Seeing "Zodiac" wasn't nearly as riveting as reading this NYTimes article

And they're both basically about the same thing!
Ah, the power of the word!

(just click on the header for this entry to take you there.)

M/M Quartet

Listening tonight to Metheny/Mehldau "Quartet"... Love it. Jeff Ballard plays beautifully here, and uses an expansive rhythmic palette to bring the colors of the various compositions to life. Metheny seems to know just when to break out the chops, and at other times uses a rare economy to make his statements. The duos here also seem to have a greater sense of life than those on the previous release. Brad plays with the luminous clarity we've been accustomed to for so long, and his joy is something you can feel. Even when the songs are reflective here, or cast in more burnished hues, there is a sense of brightness and weightlessness. The rhythms move, the moods float, and the textures never become bogged-down. Nothing here is mired in seriousness! But it's some incredibly serious shit. With interpretation and improvisation on a masterful level--individually and collectively--and given a detailed, warm, clear studio sound and blend, this collection is modern music at its best. The best Metheny record in years, for sure, and also one of Brad's finest.

Also listening to Dan Reeder's "Sweetheart"... another kind of music altogether, but equally playful, and strong in a different way.

"Disorder" review by Bill Milkowski in new Jazztimes

BENNIE WALLACE
Disorder at the Border (Enja/Justin Time)


Though Wallace’s sumptuous tenor tone and breathiness on ballads are often attributed to Ben Webster, his surprising note choices and intervallic leaps can be directly traced back to Webster’s teacher, Coleman Hawkins, who is widely regarded as the father of all tenor saxophone players. Hawkins’ exuberant speech rhythms and unexpected phrasing, along with his liberated sense of extrapolating on familiar melodies, set a precedent for avant-garde pioneers like Eric Dolphy and Archie Shepp, and a later generation of players including David Murray and Bennie Wallace. In this program of tunes associated with Hawkins, recorded live at the 2004 Berlin JazzFest, Wallace bears down in the setting of a swinging nonet with sparkling new arrangements by guitarist Anthony Wilson (who strangely doesn’t appear here). Solo standouts, aside from the audacious tenor man himself, include trumpeter Terell Stafford, who kills on a rousing “Bean and the Boys” (a proto-bop anthem from 1946 based on the tune “Lover Come Back to Me”), and trombonist Ray Anderson, who turns in a smooth, expressive solo on the 4/4 swing section of the exotic Latin-flavored “La Rosita.”
Wilson’s arrangements incorporate some slick, tight unison lines by the six horns, which include alto saxophonists Jesse Davis and Brad Leali and baritone saxophonist Adam Shroeder, who also shines on the burning “Bean and the Boys.” The swinging rhythm section is capably manned by pianist Donald Vega, wonderful bassist Danton Boller, who solos brilliantly on the title track, and Wallace’s longtime associate Alvin Queen on drums. Their take on Fats Waller’s “Honeysuckle Rose”—a tune recorded by Hawkins in 1937 during his expatriate period in Paris, where he collaborated with Django Reinhardt, Stephane Grappelli and fellow expatriate Benny Carter—coyly opens on a balladic note before giving way to some high-flying exchanges between the two alto players, Davis and Leali, and leading to another scorching solo by bari player Schroeder. And while Wallace’s liberated sense of phrasing and quirky intervallic leaps in the heat of improvisation can be almost comical at times, his rhapsodic interpretation of Coleman’s landmark, “Body and Soul,” is a highly personal expression of rare beauty that culminates in an extended dramatic cadenza full of probing harmonic flourishes and implied polyphony. Wilson’s gorgeous reharmonizations of the theme here greatly augment the inherent beauty of this timeless ballad.

The collection closes on a rousing note with an exhilarating take on the spiritual “Joshua Fit the Battle of Jericho,” highlighted by some raucous, braying plunger work by trombonist Anderson and culminating with a tumultuous free-jazz breakdown between Queen and Wallace. A great showcase for the idiosyncratic, rambunctiously swinging, free-spirited tenor man, and a real triumph for arranger Wilson.

I haven't eaten there

But this quote from Frank Bruni's NYTimes review makes me pretty wary:

"But while Balthazar’s evocation of a brasserie bespoke an adoration of France, Morandi’s incarnation of a trattoria suggests something more like amusement with Italy. The restaurant strikes an odd tone, starting with the recorded voice on the phone line, as broadly accented as that of Father Guido Sarducci on an old episode of “Saturday Night Live,” and extending to row upon row of straw-bottomed Chianti bottles lining the walls. Is this tribute or burlesque?"

I think I'll stick with my tried and true and new: Babbo, Lupa, Sistina, Sfoglia.... and lately, Mr. Harris has been urging me to re-try Bar Pitti.

RIP Andrew Hill

When I was 17, during the summer prior to my freshman year in college, I traveled to Verona, Italy to play my first European jazz festival, as a member of my father's orchestra. We had an unusual flight path, originating in LA and going to Washington DC, and after a layover there, on to Milano. While in the waiting area at DC's Dulles airport, I was introduced to several of the musicians who would be performing at the same festival. There was Gil Evans' lively crew, which included his son Miles, George Adams, Lew Soloff, and others, and also the quartet of Andrew Hill, Clifford Jordan, Rufus Reid, and Ben Riley. There was something very special about Mr. Hill, whose work I hadn't yet heard; there was a quality of warmth and presence coming from him that I had rarely experienced in adults, a quality which I know and recognize now (as I approach the age of 39) as almost non-existent. It was as though this man had no fear, didn't need to defend himself with a display of indifference and officiousness and distance, and so what I experienced instead was an instant feeling that this man respected me.

During the festival, I encountered him several other times, and was blown away by his group's performance. In fact, of the piano-led ensembles at the festival (which included Keith Jarrett's and a duo of Michel Petrucciani and Jim Hall), I was easily most impressed by Andrew Hill's quartet (they did a recording while on that tour, released as "Shades" on Soul Note). I was attracted to his compositions---angular and balanced, which were deeply expressed in an assured voice---and again, to that sense of spirit and warmth that was palpable in his person and his sound. He had many encouraging words to say to me, and made a point of talking to me while on the airplane back to the US, not only about music, but just to talk. To have had that experience at such an early age, and to remember it now, is quite powerful for me. Other than Harold Land and Billy Higgins (who I had the good fortune to know at home), he was the first musician from "outside" to acknowledge me in that way, and over the years he has always been an artist whom I have admired not only for his accomplishments, but also for that special aspect of his humanity. During my years at Bennington, I listened to his records often and closely, and heard him perform several times at the old Knitting Factory, most notably in a group in which he masterfully blended the voices of Bobby Hutcherson and Greg Osby with his own.

And it's the humanity that inspired the art, a vital career that encompassed many decades, that embraced an inter-generational approach to a restless, tireless musical search. Well-grounded in the beauty of the blues and of mature swing, and also something from its own shaded corner of a wild-growing garden, Andrew Hill's music embodies everything I aspire to as a composer and a maker of music.

It was my honor to even know OF him; and my greater honor to have a life that was touched by him.

Long live Andrew Hill.

simplicity

There's satisfaction in a grilled cheese sandwich, fashioned from the last piece of bread in the house and a doctored hamburger bun, some good cheese, good butter... simple, and right.
Needed something quick after returning home from the movies, and the sandwich hit the spot. Even better accompanied by a Lagunitas IPA.
"Disturbia" was the movie, and I really liked it. I needed to get out of my head for a bit, and this film was just the diversion I needed.

You

Jessie Baylin's "You" is #7 in the "Folk" genre on Itunes.
Do you have it yet???

a heavy concert

Keith plays two halves of a show of improvised music. The audience of course goes NUTS. He returns 5 times, treating them to some of the most beautiful piano ever played. The impact of the first encore is overwhelming. And the wave keeps cresting. There is a beautiful version of "My Song." He ends up with "Time On My Hands".... The 5 minutes or more of applause between the encores interrupts the flow of the record, but probably was an absolutely powerful thing to feel in the context of such a performance in NYC.

tonight's specimen

Tonight, continuing with the experiment, I'm listening to "The Carnegie Hall Concert" by Keith Jarrett.
Part 5, at the end of disc one, is a real journey. I'm on to disc two now.
It is music that really must be attended to, as there is a great feeling of presence brought to the playing of the music.
So I won't sit and type through it. And I also won't offer a critique... That's one thing about the whole blogging-life: everybody these days who blogs has turned into some kind of critic. Even artists. I know we have lots to say about different things, works of art, restaurants, wines, cities... but I'm beginning to feel that all of this "crit" kind of pollutes the air and sometimes separates me from my own direct experiencing. I'll try here to give the sense of my experience, and leave it at that. Or even be more brief. Hallelujah.

Listening to this Keith recording is particularly poignant and powerful for me, and also bittersweet---for very personal reasons.
And his music is perfect company on this solo night, clear after a day of rains---a quiet night, accompanied by some home-cooked food, a bottle of Kosta Browne Pinot Noir, and all those inner thoughts that never seem to cease. "Geez, I can't find my knees"...

the taco hunter

said that El Parian on Pico (near Union) was the best taco around, gave it 5 out of 5 (points? stars?)
i completely disagree. the handmade tortilla (which should be a plus) was too thick and CORN-y, the taco was huge, difficult to pick up, the asada was tough and overly fatty, and salted too much...

at this point i still place all my money on El Korita taco truck, in East LA, at Olympic and Herbert.
I'm going this weekend!

nice experiment

it might be a nice experiment, everyday, to listen to a record from my collection that I haven't listened to in years, maybe since it was released.
I'm trying the experiment today with the first record by brian blade fellowship.
it's really good, definitely better than I'd remembered. i'd say the experiment is a grand success.
the compositions are a little "contempo", but still, I'm enjoying the music.
blade's drumming is incredible.

these last days

Saturday, April 14th: I'm in DC for a Childrens' Hospital benefit performance with Diana Krall... Thursday was NYC for a Jazz @ Lincoln Center benefit... and Tuesday was a late-night set at Smalls with the Nonet. It's all been good. Weather still cool as Spring begins its gradual bloom on the East Coast. Thursday, a morning rainstorm that I watched from my 45th floor room; finally got out that day to see the Joe Brainard exhibit at Tibor de Nagy gallery. Great to finally see these works from an artist whom I'd only heard about. One whole room of erotic works was great, and another room with various selected works. He did lots of collage/assemblage, some interesting drawings, even quilting. Catalogs are available from the gallery.

Ate uptown at Sfoglia. I hate to give that secret away, because it's already a tough restaurant to get into. But if you are in NYC you should go there. At the corner of Lexington and 92nd St, Sfoglia is a small restaurant, owned by a husband and wife team. They serve beautifully rendered Italian food, osteria-style, and their wine-list features some beautiful Italian gems. I had a spectacular dish of Pappardelle alla Bolognese---a real meat-fest, that includes veal, beef, pork, and lamb. The atmosphere is soothing, not loud but also not hushed, beautifully designed, and the people there were really friendly. I saw a Zuni Café cookbook on their shelf... They have good influences.

I'm getting excited to be visiting the Bay area next month and bring my Brazilian friends to some of my favorite places, of which Zuni Café is one... Our first gig is on the 15th, at Yoshi's in Oakland. We hope you'll be there. It's me and Chico Pinheiro on guitars, Edu Ribeiro on drums, and Danny McKay on basses. We'll be playing music from our upcoming release, NOVA. With any luck, we'll have a limited edition of the CD for sale at the gigs. There are also shows in Santa Cruz (17th), Fresno (18th), LA (19th--LACMA, 22nd--Spazio, and 26th--Steamers Café), San Diego (20th), and Albuquerque (24th)...

The summer is pretty much booked up with Diana Krall dates that are still to be announced, but rest assured that I'll be booking another NYC gig for the Nonet soon. I expect that it will be just after our performance at the Monterey Jazz Festival on September 21 (where I'll also be performing with my father's band, and Diana's quartet). Thy NYC gig will probably be at Smalls again, maybe the early set this time. There's also a possibility of a Boston gig during the month of July. So far, Diana has announced some June dates, at Yoshi's and at the Las Vegas Hilton. There will of course be more to come. Also, my father is making a recording of new music, in NYC, during the first week of June. All dates will be posted here and on my websites (www.anthonywilsonmusic.com, and www.myspace.com/anthonywilsonmusic) as soon as I know them.

Somewhere in the middle of this, I hope to re-do my garden, write several new pieces for the Nonet, finally record my solo record in hotel rooms while on tour, come to terms with many new realities in my life (personal, emotional, creative) and see friends as much as possible.

Jesse Harris' new record will be out soon on Velour Music Group... it's really good. And Jessie Baylin's fine, fine, fine debut is already available for you to download at Itunes. I'll be playing with Miss Baylin on May 11th at the Hotel Café in Hollywood.

I'll keep posting here as much as possible to give some news about what I'm doing, how I'm feeling, and what I'm eating and drinking... I'll post some images too.

Beer recommendation of the day? "Lagunitas IPA" from Northern CA.
Wine recommendation of the day? Love the Aglianico grape variety from Italy.
Restaurant? "Sfoglia" NYC
Movie? "Blades of Glory"

Be seeing you soon,
AW