2003: favorite live performances
I only went to half as many shows as I did last year. Nonetheless, these were my favorites: 1. John Zorn's Electric Masada @ Tonic, NYC, 4/2 2. Vandermark 5 @ Rocco, LA, 6/29 3. The Bad Plus @ Village Underground, NYC, 4/1 4. Sam Rivers Trio @ The Jazz Bakery, LA, 9/25 (Sam's 80th b-day) 5. Dave Douglas Septet @ The Jazz Standard, NYC, 3/30 some other memorable gigs: Tri-Factor (Hamiet Bluiett/ Kahlil El'Zabar/ Billy Bang) @ World Stage, LA, 5/15 Michael Blake & his Resolutions @ Tonic, NYC, 12/30 Fred Anderson Quintet (w/ Von Freeman, 2nd set) @ St. Joseph's Church, Chicago, 10/17 David Murray duo @ Conga Room, LA, 6/22 Paul Motian/ Joe Lovano/ Bill Frisell @ Village Vanguard, NYC, 9/5 Maghostut Trio (Malachi Favors/ Hannah Taylor/ Vincent Davis) @ The Velvet Lounge, Chicago, 10/16 Joseph Jarman/ Henry Grimes/ Alex Cline trio @ The Schindler House, LA, 9/20 Adam Rudolph's Organic Chamber Orchestra w/ Ned Rothenberg @ Electric Lodge, LA, 1/3 Eugene Chadbourne duo/trio @ Salvation Theatre, LA, 5/5 James Blood Ulmer trio (w/ Reggie Workman & Andrew Cyrille) @ The Jazz Bakery, LA, 1/31 I've just started going through all the 2003 albums i bought this year, so a list is forthcoming...in a month or so when i've had a chance to listen to them all again. jeff caltabiano hollywood, ca n.p. the cinematic orchestra: man with a movie camera (2003, ninja tune)
James Blood Ulmer - just wondering what the Zorn listers think of him. What I've heard hasn't really grabbed me. I have him on a Big John Patton album. Really quite boring. I had a friend who saw him live & he said it was just crap, people were walking out. He wasn't doing noise either, it was 'jazz/blues'. I'd much rather listen to Grant Green, Wes Montgomery, Ribot, etc.... what does everyone think? for someone who loves Ribot, Frisell & blues, can anyone recommend a period or album of Blood, that I might enjoy? Andrew np: Bill Frisell - This Land
I would recommend some of his earlier material: Music Revelation Ensemble No Wave Moers Music 01072 James Blood Tales of Captain Black DIW 403 James Blood Ulmer Are You Glad To Be In America? DIW 400 James Blood Ulmer Free Lancing Columbia 37493 James Blood Ulmer Black Rock Columbia 38285 -----Original Message----- From: zorn-list-bounces+gscala=carolina.rr.com@mailman.xmission.com [mailto:zorn-list-bounces+gscala=carolina.rr.com@mailman.xmission.com] On Behalf Of SELC - Andrew Mortensen Sent: Wednesday, January 14, 2004 5:22 PM To: 'Zorn list' Subject: James Blood Ulmer James Blood Ulmer - just wondering what the Zorn listers think of him. What I've heard hasn't really grabbed me. I have him on a Big John Patton album. Really quite boring. I had a friend who saw him live & he said it was just crap, people were walking out. He wasn't doing noise either, it was 'jazz/blues'. I'd much rather listen to Grant Green, Wes Montgomery, Ribot, etc.... what does everyone think? for someone who loves Ribot, Frisell & blues, can anyone recommend a period or album of Blood, that I might enjoy? Andrew np: Bill Frisell - This Land _______________________________________________ zorn-list mailing list zorn-list@mailman.xmission.com To UNSUBSCRIBE or Change Your Subscription Options, go to the webpage below http://mailman.xmission.com/cgi-bin/mailman/listinfo/zorn-list
i second these motions: I would recommend some of his earlier material: Music Revelation Ensemble No Wave Moers Music 01072 James Blood Tales of Captain Black DIW 403 James Blood Ulmer Are You Glad To Be In America? DIW 400 James Blood Ulmer Free Lancing Columbia 37493 James Blood Ulmer Black Rock Columbia 38285 i would add odyssey from columbia. the live album on knitting factory with the odyssey band had some moments, but wasn't nearly as good. i haven't heard the second recent blues disc, but i thought the first one was pretty good. i saw him once in a trio with amin ali and calvin weston (in a small folk club where i also saw last exit). he played over the same 2 chord vamp for the entirety of 2 sets. it was boring as hell, and i was severely disappointed. sean oh yeah, there's one of those crazy laswell projects that has blood, amina claudine myers, bernie worrell and ziggy modeleste. the band was called third rail, and there were some good cuts on south delta space age
From: "Sean Westergaard" <seawes@allmusic.com>
oh yeah, there's one of those crazy laswell projects that has blood, amina claudine myers, bernie worrell and ziggy modeleste. the band was called third rail, and there were some good cuts on south delta space age
[lurker alert] I caught Third Rail live and really didn't care for the group dynamics. Several years later I saw Ulmer perform with Rashied Ali, John Hicks and Reggie Workman and was blown away by not only the band itself, but by Captain Ulmer who completely took control of the ship and his crew responded magnificently. Does a recording exist of this band??? Best, -JC
Hi Andrew, Wednesday, January 14, 2004, 5:22:13 PM, you wrote: SAM> James Blood Ulmer - just wondering what the Zorn listers think of him. SAM> What I've heard hasn't really grabbed me. SAM> I have him on a Big John Patton album. Really quite boring. Really? I think that Big John Patton was overlooked. Thanks Zorn that he helped Patton during his last years. I had a chance to see the man live just once and it was incredible. (Too bad I didn't know about his probably last sets ever in Smoke which is in one block from the place I lived at that time.) Anyway, I don't think that his albums with Ulmer are the greatest but definitely not boring. SAM> I had a friend who saw him live & he said it was just crap, people were SAM> walking out. Well, if you believe that I guess you don't need to look for his music. In fact the majority of people all over the world would walk out from the shows people on this list might consider as the great ones. So what? SAM> He wasn't doing noise either, it was 'jazz/blues'. Was it recently? Ulmer plays blues these days. And, believe me, he does it very well to say the least. SAM> I'd much rather listen to Grant Green, Wes Montgomery, Ribot, etc.... I don't get it. If you'd rather listen to somebody else, why do you ask? Are you looking for a confirmation that Ulmer's music is crap? SAM> what does everyone think? I don't care so much for his harmolodic stuff, but the newest two blues albums with Vernon Reid are very strong. The first one (Memphis Blood: The Sun Sessions) even got a Grammy. I'm not sure though that it is better than No Escape From The Blues: The Electric Lady Sessions. -- All the best, Peter Gannushkin URL: http://downtownmusic.net/
on 1/14/04 4:32 PM, Peter Gannushkin at shkin@shkin.com wrote:
I'm not sure though that it is better than No Escape From The Blues: The Electric Lady Sessions.
Personally, I prefer it myself. BLACK ROCK was a huge inspiration to me. When I got sucked into a life in jazz, it was one of the contemporary records that really touched a deep chord in me. At that time (about 1983), the Berklee-ite guitar style of John Scofield and Mike Stern was all the rage, and Stanley Jordan was huge. Looking for non-fusion contemporary jazz guitar building blocks at that time wasn't really easy. So Blood, Frisell, and Sharrock were a big deal. My style borrowed much from those guys, plus Grant green (who was, at that time, frowned upon), Bill Jennings, Oscar Moore, T-Bone Walker, Andy Gill, and Hubert Sumlin. Blood was the only guy that seemed to feel totally natural next to all those guys. His style was and still seems to be total. (My playing style at the time could best be described as something lie the Marc Ribot played on Ellery Esklein's THE SUN DIED, except nowhere near as well formed. But I was 18, so I give myself some slack.) When RAIN DOGS came out, Ribot became one of the major voices so much so that even his ROOTLESS COSMOPOLITANS disc couldn't tarnish his standing). Guys like me and Joe Morris and others our age look at Blood (and Frisell) with a lot of reverence. He deserves the world. skip h np: Louis Armstrong, AMBASSADOR SATCH
Hi Skip, Wednesday, January 14, 2004, 7:54:39 PM, you wrote:
I'm not sure though that it is better than No Escape From The Blues: The Electric Lady Sessions.
sh> Personally, I prefer it myself. Just wonder if it is partly because it came out first. I have a feeling that if I would heard The Electric Lady Sessions first I might liked it better. -- All the best, Peter Gannushkin URL: http://downtownmusic.net/
I meant that on 1/14/04 6:07 PM, Peter Gannushkin at shkin@shkin.com wrote: prefer the new one, the Electric Lady one. It's more varied. sh
Hi Skip,
Wednesday, January 14, 2004, 7:54:39 PM, you wrote:
I'm not sure though that it is better than No Escape From The Blues: The Electric Lady Sessions.
sh> Personally, I prefer it myself.
Just wonder if it is partly because it came out first. I have a feeling that if I would heard The Electric Lady Sessions first I might liked it better.
When RAIN DOGS came out, Ribot became one of the major voices so much so that even his ROOTLESS COSMOPOLITANS disc couldn't tarnish his standing).
Although the Rootless Cosmopolitans stuff sounds quite outdated now, I think it was a good album for the time. While many bands in the early 90's were trying to figure out how to blend funk and rock in the trendiest way and the results were... well, the Peppers. Ribot managed to incorporate those and pop, free-jazz, noise, etc in a coherent way. I know many who could do without "The Wind Cries Mary" though. It sounds a bit better in the Shrek live album. It's a pity that Robert Quine is so underrecorded, specially considering how much Ribot owes him. Best, Efrén del Valle ___________________________________________________ Yahoo! Messenger - Nueva versión GRATIS Super Webcam, voz, caritas animadas, y más... http://messenger.yahoo.es
Actually, Ribot's maiden voyage didn;t function well at the time of its release. Nobody liked it all that much. I worked in a record store when it came out, and the people who were excited that it came out were soon enough the people who were not thrilled to have sat thru it. Ribot's reputation was really made off those three Waits albums, and SPIKE. Little wonder such a huge reputation was made. The live version of "16 Shells" fr BIG TIME still delivers. As for the Red Hot Chilli Peppers, they definitely came up with a sound that was theirs. I have to respect that, even if I'm not a fan. Few people ever do that. My personal "white intellectual funk out" record was the second Ambitious Lovers album. Still sounds good to me, too. It's really slick, but that works in the context of the record. I never got the sense that Ribot owed that much to Quine, whose playing I also know quite well (or rather I did up to about that time -- I can only listen to so much Lou Reed). sh
Although the Rootless Cosmopolitans stuff sounds quite outdated now, I think it was a good album for the time. While many bands in the early 90's were trying to figure out how to blend funk and rock in the trendiest way and the results were... well, the Peppers. Ribot managed to incorporate those and pop, free-jazz, noise, etc in a coherent way. I know many who could do without "The Wind Cries Mary" though. It sounds a bit better in the Shrek live album. It's a pity that Robert Quine is so underrecorded, specially considering how much Ribot owes him.
Best,
Efrén del Valle
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--- skip heller <thisparadise@sbcglobal.net> escribió: >
As for the Red Hot Chilli Peppers, they definitely came up with a sound that was theirs. I have to respect that, even if I'm not a fan. Few people ever do that.
I really dug "Mother's Milk" and "Blood, Sugar, Sex Magik" but after that I think the general impression is they've gone down the hill. I think worst of all was the avalanche of imitators (quite similar to FNM's case), but "B,S,S,M" was a great album and on top of that, popular and accessible, which doesn't seem a regular combination of terms nowadays, as we discussed here several weeks ago.
I never got the sense that Ribot owed that much to Quine, whose playing I also know quite well (or rather I did up to about that time -- I can only listen to so much Lou Reed).
I don't know Quine's playing from the purely technical point of view (my knowledge of the guitar must be limited to seven or eight chords, I must admit) but I see lots of similarities between them. Besides the 60's twangy/surf guitar sound-influence, there's always this "skeletical" approach to soloing, for instance- there are lots of exceptions in Ribot's playing, though, specially when he's in a jamming context like Bar Kokhba, Emergency, etc... But even in those recordings with Waits, I get the feeling that he's got a taste for the "lowest common denominator"-approach. By the way, how's Reed's "Live in Italy" with the "blue mask" band? Best, Efrén del Valle ___________________________________________________ Yahoo! Messenger - Nueva versión GRATIS Super Webcam, voz, caritas animadas, y más... http://messenger.yahoo.es
At 1:11 AM -0800 1/15/04, skip heller wrote:
Actually, Ribot's maiden voyage didn;t function well at the time of its release. Nobody liked it all that much. I worked in a record store when it came out, and the people who were excited that it came out were soon enough the people who were not thrilled to have sat thru it. Ribot's reputation was really made off those three Waits albums, and SPIKE. Little wonder such a huge reputation was made. The live version of "16 Shells" fr BIG TIME still delivers.
I was still at the college radio station when Rootless Cosmopolitans came out, and I played the crap out of it! It seemed like the record that totally summed up the NY Downtown scene of the time, I loved it then and still do. Don Byron's playing on it was a revelation, I think it was the first place I heard him, it was definitely the first place I really took notice of him. His clarinet on Mood Indigo completely destroys me.
on another list I'm on, there was a tonne of RHCP bashing, it's actually funny. my fav thing of them is "BSSM" as I love the way this albums sounds, not to mention the songs. the drums, with that huge room sound (didn't they record at a mansion at Malibu?). and what I really admire about Fruscante, is (I'm not a guitarist, but this is what I've heard) doesn't he just go direct into the desk, no amp, just fx or maybe some sort of pre-amp..???? it's a great sound on that album! flea is 'yeah' but like many bass players, I'd rather listen to the 'real' funk players, Bootsy, Larry Graham, George Porter Jr (the Meters) - but still he's great & inspired many youngins to pick up the bass. I liked some song on "One Hot Minute" but that was mainly due to Navaro's influence, nice stuff - (I once saw on cable a Jane's Addition show, & the band was RHCP just with Perry). Andrew n.p: Deicide - Scars of The Crucifix -----Original Message----- From: zorn-list-bounces+andrewm=mail.selc.com.au@mailman.xmission.com [mailto:zorn-list-bounces+andrewm=mail.selc.com.au@mailman.xmission.com] On Behalf Of skip heller Sent: Thursday, 15 January 2004 8:11 PM To: Efrén del Valle; Peter Gannushkin; SELC - Andrew Mortensen Subject: Re: James Blood Ulmer Actually, Ribot's maiden voyage didn;t function well at the time of its release. Nobody liked it all that much. I worked in a record store when it came out, and the people who were excited that it came out were soon enough the people who were not thrilled to have sat thru it. Ribot's reputation was really made off those three Waits albums, and SPIKE. Little wonder such a huge reputation was made. The live version of "16 Shells" fr BIG TIME still delivers. As for the Red Hot Chilli Peppers, they definitely came up with a sound that was theirs. I have to respect that, even if I'm not a fan. Few people ever do that. My personal "white intellectual funk out" record was the second Ambitious Lovers album. Still sounds good to me, too. It's really slick, but that works in the context of the record. I never got the sense that Ribot owed that much to Quine, whose playing I also know quite well (or rather I did up to about that time -- I can only listen to so much Lou Reed). sh
Although the Rootless Cosmopolitans stuff sounds quite outdated now, I think it was a good album for the time. While many bands in the early 90's were trying to figure out how to blend funk and rock in the trendiest way and the results were... well, the Peppers. Ribot managed to incorporate those and pop, free-jazz, noise, etc in a coherent way. I know many who could do without "The Wind Cries Mary" though. It sounds a bit better in the Shrek live album. It's a pity that Robert Quine is so underrecorded, specially considering how much Ribot owes him.
Best,
Efrén del Valle
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--- SELC - Andrew Mortensen <andrewm@mail.selc.com.au> escribió: > on another list I'm on, there was a tonne of RHCP
bashing, it's actually funny. my fav thing of them is "BSSM" as I love the way this albums sounds, not to mention the songs. the drums, with that huge room sound (didn't they record at a mansion at Malibu?).
You should definitely check their documentary "Funky Monks". I'm not sure if it has been released on dvd, but it documents the "BSSM" recording in that Malibu house you mentioned. I enjoyed the film a lot and it features a still-fresh Frusciante, right before breaking down. Although the general impression is that Frusciante's two first solo albums are crap, the truth is I love them, specially "Niandra Lades..." on Birdman. Sad that it's out-of-print. Best, Efrén del Valle ___________________________________________________ Yahoo! Messenger - Nueva versión GRATIS Super Webcam, voz, caritas animadas, y más... http://messenger.yahoo.es
participants (9)
-
Dave Trenkel -
Efrén del Valle -
George Scala -
JC Martin -
Jeff Caltabiano -
Peter Gannushkin -
Sean Westergaard -
SELC - Andrew Mortensen -
skip heller