Esperanza Spalding

For those naysayers who claim that jazz is dead, I say they probably haven't listened to Esperanza Spalding.

Ms. Spalding, along with other emerging artists such as Robert Glaser and Jason Moran, are bringing a new sense of excitement and innovation to a genre some have all but relegated to a thing of the past.  Anyone who has seen her perform - of which her fan base includes President Obama, who has invited her to play at the White House on various occasions - knows this.  Whether playing songs from her recent soul-hinged "Radio Music Society" album, her more intimate chamber-inspired compositions, or sitting in with an ensemble of jazz legends Wayne Shorter and Jack DeJohnette, she stands to carry on the tradition set forth by those such as Herbie Hancock who are able to play in such a diverse style, they often blur the lines between jazz, R&B, and whatever else might come their way. 

In short, she is giving new meaning to what it means to be a jazz musician in the modern times - creating new sounds, defying genres, all while paying tribute to those who came before her.

 

 

Among her many projects lately, Ms. Spalding has been touring with drummer Terri Lyne Carrington and pianist Geri Allen in a trio simply named ACS.  Their setlist draws largely from a repertoire of Wayne Shorter standards, as well as a selection of their own compositions.  I saw the trio's recent performance at the newly opened SFJAZZ Center, where the Miner Auditorium's minimalist design set a perfect tone for their modern style of improvisation. 

Shorter's tunes, such as "Infant Eyes", "Fall", and "Nefertiti", are best characterized by their complex harmonic structures, as opposed to earlier styles of jazz compositions that draw more heavily from the great American songbook and traditional blues forms.  This style of jazz has its risks, as less seasoned audience members may get lost without a prominent, thematic melody driving the piece along.  But with risk comes reward, and this was definitely the case with ACS's performance.




With the superb acoustics of the Miner Auditorium on display, Spalding, Allen, and Carrington played seamlessly as a trio.  No one taking particular center stage, but rather sharing a musical 'conversation' with each other that the audience was allowed to listen in - or perhaps more aptly, eavesdrop in on.  The three women displayed a maturity in their playing that allowed the music to breath and slowly unfold as it took shape. 

This was exemplified in their original composition, "Unconditional Love", which began with a long introduction of Spalding's unique style of vocal improvising and bass, with Allen adding subtle lines of impressionistic piano to fill in behind.  The song built over the next few minutes, eventually coming to head with a deep drum and bass groove from Spalding and Carrington and assertive solo from Allen.  The band emerged, coming alive with a sense of energy that proved their talents (not that there was any doubt to begin with).  The original composition easily stood up to any of the Wayne Shorter standards they played that night. 

 

Ms. Spalding's tour with ACS continues through the end of the year with a variety of European tour dates. 

 

Girls on Your Turntable Top 5 Picks for Hardly Strictly Bluegrass 2013

1. Tift Merritt - Sunday, 5:10 - 5:55PM, Porch Stage
   I was first introduced to the lovely Tift Merritt when she played the HSB stages in 2002 (back when it was still "Strictly Bluegrass"), and I immediately went to Amoeba Records after the festival and bought her record.  Like many of the artists gracing the stages this weekend, she is hard to pin down to a specific genre, as her sound seamlessly blends together influences from traditional country, soul, and rock 'n' roll. 
   
   
   





2. Martha Wainwright - Saturday, 4:50 - 5:35PM, Porch Stage
   I was thrilled to see Martha Wainwright was going to be making her HSB debut this year.  She is a favorite of mine in recent years, whether it be the self-penned emotionally-driven songs only Martha could get away with (ie, Blooding Mother F****** A*******) to channeling the Edith Piaf, to carrying on the legacy of her late mother, the great Kate McGarrigle. 
   
   On Sunday, she will be joined by her aunt, Sloan Wainwright, as well as special guests (such as Emmylou, no doubt) in paying tribute to Kate.  If the recent "Sing Me the Songs That Say I Love You" film and album is any indication, this set will be filled with emotion and remembrance for a truly great artist.
   




3. Patty Griffin - Saturday, 4:05 - 5:05PM, Rooster StagePatty is becoming a regular at HSB.  Although she is perhaps best known for her songwriting, Patty is a captivating performer who can command your attention with nothing more than her acoustic guitar.  Her strong lyrical talent is matched by her vocal delivery, which combine to create an unforgettable sound.  Often times she is joined on stage by the likes of Buddy Miller and Robert Plant, which adds an extra bonus to her set.
   
    




4. Bonnie Raitt - Friday, 5:45 - 7:00PM, Banjo Stage
   The famed blues singer and guitarist needs no introduction, especially around the Bay Area.  Thank you HSB for finally bringing her to the festival. 




5. Emmylou Harris - Sunday, 5:45 - 7:00PM, Banjo Stage
   
   Emmylou is the reigning Queen of HSB, and thanks to the absolute generosity of Warren Hellman, we have been able to see her close out the festival all 13 years.  In fact, I have come to associate Ms. Harris so closely with HSB, that every time I hear her music (which is often), I can't help but picture her singing to a crowd of thousands as dusk settles in to an early fall night in Golden Gate Park. 
   
   One of my favorite memories from the many years is when she invited Warren to join her band in playing a rendition of the Bill Monroe classic, "Get Up John".  Warren was beside himself, naturally, as he was getting to play on stage with one of his musical heroes.  But the feeling was mutual, as Emmylou was clearly glad to be playing along side a man she so respected. 

Janis Joplin Talks Rejection With Voice Writer Howard Smith in Last Interview Ever

Thanks to the Village Voice for posting this. 

And on the topic of the late Ms. Joplin, I recently saw D.A. Pennebaker's "Monterey Pop Festival" documentary, which I highly recommend to everyone.  Janis' performance of "Ball and Chain" is without a doubt one of the highlights of the film.  (Be sure and watch until the end of the clip when you can see Mama Cass in total awe of the performance.) 

Dawn Landes

In many ways, artists like Dawn Landes are the reason why I wanted to start this blog.  Spanning genres from French (á la Françoise Hardy) and American folk, to indie singer-songwriter driven rock, the diversity of her growing discography displays a talent that demands attention.

Her musical career took root in New York City, where she first moved to study at NYU, and later dropped out to start working in recording studios (working with the likes of Phillip Glass, among others).  In the meanwhile, she also began to write and record her own music.  Her first record came out in 2005 and she has been making them ever since.  

Dawn has just finished working on a record with Doveman (Thomas Bartlett) that will be coming out in early 2014.  Three preview tracks are available for streaming online here.

I recently sat down with Dawn before her show at the Great American Music Hall in San Francisco, where she was both opening for and singing with the Brooklyn-based folk band Hem.  Since she has been working with Bartlett, our conversation began by discussing the recent Kate McGarrigle tribute album that he has been part of.  We went on to discuss her role as a female music engineer, her views on creativity and technology, and what her top five "Girls on Your Turntable" playlist is.

Read full interview below.

Neko Case @ First City Festival, Monterey, CA

 



Debuting songs from her upcoming release, "The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You" (out September 3rd), alongside selections from past albums, Neko Case played to a full crowd of fans Sunday evening at the inaugural First City Festival.

  

Particular highlights from the night included "This Tornado Loves You" and "That Teenage Feeling", as well as her covers of the Shangri-Las "Train from Kansas City" and Lisa Marr's "In California".  Overall, the hour plus set demonstrated Ms. Case's wide-ranging talent, showcasing her ability to be both vulnerable and emotion and strong and aggressive with her vocal delivery. 

 

The event, which took place at the history Monterey Fairgrounds (home to the long running Monterey Jazz Festival taking place next month), brought a mix of up-and-coming bands such as the Los Angeles-based Electric Guest alongside indie legends Modest Mouse. 

 

The Best of Marian McPartland on YouTube

I've spent the better part of the day listening to old episodes of NPR's Piano Jazz. I highly recommend tracking down the Willie Nelson episode, which is such a fun and unexpected pairing of legends. And if you are in the mood for some great bass, check out the Ron Carter and Esperenza Spaulding shows. You can't go wrong. Here are some clips of various interviews and performances with Marian throughout the years.

Remembering Marian McPartland, 1918-2013

I woke up to the news this morning that Marian McPartland had passed away at her home in Long Island, New York.  She was 95.  Marian was no doubt one of my biggest music inspirations, and I will always remember with the highest regard the first time I heard her show, and then, many years later, the first (and only) time I was fortunate enough to see her play.

Although I am a huge fan today, I did not grow up listening to jazz, and much of my exposure to the genre did not come until my late teens when I began to explore music beyond the rock and folk I grew up with.  Around this same time, during my first summer home from being away at college, I heard Marian’s Piano Jazz, and through the show I was educated and introduced to many new artists.  With her comforting British accent, Marian talked to her guests like they were old friends catching up on lost conversation.  And in large part, these were in fact long-time friends of hers.  The guests and her swapped stories about shows played at The Hickory House, where Marian enjoyed a long standing residency from 1952 to 1960, and gave us listeners a taste of what it was like to live and play in an era where thriving jazz clubs scattered the streets of New York City.  This intimacy set Piano Jazz apart from any other show I’d heard before.  It was like listening to my grandmother telling stories from her youth, if my grandmother grew up alongside the likes of Dizzy, Mingus, and Monk, instead of on a Midwest farm.  I fell in love with it all.  “Shall we play that one together?” she would say to her guest.  And so began the music that was beloved by her many listeners and fans for decades on end. 

I saw Marian play at Yoshi’s, a jazz club in Oakland, California, in 2007.  It was shortly after she turned 89, but you would not have a sense of her age by the way she played.  Though she used a walker to help her get around onstage, she led her trio through two solid sets of her own compositions and jazz standards.  She didn’t miss a beat.  I was obviously thrilled to be seeing one of my heroes, and throughout the night, kept thinking to myself, “Damn, if we could all be so lucky—to not only be alive and in good health at 89, but to be leading a band of men half her age with such strength and grace.”  What a gal, that Marian McPartland. 

In recent years (through the help of her grandchildren), Marian maintained an active presence on Facebook.  She posted many pictures and videos of her peers, and fortunate for us, used it as a way to communicate with her fans.  I shared this blog with her, particularly the posts in which she was highlighted in the entries about women and jazz music.  I am happy to say that she read them, and replied to me that she enjoyed them.  I am grateful for her many years as a dedicated host, and for all of the knowledge of jazz she imparted on me and other listeners.  And thankfully, in the digital age we live in, there are hours upon hours of archived shows available for us to listen to.  She may be gone, but her music lives on.