I suppose we all remember "Tan Mom?" Maybe? She was a mom who was arrested for allegedly taking her six-year-old into the tanning bed with her. In all her public appearances she had tanned/self tanned to the point of being brown, like it was fucked up, hence her nickname "Tan Mom." Kelly O posted about this as it happened. Anyways, now "Tan Mom," Patricia Krentcil, has a single out...
(Seattle Art Museum) What should you do after work today? You should head down to Seattle Art Museum and check out the hauntingly beautiful jazz of Dutch saxophonist Tineke Postma. Her quartet is performing between 5:30 and 7:30 pm as part of the Art of Jazz series, which is in its 17th year. The way Postma blows is either direct like an unadorned wall or spooky like a ghost. Sometimes, she becomes so intense that it's like watching a person walk through a wall or pass a mirror without casting a reflection. However, Postma, who has released five albums (the most recent of which being The Dawn of Light), never plays outside of the stable tradition of modern jazz (1947 to 1969). She knows how to explore without getting lost.
Co-founded in 1967 by Misha Mengelberg, a Dutch pianist who entered jazz history by way of Eric Dolphy's last album, Last Date, Instant Composers Pool is a community of musicians who are dedicated to the production of free/experimental jazz. It's no exaggeration to say that these musicians are amazing. See/hear for yourself...
ISP performs tonight at Seattle Art Museum's Plestcheef Auditorium (1300 1st Ave).
The L.A. Rebellion, which Charles Mudede wrote about here, was an African American film movement that took place primarily in the 1970s and '80s (Mudede will also be participating in the Cinema Salon that takes place this Saturday at 6pm).
It wasn't about music, but music was a part of it. Unlike the funk-powered blaxploitation films of the era, these filmmakers turned to blues, jazz, and gospel to ground their narratives about community and work—or the lack thereof.
To describe funk as a more commercial genre wouldn't be quite fair, but the L.A. Rebellion directors weren't thinking about radio airplay, drive-ins, and soundtrack recordings in the same way. Curtis Mayfield's Superfly soundtrack, for instance, still remains better known than the 1972 drama for which he did some of his finest work (or maybe that's just me; I have the record—my Dad had the record—but I still haven't seen photographer-turned-filmmaker Gordon Parks, Jr.'s movie).
Beware of Mr. Baker (Jay Bulger, 2012, US, 92 mins.)
Instead of a hagiography filled with kind words from old chums, Jay Bulger's Beware of Mr. Baker revels in opportunities to present drummer Ginger Baker in all his asshole glory.
It's a disrespectful, attention-getting approach that suits its cantankerous subject like one of his old sheepskin coats. According to an IMDb user who caught the film at a London screening, the "fractious Q&A...ended with shouting, swearing, recriminations all round, and Jay Bulger seemingly storming off stage."
Unfortunately, Bulger films himself as if he were part of the profile—no wonder Baker, who now lives in South Africa, smacked him in the face with his cane in the opening sequence. When you've got a larger-than-life subject at your disposal, get the fuck out of the way. Let him narrate, let his friends and enemies narrate, or drop the narration altogether (the better documentaries don't need it).
by Dave Segal
on Mon, Jan 14, 2013 at 10:36 AM
Retired Cornish College of the Arts professor and revered avant-garde jazz trombonist/composer Julian Priester (aka Pepo Mtoto) has been struggling with kidney problems, which prevent him from touring, thereby cutting off his primary source of income. Therefore, Priester and his wife are facing financial hardship. Friends have set up a page on a fundraising site called youcaring.com to help them take care of healthcare costs.
Priester has been a fixture on Seattle's jazz scene for 35 years and has played with an impressive array of world-class musicians, including Duke Ellington, John Coltrane, Sun Ra, Herbie Hancock, Max Roach, Sunn O))), and Charlie Haden.
Read more about Priester's predicament and donate money to the cause, if you can, here.
Robert Glasper is a jazz pianist who is closely connected with the most progressive schools in hiphop and soul. His rise began in 2005, when he signed to the venerable Blue Note Records and released Canvas, a collection of crisply produced compositions (all but one by Glasper) that do not break with standard jazz. His second album with Blue Note, In My Element, expanded into hiphop territory. The first half of his third album, Double Booked, went back to the jazz tradition as the Robert Glasper Trio, while the second half went forward into the hiphop present as the Robert Glasper Experiment. His latest, Black Radio, released earlier this year, is basically an extension of the second half of Double Booked.
What distinguishes Glasper, who was raised in Houston and educated at a number of art schools, is his ability to successfully fuse hiphop and jazz. One of the reasons for this success can be found, I think, in his recognition of the differences between the forms. Jazz is one thing; hiphop is another. So often, jazz musicians or hiphop producers guide their experiments with the bad idea that the two forms are closely related—part of a smooth and unproblematic continuum. This kind of thinking almost inevitably results in a mess of a jazz that sounds nothing like hiphop or hiphop that sounds nothing like jazz. Glasper knows that any experiment in blending these forms needs to be sensitive to their real dissimilarities. In a 2007 New York Magazine article, "Elegy for Fort Greene," Glasper states: "Playing in a hiphop setting requires more discipline than playing jazz... You have to learn how to duplicate that sample, playing the exact same thing over and over again with the same inflection." Jazz is much less rigid and more expressive than hiphop.
Elina Duni is from Albania. Her music is a mix of jazz and Albabian folk music. This strange mix of very distinct forms darkles like rain in the dusk. Duni comes to Seattle with a quartet. If you bring a heart to her music, it will be broken in the most wonderful way possible.
The Connection (Shirley Clarke, US, 1961, 35mm, 110 mins.)
"Sordid and disagreeable." —Bosley Crowther, The New York Times
The Connection is a jazz film, and it's also a film about junkies. Not all jazz films revolve around substance abuse, but many do: Otto Preminger's The Man with the Golden Arm, Bertrand Tavernier's Round Midnight, etc.
In her first feature, the fearless Shirley Clarke (Cool World, the Oscar-winning Robert Frost: A Lover's Quarrel with the World) shuns the heretofore glamorous, Hollywood image of the drug addict. These guys, who frequent the same Manhattan tenement, are a motley-looking bunch, even though den father—and Steve Buscemi lookalike—Leach (Warren Finnerty) prides himself on his housekeeping skills.
Though Leach sports a stylish neckerchief, it's just his attempt to hide a boil. If he can't stop talking, his compatriots spend most of their time nodding off. Soon, fictional filmmaker Dunn (William Redfield) steps in front of the camera to get them to "act naturally," but they see no point unless he pays them more. Since he already gave them cash to shoot up, ethics don't seem too high on his agenda.
This is the inaugural edition of the "Fuck, It's Late, We're Bored, Everybody Left in the Office Donate One Thing to This Pile" Line Out trivia contest! This goes out to you, people who work late on Fridays (we're sorry!) and people who read Line Out on the weekend (that's dedication!).
Trivia Question: What song did Negative Approach's John Brannon sing at karaoke in New Orleans last June?
One lucky winner will receive:
FREE! FREE! FREE! Enter now!
· A signed* copy of Wilson Phillips's newest album, Dedicated! · One Caffé Vita gift card with "like, a dollar" on it! · One WINNING Lucky Kelly O™ Scratch ticket (value: $1)! · A McDonald's Monopoly sticker thing for a FREE medium fries! · A coupon for a free 7-Eleven brand bag of chips!
Leave your answer and/or dumb jokes in the comments! Winner will be chosen at random and notified in the comments, and can pick up the prize package at our offices. IT'S FRIDAY! HAVE A GOOD WEEKEND! GOOD NIGHT!
Esperanza Spalding is one of the best bass players in the world. She sings and plays and unfolds into the songs with absolute and subconscious mastery. She’s a Grammy winning sovereign of the jazz world. At the age of twenty, she became one of the youngest instructors Berklee College of Music has ever hired. In 2009, she played for Obama at the White House in honor of Stevie Wonder being awarded a Gershwin Prize. You can see Obama in the front row, enraptured, as is pretty much anyone that sees or hears her perform. Spalding’s album Chamber Music Society was the best-selling contemporary jazz album of 2011, and I am at her service. She spoke from her mobile tour bus.
Would you ever want to play with a Miles Davis hologram? I have to be honest, I have dreams of you playing with Miles. Not to be freaky or anything.
The hologram thing seems disrespectful. Seems like a gimmick. I think that would be disrespectful to his legacy. I wish I could have met him though. I’m making my own music, I wouldn’t want to take advantage of an icon that way. Miles is a true master. Evolution of music is so powerful. I've had the privilege of getting to know some people he played with. His music has taught me a lot. You can’t stand in the way of the evolution of music. Even while some people talk about the good ‘ol days, of any particular genre, the truth is, the music lives in the people. The people that are listening to the recordings, the people who are transcribing, and composing, and playing and practicing the music. No matter how great someone was in the past, the best thing that’s happening is the thriving interpolation of the organism of the music right now. We love the masters, and rightfully so. We must embrace what they’ve done. It’s also important to embrace what’s happening now as equally valid, because it’s here.
I spoke with Miles’ guitar player John McLaughlin about recording Bitches Brew. I asked him what direction Miles gave him before the sessions. John said he walked into the studio that day, and Miles told him to play guitar like he didn’t know how to play the guitar.
I think we’re all trying to do that [laughs]. It’s like dialogue. You’re going to go have a conversation with someone you respect, and there will be things you’re going to want to say. But you can’t always come with that prepared schpiel. You have to be willing to let go of everything you intended to say, and flow where the dialogue flows. Even if it means subjects that you’ve never studied. You might discover an idea that you’ve never tried to form words for before.
Time is the gutter on the house of my life, draining away all my non-sexy memories. I thought I had one non-sexy memory, of riding a speedboat between two yachts that were so close together they ripped the hull off the speedboat, but someone told me recently this actually happened to Indiana Jones. I was disappointed until I realized if I generate enough sexy memories to clog the gutter, I may become immortal.
by Dave Segal
on Fri, Aug 24, 2012 at 4:21 PM
Philadelphia jazz saxophonist and flautist Byard Lancaster died Aug. 23 from pancreatic cancer. He was 70. Lancaster was a spiritual, questing instrumentalist who'd played with some of the most inventive avant-garde musicians ever, such as Sun Ra, McCoy Tyner, Sunny Murray, and Khan Jamal. Porter Records has reissued a lot of his gripping music; it's never too late to explore.
by Dave Segal
on Tue, Aug 7, 2012 at 3:34 PM
The Earshot Jazz Festival—now in its 24th year and running from Oct. 12 to Nov. 4—has announced its lineup. More than 50 shows will take place at various venues throughout Seattle. This year's bill looks very strong (pleasantly surprised to see Philip Glass, Foday Musa Suso, and Adam Rudolph). Tickets go on sale in early September through Earshot Jazz. You can get more info at www.earshot.org and 206-547-6763.
From the press release:
Known for "adventurous, spot-on programming" (JazzTimes) and praised as "one of the best festivals in America" (Seattle Times), the Earshot Jazz Festival brings jazz greats from around the world into creative collaboration with area artists and audiences. Earshot also celebrates Seattle's place in the world of jazz, with concerts by our award-winning high-school jazz programs and our own renowned resident artists. Some of the artists participating in the 2012 Earshot Jazz Festival include:
· Vijay Iyer Trio, multi-award winner in recent DownBeat poll · Panamanian pianist Danilo Perez with his trio · Chris Lightcap's Bigmouth band · Matthew Shipp Trio and Trio X (w/ Joe McPhee) · Ab Baars & Ig Henneman, from Amsterdam · Robert Glasper Experiment following up Black Radio on Blue Note · Brazilian vocalist Luciana Souza · Philip Glass w/ Foday Musa Suso & Adam Rudolph · Seattle's Dave Peck Trio · R & B diva Bettye LaVette, concert and book signing · Pianist Nik Bärtsch's "Ronin" from Norway · Buster Williams Quartet with Patrice Rushen · Saxophonist Ernie Watts w/ Seattle's Marc Seales Trio · Lionel Loueke Trio and Dos y Mas (Arturo Stable & Elio Villafranca) · Bobby Previte's Silent Way Project and Wayne Horvitz Conduction · Rising Harmonica star Gregoire Maret · Samantha Boshnack's B'Shnorkestra · Arga Bileg Mongolian Jazz Band · Clarinetist Anat Cohen and her group · Tribute to Clarence Acox with the Garfield High School Jazz Band · Vocalist Lorraine Feather with pianist Russell Ferrante · Ukulele phenomenon Jake Shimabukuro · Jazz guitar legend Mundell Lowe · Tony Malaby's Tamarindo (w/ William Parker & Mark Ferber) · Saxophonist JD Allen's trio (w/ Rudy Royston) · Susan Pascal's "Soul Sauce" project · Kinshasa's raucous Staff Benda Bilili · New Orleans' Christian Scott and his new band · Seattle Repertory Jazz Orchestra w/ Branford Marsalis · And many, many, more
Iron Maiden ran through their White River Amphitheater set impressively. Pyro surged and spurt. Eddies grimaced. Maiden has a strong contingency of diehard fans. Songs focused on the Seventh Son album. I was hoping for more Powerslave. The theatrics were a bit clownish, but Iron Maiden is Iron Maiden, and Iron Maiden can do whatever they want. In the parking lot beforehand, a couple from Mount Vernon pre-gamed in their car with a small cooler of liquor, and splif. They listened to Maiden to get ready to listen to Maiden. There, I heard Powerslave. I approached and requested Widespread Panic, but they had not heard of Widespread Panic. We listened to the song “Powerslave” and they kissed. When I left, the guy said to his girlfriend, “Fuck it, I’m getting a neck-tatt tomorrow, of me getting a neck-tatt of you.” When I got back to my car after the show, they were still there. Maybe they beat me back. Maybe they never left. They were listening to Powerslave. I hope the guy is getting the neck-tatt. (Setlist after the jump.)
Neneh Cherry & The Thing THE CHERRY THING Smalltown Supersound
Since she's the stepdaughter of Don Cherry, I always hoped Neneh Cherry would move in more of a jazz-oriented direction, and that impulse culminates in The Cherry Thing, a collaboration with Scandinavian improv ensemble The Thing (according to their label, the trio "took its name from a piece by Don Cherry: when they first got together it was to play his music").
The eight-song set combines Neneh's unique intonation with Mats Gustafsson's untethered sax wanderings, Ingebrigt Håker Flaten's subterranean bass rumbles, and Paal Nilssen-Love's deep-dark drumming. After a flirtation with the mainstream, this more "out" affair suits her well (the two originals, Gustafsson's "Sudden Movement" and Cherry's "Cashback" blend in seamlessly).