Best seat at the vanguard? For many years I’ve sat in the upper section, as close to the drummer as possible. But recently a host recommended the bar, and, the first seat at the bar had surprisingly great sound and view for being so far back. I may be a convert. What do you think?
well I do think there is good bass presence in the back, so Reid Anderson liked to sit in the very back. Drummer's corner (in the upper section) is also great. Honestly the club is so small there are no bad seats.
Ok, so a few weeks ago, there was some discussion on Twitter about Herbie’s Inventions and Dimensions album. Since it’s also the holidays, and holiday special time, for some reason I now hear “Succotash” as a really avant- version of The Charlie Brown theme
I've been following this substack for 9mo or so and my mind is regularly blown. Thanks so much for all the time you put into it; terrific writing, info, context.
I'm a Canadian saxophone player looking to break into film composing. And, I've been working it, trust me. Still... a lot of sending free download codes into the void.
My ambient duo, Spanned Canyons, has already placed one track in an upcoming film, and we are currently in talks to score a complete horror film (v much in alignment with our sound).
Could you recommend a few APPROACHABLE media and/or film-related outlets -- print, web, blog, substack, etc. -- for, well, ambient/experimental music in the vein of horror/dark sci-fi?
You frequently share so many sax insights; I've learned a ton and will keep coming back to learn more even if you have nae answers for this particular question. Thx!
Great thanks so much. Offhand I can't really think of any approachable media outlets, it really is rough out there. So often, independents have to do it all on their own these days. But good luck!!
Thanks for everything from a longtime listener/reader... one who would love to read a piece from you on George V Higgins one of these days! For now, may I ask: top five Higgins novels?
thanks so much! For me it is all about the stone classic THE FRIENDS OF EDDIE COYLE, although COGAN'S TRADE and THE DIGGER'S GAME are also good early G V Higgins. Then my impression is that he lost his way, although as a kid I liked KENNEDY FOR THE DEFENSE (it doesn't hold up imo). Do you have a strong recommendation?
I would check out The Rat on Fire -- a short novel, entirely in dialogue, where the arson "plot" happens mainly in the background -- some may find its stylistic rigor stifling, but not me -- and Outlaws, which expects and rewards the most careful of readers. The Judgement of Deke Hunter is more straight up fun.
COYLE first and COGAN next, for sure. I was disappointed w/the film remake of COGAN'S TRADE (titled: KILLING THEM SOFTLY) because it was mostly shot, scripted and acted very well but the conversational pace was out of control. The dialogue was realistic and credible but it was 100% rapid-fire and it undercut itself. Exhausting, unnecessarily -- because there was plenty enough tension as-was.
As a jazz head and longtime Do the Math reader, my favorite post of 2023 runs counter to type: "TT 274: EDM edition" from June 21. It's funny, breezy, heartfelt, and educational. It ends with the line, "See you in Ibiza!" An Iverson classic. Looking forward to 2024 being 1 BPM faster than the year that was on before it.
Not a question. Been listening to a lot of Jarrett’s classical output lately. The C.P.E. Bach and the live Klavier Book 1 are, to my ears, really wonderful.
You know, I almost wrote about the CPE Bach record, I think it’s great myself. I didn’t like the studio Klavier, but the live one seems more fun. So we are on the same page!
Sorry in advance for looking in the rearview on this, but what’s your take on the debts early 70s Chick Corea and Keith Jarrett owed to Paul Bley? And your thoughts about Bley’s electric piano/modified keyboard sounds work with his Scorpio trio? Seems like Bley’s legacy as a trailblazer and original voice in that era deserves wider recognition.
I listened to SCORPIO and a few other things but I'm not really into the synthesizer Bley. Many who I respect who have more to do with keyboards that I do admire this period.
Seeing George Coleman on so many best recordings of the year lists - in his 88th year - is just so wonderful and well deserved! I was wondering what your favorite recordings of his might be?
Any practical advice on dealing with the terror of performing at a jam session? I've been to one 3x - singing. I want to play piano, but I haven't screwed my courage to the sticking place yet. I've been focusing on jazz piano for about 18 months from studying classical. It's a goal for 2024 to play in a jam session.
you know I was never very good at jam sessions myself. I think it can be quite challenging emotionally, not least because often the music is chaotic, loud, long, and generally not very good. If you are committed to the jam, then I advise straight-up industrial spying, meaning go to the session just to listen and see what tunes they are playing. Take note of all the tunes you hear over the course of two or three sessions. If you know the tunes, then give it shot.
Thanks for the open thread! I wanted to share a link to a great online store for sheet music, Tredwells. I picked up a few George Shearing books there. I also want to thank you for the online educational materials, it’s been great for my (amateurish) piano playing!
What are a few of your favourite current popular songs that would work well as a jazz cover?
Well the general consensus is that the Billie Eilish songbook is doable in a jazz context. But offhand I can't think of much else, at least for piano players. For vocalists there might be more room
Re: Batiste: I haven't cared for much that Quincy Jones has given us since his work on "The Color Purple," but I still greatly appreciate what he was doing in the '50s, '60s, and early '70s. Jon was a great presence on network TV with Colbert, and worked in a LOT of bop performances and quotes, and I watched an early youtube of him in a NY club, giving first rate support to an up and coming singer sitting in on his gig. Jon is a giver!
I made a decent living, enough to comfortably retire on, designing sound systems for public spaces, but no one would pay to hear or see me work. It pains me that major writers and players in the Basie band lived on their wives' day gig, and that Buck Hill, a fine tenor player and one of Billy Hart's early mentors, paid the bills as mail carrier. I'm happy that Quncy is doing OK. Make those bucks, Jon!
Hi Ethan. I was curious if you were familiar with my favorite living piano player, Yuri Favorin. He did a great album of "Russian Futurist" music that hasn't gotten much attention:
Do you have general thoughts on the past/present/future of jazz guitar, especially in comparison to that of piano?( Do you ever learn from guitarists and translate to the keyboard?) For instance, I often think of Metheny-Scofield-Frisell as a generational bloc sort of like Tyner-Herbie-Jarrett-Corea (though the guitarists are tighter generationally). It's fascinating how the three processed the same materials and historical experience -- mainstream and avant-garde jazz, Americana, psychedelic rock -- and came out sounding so different from one another, almost as if in a science experiment. In the following generations, Rosenwinkel and Lage seem to be the most influential. Thoughts?
mmm. I think you are on to something but I don't have a terrific birds-eye view of this matter. Actually I was thinking about writing about a bit of John Abercrombie soonish, not sure. But of course Kurt Rosenwinkel is my man, I stole a lot from Kurt. Supposedly the super-group of Kurt with Mark Turner, Ben Street, and Jeff Ballard is touring again this summer!
While I have you here, have you listened yet to the newly released Kurt/Geri Allen duet? It's lovely - extremely sensitive listening and playing, maybe not as wild as one would expect or hope, but still awesome...
that group of kurt and etc are one generation or approx 10 year gap down from the metheny-scofield-frisell group, but like they are about the same age gap down from tyner -herbie and etc... maybe we date ourselves based on our age and it influences our preferences as well?
my personal favorite cat of Kurt's generation is Peter Bernstein: he's on tons of criss cross records, which was/is an important label, had a great group with Brad Mehldau, has had a longstanding trio with Bill Stewart and Larry Goldings, and he just consistently plays fantastic. "Signs Of Life" is one of the greatest jazz guitar records ever, although I've always been partial to "Brain Dance".
Kurt and Peter had a quartet at Fat Cat in the early 2000s, there were several bootlegs floating around back in the day, one of which I may have recorded on minidisc at the gig ;).
I've been tip-toeing into Bley's discography lately, but the sheer quantity of his output is...intimidating. I started with the two quartet albums featuring Frisell and Motion as one does (and should!), but can you recommend half a dozen Bley albums for me to start with? At least one solo, trio, etc.
The influential disc was FOOTLOOSE, everyone stole from that, then also from the '60s I like BALLADS and MR. JOY. From the later stuff the duo with Chet Baker has unquestionable magic
Ethan, Bill from Mrs Rosoff building. First great picture of two of the many talented students I had the opportunity to meet. Just a reach out.The Robbin’s Office are writers agents. Also neighbors of Mrs Rosoff. If you don’t have an agent. If you do that’s fine but they do handle talented writers. I’ve been wanting to get this out to you. Hope to see you play at a future date. Stay safe this New Year. Give my best to Fred. Bill
Best seat at the vanguard? For many years I’ve sat in the upper section, as close to the drummer as possible. But recently a host recommended the bar, and, the first seat at the bar had surprisingly great sound and view for being so far back. I may be a convert. What do you think?
well I do think there is good bass presence in the back, so Reid Anderson liked to sit in the very back. Drummer's corner (in the upper section) is also great. Honestly the club is so small there are no bad seats.
truth. Also, in a nod to the current zeitgeist, the vanguard now has pretty good non-alcoholic drinks!
Ok, so a few weeks ago, there was some discussion on Twitter about Herbie’s Inventions and Dimensions album. Since it’s also the holidays, and holiday special time, for some reason I now hear “Succotash” as a really avant- version of The Charlie Brown theme
Hah! Sounds like something with potential!
I've been following this substack for 9mo or so and my mind is regularly blown. Thanks so much for all the time you put into it; terrific writing, info, context.
I'm a Canadian saxophone player looking to break into film composing. And, I've been working it, trust me. Still... a lot of sending free download codes into the void.
My ambient duo, Spanned Canyons, has already placed one track in an upcoming film, and we are currently in talks to score a complete horror film (v much in alignment with our sound).
Could you recommend a few APPROACHABLE media and/or film-related outlets -- print, web, blog, substack, etc. -- for, well, ambient/experimental music in the vein of horror/dark sci-fi?
You frequently share so many sax insights; I've learned a ton and will keep coming back to learn more even if you have nae answers for this particular question. Thx!
Great thanks so much. Offhand I can't really think of any approachable media outlets, it really is rough out there. So often, independents have to do it all on their own these days. But good luck!!
Thanks for everything from a longtime listener/reader... one who would love to read a piece from you on George V Higgins one of these days! For now, may I ask: top five Higgins novels?
thanks so much! For me it is all about the stone classic THE FRIENDS OF EDDIE COYLE, although COGAN'S TRADE and THE DIGGER'S GAME are also good early G V Higgins. Then my impression is that he lost his way, although as a kid I liked KENNEDY FOR THE DEFENSE (it doesn't hold up imo). Do you have a strong recommendation?
I would check out The Rat on Fire -- a short novel, entirely in dialogue, where the arson "plot" happens mainly in the background -- some may find its stylistic rigor stifling, but not me -- and Outlaws, which expects and rewards the most careful of readers. The Judgement of Deke Hunter is more straight up fun.
COYLE first and COGAN next, for sure. I was disappointed w/the film remake of COGAN'S TRADE (titled: KILLING THEM SOFTLY) because it was mostly shot, scripted and acted very well but the conversational pace was out of control. The dialogue was realistic and credible but it was 100% rapid-fire and it undercut itself. Exhausting, unnecessarily -- because there was plenty enough tension as-was.
As a jazz head and longtime Do the Math reader, my favorite post of 2023 runs counter to type: "TT 274: EDM edition" from June 21. It's funny, breezy, heartfelt, and educational. It ends with the line, "See you in Ibiza!" An Iverson classic. Looking forward to 2024 being 1 BPM faster than the year that was on before it.
haha! I admit I was proud of that post. Nice to know it connected with at least one person, anyway!
Not a question. Been listening to a lot of Jarrett’s classical output lately. The C.P.E. Bach and the live Klavier Book 1 are, to my ears, really wonderful.
You know, I almost wrote about the CPE Bach record, I think it’s great myself. I didn’t like the studio Klavier, but the live one seems more fun. So we are on the same page!
I love the Shostakovich Preludes and Fugues and the Handel Recorder Sonatas. Might have to listen again. Both pretty interesting choices.
Just listened to the Handel Recorder Sonatas recently and liked them very much.
Sorry in advance for looking in the rearview on this, but what’s your take on the debts early 70s Chick Corea and Keith Jarrett owed to Paul Bley? And your thoughts about Bley’s electric piano/modified keyboard sounds work with his Scorpio trio? Seems like Bley’s legacy as a trailblazer and original voice in that era deserves wider recognition.
I listened to SCORPIO and a few other things but I'm not really into the synthesizer Bley. Many who I respect who have more to do with keyboards that I do admire this period.
yes, Chick and especially Keith borrowed from Bley. I write a bit about all that in this long post: https://ethaniverson.com/shades-of-jazz-keith-jarrett-charlie-haden-paul-motian-dewey-redman/
Saluti da Milano! See you in March! Which rhythm section are you bringing to Italy?
It will be Thomas Morgan and Kush Abadey. Thank you!
Seeing George Coleman on so many best recordings of the year lists - in his 88th year - is just so wonderful and well deserved! I was wondering what your favorite recordings of his might be?
for me that's easy, it's the Elvin Jones trio music with Wilbur Little at the Village Vanguard in '68
Any practical advice on dealing with the terror of performing at a jam session? I've been to one 3x - singing. I want to play piano, but I haven't screwed my courage to the sticking place yet. I've been focusing on jazz piano for about 18 months from studying classical. It's a goal for 2024 to play in a jam session.
you know I was never very good at jam sessions myself. I think it can be quite challenging emotionally, not least because often the music is chaotic, loud, long, and generally not very good. If you are committed to the jam, then I advise straight-up industrial spying, meaning go to the session just to listen and see what tunes they are playing. Take note of all the tunes you hear over the course of two or three sessions. If you know the tunes, then give it shot.
Thanks for the open thread! I wanted to share a link to a great online store for sheet music, Tredwells. I picked up a few George Shearing books there. I also want to thank you for the online educational materials, it’s been great for my (amateurish) piano playing!
What are a few of your favourite current popular songs that would work well as a jazz cover?
https://tredwellsmusic.com/
Thanks mucho!
Well the general consensus is that the Billie Eilish songbook is doable in a jazz context. But offhand I can't think of much else, at least for piano players. For vocalists there might be more room
Re: Batiste: I haven't cared for much that Quincy Jones has given us since his work on "The Color Purple," but I still greatly appreciate what he was doing in the '50s, '60s, and early '70s. Jon was a great presence on network TV with Colbert, and worked in a LOT of bop performances and quotes, and I watched an early youtube of him in a NY club, giving first rate support to an up and coming singer sitting in on his gig. Jon is a giver!
I made a decent living, enough to comfortably retire on, designing sound systems for public spaces, but no one would pay to hear or see me work. It pains me that major writers and players in the Basie band lived on their wives' day gig, and that Buck Hill, a fine tenor player and one of Billy Hart's early mentors, paid the bills as mail carrier. I'm happy that Quncy is doing OK. Make those bucks, Jon!
Jim Brown
FWIW I personally dig a lot of later Quincy, I don't really think the careers are comparable in terms of lasting value, but time will tell.
Hi Ethan. I was curious if you were familiar with my favorite living piano player, Yuri Favorin. He did a great album of "Russian Futurist" music that hasn't gotten much attention:
https://russianfuturism.blogspot.com/2020/05/yury-favorins-great-album.html
His most recent album got even less attention, but it covers two modern Russian composers, and I've gotten very interested in Boris Tishchenko:
https://russianfuturism.substack.com/p/yuri-favorins-secret-album
I've been listening to "All Our Reasons" on Hoopla and enjoying your playing.
These are new names to me, thanks so much!
Do you have general thoughts on the past/present/future of jazz guitar, especially in comparison to that of piano?( Do you ever learn from guitarists and translate to the keyboard?) For instance, I often think of Metheny-Scofield-Frisell as a generational bloc sort of like Tyner-Herbie-Jarrett-Corea (though the guitarists are tighter generationally). It's fascinating how the three processed the same materials and historical experience -- mainstream and avant-garde jazz, Americana, psychedelic rock -- and came out sounding so different from one another, almost as if in a science experiment. In the following generations, Rosenwinkel and Lage seem to be the most influential. Thoughts?
mmm. I think you are on to something but I don't have a terrific birds-eye view of this matter. Actually I was thinking about writing about a bit of John Abercrombie soonish, not sure. But of course Kurt Rosenwinkel is my man, I stole a lot from Kurt. Supposedly the super-group of Kurt with Mark Turner, Ben Street, and Jeff Ballard is touring again this summer!
While I have you here, have you listened yet to the newly released Kurt/Geri Allen duet? It's lovely - extremely sensitive listening and playing, maybe not as wild as one would expect or hope, but still awesome...
that group of kurt and etc are one generation or approx 10 year gap down from the metheny-scofield-frisell group, but like they are about the same age gap down from tyner -herbie and etc... maybe we date ourselves based on our age and it influences our preferences as well?
my personal favorite cat of Kurt's generation is Peter Bernstein: he's on tons of criss cross records, which was/is an important label, had a great group with Brad Mehldau, has had a longstanding trio with Bill Stewart and Larry Goldings, and he just consistently plays fantastic. "Signs Of Life" is one of the greatest jazz guitar records ever, although I've always been partial to "Brain Dance".
Kurt and Peter had a quartet at Fat Cat in the early 2000s, there were several bootlegs floating around back in the day, one of which I may have recorded on minidisc at the gig ;).
I've been tip-toeing into Bley's discography lately, but the sheer quantity of his output is...intimidating. I started with the two quartet albums featuring Frisell and Motion as one does (and should!), but can you recommend half a dozen Bley albums for me to start with? At least one solo, trio, etc.
The influential disc was FOOTLOOSE, everyone stole from that, then also from the '60s I like BALLADS and MR. JOY. From the later stuff the duo with Chet Baker has unquestionable magic
Thanks, Ethan!
Don't miss: Paul Bley & Gary Peacock, Turning Point, and his sideman trio dates with Jimmy Giuffre and Don Ellis.
Ethan, Bill from Mrs Rosoff building. First great picture of two of the many talented students I had the opportunity to meet. Just a reach out.The Robbin’s Office are writers agents. Also neighbors of Mrs Rosoff. If you don’t have an agent. If you do that’s fine but they do handle talented writers. I’ve been wanting to get this out to you. Hope to see you play at a future date. Stay safe this New Year. Give my best to Fred. Bill
aw, hi Bill! Thanks very much!!!