Bobby Hutcherson, a pioneering jazz vibraphonist whose style pushed the iconic Blue Note label into more spiritual and experimental directions, died yesterday at age 75. He was under ongoing treatment for emphysema. Along with a phenomenal career as a band leader on dozens of records, Hutchinson famously played on the jazz classics "Out to Lunch," by Eric Dolphy and "Mode for Joe,” by sax player Joe Henderson. From the New York Times:
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The first album (Hutchinson) released as a leader was “Dialogue” (1965), featuring Mr. Hill, the trumpeter Freddie Hubbard and the saxophonist and flutist Sam Rivers. Among his notable subsequent albums was “Stick-Up!” (1966), with Mr. Henderson and the pianist McCoy Tyner among his partners. He and Mr. Tyner would forge a close alliance.
After being arrested for marijuana possession in Central Park in 1967, Mr. Hutcherson lost his cabaret card, required of any musician working in New York clubs. He returned to California and struck a rapport with the tenor saxophonist Harold Land. Among the recordings they made together was “Ummh,” a funk shuffle that became a crossover hit in 1970. (It was later sampled by the rapper Ice Cube.)
In the early ’70s Mr. Hutcherson bought an acre of land along the coast in Montara, where he built a house. He lived there with his wife, the former Rosemary Zuniga, whom he married in 1972. She survives him, along with their son, Teddy Hutcherson, a marketing production manager for the organization SFJazz, as does his older son, Barry Hutcherson, a jazz drummer.
David W Niven began collecting jazz records in 1925, when he was 10 years old. He continued to collect until 1991, amassing a nearly unparalleled collection of 78s and LPs, whose highlights he eventually transferred to cassette, boiling down 10,000 hours of music to 1,000 hours of tape with his spoken commentary, each cassette meticulously annotated with handwritten liner-notes. Read the rest
Few artists in the history of jazz have played piano with the expression and soul of Fred Kaz.
The master spent over 30 years as the musical director for the Second City, and was the most magical improvisational musician you could ever have heard perform. Fred's piano led both the audience, and the ensemble through adventures, tragedies and beautifully mundane moments. Fred made sure all was clear. The piano was his voice.
While his work on stage, as a composer and as a director, is amazing, Fred's jazz touches the heart. Sadly, it has been hard to find recordings of his music, however since Fred's passing in 2014 his wife Helen has been steadily producing his previously unreleased works.
This album was recorded in 1997, at the Ash Grove on the Pier, in Santa Monica, California.
I recently found this poem Fred wrote for me, after he and Helen visited my daughter and I, at our home in Muir Beach.
Where the river feeds the ocean
And the dry land meets the sea
And the hungry, saw-toothed coastline
Chews the gasping, high-tide surf,
I am harbored with my life-mate
By a sharing, gentle man;
And we all imagine futures
In the ever-present tense,
Letting friendship fertilize
each other's souls.
Fred Kaz 6/18/2013
We miss him very much.
Some years ago, when Kamasi Washington was a teenager, Birdman Records owner David Katznelson heard about his band, The Young Jazz Giants, signed them and took them into the studio. The self-titled debut record came out the following year and the four members of the group still play together today, in fact were featured on THE EPIC. The interview would discuss the founding of the Young Jazz Giants, with focus on Billy Higgins, the recording of that record and the path from there to the Epic.
I wasn't expecting much from jazz bagpipe, but this is great.
Don Cheadle directed and stars in Miles Ahead, the film portrait of the jazz legend that opens in theaters April 1. How did Cheadle get the role? Well, he never auditioned or even talked to anyone about it before he was cast. Rather, Miles's nephew Vince Wilburn declared that Cheadle would play his uncle. Entertainment Weekly interviewed Cheadle:
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The film jumps around, but the main thread of the plot is set around 1979. Why did you chose to focus on that time period? Just the fact that he wasn’t playing. The fact that he hadn’t played for five years, up to that point, and in a way, was either chomping at the bit to figure out what to say again, if to say again, or he was going down towards death very quickly. He was standing on that knife’s edge at that point, and I don’t think he even know which way it was gonna go. So for us, when we got to the period in all the research about how Miles didn’t play for five years, we were like, “What?” [Laughs] That was the part that was the most interesting from a human being standpoint to me. Musically and what he did with his art form was amazing to me all the time, for the most part. But for me, as a human and an artist and someone who’s a creative person, what happens when you just stop for five years? That’s why we picked that moment to sort of be the departure point: him on the verge of talking again, basically.
Famed titular voice of Archer, and Bob of Bob's Burgers, Jon Benjamin has recorded a jazz album. Interestingly, Benjamin can't play piano, and really doesn't like jazz.
Benjamin brought a ton of great jazz musicians into the studio and recorded an album, but he can't play at all. What happens is really pretty cool! NPR has a great interview.
I'm certainly finding the album fun. Jazz daredevil indeed!
Jazz pioneer Charles Mingus (1922-1979) had a secret recipe for eggnog that by all accounts was delicious, and incredibly potent. He shared the recipe with biographer Janet Coleman who published it in her book Mingus/Mingus: Two Memoirs. Here's the brew below, followed by Mingus's "Moanin'."
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Charles Mingus's Egg Nog
* Separate one egg for one person. Each person gets an egg. * Two sugars for each egg, each person. * One shot of rum, one shot of brandy per person. * Put all the yolks into one big pan, with some milk. * That’s where the 151 proof rum goes. Put it in gradually or it’ll burn the eggs, * OK. The whites are separate and the cream is separate. * In another pot- depending on how many people- put in one shot of each, rum and brandy. (This is after you whip your whites and your cream.) * Pour it over the top of the milk and yolks. * One teaspoon of sugar. Brandy and rum. * Actually you mix it all together. * Yes, a lot of nutmeg. Fresh nutmeg. And stir it up. * You don’t need ice cream unless you’ve got people coming and you need to keep it cold. Vanilla ice cream. You can use eggnog. I use vanilla ice cream. * Right, taste for flavor. Bourbon? I use Jamaica Rum in there. Jamaican Rums. Or I’ll put rye in it. Scotch. It depends.
See, it depends on how drunk I get while I’m tasting it.
Kamasi Washington, 34, is a saxophonist and composer who is carrying the spiritual jazz torch pioneered by the likes of John Coltrane, Pharaoh Sanders, Albert Ayler, and Stanley Cowell. But his sound is not a retro trip. Washington, who has also played with Flying Lotus, Snoop Dogg, Herbie Hancock, and Kendrick Lamar, recently released his three hour album, aptly titled Epic. It's an immersive, post-post-bop modal groove that is utterly and entirely contemporary. Dig the performance above, recorded this summer for NPR's Jazz Night in America.
I was thrilled when our friends at San Francisco's Noise Pop Music Festival announced that Washington will be part of this year's killer lineup for the musical extravaganza taking place February 19-28 at clubs around the city. So far, the schedule also includes performances by The Mountain Goats, Parquet Courts, Vince Staples, The Cave Singers, Caucus, The Thermals, Film School, Diane Coffee, Wild Ones, Beacon, Astronauts, Etc., Palehound, and Heartwatch.
More details: Noise Pop Music Festival
Strata-East Records was a pioneering record label founded in 1971 that went deep down the post-bop, spiritual jazz path most famously explored by John Coltrane on his iconic 1964 work "A Love Supreme." Strata-East was a radical label, featuring radical sounds by the likes of Gil Scott-Heron, label founders Charles Tolliver and Stanley Cowell, Clifford Jordan, Pharaoh Sanders, Cecil McBee, Sonny Fortune, Shirley Scott, and other greats.
I'm just beginning to check out the history, edges, and intersections of the jazz genre(s), and I had never heard of Strata-East until I visited San Francisco's legendary Groove Merchant record store several weeks ago. I told proprietor Chris Veltri that I love "A Love Supreme," Alice Coltrane, and Pharaoh Sanders, and asked where I should go next. Without missing a beat, he answered Strata-East. And now I can't get enough. My primers are Andy Thomas's excellent article "A Guide to Strata East," the killer compilation Soul Jazz Loves Strata East (from top-shelf reissue label Soul Jazz), and DJ Gilles Peterson's incredible Strata East Mix, celebrating a Strata-East Live event that took place in London earlier this year. Listen to Peterson's mix below:
Dig this far out avant-jazz/electronic madness from San Diego's Brian Ellis Group that the record label, El Paraiso, rightly says should be filed in the same crate as "Miles Davis, Tortoise, Marion Brown, Joe Henderson, Can, and Donald Byrd." Read the rest
Doo ba dih bee dWee doo daah. Read the rest