 As I road my bike around the crowds during this year’s Rochester International Jazz Festival I couldn’t help but think of how many of my favorite musicians have passed away. I know it’s a somber thought and the beautiful genre we all love will continue on. I also know this festival and others like it are important cultural celebrations and should be supported and cherished, but it’s truly hard for me not to think of the wonderful composers and players we’ve lost and are unable to see again. C'est la vie, I guess.
Thankfully, Ahmad Jamal continues to record and perform, and he was surely missed at this year’s festival. As most of you already know, he was highly influential in helping to create the “Cool Jazz” movement, combining both traditional American Jazz and European Classical approaches to the instrument. I still consider him one of the greatest pianists within the genre and have adored his playing ever since my mother introduced me to his work. Jamal’s version of Nat Simon’s “Poinciana” was recorded live in 1958 at the Lounge of Chicago's Pershing Hotel, and showcases not only Jamal’s wonderful playing but the fantastic talents of Israel Crosby (bass) and Vernel Fournier (drums). It was and still is considered a “dance” classic and a great introductory piece for anyone new to Jazz. The album helped to define the classic “trio” and transformed his career, and even though At the Pershing: But Not for Me was originally panned by critics as “Cocktail Jazz,” it is now considered an all-time classic. Mr. Jamal, please come back to Rochester, we still and will always love you.
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 Everyone that follows this blog knows I’m a sucker for shimmery music and although there is a ton of it out there, I do tend to be selective with what I mention on this site. Sergey Khavro, who performs under the moniker Parks, Squares and Alleys, has been making some wonderful sounds from the Eastern end of the Russian Federation for some time now, and I thought many of you should hear a sample of what he/they are up to.
“Lucky 9” was released in February of this year and is dedicated to Daniel Johnston. It’s a jangly little number until the wave of delay tugs the listener to its shoegaze depths. I love the change, and long for the days before the internet when music like this lurked in the corners of record stores. I hope Sergey Khavro and the rest of Parks, Squares and Alleys continue to gain more attention in the United States.  With the school year coming to an end and the excited anticipation of summer around the corner, I couldn’t help but think of the 1979 musical comedy Rock 'n' Roll High School and The Ramones. They were the first group I ever paid to see and, like my first kiss and summer love, they too are thought upon fondly.
Most bands come together with a mutual love of music, and then slowly develop their style. Not the Ramones. When they formed, they could barely play their instruments, then cleverly marketed the gritty imagery of New York City’s working class. It wasn’t just their limited musicianship, but their love of early Rock & Roll that helped create an entirely new take on the genre, and the reason most musical historians consider them the founders of Punk Rock. I adore their version of Bobby Freeman’s classic, and although it wasn’t featured on their brilliant first album, it should have been. I especially like the vocals. It’s well documented that Joey wasn’t much of a singer, but his performance is memorable and when the rest of the group joins in, you can hear their love for Freeman’s work and maybe days gone by.  Many of you may know this week’s entry as the theme song for This Week in Baseball, while those of you who are slightly older may recall its short-lived presence on NBC’s gameshow, Jackpot. Both remembrances would be correct.
Originally released on his 1972 Brass Plus Moog LP. “Jet Set” is a perfect example of the continuing transition in the soundtrack world from larger traditional orchestral arrangements to smaller bands and the use of more contemporary instruments. After Vickers left Manfred Mann, he became a highly sought-after composer as well as one of the earliest champions of the Moog Synthesizer, which is used egregiously here. I adore this song, especially the bassline as it moves alongside the horns and piano. It’s reminiscent of the early 70’s when office executives began loosening their ties, and the almost obsessive creative refinement of the 50’s and early 60’s was undone by often drug infused experimentation. It also showcases Vickers’ uncanny ability to incorporate various musical ideas in under 3 minutes.  Tata Dindin (born Ebraima Jobarteh) has been playing the Kora since the age of 6. The son of Gambian musician Malamini Jobarteh, Dindin took lessons from the master Alhaji Bai Konte and is considered one of the finest players recording the instrument today.
“La Imprenta” is from his debut album Salam, released on Network Medien in 1994. It’s a beautifully hypnotic piece that takes listeners on a cultural journey through some of the various polyrhythmic patterns of West Africa. It’s also an intimate link to a past when music was shared within the reach of loving arms. I adore this song (and album), and have always wanted to share it on this blog |
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