Podcast 34 - Matt Mitchell

Matt Mitchell Matt Mitchell is an insanely proficient pianist and composer. He has played with heavyweights like Tim Berne, Dave Douglas, and John Hollenbeck. He is also hilarious. We sat down and talked about studying with David Baker and Ralph Alessi, rejecting and/or embracing influences from across the musical spectrum, the lineage of piano etudes, and all eight of his bands. The music played in the show is from his latest album Fiction which features Ches Smith on Pi Records. Check it out!

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Wildcard - Karl Lyden

The Hilliard Ensemble / Christoph Poppen - Morimur

This album lends a fresh spin on J.S. Bach’s solo violin music. The Hilliard Ensemble backsviolinist Christoph Poppen by fashioning vocal chorales out of the solo lines. The production is exquisite (as to be expected from ECM) but it is Poppen’s interpretation that makes the record. My teacher and colleague, trombonist Alan Ferber, once told me that “the best classical music sounds improvised” and cited this album. Poppen performs each piece with clear intent but also spontaneity, as if he conjured it out of thin air. He plays entirely in the moment, something I think musicians should strive for whether improvising or not.

Sonny Rollins – Live in Stockholm 1959

I find Sonny Rollins’ live performances to be more inspired and uninhibited than in the studio. This lesser-known album is no exception. The first thing that strikes me is the sound quality. Henry Grimes’ bass and Sonny’s tenor have well-defined, full-bodied tones throughout. Sonny’s transitions between melody and solo are stunning. On “How High the Moon” he plays around with the head for several choruses while gradually inserting more of his own ideas. This approach sounds fresh even today amidst the clichés associated with standards.

Sonny Rollins – tenor saxophone

Henry Grimes – bass

Pete La Roca – drums

Peter Epstein - Polarities

This recent offering from Peter Epstein exemplifies how a cohesive band should sound. Some modern jazz groups give the impression of individual players being glued to their parts. This album is a breath of fresh air. The musicians are attuned to each other and let moments happen at their own pace. Part of this is a testament to Epstein’s open-ended compositions. Oftentimes, I couldn’t distinguish between written and improvised sections as in “Old Yarn.” The frontline duo of Epstein and Ralph Alessi really captures the spirit of Ornette Coleman’s early bands.

Ralph Alessi – trumpet

Peter Epstein – alto saxophone

Sam Minaie – bass

Mark Ferber – drums

Karl Lyden is a trombonist and composer in New York City. He performs with big bands, small jazz groups, and soul bands, and leads an 8-piece Mixtet that combines minimalism with post-bop to produce a unique blend of chamber jazz.  His first big band chart “Downside Up” was the 2011 Winner for Undergraduate Orchestrated Work in Downbeat Magazine.

Wildcard - Ethan Helm

Nickel Creek: A Dotted Line

Nickel Creek is often categorized as “progressive bluegrass,” I can't say I know any other artists in the category. But Chris Thile is incredible in everything he does, and the two other members of the group are fantastic. What I love about this album is the virtuosity the musicians aren't afraid to show: harmonic complexity, stylistic range (Hayloft, with the sweet hi-hat on the snare drum is somewhere between a 2014 pop tune and a Ricky Martin hit. so good.), and a heavy reliance on their own acoustic instruments to fill up the ensemble sound. Without naming specific names, the current wave of poppy “folk-revival” seems insincere and pandering to me, with the votive candles in mason jars and the suspenders and beards, which usually all adds up to 3 open-chord strumming and banal rhythm. As if “folk music” in and of itself holds some kind of fantastical ideal simplicity that we can only access by dressing up and really caring. Conversely, Nickel Creek's deep exploration of the genre's limits and possibilities seems so natural; they are loving and owning the history of bluegrass by stretching it. But really, you only need to listen to the last track, “Where is Love Now?” to be convinced of this album's excellence. I listened to it like 10 times in a row.

Michel van der Aa: Here Trilogy

I've been surprised to see just how little popularity van der Aa has in America, because his aesthetic is very close to many well-known American composers, and he does a lot of cool work with opera and film.  The Here Trilogy has a sort of Andriessen-ian rhythmic drive as it spins into obsessive repetition, and the piece's lack of ornamentation feels so cold, stark, and terrifying.  Many of his works, including this one, have psychological themes, and the solo soprano + orchestra instrumentation alludes to the psychological dramas of Schoenberg, Berg, and Strauss.  The piece also has a similar free atonality as the early modernists.  Basically it's badass, relentless, and alienating.  Also: a very cool idea where a section of the piece is “rewound” with a tape recorder held by the soprano soloist, after which the section is repeated exactly.  That wasn’t a great explanation of just how effective the concept is when it is executed in the piece, but I love the use of common music technology’s ability to distort linear time as a symbol for mental instability.

Charlie Parker: Complete Live At Birdland

This album came out a few years ago but I've only been listening for a few months, but it has had a huge impact on the music I make.  Some of the tracks are just little snippets of tunes, many with horrible sound quality.  But the performances captured here are unbelievable.  Parker's wild abandonment is so far from the lifeless, self-referential standard language his expressions are often distilled down into, the language we all learned in college.  This album is a reminder that jazz was the most extreme music in America at one point, and can be again if we embrace it with the uncompromising passion of Parker and his contemporaries.  Layers upon layers of rhythm propel the music forward, quotes are stated out of key or abandoned halfway through, and songs occasionally succumb to total messiness.  But the result is otherworldly, beautiful sound, too full of aesthetic daring to be “conservative”, and too referential of jazz history and canon to be “progressive”.  This album is a humbling reminder of the artistic standards to which we should hold ourselves, and the transcendent results when those standards are met.

Ethan Helm is a composer and saxophonist living in New York City.  Originally from Yorba Linda, California, he attended Eastman School of Music as a Rogers Scholar and graduated with a bachelors degree with High Honors in jazz saxophone in 2012, after which he relocated to Manhattan. He is the winner of the Baltimore Jazz Showcase Award in composition and currently is a sideman and leader of multiple interesting projects.

Podcast 33 - Matt Ulery

a2579361407_10 I met up with Chicago composer and bassist Matt Ulery to talk about his latest album In the Ivory which was just released on Greenleaf Music. This is the second album he has made featuring a large chamber ensemble in addition to the same core rhythm section featured on all of his recordings. We talk about how he sings melodies to create new pieces, why he decided to write “art songs” and how that might affect the audiences perspective of the music, and about how his music has evolved over the years.

If you like what you hear, please Subscribe in iTunes and give us feedback. That will help us out tremendously. Also, feel free to email me with any suggestions or questions. Thank you for listening!

Podcast 32 - Ed Neumeister

20140818073848-l_4__1_ Ed Neumister writes great music. We talk about his NeuHat Ensemble who just finished recording their brand new album titled Into the Now. We are the very first people to listen to rough mixes of this album! He just launched an Indiegogo campaign to finish the album so be sure to help out if you can. We also talk about his experience playing with Jerry Garcia, composing for films, and living outside of in Austria.

If you like what you hear, please Subscribe in iTunes and give us feedback. That will help us out tremendously. Also, feel free to email me with any suggestions or questions. Thank you for listening!

Wildcard - Devin Gray

Farmers By Nature - Love and Ghosts (Gerald Cleaver/Craig Taborn/William Parker)

I could listen to these guys improvise all day, all day.

 

St. Vincent (St. Vincent 2014)

 

Love the studio recording for its composition and production, but the Live In Paris videos rock even more...

Chris Speed -Really OK

Great trio playing, love the interaction and melodies.

 

Devin is a drummer and composer living in Brooklyn, NY.  His fresh approach to modern drumming has enabled him to play with many of America’s great jazz musicians. He has performed and recorded with innovative musicians of contrasting styles and backgrounds such as: Tony Malaby, Gary Thomas, Ingrid Jensen, Dave Burrell,  and more.  Current projects include a quartet recording (Dirigo Rataplan) and tour of compositions written for Ellery Eskelin, Dave Ballou, and Michael Formanek.

Podcast 30 - Anna Webber

simple This is our 30th episode! This week I talk with saxophonist and composer Anna Webber about her new album titled Simple which is out on Skirl Records. It also features Matt Mitchell on piano and John Hollenbeck on drums. We talk about her relationship with both of these musicians and how this is not exactly an example of a younger musician calling up two more established musicians to try to sell some records and her humble beginnings as a “concert band” flautist and how she evolved into the jazz tenor saxophonist and “new music” composer she is today. Also, we dive deep into all of the incredible music we loved at the age of fourteen and cottages.

The record release show is on September 25th at Shapeshifter Lab at 7:00 PM. The Claudia Quintet is opening the show! Be sure to actually buy this album!

If you like what you hear, please Subscribe in iTunes and give us feedback. That will help us out tremendously. Also, feel free to email me with any suggestions or questions. Thank you for listening!