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Monthly Archives: May 2007

I’m here to educate you! I’ve recently had a live music lesson that has served as an in-your-face reminder that this thing we call jazz should not be relegated to the background of polite conversation and period pieces set in the 50s by a poolside somewhere. But equally protuberant was my most recent album acquisition in the form of Mr Charles Mingus himself, in an album I’ve held off from purchasing time and time again, entitled Blues and Roots.

On first listen, this is my favorite Mingus album to date. For someone who loves nearly everything the passion-stricken composer created, these are wild and whirling words. This is a collection of high energy, hard swinging jams that don’t break stride. Mingus says it best himself, that the music “has a tremendous amount of life and emotion.”

There is an urgency and intensity brought forth by the depth engaged by the trombones and baritone saxophone that pushes the songs forward. Additionally, the size of the group is considerably larger than what I am accustomed to, but they make it palatable. Mingus, of course, shines.

As with all Mingus albums, there is no missing low frequency end in accommodation for spotlighting the brass soloists. Each forcefully pulled and each gracefully plucked string resonates audibly from Mingus’s bass, amid the complexity of the surrounding musicians in full force. It represents the passions of a group who are truly embracing their roots.

PS. When (not if!) you go out to grab this album, splurge on the beautifully packaged deluxe edition. Their presentation is first-rate and true to the original LP release, while the extra tracks are quite an addition to this already special session.

A Great Night In Harlem is going on right now. Check it out now at allaboutjazz.com. This is a great program that I think will basically span the history of African American musical culture leading to jazz, put on by the Jazz Foundation of America, a pretty cool organization that looks to support working jazz musicians and jazz education.

I’ve never sniped anything on eBay, ever. Sniping — for the eBay uninitiated — is the process of making weird bids at the last moment after being more or less silent for the duration of an auction, which more or less amounts to cutting in line at the last second. It’s not pleasant when it happens to you, and you lose an auction by a buck or fifty cents. I mean seriously, who wouldn’t pay just a dollar more for something that they were already going to pay $250 for?

Anyhow, I sniped my first auction on eBay successfully, thus ending a six year saga over one Miss Norah Jones. I have finally acquired the impossibly elusive EP First Sessions, at a price that is NOT $250 (or $251). And, NEW and sealed. I think this, combined with two of my other collectible acquisitions, may bump me from the rank-and-file “enthusiast” moniker to “collector.”

I remember vividly the page for purchase over at norahjones.com that had both CDs available at $12 a piece but both for $20 back in 2002. She was relatively unknown at the time of her debut, but I had been eagerly awaiting the release after having heard some of the First Session tracks thanks to the Glory Days of the Internet. I remember mulling over the grueling decision of a college student to spend twenty bucks (!) just to save four. Several times I made it to the cart without submitting the order, just to close the window, thinking, “I can always get these CDs.”


Strangely, even at this time, finding Miss Norah tucked away in the Jazz “J” section of the record store was still no easy feat. I stumbled upon what I later came to believe was a first issue of Come Away With Me, with a plain silver disc with her name scripted in black (a later release of the same album stateside had blue scripting for her name, I think), buried in some obscure rack at my local Circuit City, a lone copy marked at a mere $8.99. It looked like it had been sitting among the Joneses for years, constantly thumbed through but unpurchased. I looked around to see if other people were nearby, searching like hawks at dinner for the same CD that I wasn’t expecting to be found in a department store CD bin. I immediately grabbed it, having saved $1-3 plus shipping from the website, eager to get back and purchase First Sessions, feeling great after experiencing this moment of serendipity.

And of course, just as I had the resolve and the cash to feel confident in my purchase, I discovered that the limited 5,000 “pressings” had been sold out for good, with no reissue in sight.

Just weeks later, Come Away With Me would be a painful, constant reminder of my indecision to pounce on First Sessions, as the debut album was plastered in every boutique and music shop imaginable, with a $12.99 sticker often glaring at me as retailers cashed in on the cash cow from the Blue Note marketing machine.

Dejected, I searched eBay periodically for months afterward, and as her position rose in the Billboard music charts, so too did the price for this disc in any sort of condition on eBay. The price peaked as she garnered eight Grammy music awards for her debut full-length, hitting a price of at least twenty times its original cost. As the eBay supply dwindled with demand still in full force, I almost swallowed my pride and my pocketbook on several occasions in order to acquire the disc. However my better judgment (and empty wallet) always prevailed.

But now, years later, I still struggle over twenty dollar purchases, though they have become admittedly a bit more routine, as strangely happens in adulthood. And yet I knew that if the opportunity ever arose again, I should probably do my best to seize it, and that’s exactly how I came to be in the company of the elusive EP by Miss Norah.

Now there’s one more funny little twist to this story. It turns out that the purveyor of this little gem I’ve been watching with some interest ever since his eBay debut not three months ago. He had zero feedback and a funny username and was offering this disc in what smelled of a potential scam. My suspicion grew as an incredibly rare and even more impossibly offered item was thrown up on eBay. However that transaction looks to have been completed successfully as well. If he was a more reputable seller, I might have jumped on that myself, as that was truly a one-of-a-kind item.

Regardless, subsequent weeks of keeping his auctions in the fringe of my mind’s eye yielded several more copies of this disc in surprisingly good condition, and finally it dawned on me that he is somehow connected to the production of these albums. In fact, it turns out that he was at least the writer of one of the songs on Norah’s debut hit, and they have played in the same band together previously. That’s plenty of information for the sleuths to track down this mystery seller, I think, and for his anonymity’s sake on the ol’ ‘Bay, I think I should not divulge more.

And thus endeth my journey for the search for this particular disc, with happiest of endings, though certainly many years and dollars later. If I’ve learned anything, it’s that sometimes these sorts of things are quite transient in nature, and though I love the chase, the rewarding music is oh so sweet as well.

Ahh! The new cover looks ill!! I can’t wait for this joint to drop in a couple of months. Vocalist Toussaint is a perfect addition to the guys, and this might be one of my favorite “new directions” Soulive has taken.


You see, they started out a funky trio of suits, with a distinct class and swagger that gave off the image as the hardest swinging band in the biz. This continued through Turn It Out, which remains many early fans favorite. Then they added some horns and the voice of Stephanie McKay on Doin’ Something, which still err’ed on the side of the gritty funk they’d made their sound with.

However, their next studio effort, Next truly did signal the completion of a shift from an organic sound to something that definitely sounded like Blue Note was trying to mass market the band in an album that sounds like Soulive Polite. If it weren’t for the saving graces of Talib Kweli, Black Thought from The Roots, and Dave Matthews, and the beautiful pipes of Amel Larrieux (sigh … ) as special guests, this album would have been pretty boring to me.

They took a slight hiatus for their next disc, which was also a Blue Note special, their first official live recording to date. It was cool that their first live album received the distinction of being self-titled, a fitting tribute. Perhaps because live albums tend to not sell as well as studio albums, however, this one was totally over-produced, as it seemed to use the most straight-ahead takes and cut out the feel of continuity that truly captures any live performance.

2003 also brought a hip hop take that followed somewhat in the footsteps of Next with the seriously glaring omission of Talib as a featured artist. However the addition of the likes of J-Live, Wordsworth, and the Beatnuts over Soulive tracks was hot, and I’m not gonna lie, I really dig this disc.

Fans had to wait a couple of years without a studio release, and it dropped finally in ’05 with Breakout, which didn’t quite live up to its name, though it had some interesting collaborations with a cat from Maktub named Reggie Watts, whose absolutely analogue voice cried out pure soul.

But now, Soulive has seemed to lose the horns, and Reggie’s no longer touring with the band. Instead, they’ve officially adopted Toussaint into their fold, possibly making permanent their earlier claims that anyone performing on stage with the trio at the same time was really Soulive. However gripping Toussaint might be, Al & Neal & Kraz won’t just fade into the role of backup musicians for their lead. Instead they’re going to drive a whole new era of funk in the Soulive storybook, and perhaps turn a few heads as they help to revive the legendary Memphis label, Stax. Expect this one to be off the hook, if the samples over at soulive.com are any indication.


Ok, so as great as allmusic.com is, they have these two really hokey features called “Moods” and “Themes” filled with adjectives that you might find on an eighth grade essay such as “Earthy,” “Cerebral,” and “Introspection.” So “introspection” isn’t really an adjective, but that’s what they were going for and anyway, these are words that they have somewhat randomly attributed to Thelonious Monk’s last studio effort, Underground.

This Columbia album features a great Monk quartet in Charlie Rouse on tenor, Larry Gales on bass, and Ben Riley on drums. I like the piano trio core, and Rouse’s instrument adds an element I could just as easily love or hate. Of course, I love it in most Monk pieces, since it’s really the only other major melodic element, a nice compliment to Monk’s ever-discordant piano as they pass phrases back and forth.

Monk’s attack on the keys is really something special. Listening to his sense of timing and rhythm kind of offsets the melodic discomfort that one might first experience upon hearing the man play weird chords. It’s even more comforting to believe — and I do — that each note is precise and intentional.

This entire album is straightforward Monk. You can hear his concentration on the different elements. Rouse lights it on fire with intense entrances to his solos, evidenced in “Green Chimneys.” I’ve been listening to the entire album on repeat for days with no fatigue or desire to change discs (ok, files). Part of its beauty is the fact that it is meticulously recorded, having been produced by the venerable Teo Macero.

Admittedly, I skip “In Walked Bud,” but that’s mostly because I am pretty indifferent toward Jon Hendricks’ voice over the track, which sounds somewhat hollow and nagging. I don’t think Underground is “introspective” or “cerebral” compared to some of Monk’s other albums. It’s full of energy from a great group playing 90% Monk tunes with just one coming from another composer (Easy Street by Alan Rankin Jones). It ranks among my top five Monk albums of all time, no small feat for a man with a catalog that spans 20 incredibly fruitful musical years.

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