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The news is almost too dire to contemplate. Clubs and bars closing. Venues shuttering. The nation’s largest performing arts organization, New York’s Metropolitan Opera, is laying-off its union workers. On the jazz side of things where almost everyone is a freelancer without the protection of a contract, things are even more dire. Could the news get any worse?

Yet even at this darkest hour, it seems there is a possibility of hope.

Bandcamp, a digital music sales and streaming platform, announced that tomorrow, March 20, it will forgo collecting its share of revenue, typically 15 percent, from sales on the site. This is a laudable gesture, and a necessary one considering that most jazz artists have few other sources of revenue at the moment (don’t get me started about streaming, which pays even top-charting pop artists fractions of pennies per stream).

So now–or from 12 a.m. PDT tonight to 12 a.m. PDT tomorrow–load up on the notable releases below and whatever else you might want. You’ll be the artists a great service and stocking up on great music for those long hours at home.

  • Tyshawn Sorey: Unfiltered  A majestic new CD that’s only available on Bandcamp and, at $15 for 125 minutes of incandescent music, might be your entertainment bargain of the season. Watch for my review on Friday.
  • Chris Dingman: Embrace A record with a back story that’s almost as compelling as the music
  • The Necks: Three  A hypnotically engrossing new outing from the venerable Australian sound wizards
  • Jeff Parker: Suite for Max Brown Chicago’s old pro guitarist for all seasons catches the fresh vibe of his International Anthem labelmates

And if you find music that you want to talk about, the comments are open below.

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CD Review: Jason Palmer: The Concert: 12 Musings for Isabella

Jason Palmer The Concert: 12 Musings for Isabella

 

 

 

 

 

 

 

 

Thirty years ago today, as Boston’s raucous St. Patrick’s Day celebrations approached last call, two men wearing police uniforms entered the Isabella Stewart Gardner Museum and made off with 13 works by Rembrandt, Degas, Vermeer and others. With a value exceeding $500 million, the daring theft is probably the largest property crime in U.S. history, and remains unsolved.

Now, Boston-based trumpeter Jason Palmer has taken this cool story as the unlikely inspiration for The Concert: 12 Musings for Isabella, an effervescent new double-CD set for Jimmy Katz’s Giant Step Arts label available today.

You might call it a jazz version of “Pictures at an Exhibition,” though, unlike Mussorgsky, Palmer, who moved to Boston in 1997 to attend the New England Conservatory, has never seen any of the works that inspired his 12 compositions (two of Degas’ sketches were combined into a single composition).

It’s a work bristling with lines of pinpoint accuracy, snaky unison themes and thought-provoking soloing from the front line of Palmer, tenor saxophonist Mark Turner and vibraphonist Joel Ross. What really stands out, though, is the way that bassist Edward Perez and the almost absurdly musical drummer Kendrick Scott hustle you through the Gardner’s Renaissance-revival halls. They’re busy, but they leave plenty of elbow room for the soloists to stretch out.

And they do; the shortest track of the 135-minute program clocks in a two ticks under 8 minutes. So, this is very much a blowing session, though Palmer keeps things interesting through various strategies. He’ll mix meters within the same composition, as in the tumbling “Chez Tortoni” (after Manet), one of several pieces that feature chase choruses that call forth soloistic bravura, albeit of the most thoughtful sort. His heads have a uniformly brainy shapeliness, even when he changes things up by sometimes making them unison, sometimes harmonized with a stroke of West Coast-y counterpoint added for good measure.

You’d expect nothing less from the pairing of Palmer and Turner, two of the most punctilious composer/improvisors on the scene. The leader is the kind of trumpet player who enters the upper register only when he has a point to make, as he does on the now-he-dips, now-he-soars “A French Imperial Eagle Finial.” He paints his solos with short, precise musical brushwork, a brassy Fragonard.

Turner is similarly scrupulous, though he works in longer lines that are unsurprisingly surprising. His command of both his instrument and his ideas is sovereign, even when he’s hurtling through the harmonic chutes and ladders of “Landscape with an Obelisk.”

Joel Ross is in fast company here, but he often threatens to steal the show as on the roiling chase choruses of “Christ in a Storm on the Lake of Galilee” (after Rembrandt) where the musical waves were anything but calmed. Ross chooses intervals that are often surprising (a Fauvist, maybe?) and his comping in the pianoless quartet is never pushy.

I can’t say enough about the supple and responsive rhythm team of Perez and Scott who are up for every challenge, as on the opening “A Lady and Gentleman in Black” (after Rembrandt). As Palmer takes apart and reassembles his stop-start melody, Scott takes up the challenge with a subtle application of heat and washes of cymbal color.

It all makes for a stimulating day of phantom museum-going, and at $15 for a download, it costs approximately .000003 percent of the estimated value of the stolen artwork. With museums closed, it’s an incredible bargain and one that you should take advantage of immediately when your purchase can do the most good for artists who could really use the support.

Jason Palmer: The Concert: 12 Musings for Isabella
(Giant Step Arts)

Jason Palmer – trumpet, compositions
Mark Turner – tenor saxophone
Joel Ross – vibraphone
Edward Perez – bass
Kendrick Scott – drums

Jason Palmer’s Weblog

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CD Review: Mara Rosenbloom presents Flyways: Murmuration

Murmuration cover

 

 

 

 

 

 

 

 

One of the most extraordinary musical events of the last year was the appearance in Erie last September of pianist Mara Rosenbloom‘s Flyways with the vocalist Anaïs Maviel and Sean Conly substituting for Rashaan Carter on bass. This concert stood out both for risk taken by JazzErie, the usually conservative presenting organization, and for the quiet audaciousness of Rosenbloom’s music, which cast a spell over the audience at Mercyhurst University. If you want to know more about that occasion, I previewed the concert for the Erie Times here and reviewed it here.

At that concert, she hinted at an imminent release of this music and it has arrived. Mara Rosenbloom presents Flyways: Murmuration, recorded last March and June, presents music of understated audaciousness and captures the often confessional intimacy of that concert.

The centerpiece is the 36-minute-long “I Know What I Dreamed – Our Flyway” a setting of the second of Adrienne Rich’s 21 Love Poems. That cycle describes the difficulties of maintaining a relationship that is not supported by the community, but there’s also a rich subtext about the difficulties of the creative life. This portion of the work, with strong bass support from Carter and subtle, heartbeat percussion from Maviel, begins when she sings “I’ve been writing for days,” interrupting the reverie of the lover’s awakening with music of swirling, agitated obsession. That’s a state many of us know well, and it calls forth some of Maviel’s most looping and soaring lines. Her voice is not large, but it is pure and flexible and she brings a rapt, soft-focus inner glow to the text’s many moments of glowing introspection. It’s fair to say that though most of the work is improvised, it doesn’t sound like jazz, a style in which Rosenbloom and Carter are admittedly rooted. It’s more like a dramatic scena or a monodrama, and it’s quietly dazzling.

The CD’s other 18 minutes consist of five evocative miniatures, “Improvised Prelude – Greetings,” “Bird Migration Theme 2 – Take Off,” “Bird Migration Theme 1 – Murmuration” and “Bird Migration Theme 2 Reprise,” and a further Rich setting, “Dream of a Common Language – Irruption.” That text, from Rich’s Origins and Histories of Consciousness, is about the necessity and anxiety of change. It’s agitated and unsettling and captures perfectly the mood of a society on lockdown.

It’s a high point on a record that defies categorization and ignores genre boundaries. Still, the most touching moment might be the CD’s most conventional: the concluding solo piano take on one of the most familiar of standards, “These Foolish Things.” Rosenbloom dedicates it to her teacher Connie Crothers, a pianist whose stubborn originality kept her far from the recognition she deserved.

Let’s hope that doesn’t happen to Rosenbloom. Flyways: Murmuration is a strong statement about the most vulnerable places with us. It’s a work of rare bravery and candor, an illumination of an inner life to which we are all called to examine, never more so than now.

Mara Rosenbloom presents Flyways: Murmuration
(Fresh Sound/New Talent )

Mara Rosenbloom – piano, compositions
Anaïs Maviel – voice, surdo drum
Rashaan Carter – bass

mararosenbloom.com

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