Music Is Good
In the audience, on the bandstand, on the road.
The Downtown Music Gallery, a record store in Lower Manhattan run by Bruce Gallanter, is an essential space in the NY music scene. You can visit their website here, and if you’re in NYC, pay a visit to this landmark. We need this place.
Normally, in Bruce’s weekly emails, listing new releases, in-store shows, and various downtown music happenings, he prints lyrics to some of his favorite songs— recently he’s included songs by the Association, Tim Buckley, and the Staple Singers. He’ll share stories of seeing these artists perform, or talk about where and when he first heard their music. I always enjoy the lyrics and Bruce’s stories, a little weekly Internet ritual that I don’t notice until it’s gone.
The past week, filled with violence and misery, Bruce omitted the lyrics and stories from his email, explaining that there was too much going on in the world. I understand, but I hope he resumes them soon.
As corny as it may seem, I think that music, musicians, and music lovers contain the seeds for what the world needs now.
The clubs in NYC are full, everyone taking solace in music and community. In the past two weeks, feeling the need, I have seen:
Tomas Fujiwara’s 7 Poets Trio with Tomeka Reid on cello and mallet percussionist Patricia Brennan at the Jazz Gallery. Fujiwara is an important musician, and a personal favorite. This was a brilliant set, many contrasting moods and textures. “Josho” stood out, where Tomas’ great swing feel and some dark harmony frame both great solos and moments of triologue. In the future, I’ll write a long article about Fujiwara’s many projects and contributions; here’s a link to the group’s beautiful album on Bandcamp.
Gold Dime at Union Pool. I went out-of-network to attend a show at Union Pool by Gold Dime, drummer/vocalist/composer Andrya Ambro’s long-running band. It was a great gig, and a joy to bop along to some noisy art rock (or post-punk?) in a full room. Gold Dime’s third album, No More Blue Skies, dropped last week. “We Lose Again”, with its throbbing 12/8 aptly illustrating the pain of regret, and the briefest moment of sunshine in Jessica Pavone’s viola, is just one of many high points on the album. There is great bravery and integrity here. Bravo Andrya Ambro and Gold Dime!
Fred Hersch Quartet at the Village Vanguard with Miguel Zenon, Drew Gress, and Jochen Rueckert on drums. Always special to hear Mr. Hersch at his club, and Mr. Rueckert gave me a good drum lesson. The audience wouldn’t let Hersch go: for encores, he played a solo “Mood Indigo” as if in prayer, and the quartet played a version of “Somewhere”. There is a place for us, after all.
Ravi Coltrane Quintet at the Village Vanguard with Mark Whitfield Jr. on drums, Luis Perdomo on piano, Robert Hurst on bass, and Jonathan Finlayson on trumpet. It was a Tuesday night, spirits were high, and Whitfield brought a true 21st-century perspective to the music. Wonderful. The night began with free improvisations, grooves, and Steve Coleman sitting in, wrapping up almost two hours later with an extended “Giant Steps”. Here’s “Coincide”, from Ravi’s 2005 RCA album In Flux. Drummer E.J. Strickland’s touch and taste keeps the mixed-meter steeplechase airborne for over 8 minutes.
Drummer John B. Arnold’s jam session at ShapeShifter Lab. Arnold is an important, widely-respected drummer, well-known for recordings with Gary Thomas and Greg Osby. He was hosting a jam session at ShapeShifter, encouraging the jaw-dropping young players and providing a framework for them. This was selfless community support: bravo ShapeShifter and John B. Arnold!
Two nights ago I played with the brilliant guitarist Charlie Ballantine at ShapeShifter Lab, filling in for Kenny Wollesen. I knew Charlie from some records I heard at the Bop Shop in Rochester, NY, and with close friends bassist Peter Brendler and pianist Zach Lapidus in the band, a very simple thought crystallized: when you play music, you simply have to be the best version of yourself.
Much easier said than done, and not too easily said, but that’s the requirement. Not sure I’ve ever done it, but I’m glad to at least understand the game a little better.
In a few hours, I head to Spain to play at Sunset Jazz Club in Girona with Bill McHenry and Michael Formanek, both currently residing in Europe. Long-time heroes both, and though I’ve been lucky to play and record with Michael a bit, this is my first gig with Bill. All I have to do is show up.
After our show in Spain, I head to England to play with pianist Barry Green and give some masterclasses at the Guildhall School of Music and Drama, before coming home just in time to join the Mark Morris Dance Group for The Look of Love in Orange, California.
Immediately afterward, I head back to Europe for two weeks of residency with Chet Doxas, Jacob Sacks, Zack Lober, and Suzan Veneman in our group Landline +1 at the Guimares Jazz Festival. We’ll be working with a big band, debuting new compositions from all of us, hosting jam sessions, and playing concerts.
It’s a great privilege, complete honor, and total joy to be working.
There must be thousands of records by US-based jazz musicians recorded in Europe. As a parting gift to myself, I’ll pick a few favorites for my playlist as I finish packing:
Miles Davis: Elevator To The Gallows (Fontana, 1958). This must be some of the best Kenny Clarke. When I saw the movie at the Film Forum a few years ago, whenever the fast cue played, I completely forgot about Jeanne Moreau and focussed exclusively on Kenny Clarke’s wire brushes.
Dexter Gordon: Our Man In Paris (Blue Note, 1963). Again with Kenny Clarke. His intro to “Broadway” is so swinging that Mr. Dan Weiss built a composition out of it.
Jack DeJohnette New Directions: Live In Europe (ECM, 1980). Some great Jack on piano. Lots of fun, and special to hear the gently intertwining worlds of Lester Bowie and John Abercrombie.
Mehldau and Rossy Trio: When I Fall In Love (Fresh Sound, 1993). Jorge Rossy’s dotted quarter note on the opening choruses by Brad Mehldau on “Anthropology” was the height of cool to me in high school. Listening now, it’s still startling to hear the young virtuosos fresh out of the gate.
Jeff “Tain” Watts: Travel Band— DeTained in Amsterdam (2018). Mr. Watts plays loose on his compositions, including “Vodville”, with a guitar trio featuring Paul Bollenback and Orlando le Fleming. We’ve all been at these gigs— the band is on fire, the audience is loving it, and we always wish we had a recording of it. Thankfully, we have this.
nice to see write-ups of recent gigs...I should do this more myself
Thanks for hipping me to the Downtown Music Gallery. Will be in New York early next month and will be sure to check it out.