Daytrotter

A friend just turned me onto a fantastic website, www.daytrotter.com.  The site exists to create opportunities for independent artists to create alternative versions of released and unreleased songs for free.  This allows the site to promote new, original material and it allows music lovers to explore new artists for free.  I suspect they have about 600 artists or so that have contributed to the site, and the site lists about 700 Daytrotter Sessions.  For each session an artist will contribute three to five reworked songs for your listening pleasure.

My favorite artists on the site (so far) are Aimee Mann, Andrew Bird, Bell X1, Bon Iver, Death Cab for Cutie, Elvis Perkins, Fleet Foxes, Grizzly Bear, Ingrid Michaelson, Jaymay, Joe Pug, Kate Walsh, Langhorne Slim, Meiko, The National, Speck Mountain, Vampire Weekend and Zee Avi.

iTunes 9

I converted to a Mac about a year and a half ago, which basically forced me to convert to iTunes as well.  This was probably the most difficult part of the transition for me.  Then when I replaced my mp3 player, having to buy an iPod so that it would sync with my computer was equally disturbing.  I've made peace with my iPod, though.  There's a lot about it that I like.

iTunes, however, is a little bit different story.  I mean, I like to have a media player so that I can play media, and for me, being the music junkie that I am, I generally mean music.  iTunes has become a bloated program, stuffed with things that don't have any business being in a media player.  Why can't Apple make a different program to sync phone apps and ringtones?  Why can't iTunes function like iPhoto and simply contribute music and media to a phone-syncing program?  And the music store is so overpriced I'm amazed it still makes money.  Add to this that iTunes has been clumbsy from the beginning; the browsing has never been very good.  Even my old MusicMatch software did a better job (I was so sad when Yahoo bought that program and ruined it).  iTunes needs to be stripped down to be what it is supposed to be with a redesigned browsing interface.

That said, I must say that, for the most part,  I'm pleased with the changes in iTunes 9.  I'm convinced Apple is going to continue to bloat the program with stuff that has little or nothing to do with recording and playing media.  But many of the enhancements in iTunes 9 actually help me browse and listen to my music.  Here's some of what I like:

Smart Playlists

 

This is my favorite enhancement, though it is only useful for music junkies like me.  iTunes 8 did a decent job of making smart playlists.  My one complaint, however, has been that when you set criteria you make for your smart playlist, all the filters have to have the same Boolean operator.  Either all had to be "any" or all had to be "all."  There was no way to group or mix them to make complicated playlists.  All that now has changed.  So, I am able now for the first time to make a playlist that contains vocal Jazz music that I've rated with at least 3 stars and either was released prior to 1980 or is a compilation CD.  I've never been able to do that before.

Genius Mix

Apple upgraded the Genius engine so that it does a better job of choosing music that fits together.  They also added a mix feature on the side bar (you have to update Genius in iTunes to see it).  If you click on that, up to 12 mixes will show up.  Click on any of them, and iTunes will choose music that goes together in the genre categories it chooses for you.  This is nice, though I don't understand why you can't customize your Genius mixes to match your tastes. You're stuck with what iTunes thinks you want.  And, you can't sync them on the iPod classic, even the new one.  You would think that would be where people would want it most, since it will hold most people's entire music library.  It will work on the Nano and Touch, though.

Home Sharing

Now anyone in the family can share music if they are logged into iTunes on the same account.  I haven't moved music from my laptop to my desktop in months.  Now I set up home sharing, clicked on my laptop iTunes from my desktop iTunes, displayed all the music that was on my laptop that wasn't on my desktop, and then I just imported all of them into my desktop.  Easy as pie.

Column Browser

I may not end up using this, since I tend to work with smart playlists more, but if you do use the browser, it's improved.  I'm going to be working with it more just to see if it changes my habits.

I don't like everything about it, though.  On my Mac in iTunes 8, the + bubble used to activate the miniplayer.  That is not technically right way OS X is supposed to work--the button is supposed to toggle the zoom feature, though that feature is pretty useless with iTunes.  So, Apple fixed it so that it's consistent with the rest of the OS, but ruined it in terms of its usefulness.  Note: 9.0.1 fixes this.  Download it if you haven't.  They also changed the background color for the grid view--it was a nice, dark grey, and now it's white, and the header that lets you choose between Artist, Album, Genre, etc. defaults to being turned off.  I have to turn it back on in grid view for every playlist I've made.  All in all, however, the new iTunes will improve my music listening experience, and for that I'm grateful.

Getting into Jazz, Part 4

Digging Deeper into Contemporary Jazz

There is some great Jazz being made today.  In my second post, we looked at some of the more accessible jazz music being made today, but some of my favorite contemporary Jazz is more challenging in nature.  All the albums included here are primarily instrumental; we will cover vocal albums at a later time.

1. E.S.T (Esbjörn Svensson Trio), Seven Days of Falling (2003) or Viaticum (2005).  E.S.T. has quickly become my favorite contemporary Jazz outfit, though tragically the band leader passed way in a diving accident. The comparision may be a little over simplified, but I think of them as the Radiohead of Jazz.

2. Dave Douglas, Strange Liberation (2004), Soul on Soul (2000), or Moonshine (2008).  Dave Douglas' music is more free or avant garde in nature, but he has not abandoned melody.  His music is truly an enjoyable listen.  Strange Liberation, titled after a phrase used by Martin Luther King, ranks right up there with Seven Days of Falling as my favorite contemporary jazz albums.

3.  The Bad Plus, These are the Vistas (2003) or Give (2004).  The Bad Plus has been criticizied for relying too much on pop melodies in their music.  Some have even called them gimmicky.  But there's a time honored tradition in jazz drawing inspiration from pop music, and the Bad Plus are an extremely talented group.

4.  RH Factor, Hard Groove (2003) or Distractions (2006). This is Roy Hargove's funk group, and both of these are great jazz-funk albums.  I personally prefer Distractions, but they are both excellent albums.

5.  James Carter, Live at Baker's Keyboard Lounge (2005) or Out of Nowhere (2004). James Carter is an extremely talented woodwind player, particularly on the sax, and these two albums showcase his talent.

6.  Wynton Marsalis, Live at the House of Tribes (2005).  This is Wynton Marsalis at his finest, in concert. 

7. Brian VanArsdale Orchestra, Flood (2005).  This is Brian VanArsdale's musical interpretation of the Flood story.  It's an orchestral arrangement, but also solidly a Jazz composition, and it is thoroughly enjoyable from beginning to end.

8. Various Artists, Miles from India (2008).  A group of artists who have played with Miles Davis have teamed up with Indian musicians to develop this album, which combines eastern instruments and musical styles with the music of Miles Davis.   At times, it feels like one instrument is simply replaced with a sitar, but at other times, it seems a complete rearrangement has taken place.  It is a delightful effort.

9. Ornette Coleman, Sound Grammar (2006).  One reviewer described Coleman's greatest strength as "melodic generosity." Some would call that a euphemism for melodic abandonment.  However, for an introduction to contemporary free jazz, I believe Coleman and Ware (below) are doing the best job.

10. David S. Ware, Threads (2003) or Corridors and Parallels (2001).  Of the two, Threads is more accessible, though Corridors and Parallels is more inventive.  Both can be challenging listening, but the latter is set apart by Matthew Shipp's intriguing work on synthesizer.

Other notable albums I can't seem to delete off my list:
1. Wayne Shorter, Footprints Live (2001) or Alegria (2003).
2. Terence Blanchard, Flow (2005).

Getting into Jazz, Part 3

Digging Deeper into Classic Jazz

In my first two posts, I've sought to concentrate on generating a list of great Jazz music that is pretty accessible--that is, those who are not familiar with Jazz will find these albums to be excellent entryways into Jazz music.  Now I'd like to dig a little deeper and explore some great Jazz CD that are a little more experimental or avant garde in nature.  Some of these artists have mixed Jazz with other types of music--rock, funk, soul, etc.

1. John Coltrane, A Love Supreme (1964) or Giant Steps (1959). A Love Supreme is simply one of the greatest Jazz albums of all time.  It chronicles his spiritual journey out of heroine addiction. 

Fusion

1. Miles Davis, In a Silent Way (1969), Bitches Brew (1969), On the Corner (1972). In all three of these albums, Davis progressively adds elements of rock and funk to his jazz albums.  In a Silent Way, as you may be able to tell from the title, is a very mellow album consisting of 2 twenty minute songs.  Bitches Brew is to me the standard of Jazz fusion against which all others are judged.  On the Corner is more urban but amost as good.

2. Herbie Hancock, Head Hunters (1973). This is a true Jazz-funk album with recognizable songs.

Soulful Jazz

1. Charles Mingus, Mingus Ah Um (1959), The Black Saint and the Sinner Lady (1963).  Mingus combined elements of soul and even gospel into his music.  "Better Get Hit in Yo' Soul," one of his most famous compositions, was inspired from a church service.

2. Jimmy Smith, Back at the Chicken Shack (1960).  Jimmy Smith was a great organist who in many ways pioneered the use of a soulful organ in Jazz.  This is a very enjoyable album.
 

3. Les McCann and Eddie Harris, Swiss Movement (1969). This album is under appreciated, I believe.

Hard Bop

1. Clifford Brown and Max Roach, A Study in Brown (1955). One reviewer rightly says that Brown's trumpet is "played to perfection" on this album. It certainly Jazz trumpet at its finest.

2. Oliver Nelson, The Blues and the Abstract Truth (1961). When I put this in the CD player in my car for the first time, I don't think it came out for weeks.  I was enthralled with this album.

3. Oscar Peterson Trio, Night Train (1962). Some criticized Peterson for being too fast--like that famous criticism of Mozart in Amadeus that he had "too many notes."  I don't understand that at all. 

4. Lee Morgan, The Sidewinder (1963). Lee Morgan was in his twenties when he made this album.

Free Jazz

1. Ornette Coleman, The Shape of Jazz to Come (1959). Coleman was criticized for this album because he did not make use of any instrument that played chords (like a piano), but he hinted at chords in the interplay of various instruments.  The compositional structures are rather free here, but still remains probably the best way to enter into the world of free jazz. One reviewer writes, "Any understanding of jazz's avant-garde should begin here."

2. Eric Dolphy, Out to Lunch (1964). This album may be the pinnacle of the free jazz movement.  It has the most complex rhythm section of any album I've heard, and the "melodies" are completely free form.  Definitely listen before you buy.  It took me a while to learn to enjoy this album.

Getting into Jazz, Part 2

Contemporary Instrumental Jazz

In my previous post, we looked at classic instrumental jazz that would make good entryways into the world of Jazz music.  As we move into the more contemporary Jazz scene, choosing music become a little more subjective.  These albums have not been tested by time like the previous list.  We can't say for sure which music will truly have that enduring quality that we know exists in that music produced in the 50's and 60's.  The Jazz 100 website has a list of what they call "new breed" jazz, and that can be very helpful, but there's a lot of great music that just hasn't made it onto that list yet.

So here is a list of contemporary Jazz albums that I believe not only is great music but also makes for good entryways into the world of contemporary Jazz:

1. Roy Hargrove, Emergence (2009), Nothing Serious (2006) or Earfood (2008). Roy Hargrove is probably my favorite new Jazz artist, all three of these albums are a fine introduction to contemporary Jazz music.  Emergence is his first big band album he has made, and the other two are both straight up Jazz albums.  All of them truly enjoyable.

2. James Carter, Present Tense (2008). James Carter may be the best saxophone and woodwind player of this generation.  Much of his material is rather challenging, especially live.  However, this CD is very accessible to people new to Jazz music.

3. Aaron Parks, Invisible Cinema (2008). Aaron Parks is one of the more promising young Jazz pianists around today, getting his break playing with Terence Blanchard.  His compositions at first listen are very understated, but as one listens more to his music, it becomes all the more interesting.

4. Bennie Maupin, Early Reflections (2008) or Penumbra (2006). Maupin's music is very relaxing, so much so you may think of it as background music, but don't.  Sit in your living room and turn your stereo on loud.  Some of his compositions are rather free-form in nature, but Early Reflections will envelop you in its beauty nonetheless.

5. Wynton Marsalis, Standards and Ballads (2007). Wynton Marsalis rejuvinated Jazz in the 80's, and he continues to be an influential force in Jazz today.  Standards and Ballads is a relaxing and romantic CD that has both warmth and sincerity.

6. Avishai Cohen, Colors (2000) or Gently Disturbed (2008). Avishai Cohen is an Israeli bassist whose compositions frequently make use of eastern traditions, and his music truly captivating.  Turn up the bass as Gently Disturbed takes the piano trio to new heights.

7. Branford Marsalis, Eternal (2004). Marsalis writes, "All of the songs reflect the idea that there is beauty in sadness."  This is a CD of beautiful ballads composed either by him or by members of his band.

8. Michael Brecker, Pilgrimage (2007). This is Michael Brecker's final album before he died of cancer.  He knew it would be his last, so he poured his heart and soul into it, and it shows.

9. Ramona Borthwick, A New Leaf (2006). She is a virtual unknown in the Jazz world.  I found her only because Esperanza Spalding sings on two tracks on this album, and I loved those songs.  Borthwick has a unique style to her piano playing with which I am truly fascinated.  I thought about moving this higher on my list, but it may be hard to find, so I left it here.

10. Anton Schwartz, The Slow Lane (2000), Radiant Blue (2006) or When Music Calls (1998).All  of Schwartz's albums are beautifully crafted, and Schwartz's saxophone is a pleasure to hear.  Like Ramona Borthwick, he is not terribly well known, so his albums may be more difficult to come by.

Getting into Jazz, Part 1

Classic Instrumental Jazz

I have always loved the sound of Jazz.  Even as I child, my first record that wasn’t “kid” music was “In the Mood” by Glenn Miller (the extra ‘n’ in his name makes him a jazz musician and not a basketball coach).  Yet it was much easier for me to listen to rock music.  That’s what was playing on the radio, that’s what my friends listened to, and so on.  It really wasn’t until I was in my twenties that I pursued gaining any real awareness of jazz beyond liking it when I heard it.

My sense is that many are just like I was—having an interest in Jazz but perhaps not knowing where to begin. It all began to change for me when I received a few Jazz mix CDs: Pure Jazz, Pure Jazz EncorePriceless Jazz Sampler to name a few. Starbucks also began issuing CDs, and the Gazebo Blend  But the most helpful thing for me was turning to the Jazz 100 website.  This site ranks the top 200 best jazz albums of all time. I decided to find every album in the top 20 list from this site, and then later expanded that to the top 50.  It was through this process I found out what like, what I don’t like, and I found favorite artists to explore beyond what shows up on this list. And, I knew that I was going to be getting good jazz. and CD was particularly helpful.

I quickly realized, however, that this list is generated on popular opinion of which Jazz CDs are “the best,” regardless of style or accessibility.  Many avant garde and free Jazz CDs appear high up on the list.  It's great music, but they are certainly more challenging, and not the best entryways into the world of Jazz music.  So what I want to do is put together a list that will help people enter the world of Jazz.  We will look at old Jazz and new, vocal Jazz and instrumental, always considering the more accessible material first, and then the more challenging.

The following classic Jazz CDs are all instrumental albums that are extremely accessible to newcomers to Jazz:

1.  Miles Davis, Kind of Blue (1959).  Considered by many to be the greatest Jazz recording of all time, this CD is simply indispensable in any Jazz collection.  It is my favorite album of all time.  Davis takes a minimalist approach here, but the results are simply brilliant.  I can think of no better CD with which to start a journey into the world of Jazz.

2.  Cannonball Adderly, Somethin’ Else (1958). On this CD, Cannonball Adderly plays with Miles Davis, Hank Jones, Sam Jones and Art Blakey.  There is some debate as to how much influence Davis had on this album, but few deny the enduring quality of this CD.  And the simple beauty of the music is simply undeniable.

3.  Sonny Rollins, Saxophone Colossus (1956).  One difference between this CD and the two that precede it is that the others are true ensemble efforts—each instrument takes its place in the lead as the music fits.  This CD, as the title indicates, is all about the saxophone.  It’s a well-crafted CD, filled with delightful and recognizable melodies.

4.  John Coltrane, Blue Train (1957).  Most people recognize Coltrane as one of the greatest Jazz musicians and composers.  Most don’t realize that much of his music, particularly his later music, can be very difficult listening.  My favorite Coltrane CD is A Love Supreme, but a better entry way into his music is Blue Train.  I’m told that Coltrane thought of this as his favorite. You may also try Giant Steps or My Favorite Things.

5.Dave Brubeck, Time Out (1959).  Of the CDs on this list, this may be the most unique, and still one of the most popular jazz albums ever released.  Dave Brubeck messed with the time signatures for all the songs on this album.  Most all Jazz is in standard 4/4 time, but little on this CD is in that time signature.

6. Bill Evans Trio, Waltz for Debby (1961).  Along with his Sunday at the Village Vanguard, this CD was truly revolutionary in the role the bass could play in a piano trio.  Yet every song is simple, beautiful and understated.

7. Stan Getz and Charlie Byrd, Jazz Samba (1962).  Stan Getz has such a great sound on his sax that just about anything he does is great.  But, this is Getz at his finest.  As you may be able to tell from the title, Byrd and Getz combined American Jazz with Latin influences from Brazil to create a truly unique style that has been followed by many since.

8. Art Blakey and the Jazz Messengers, Moanin’ (1958).  This is drummer Art Blakey’s best effort, and the song “Moanin’” is immediately known by just about anyone.   However, the other songs on this album are just as worth of attention. Lee Morgan truly shines here on trumpet as well.

9.  Horace Silver, Song for My Father (1964).  “Song for My Father” and “Que Pasa” are well-known songs, but the rest of this album is just as brilliant, and I think to some extent this album is under appreciated.

10. Dexter Gordon, Go (1962).  The most recognizable songs here are probably “Cheese Cake” and “Three O’clock in the Morning,” but this whole album shines.

Interaction

I have a friend who a few years ago was a student at the Maryland Institute College of Art (MICA).  She asked me to come to her presentation of a community art project she had just finished.  I was delighted to come and see what she was going to present.  When she began her presentation, she displayed a clear jar of chewed bubble gum.  I must say I was intrigued.  She went on to share about how she had set up a "venting booth" in Baltimore City, where people had the opportunity to come to her booth and vent to her about their thoughts of what was going on in their neighborhood.  They received their gum and vented as they chewed, and when they were done venting, they would spit out the gum in the jar.  She then kept a record of all the venting she had heard during the day.

Afterwards, we went to lunch, and I asked her a question that has permanently changed my perspective on art.  I asked her, "So what was the art?  Was it the jar of chewed gum or the conversations you had with people?"  Her answer was that it was the interaction between her and her community--it was the conversation.  This was puzzling for me.  I had always thought of art as something that had some permanence to it--you can hang it on a wall, put it in a CD player, watch on TV, etc.  Yet of course, this is not true at all.  Concert performances are gone as soon as they are done--they exist only in the memories of those who were there.  Photographs fade and often take on different artistic qualities as they do.  Nothing really is permanent.

But what intrigued me is that art is interaction.  It is in a real sense a conversation between the artist and a community.  I don't mean that art requires that we call up artists and let them know what we think of their work.  What I mean is that artists are always interacting with a community as they produce a work of art, whether it be a painting or a conversation.  Recipients are also interacting with their community as they engage in art.  Beauty exists in the substance of a work of art, but beauty also exists in the interaction we have with it, and with each other as well.

And this is exactly what I'm hoping for in this blog.  We want to interact with art and with perspectives on art and culture.  However, I also hope that the conversations and interactions that take place here will be forms of artistic expression as well.