I need to get ahold of a chart on “Filthy McNasty”…

So that brings us up to date.  Not sure where to go next – continue with CDs or wait for the turntable to come back?  Or just listen to music, regardless of its placement in the alphabet…?

Best, R.

The first CD my collection – alphabetically – is by Susanne Abbuehl; a recording called April.  By now, my affection for the music in my collection must be exasperating to read, but, having said that, I love this CD.  When I first heard this CD – actually, the first track, “yes is a pleasant country/Ida Lupino,” it was one of those car stopping, wait until the announcer says who that was before moving on, moments.  I simply couldn’t believe my ears.

This tune, a lovely 5/4 ditty, is played by a – get this – bass-less group.  The text comes from E.E. Cummings and the “Ida Lupino” section is by Carla Bley.  I thought, “amazing voice, fantastic writing, Cummings, Bley…I need this CD.”

Abbuehl’’s voice is dark and raspy at times, light and pure other times.  She studied Indian music (in India), and jazz voice with the amazing Jeanne Lee.  Those two influences come together on tunes like “Mane Na” and “‘Round Midnight.”

Anyway, if you like Cummings or Bley, bands with no bass (!), and/or amazing musicianship and an incredible singer, this CD is for you.  As for me, this record is very high on RM’s Influences, and I continue to hope to play with Abbuehl someday.

Best, R.

• Social Call – Arrangements by Quincy Jones and Gigi Gryce, with amazing performances by Ray Bryant, Hank Jones, Wendell Marshall, Philly Joe Jones, Ubie Green and others.  This recording is positively swinging.  “Social Call” is magical, and this LP has yet another great version of “Thou Swell.”
• Finally - Gasp!  What an incredible album!  OMG, I wish I was on this record, or that someone I know would like to make a record like this because, good God, this is incredible.  The playing is outstanding, and the arrangements – which, by the way, are by Betty Carter – are still fresh.  Normon Simmons, Lisle Atkinson and Al Harewood are the wonderful rhythm section.  They even play free on this album.  And her singing!  I love her scatting, but for me, the most wonderful thing about Betty Carter’s singing is the level of risk that she was able to introduce in her interpretations of the melody.  No American Idol contestant would be able to hang…
• The Betty Carter Album – Gasp, again!  Another amazing one, and all the more interesting because it’s on the Bet-Car label.  Mostly originals, and completely arranged by Betty Carter, this proves – as if proof was necessary, or that Finally didn’t provide sufficient evidence – that Ms. C was an incredible arranger.  Another amazing band…
• Look What I Got – Grammy award winning LP with Stephen Scott, Benny Green, Curtis Lundy, and Lewis Nash.  Beautifully recorded, lovely, swinging performances.

The next installment might take some time to get through: Ron Carter albums.

Best, R.

But I digress.

I have recently listened to:

• Greg Burk – Many Worlds – Greg is one of the most amazing pianists I have ever known.  He plays wonderfully on a bunch of CDs, including mine (Study of Light).  He brings a beautiful sense of curiosity to any music, it is no surprise to me that his newest CD, Many Worlds, is as good as it is.  His colleagues are Ron Sequin and Michel Lambert, and they sound great.  Henry Cook – another pal – plays some of the best music I have ever heard him play on this CD.   These worlds are definitely worth exploring.
• Kate Bush – Hounds of Love – Back to LPs.  Kate Bush is a musician who I was vaguely aware of until about 1995, and then I became more and more interested in her music.  Now, I have most of her recordings, and have found wonderful things on all of them.  Honestly, I bought this record because Eberard Weber is on it, and he didn’t disappoint!  In fact, “Mother Stands for Comfort” (one of two tracks  he is on) is my absolute favorite track on the record, and my all-time favorite Kate Bush song.
• Don Byas/Bud Powell – Tribute to Cannonball – It’s not really a tribute to Cannonball; he (Adderley) merely produced the album.  Don Byas sounds great, and so do Kenny Clarke, Idrees Sulieman, and Pierre Michelot (he rules!), but this 1961 recording is definitely not Bud Powell’s shining hour.  It’s a little heartbreaking to listen to, unfortunately.

And then, the Benny Carter section.  When I first started re-buying LPs in 1999, I hardly even knew who Benny Carter was.  But the more I heard, the more I liked.  He was extraordinary.  A composer, arranger, alto saxophone and trumpet player, and singer, this guy is the definition of swing-era.

• 1933 – Amazing.  Great tracks with sidemen like Max Kaminsky, Chu Berry, Teddy Wilson, Sid Catlett, Mezz Mezzrow (on drums?  No way…), Shad Collins, and J.C. Higginbotham.
• Swingin’ The ’20’s – I love this one.  A later Earl Hines recording, but he still sounds incredible, and with Leroy Vinnegar and Shelly Manne on bass and drums, this rhythm section is hard to beat.  Great “Thou Swell.”
• Further Definitions – A must own.  Seriously.  All saxophone players need this record, not just because it’s great, but because it was recorded in 1961 and the saxophone players are Carter, Coleman Hawkins, Phil Woods, and Charles Rouse (the definition of modernism at the time – working with Monk).  All bass players need it because this stars pre-Coltrane Jimmy Garrison, working with (Papa) Jo Jones on the drums.  Dick Katz and John Collins on piano and guitar round out the rhythm section.  Absolutely amazing record
• Montreaux ‘77 – A great jam session sounding record.  I love Pablo Records (the record label) in the 1970s.  As always, NHOP (Niels-Henning Orsted Pedersen)’s playing is practically obscene, it’s so amazing.
• Summer Serenade – My least favorite of the Benny Carter collection, although there are some nice moments.  Kenny Drew, Jesper Lundgard and Ed Thigpen are a nice foundation for Carter.  But there just isn’t as much vitality in the playing as I was hoping for.  Thigpen sounds like he’s playing nylon tip sticks on a pretty big ride cymbal, which isn’t the greatest sounding thing either.  Sorry.

Watch out: Betty Carter records are up next!

Best, R.

• The Time Machine – This is a rare, early example of using the advantages of tape recording to record an album.  Burton overdubbed piano and vibes, with a couple of Steve Swallow bass performances and drums and percussion (courtesy of Larry Bunker) on just about every track.  A lovely “Chega De Saudade” and brilliant “Falling Grace.”
• Duster – The first Burton album I ever heard (except maybe Who is Gary Burton?).  My dad had this on LP, and I remember getting this album confused with Herbie Hancock’s Third Plane because the album covers are similar (to the eye of the average 6 year old).  Early, amazing Larry Coryell (guitar), great Swallow and Roy Haynes.  Some tunes by Michael Gibbs – I had a chance to meet him shortly after I moved to Boston (at Berklee – my ear training teacher was Gibbs’ friend, and Gibbs was an artist in residence for the year).  I was – get this – too shy.  I love his writing.
• Lofty Fake Anagram – Ok, now here’s something.  Coryell is absolutely genius on this album, which is a pretty challenging feat, given how great this album is.  More great tunes by Gibbs and Steve Swallow, plus Duke Ellington and (a personal fave) Carla Bley.  Bobby Moses sets a standard on this LP.
• Country Roads & Other Places – Not exactly my favorite album.  Swallow and Burton are great, but I don’t quite connect with the material (even with Gibbs and Bley tunes on here).  Guitarist Jerry Hahn sounds great and Roy Haynes is wonderful as always.
• Gary Burton & Keith Jarrett – Scott Yanow (All Music Guide) suggests that these two return to see how they get along now.  Nice Jarrett and Swallow originals on this, and Sam Brown (on guitar) is so, so good.  I can’t seem to get enough of his guitar playing; I have many records with him on guitar, and he’s always fantastic.  Bill Goodwin, on drums, is totally great.
• Paris Encounter – Gary Burton & Stephane Grappelli, with Burton’s band (Swallow and Goodwin).  I would love to know the back story on this one.  A very unlikely pairing, in my opinion.  Still, they make some great music.  Especially lovely are Swallow’s “Falling Grace” and Gibbs’ “Sweet Rain” (man, I love his writing.  Did I say that already?)  But the best part of this album is the rockin’ band photo on the back cover.  Nice cape.
• Seven Songs for Quartet and Chamber Orchestra – This LP is all about Gibbs’ writing and orchestrations, which are just gorgeous.  Mick Goodrick enters the picture and plays brilliantly (as always).  More on the Gibbs/Burton pairing when I get to Gibbs’ In the Public Interest.
• Ring – This one knocks me out.  It’s great, but the thing that totally pushes me over the edge is Eberhard Weber’s playing.  I ADORE his playing, and his writing.  Actually, I might be the only person on the planet (really!) to have recorded a cover of “Colours of Chloe”.  It’s on my CD, Study of Light.  He plays so great on this LP, as do Mick Goodrick, Pat Metheny, Steve Swallow, and Bob Moses (whose playing on “Colours…” is practically hardcore).
• Hotel Hello – I purchased this album because of decades of seeing this LP referenced in the Real Book.  It didn’t really do much for me the first time or two I heard it.  It’s nice, but…  Well, having said that, “Vashkar” is very, very interesting.
• Passengers – Gasp!  Sigh!  Oh…My…God…I…Love…This…Album.  The LP listening/blogging project hasn’t really turned up too many recordings as influential to yours truly as this one.  Ok, so what if I learned/transcribed Paul Desmond’s solo on “Take Five” when I was in 3rd grade?  Anyway, gasp, I love this album, and I always have, from the first time I put the needle to the vinyl.  Burton, Goodrick, Metheny, Swallow, Weber, and Danny Gottlieb (on drums).  They play some Metheny originals, and the greatest (IMO) version of “Sea Journey”.  I love the tunes, the arrangements, the sound, the playing, and this album flipped me out enough that I found myself on a mission to learn more about Eberhard Weber (Herr Weber, call me!).  A-ma-zing.
• Times Square – A great album, with my favorite version of Swallow’s “Como en Vietnam.”
• Duet – It’s nice.  I like Crystal Silence more, but hey, this is a nice one too.

So, on to the next great musician!  I wonder who it will be?  Actually, I have a couple of Greg Burk CDs to finish up and write something about.

Best, R.

• “Why Was I Born?” – a magnificent piano/tenor duo.  Coltrane sounds amazing.
• “Freight Trane” – the definitive version, I think
• “Minor Mishap” – I have so many versions of this.  Tons.  This one is fantastic.
• “How Long Has This Been Going On” – Lovely.
• “Eclypso” – Note to self: transcribe and play this tune.  Further proof that Tommy Flanagan was a great composer.

Super nice record.

R.