Category Archives: Listening

MTH-V: Marcus Miller trifecta

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Disclaimer: Those who solely listen “seriously” at all times might not appreciate these. Otherwise, have fun and click away. 🙂

For this week, I’ve decided on a “threefer.” Mainly because, although I do have a favorite of the three, they’re all worth posting (for different reasons), and best posted in tandem. The below videos are all of Marcus Miller‘s “Run For Cover,” performed live with different bands (two are similar, but none are the same), spanning from 1984 into the mid-1990s. I know Marcus can be a touchy subject for a number of “serious jazz musicians” because he sits comfortably on the border of smooth jazz. And I can definitely sympathize with the criticisms. His studio albums (as a leader and/or producer) are hit and miss for me – generally I’ll really like a handful of tunes and ignore the rest. But live and as a sideman, I can’t get enough. (Because of this, he fascinates me endlessly.)

I’ll post the three videos in chronological order, with brief notes for each. Bassists may recognize because of the main bassline in the introductory vamp. Now, one question you may be wondering is: Mike, why are you posting something so cheesy? The answer is simple: because it’s good! As Jeff Coffin says, he likes music that moves him: moves his head, moves his heart, and/or moves his body – it needs to do one of those things to grab him. Marcus definitely succeeds in moving the body here…

1. David Sanborn w. Marcus Miller (1984) — This comes from a live concert that was later released as Sanborn’s Straight to the Heart (1984). I wish I could find a DVD of this concert, as the album was severely compromised by over-producing (e.g., overdubbing awful synth lines, etc.). This stripped-down performance with top-notch session- and sidemen is pretty solid, though. (Notes: Ignore Hiram Bullock’s dancing. There’s a bass intro, and the actual tune starts at ~1:59. And Sanborn makes his chops known.)

2.  Marcus Miller Project (1991) — This performance is from Japan’s famous Live Under The Sky festival. Marcus is the leader this time, and it features many musicians who remain in his band (on and off) to this day. This is the most high-octane performance of the three, and for that reason it’s arguably my favorite. (Being 1991, though, the clothes are another story…do your best to ignore…) It’s pretty cheesy, but it is FUN! And after all, they’re not striving for “high art.” They’re looking to move the audience in their seats, and get them on their feet. They definitely succeed. (Note: Ignore the dancing & gyrating, especially from Everette Harp.) Also, Harp may fall in the smooth camp, but there’s no denying his skill here. Fortunately, he moves out of the smooth territory quickly in his solo.
PS — Make sure to catch Poogie Bell’s “Button Your Fly” t-shirt during the drum solo! 🙂
http://www.youtube.com/watch?v=Zk18rgFyt_Y

3. Marcus Miller Band (mid-1990s?) — For the “serious” listeners, this one’s for you. (Except for Patches Stewart’s trumpet solo — he thinks he’s Miles…and isn’t…) An updated band from the second video, and Hiram Bullock is back on guitar and still dancing. But the addition of KENNY GARRETT (!) brings the gravitas the doctor ordered — it’s a great palette cleanser after watching the first two videos in succession. 🙂 His solo is unfortunately short, but he takes it exactly where it needs to go. (Note: ignore the trumpet solo…if it weren’t for that part, this’d probably be my favorite of the three.)

MTH-V: Manu Katché live

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I’ve been wanting to start occasionally posting videos for a couple months but have held off. I wanted there to be some consistency – perhaps making them a semi-regular aspect of this blog – and also for the posts to be relatively informative. I didn’t want to simply post a YouTube link with some exclamation points, but rather offer some brief context and/or history as to why I selected it/them. (Somewhat akin to the “New Listen” series.) Nothing lengthy, but more than just a link.

Attempting consistency, I’ve chosen a video by Manu Katché Group as the debut post. (Regularly readers may know that Manu Katché’s Third Round was the debut “New Listen” post a little over a year ago.)

Personnel:
Manu Katché – drums
Tore Brunborg – saxophones
Mathias Eick – trumpet
Jason Rebello – piano
Jerome Regard – bass

Tunes:
“Miles Away”
“Clubbing”

I really wish I could’ve been fortunate enough to have seen this particular lineup on this (European) tour! A number of ECM staples, especially Katché and Eick, and a saxophonist I’ve become quite taken with over the last 13 months, Tore Brunborg. (He’s featured on Third Round, and is also on Eick’s latest album.) The whole concert largely features material from Neighbourhood and Playground, and this particular clip includes one tune from each album. (The whole concert, divided into 6 clips, is available for viewing, but this particular clip is by far my favorite. I’ve seen/listened to it probably over 150 times over the last few months…)

[UPDATE: Much of this concert has been periodically removed from YouTube over the years, but “Clubbing” remains.]

This group plays together very well. Brunborg and Eick take different approaches on both tunes (especially “Clubbing,” the latter), and the rhythm section fluidly follows suit each time, giving and taking with ease. Also, a real treat of this performance is to hear these musicians in an intense, often barn-burning, “straight-ahead” setting, something Katché practically avoids on his studio albums.

If you like this one, definitely take the time to watch the entire concert (~1 hour) if you can.

“Clubbing”:

New Listens: Summer 2011 hit parade

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I’m now unpacked and settled in MI after a busy few months away and a cross-country move. June, July, and August flew by, but now it’s time to resuscitate this blog. I suppose this makes it MT-Headed 3.0?

At any rate, because I haven’t the time to go through every single one, I thought I’d provide another overview into what new music I’ve been acquiring and digesting since my last post. Again, they’re largely in autobiographical order. Even more so than usual, the unparalleled ECM is quite well-represented in this list. 🙂 It’s a bit more new music than usual, but I’ve had more than enough flying- and driving-time to take it all in.

They’re all nice finds. Some highlights – going by my gut instinct and without getting too deep-tissue – are: Bon Iver, Tristan und Isolde (DVD), Lost In A Dream, L’Orfeo (DVD), and Nuove Musiche.

Note: This list is dedicated to my good friend and colleague Matt Borghi – he knows why. 🙂

Jon Hassell: Last Night The Moon Came Dropping Its Clothes In The Street
Trio Mediaeval: Soir, Dit-Elle
Iro Haarla Quintet: Vespers
Wynton Marsalis: The Resolution of Romance (Standard Time, Vol. 3)
Dave Liebman: Turnaround
Grateful Dead: Shakedown Street
Miles Davis: The Complete Prestige Sessions (box set)
Keith Jarrett: Bach: The Well-Tempered Clavier, Book II
Count Basie: April In Paris
Rolf Lislevand: Nuove Musiche
Bon Iver: Bon Iver
Wye Oak: Civilian
Manu Katché: Playground
Charles Mingus: Tijuana Moods
Charles Mingus: Mingus at Antibes
Keith Jarrett: Shostakovich: 24 Preludes & Fugues, Op. 87
Stefano Battaglia: Re: Pasolini
Sir Georg Solti w. Wiener Philharmoniker: Wagner: Overtures, Siegfried Idyll
Daniel Barenboim & Bayreuther Festspiele: Wagner: Tristan und Isolde (1983 production, DVD)
Jordi Savall & Le Concert des Nations, La Capella Reial de Catalunya: Monteverdi: L’Orfeo (DVD)
Sylvain Cambreling & Frankfurter Museumsorchester: Berg: Wozzeck (DVD)
Claudio Abbado w. Chamber Orchestra of Europe: Haydn: The London Symphonies (box set)
Fiona Apple: When The Pawn
Herbert von Karajan w. Berliner Philharmoniker: Brahms: The Complete Symphonies
Jane’s Addiction: Nothing Shocking
Bon Iver: For Emma, Forever Ago
Alice Sara Ott: Liszt: Transcendental Etudes
Wynton Marsalis & Richard Galliano: From Billie Holiday to Edith Piaf (Live in Marciac)
Miles Davis: Live At Montreux (Highlights 1973-1991) (DVD)
Count Basie: Jazz In Montreux: Count Basie Big Band ’77 (DVD)
Paul Motian: Lost In A Dream
Mel Tormé: Mel Tormé Swings Shubert Alley
Wynton Marsalis: Standard Time, Vol. 1
Warren Haynes: Man In Motion

Paying for what you like II: iCloud edition

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Apple finally acknowledged its much-anticipated iCloud this week. Sort of. Actually, this week’s acknowledgement was more of a pre-announcement, as they said it would be officially announced and detailed next week. It was more akin to Republican leaders recently announcing exploratory committees for presidential campaigns that will be launched months later.

I’m no technovangelist, though I do have VERY strong opinions on technology and various technological corporations. I like what I like, and I know the pros and cons of the options (those I choose and those I don’t). Beyond that I lose the passion. I don’t have a need to convince others to use an iPhone over an Android. The cultish technological arguments that flood my Twitter and Facebook feeds consistently make me nauseous. But I must stand and defend Apple before the quasi-hipster-anti-iCloud tirade floods tech news and social networks.

In short, iCloud is expected to serve two purposes: 1) an upgrade to the cloud-based MobileMe, and 2) a subscription-based cloud music service. While appearing to be the last of the pack to hit the scene (Google and Amazon are already semi-operational), iCloud’s imminence caused Google and Amazon to hurry their rollouts. So much so that Google launched the beta version of its service without the record labels’ permission. Apple, on the other hand, has been in talks with the record companies for months and has apparently finalized publishing contracts to legitimately and legally place personal music libraries in the cloud.

The MobileMe upgrade really isn’t the focus here, but in full disclosure, I am a MobileMe subscriber. Yes, I pay $99/year for it. And yes, I get my money’s worth. (But, let me reiterate, I don’t really care if you use it or not – that doesn’t affect me whatsoever.) I pay for safe, secure, ad- and spam-free email and cloud service. Furthermore, as a bonus, my data is not sold to advertisers. Very exciting! [Note: The one time I had a technical issue, I instant messaged with a real human who corrected the problem within minutes. Many free services don’t offer this – you have to hope for the best, whining via Twitter in the interim. I realize it’s not for everyone. But if you regularly switch between multiple personal computers and portable devices, it works wonders.]

Regarding the cloud-based music service, you can read the various tech specs elsewhere. What I’d like to emphasize here is the monetization aspect. Myriad complaints have already surfaced that Apple will bundle this service in with MobileMe/iCloud, consequently requiring either a flat annual fee (as it is now), or possibly via rolling monthly subscriptions. Before you sneer and run to Google (never evil? really? ha!) or Amazon, keep in mind that Apple’s agreement with the various record companies comes with a nine-digit up-front price tag ($100,000,000). Sure, executives at Apple and Sony live comfortable lives and don’t need our financial assistance. But the artists who create and perform the music we enjoy DO! (A big reason Google doesn’t have licensing agreements with the major labels is because Google doesn’t want to sidestep the illegal-download-havens that are P2P communities.) Like the aforementioned executives, U2 and Green Day are financially set. No handouts required. However, the countless road acts and up-and-comers out there rely on the emotional, social, and financial participation of its fans for survival. And so if people are going to enjoy Road Act X’s music at home and now in the cloud, Road Act X should be compensated accordingly. Unless, of course, the band decides against it. That’s their right also. (Also in full disclosure, I don’t foresee myself utilizing the “music cloud” too much. I prefer my portable devices and local copies.)

As stated above, I like what I like. And as this entry’s title and this blog as a whole state, I pay for what I like.

Most of the people I know are musicians, or at least musically-inclined. Sadly, these are the same people whose whining will flood my social network feeds. Some are even composers – people who should love the idea of publishing royalties. Yet, unfortunately, I fear most will continue lobbying to live in this so-called “economy of the free.” Blech.

I maintain: pay for what you like.

 

New Listen: Trio Mediaeval’s ‘A Worcester Ladymass’

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Artist: Trio Mediaeval
Album: A Worcester Ladymass (2011)

Unlike most of this category’s posts, this new listen was also recently released (March 26). Since blindly purchasing Folk Songs over a year ago, I’ve become quite a fan of Norway’s Trio Mediaeval. Separately, Anna Maria Friman, Linn Andrea Fuglseth, and Torunn Østrem Ossum have gentle, splendid voices. Together, they sublimely ebb and flow with a blend only achieved by longtime collaboration.

A Worcester Ladymass is the reconstruction – with the help of musicologist Nicky Losseff – of a Mass to the Virgin Mary for the Assumption of the Blessed Virgin. This reconstruction is based on fragments collected from Worcester, England’s Abbey of St. Mary’s. The music’s texture ranges from strict monophony (with/out drone) to complex polyphony (for Medieval music). One additional interesting feature of this reconstruction is the inclusion of two works composed specifically for this recording. Two sections of the mass, “Credo” – a biggie – and “Benedicamus Domino,” were missing from original sources and fulfilled by British composer Gavin Bryars. (On an unrelated note, his The Green Ray for alto saxophone and orchestra is quite good – thank you, John Harle.)

This album may not necessarily be for the Medieval purist. (In case you’re wondering, yes, those exist. And they’re quite passionate.) After all, this is a reconstruction based on centuries-old surviving fragments. Also, in lieu of the recitations (i.e., readings) that would have been part of this particular mass, relevant motets, etc. from the Worcester Fragments codex are included. Finally, Bryars’s contributions are not period-specific. They’re stylistically complementary overall, however the harmonies and counterpoint do stray. Given that his two pieces are structurally significant – the “Credo” is the second-longest piece, and the disc closes with “Benedicamus Domino” – the listener can is somewhat pulled out of that thirteenth-century mindset. (Furthermore, the “Credo” is preceded by a monophonic selection.) Anachronistic? Yes. Jarring? Arguable. Unpleasant? Absolutely not. They pull it off here.

As with my review of Rolf Lislevand’s Diminuito, I welcome the contemporary interpretation. As much as many academics insist, we don’t actually know how Medieval music sounded in practice. We have strong ideas and descriptions, but no auditory evidence. There are so many aspects to Medieval and Renaissance performance practice that it’s impossible to attain 100% bulletproof accuracy. When academically- and historically-informed performers take reasoned artistic license, I welcome it. The blend of both Medieval textures and temporally disparate styles make this album both 1) an intriguing reconstruction and 2) a wonderful tour through all things Medieval mass-oriented (Ordinary, Proper, motets, monophony, polyphony, contemporary approaches, etc.). And to top it all off, the singing is world-class! (But, if you’re at all familiar with Trio Mediaeval, you already knew that.) Another spectacular effort.

If you’re new to Medieval music and you’re looking for an academic introduction, this probably isn’t the best place to start. However, if you’re already familiar with Medieval sacred music and you’re looking to breathe new life into your interest, look no further.

Amazon Link
iTunes Link