J A Z Z

Habrá que escucharlo!
Por otra parte, no sabia por donde meterlo, pero
https://m.mixcloud.com/live/flyinglotus/flyinglotuslive/buy/

También se ha pasado al stream el festival de jazz de Berlin, ofreciendo on-demand (gratuito) hasta noviembre del 2021. Hay algunas cosillas majas que gustarán por aquí:
https://www.berlinerfestspiele.de/en/berliner-festspiele/on-demand/2020/jazzfest-berlin/jazzfest-berlin-festivalstream.html

Solo me pico la curiosidad por ver si estaba Nubya Garcia pero no esta

https://www.nytimes.com/2020/12/02/arts/music/best-jazz-albums.html?

o el de las ragas de Tenderlonious en su viaje a Pakistan, y el de Matthew Halshall bien valen una escucha.

Por otra parte, el nuevo de Rob Mazurek en International Anthems (es oro prácticamente cada cosa que saca) tampoco esta nada mal. Buen all star se ha montado para la exploiding all star orchestra: nicole Mitchell, Jeff Parker, Jaimie Branch, Joel Ross, y Tomeka Reid entre otros

samlcc escribió:

Solo me pico la curiosidad por ver si estaba Nubya Garcia pero no esta

https://www.nytimes.com/2020/12/02/arts/music/best-jazz-albums.html?

10 discos no dan para mucho y los que he escuchado de ahí son todos excelentes. De todas formas creo que si hiciera una lista de mis 20-25 favoritos del año tampoco entraría.

fid escribió:

Por otra parte, el nuevo de Rob Mazurek en International Anthems (es oro prácticamente cada cosa que saca) tampoco esta nada mal. Buen all star se ha montado para la exploiding all star orchestra: nicole Mitchell, Jeff Parker, Jaimie Branch, Joel Ross, y Tomeka Reid entre otros

Lo tengo apuntado de la lista de mejores discos de jazz de noviembre de Bandcamp, pero todavía no he tenido tiempo de escucharlo. El grupo que ha juntado es una locura, es que además por separado me flipan todos.

De estrenos de jazz, el último que he escuchado ha sido 'There is a Tide' de Chris Potter. Bien sin más, no me da para una segunda escucha

Laetitia escribió:

samlcc escribió:

Solo me pico la curiosidad por ver si estaba Nubya Garcia pero no esta

https://www.nytimes.com/2020/12/02/arts/music/best-jazz-albums.html?

10 discos no dan para mucho y los que he escuchado de ahí son todos excelentes. De todas formas creo que si hiciera una lista de mis 20-25 favoritos del año tampoco entraría.

A mi me pasaría igual (creo), no me acaba de parecer muy redondo.

Estaría bien que posteases un top 10 al menos

De lo que llevo escuchado, sería algo así:

1. Anna Högberg Attack - Lena
2. Fire! Orchestra - Actions
3. Susana Santos Silva Impermanence - The Ocean Inside A Stone
4. Mary Halvorson's Code Girl - Artlessly Falling
5. Irreversible Entanglements - Who Sent You?
6. Kaja Draksler Octet - Out for Stars
7. Anna Webber/Angela Morris Big Band - Both Are True
8. Matana Roberts & Pat Thomas - The Truth
9. Ingrid Laubrock - Dreamt Twice, Twice Dreamt
10. Thumbscrew - The Anthony Braxton Project
11. Tyshawn Sorey - Unfiltered
12. Ambrose Akinmusire - On The Tender Spot Of Every Calloused Moment
13. Asher Gamedze - Dialectic Soul
14. Nicole Mitchell & Moor Mother - Offering (Live at Le Guess Who?)
15. Rob Mazurek/Exploding Star Orchestra - Dimensional Stardust
16. Jyoti - Mama, You Can Bet!
17. Susan Alcorn Quintet - Pedernal
18. Nate Wooley - Seven Storey Mountain VI
19. Jeff Parker & The New Breed - Suite for Max Brown
20. Sun Ra Arkestra - Swirling
21. Tomeka Reid & Alexander Hawkins - Shards and Constellations
22. Nduduzo Makhathini - Modes of Communication: Letters From the Underworlds
23. Okuden - Every Dog Has Its Day But It Doesn't Matter Because Fat Cat Is Getting Fatter
24. Matthew Halsall - Salute to the Sun
25. Tim Berne's Snakeoil - The Fantastic Mrs.10

Laetitia escribió:

De lo que llevo escuchado, sería algo así:

1. Anna Högberg Attack - Lena
2. Fire! Orchestra - Actions
3. Susana Santos Silva Impermanence - The Ocean Inside A Stone
4. Mary Halvorson's Code Girl - Artlessly Falling
5. Irreversible Entanglements - Who Sent You?
6. Kaja Draksler Octet - Out for Stars
7. Anna Webber/Angela Morris Big Band - Both Are True
8. Matana Roberts & Pat Thomas - The Truth
9. Ingrid Laubrock - Dreamt Twice, Twice Dreamt
10. Thumbscrew - The Anthony Braxton Project
11. Tyshawn Sorey - Unfiltered
12. Ambrose Akinmusire - On The Tender Spot Of Every Calloused Moment
13. Asher Gamedze - Dialectic Soul
14. Nicole Mitchell & Moor Mother - Offering (Live at Le Guess Who?)
15. Rob Mazurek/Exploding Star Orchestra - Dimensional Stardust
16. Jyoti - Mama, You Can Bet!
17. Susan Alcorn Quintet - Pedernal
18. Nate Wooley - Seven Storey Mountain VI
19. Jeff Parker & The New Breed - Suite for Max Brown
20. Sun Ra Arkestra - Swirling
21. Tomeka Reid & Alexander Hawkins - Shards and Constellations
22. Nduduzo Makhathini - Modes of Communication: Letters From the Underworlds
23. Okuden - Every Dog Has Its Day But It Doesn't Matter Because Fat Cat Is Getting Fatter
24. Matthew Halsall - Salute to the Sun
25. Tim Berne's Snakeoil - The Fantastic Mrs.10

Le daré una escucha a algunos que se me han escapado. El de Webber solo esta en bandcamp previo pago?
¿El de Emmanuel Wilkins o Joel Ross no te han gustado?

Creo que está por ahí subido en una web de estas tipo NAR porque lo tengo en MP3, pero está entero en Youtube: 



Sí me han gustado pero no tanto como para meterlos, de hecho solo los he escuchado una vez cada uno.

Otro que no he metido pero que puede gustar por aquí, el de Madlib con el batería Karriem Riggins, 'Pardon my French': 

Pues me ha gustado el début de Lucia Fumero que viene de ganar el primer premio de jazz de las juventudes musicales de españa. Lo ha editado seed music en una nueva línea de jazz que tiene buena pinta.

Por cierto Laetitia (u otros), recomiendas algo contemporaneo de jazz nacional? Estoy verdidisimo y lo poco que he escuchado tampoco me ha impresionado.

Ahí me pillas 

La referencia es el pianista Agustí Fernández, tiene colaboraciones con muchos grandes, pero tampoco le he seguido mucho, el último suyo que he escuchado es 'A Quietness of Water', por la referencia de Mats Gustafsson.



Y fuera del circuito nacional (Andrea Motis, flamenco-jazz, etc.), la que está teniendo bastante repercusión es la saxofonista Muriel Grossman. Me suena haber visto su último disco recomendado en varios medios especializados y alguno más generalista (creo que el blog de Bandcamp). Tira mucho por influencias de jazz espiritual estadounidense de finales 60/principios 70, un rollo muy chulo.

Por cierto, a mi se me habia pasado, pero publicaron ya el docu de Makaya. Aunque la verdad es que esperaba bastante más, o quizás otra cosa.

https://youtu.be/R9t86fAuz5s

Algunas listas que he visto por ahí:

https://www.jazzwise.com/features/article/top-20-jazz-albums-of-2020
https://www.stereogum.com/2109460/best-jazz-albums-2020/lists/year-in-review/2020-in-review/

En stereogum se han subido a la ola sudafricana, pero no esta mal la lista, menos dogmática.

fid escribió:

Por cierto, a mi se me habia pasado, pero publicaron ya el docu de Makaya. Aunque la verdad es que esperaba bastante más, o quizás otra cosa.

https://youtu.be/R9t86fAuz5s

¡Gracias por recordarlo! Se me había pasado completamente.

Sobre la listas de jazz, dos observaciones: creo que cada año veo más medios publicando la suya, hasta hace poco solo encontraba en temáticos o los que tenían una sección específica. La segunda, es que en la mayoría de los que se han ido sumando casi sólo aparecen artistas de la nueva generación que ha ido fusionando el jazz con estilos más populares, dando un resultado demasiado simple. Por ejemplo: 

https://www.brooklynvegan.com/15-great-jazz-albums-of-2020/

Parece más una recopilación del jazz reseñado en Pitchfork que un resumen con lo mejor del año.

En Free Jazz Blog han sacado las suyas también: 

https://www.freejazzblog.org/2020/12/free-jazz-blogs-2020-top-10s.html

Top 11 (the album's listed here landed on three or more of the collective's top 10 lists below)

- Evan Parker & Matthew Wright Trance Map - Crepuscule in Nickelsdorf (Intakt)
- Gard Nilssen’s Supersonic Orchestra - If You Listen Carefully the Music Is Yours (Odin Records)
- Ingrid Laubrock – Dreamt Twice, Twice Dreamt (Music for Chamber Orchestra and Small Ensemble) (Intakt)
- Irreversible Entanglements - Who Sent You? (International Anthem)
- Kaja Draksler Octet - Out for Stars (Clean Feed)
- Rich Halley, Matthew Shipp, Michael Bisio & Newman Taylor Baker - The Shape of Things (Pine Eagle)
- Webber/Morris Big Band - Both Are True (Greenleaf Music)
- Anna Högberg Attack - Lena (Omlott)
- Nate Wooley - Seven Storey Mountain VI (Pyroclastic)
- Susan Alcorn Quintet - Pedernal (Relative Pitch)
- Various - Not Two...But Twenty (Not Two)

Laetitia escribió:

fid escribió:

Por cierto, a mi se me habia pasado, pero publicaron ya el docu de Makaya. Aunque la verdad es que esperaba bastante más, o quizás otra cosa.

https://youtu.be/R9t86fAuz5s

¡Gracias por recordarlo! Se me había pasado completamente.

Sobre la listas de jazz, dos observaciones: creo que cada año veo más medios publicando la suya, hasta hace poco solo encontraba en temáticos o los que tenían una sección específica. La segunda, es que en la mayoría de los que se han ido sumando casi sólo aparecen artistas de la nueva generación que ha ido fusionando el jazz con estilos más populares, dando un resultado demasiado simple. Por ejemplo: 

https://www.brooklynvegan.com/15-great-jazz-albums-of-2020/

Parece más una recopilación del jazz reseñado en Pitchfork que un resumen con lo mejor del año.

En Free Jazz Blog han sacado las suyas también: 

https://www.freejazzblog.org/2020/12/free-jazz-blogs-2020-top-10s.html

Top 11 (the album's listed here landed on three or more of the collective's top 10 lists below)

- Evan Parker & Matthew Wright Trance Map - Crepuscule in Nickelsdorf (Intakt)
- Gard Nilssen’s Supersonic Orchestra - If You Listen Carefully the Music Is Yours (Odin Records)
- Ingrid Laubrock – Dreamt Twice, Twice Dreamt (Music for Chamber Orchestra and Small Ensemble) (Intakt)
- Irreversible Entanglements - Who Sent You? (International Anthem)
- Kaja Draksler Octet - Out for Stars (Clean Feed)
- Rich Halley, Matthew Shipp, Michael Bisio & Newman Taylor Baker - The Shape of Things (Pine Eagle)
- Webber/Morris Big Band - Both Are True (Greenleaf Music)
- Anna Högberg Attack - Lena (Omlott)
- Nate Wooley - Seven Storey Mountain VI (Pyroclastic)
- Susan Alcorn Quintet - Pedernal (Relative Pitch)
- Various - Not Two...But Twenty (Not Two)

Si, la verdad es que es cierto lo que dices, son listas muuy poco trabajadas. De todas maneras, las listas de los medios tradicionalea tampoco suelen ser muy de mi agrado (ni la revista en si, vamos).

Gracias por la de freejazzblog, me apunto como pendientes los que no he eacuchado (que son pocos, muchos conocidos de este hilo )

fid escribió:

Si, la verdad es que es cierto lo que dices, son listas muuy poco trabajadas. De todas maneras, las listas de los medios tradicionalea tampoco suelen ser muy de mi agrado (ni la revista en si, vamos).

Bueno, si tengo que elegir entre la línea de Jazzwise y la de Stereogum, por seguir con ejemplos que ya has comentado, me quedo con la segunda sin dudarlo un segundo. Con las pegas que se le puedan poner (como a todas), es muy representativa de 2020. La otra, con algunas excepciones, parece música de mediados de los 90.

Estoy ahora con el pianista lituano Vyacheslav Ganelin, la mayoría de sus trabajos son en formato trío, free-jazz más cercano a Chicago que a Escandinavia

Muy interesante el artículo de Bandcamp sobre los pioneros del jazz británico: 

https://daily.bandcamp.com/lists/british-jazz-list

Parte de la transcripción de la entrevista de Amy Goodman a Charlie Haden, donde cuenta la experiencia de reivindicar los movimientos de liberación de Guinea-Bissau, Mozambique y Angola en un concierto en Portugal en 1971. La entrevista completa es muy interesante, dejo el link abajo.

CHARLIE HADEN: So we got it all fixed up, and I went to Europe. But I saw on the itinerary before we left that we were playing in Portugal, and I didn’t agree with the government there. It was a kind of a fascist government. They had colonies in Guinea-Bissau, in Angola and Mozambique, and they were systematically wiping out the Black race, you know? And so I called Ornette, and I said, “You know, I don’t want to play in Portugal.” And he said, “Charlie, we’ve already signed the contract. We’ve gotta play. It’s the last country on the concert tour. Figure out — maybe you can do something to protest it, you know?”

AMY GOODMAN: The Caetano regime.

CHARLIE HADEN: Yeah. And so, during the tour we were playing one of my songs, “Song for Che,” and I decided that when we played my song, because it was connected to me, because I was the guy that was going to do it, you know, I would dedicate that song to the Black peoples’ liberation movements in Mozambique and Angola and Guinea-Bissau. And I asked — I think we were in Bulgaria, and we were doing a jazz festival there. Or Romania, we were in Bucharest, and I asked one of the journalists there, who was from Portugal, I said, “I’m planning on” — because he knew about the Liberation Music Orchestra. He says, “What are you going to do?” And I said, “I’m going to dedicate — what would happen if I did this?”

He said, “Well, three or four different things. You can either be shot on the spot, or they could pull you off the stage, or they could arrest you on the stage. They could arrest you in your dressing room. Or they can arrest you later. But you’re going to be arrested.” And I thought, you know, I don’t think they’ll arrest me, man. I’m an American jazz musician. This is a jazz festival. It has nothing to do with politics. I think I’m safe.

So I made the dedication, and I wasn’t arrested immediately, but, you know, when I did the dedication there were young people there, students, that were in the cheaper seats in front, and they all started cheering so loud that you couldn’t hear the music. And a lot of police were running around with automatic weapons, and they, right after we finished our set, they stopped down the festival, and they closed down in Cascais this big stadium that we were playing in. And we went back to the hotel, and so I was starting to get concerned about what was going to happen.

The next day, we went to the airport, and at the airport, I was trying to get my bass on the plane to make sure I could get the bass on the plane. And there were hundreds and hundreds of people in front of the airlines’ counters. And finally, one of the people from TWA came around the counter and said, “There was a man over there who wanted to interview you, and you have to stay here.” And I said, “I don’t want to be interviewed.” And Ornette came over and said, “What’s going on?” And they say, “They want to interview Mr. Haden, and you guys are going to get on the plane. And he’s staying here.” And Ornette said, “No, we’re not going on the plane. We’re going to stay here with him.” And they said, “No, you’re not. You’re getting on the plane.” They took them by the arms, and they led them on the aircraft. And I stayed there, and they took me down a winding staircase to an interrogation room and started pumping me with questions. They said, “We’re going to transfer you over to the PIDE headquarters.”

AMY GOODMAN: The police?

CHARLIE HADEN: It was the political police of Portugal. And so I said, you know, “I’m a United States citizen with a United States passport. I demand to be able to call the embassy.” And the guy who worked for TWA looked at me and smiled and said, “It’s Sunday, Mr. Haden. You can’t call the embassy. You shouldn’t mix politics with music.” And the next thing I know, I’m in a car, and we’re traveling to a prison. And I’m thrown into a dark room with no lights, and I stay there for I don’t know how long. A long, long time. And finally — I mean, I was traumatized. You know, I thought I’d never get to see my kids. I thought it was over. I didn’t know what they were going to do.

And they finally came and got me from the room and took me up to an interrogation room with really, really bright lights. I couldn’t see anything. And there was one guy who spoke English that started pumping questions at me right and left, and one of the questions, which I was kind of prepared for, because I thought I would kind of try to fool them. He said, “Why did you make this dedication?” And I said, “Well, I’ve been making a dedication at every country we went to. I dedicated something in Germany to the German people. I dedicated something in France.” And he said, “Do you expect us to believe that?” You know, anyway, they brought a statement to me to sign. I refused to sign it, and they started to look —- one guy had a trunch, and in his hand he was doing like this. And -—

AMY GOODMAN: Hitting it against his other hand.

CHARLIE HADEN: Hitting it against his other hand. And as soon as I thought like everything is over with, there was a guy that came down and whispered something in the head policeman’s ear. And all of a sudden he completely changed. He says, “Mr. Haden, you’re going upstairs. Someone from the American embassy is here to retrieve you.”

And I went up to this real plush room, which was really different from where I had been, and the guy said, “Hey, Charlie, what’d you say the other night that caused all that commotion?” He says, “Wow!” He said, “Well, my name’s Bob Jones, and I’m from Chicago. I’m the cultural attaché here. Come along with me and, you know, we can get you out of this place.” You know, I said, “Oh, great!” Anyway, I went to his villa and went to the airport and got —

AMY GOODMAN: This was Nixon’s cultural attaché to Portugal.

CHARLIE HADEN: This was Nixon’s cultural attaché. I found out later from Ornette, too, and from other people that they weren’t going to do — the United States wasn’t going to do anything, because they were very embarrassed by what I did, because of NATO. And they didn’t want to have anything to do with it. And finally, I guess Ornette helped, too, and one of the promoters in Lisbon was kind enough to help, and they said, “You know, this guy’s a famous jazz musician, and you better let him go, you know, because it’s not going to look good for you.” And they let me go, and I was very happy.

AMY GOODMAN: We’re talking to the legendary musician, bassist and political activist, Charlie Haden. After this, did it change your thoughts about speaking out? Did it make you radioactive for other jazz musicians? Did musicians support you in what you had done?

CHARLIE HADEN: Most of the musicians that I performed and played and recorded with all supported me. You know, it’s such a struggle for jazz musicians in this country to get their music played and to the people. And in that struggle, they don’t really have time — or, you know, they’re struggling to play their music, and I think that that’s the reason that more musicians don’t speak out politically.

But I started getting worried when the FBI came to my apartment, and they had been watching the house. I saw cars out in front on 97th Street, where we lived, and I knew plain-clothes cars when I saw it, you know. And they finally came up to the door and rang the doorbell, and they said, “We’re FBI. We want to talk to you.” And I said, “Well, why should I let you in?” They said, “Well, we’re asking you if we can come in and talk to you.” So I said, “I don’t have anything to hide. Come in.” So, they asked me, you know, “Why did you do that?” And I told them. I said, “I don’t agree with the policies of the Portuguese government, and that’s why I did that.” And they had a whole dossier on me. I couldn’t believe it.

Anyway, but I thought about it afterwards, and if I had it to do again, I would do it again. And as a result, I think, of what I did, because nobody had ever done that in Portugal, my wife Ruth and I later learned that they put it into the school books of the schools in Portugal, what I did. And there was a revolution in 1974 of the young enlisted officers, and they overthrew Caetano. He fled the country. And I think it was a gentleman named Duarte [Soares] that took over, socialist government. They invited me to come back, and I came back and I played. And there were 40,000 people in this big meadow in Lisbon, and they were all chanting, “Charlie! Charlie! Charlie!” And I had goose bumps all over. It made me feel so good.

And then, my wife Ruth and I were invited back, because I met, while I was there, Carlos Paredes, who was this famous fado player, and I loved his playing, and so I said, “I want to play with you.” He had been arrested under Salazar. And we came back and did a film with him, and they took me back to the stadium where I was arrested in ’71. And they did a little documentary. It was all in Portuguese. And it was really nice to go back.

https://www.democracynow.org/2006/9/1/jazz_legend_charlie_haden_on_his

Gracias por la entrevista me pongo el disco, que no lo conocía

Ha fallecido Chick Corea a los 79 años

Hostia :/ si todavía el año pasado tocó en Oviedo. Qué lástima y menudo viaje tiene que ser meterse en su discografía (yo más allá de Return to Forever y lo que grabó con Miles poco conozco).

yodado escribió:

(yo más allá de Return to Forever y lo que grabó con Miles poco conozco).

Pues estamos parecido 

Y me parece que voy a soltar un disparate, pero si no he profundizado más en su discografía es porque en su día 'My Spanish Heart' me pareció un poco hortera y sus elementos españoles y latinos algo impostados. Seguro que belcebú sabrá corregirme sobre esto.

El caso es que esta mañana estaba escuchando temas suyos con Paco de Lucía (hay varios directos en Youtube) y la sensación que me han dejado es totalmente opuesta: todo fluye sin que ninguno pierda su estilo y el duende está ahí asomando a cada poco. ¿Llegó 'My Spanish Heart' demasiado pronto (fue publicado en 1976) o le doy otra escucha con más atención?

Laetitia escribió:

Ayer salió un artículo en el New York Times sobre Milford Graves, su enfermedad y cómo está afrontando el final de su vida en Jamaica (en 2018 le dieron 6 meses de esperanza de vida):

https://www.nytimes.com/2020/08/05/nyregion/milford-graves-drummer.html

Y hoy me he puesto 'Nommo', un directo con el pianista Don Pullen en 1967, free jazz con raíces muy reconocibles, sobrado de inspiración. Una pena la calidad del audio.

Hace unas horas anunciaron que ha fallecido