#Grachan Moncur III
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While exploring jazz recommendations I stumbled upon Eric Dolphy „Out to lunch!” album. As great as it is, I was particularly enamoured with Bobby Hutcherson’s presence. His vibe playing (those „suspended” notes!) makes all the difference. Looking for more of him, I’ve found another masterpiece of avant/post bop jazz: Jackie McLean „Destination… out!”, where Bobby is doing his magic, giving the album a mysterious atmosphere. Now it’s time for another one. And what a gem it is! Grachan Moncur III „Evolution”. It may be the best of them all, or at least a more than worthy companion. Bobby’s trademark „floating” notes are here in spades, but it seems his style inspired Moncur to build the whole composition this way. The title track is based on long, suspended notes, repeated again and again by several players along with Bobby - very dark and ominous tune. Brilliant! I also love the soundstage, with the drums/trumpet on the right, sax/trombone on the left, and vibes/bass in the middle. In my mind, positioning the drums like this suggests they are more like one of the leading instruments, and indeed Williams’ playing is very imaginative, far from being just a timekeeper. As a result it’s probably my favourite jazz album drum-wise ever! And I have an impression it’s somewhat obscure, compared to the other two 🤔So, If you like the abovemntioned albums, grab this one too, and thank me later :)
#vinyl#vinyl records#records#modern jazz#avant jazz#post bop#grachan moncur III#blue note#Bobby Hutcherson#jackie mclean#lee morgan#anthony williams#bob crenshaw
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Daily Listening, Day #119 - April 28th, 2020
Album: Evolution (Blue Note, 1964)
Artist: Grachan Moncur III
Genre: Post-Bop
Track Listing:
"Air Raid"
"Evolution"
"The Coaster"
"Monk In Wonderland"
Favorite Song: "Monk In Wonderland"
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Jackie McLean: Destination Out!
Jazz is a happy thing and there are a lot of musicians around waiting to give a little happiness to a world filled with so much unrest.
Jackie McLean“Destination Out!” (Blue Note Records, 1964/2022)
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#Alfred Lion#Blue Note Records#Bobby Hutcherson#Destination Out!#Francis Wolff#Grachan Moncur III#Jackie McLean#jazz#Jazz Is Dead#jazz music#Kahlil Gibran#Larry Miller#Larry Ridley#Roy Haynes#Rudy Van Gelder#The Business#vinyl
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Tony Williams
Tony Williams (12 dicembre 1945, Chicago – † 23 febbraio 1997, San Francisco) è stato un batterista grandioso della seconda metà del XX secolo che ha attraversato più linguaggi musicali caratterizzandoli sempre in modo innovativo e stupefacente: un vero Re Mida della batteria. Ragazzo prodigio (a 11 anni fa già alcune apparizioni in jazz club), non ha compiuto ancora ventanni ed è subito…
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Michael Cuscuna, photograph by Jimmy Katz
Michael Cuscuna
Michael Cuscuna, one of my great inspirations and sometime collaborator, passed away this weekend (April 19, 2024) from cancer. Being a cancer survivor last year myself, when someone I’ve known and worked with for over 50 years it hit particularly hard.
Blue Cuscuna: 1999 promotional sampler from Toshiba-EMI [Japan]
Michael has been the most consequential jazz record producer of the past half century, a man who had not only a passion, but the relentlessness necessary to will the entire history of the music into being. Don’t believe it? Check out the more than 2600 (!) of his credits on Discogs. Substantial and meaningful he might have been, but to me, he was a slightly older friend who was always there with a helping hand. Hopefully, I was able to hand something back on occasion.
As I said when he answered “7 Questions” eight years ago: “I first encountered Michael as a college listener to his “freeform,” major station, radio show in New York, and was fanboy’d out when a mutual friend introduced us at [an] open rehearsal for [Carla Bley’s and Michael Mantler’s] Jazz Composer’s Orchestra at The Public Theater (MC has a photographic memory: “It was Roswell [Rudd]’s piece or Grachan [Moncur III]’s. You were darting nervously around the chairs with your uniform of the time – denim jean jacket, forgettable shirt and jeans.”) By 1972 or 73, he’d joined Atlantic Records as a producer, and since that was my career aspiration, I’d give him a call every once in awhile. He’d patiently always make time for my rambling and inane questions, and I never forgot his kindness to a drifting, unfocused, fellow traveler.
“...patiently always make time for my rambling and inane questions...” says a lot about Michael. His raspy voice could sometimes seem brusque, but ask anyone and they will tell you that he always made time to talk. Especially about jazz.
I desperately wanted to be a record producer and Michael was one of the first professionals I encountered. He had already produced my favorite Bonnie Raitt LP when somehow or other I bullied my way into his Atlantic Records office, where he was a mentee of the legendary Joel Dorn. Over the next few years, Michael was often amused at some of the creative decisions I made, but he was always supportive and even would sometimes ask me to make a gig when he couldn’t. When I spent a year living in LA, he invited me over to the studio while he was mining the history of Blue Note Records that would define his life for the next half century. I completely failed to understand what the great service to American culture he was about to unleash. Along with Blue Note executive Charlie Lourie, Michael’s research resulted in a series of double albums (”two-fers” in 70s speak), but little did the world know what was on Michael’s and Charlie’s minds.
The Cuscuna/Lourie Blue Note “Two-Fers” that ignited Mosaic Records
“I don’t think it’s generally understood just how imperiled the musical and visual archives of Blue Note Records were at one point, and just how heroically Michael stepped in to make sure this unparalleled American music survived for future generations. If you like jazz, you owe the man.” –Evan Haga
(Joe Maita does a great interview about Michael's career here.)
Fast forward a few years. The air went out of my record producing tires, I became the first creative director of MTV, I quit MTV and along with my partner Alan Goodman started the world’s first media “branding” agency. Leafing through DownBeat one day I saw an ad that started a new relationship with Michael that would last, on one level or another, for the rest of his life: the “mail order” jazz reissue label Mosaic Records.
Charlie Lourie & Michael Cuscuna at Mt. Fuji Jazz Festival, Japan 1987. Photograph by Gary Vercelli / CapRadio Music
Long story short, in 1982 Michael returned my check for the first two Mosaic releases with a note asking for some help. Initially, Mosaic wasn’t the sure fire, instant success Michael and Charlie had hoped for, did I have any ideas? I did, but no time to do anything other than make suggestions, we were busy trying to get our own shop off the ground. This cycle repeated itself for another couple of years when this time when Michael called he said Mosaic was on death’s door. Fred/Alan was in better shape, so Alan and I, on our summer vacation, came up with the first Mosaic “brochure,” convinced the guys we knew what we were doing (I’d read a few paragraphs in a direct mail book in a bookstore) and, with nothing to lose, Charlie and Michael took the plunge with us. Success! 42 years later, the former Fred/Alan and Frederator CFO at the helm, Alan and I always answer any call from Mosaic.
The first Mosaic Record box set 1983
There aren’t many people in the world like Michael Cuscuna. The world’s culture will miss him. I will miss him. Most of all, of course, his wife and children will miss him.
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#Michael Cuscuna#Mosaic Records#Alan Goodman#Blue Note Records#RIP#Carla Bley#Michael Mantler#Jazz Composer's Orchestra#producing Records#producingrecords#jazz#mentors
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Dave Burrell with Grachan Moncur III, Marion Brown, and Reggie Johnson
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Musical Obsessions 2022
Afrorack: The Afrorack
Aphex Twin‘s Radiator (Original Mix)
Arbiter‘s Clarity
Ari Lennox’s Pressure
The Belltower’s Plastic Man
Beyoncé: RENAISSANCE*
Bill Orcutt: Music For Four Guitars
Björk: fossora
Boards of Canada‘s 1969
Bob Moses’ Love Brand New
Bobby Timmons‘ Moanin
Chat Pile: God’s Country*
Coil, lots of Coil.
Cold Gawd: God Get Me the Fuck Out of Here
Conway the Machine‘s John Woo Flick & Stressed
Daniel Rossen: You Belong There
David Axelrod‘s The Human Abstract & The Fly
Depeche Mode‘s In Your Room
Dexter Gordon‘s Cheese Cake
Don Cherry: Brown Rice
Earth: Earth 2
Emeka Ogboh: 6°30′33.372″N 3°22′0.66″E
Eric Dolphy: Out There*
Fivio Foreign’s What’s My Name
Gnod: Hexen Valley
God Body Disconnect: Spiral of Grief
Grachan Moncur III*
Hainbach: Core Memory
James Nasty’s Don’t Stop
Kae Tempest‘s Salt Coast
Kilo Kish: AMERICAN GURL
Kristofer Maddigan‘s Funfair Fever
Lovesliescrushing, lots of Lovesliescrushing*
Mario Lino Stancati‘s Torna a sparire
Pan Daijing: Tissues
Paradise Blossom: Sunset Getaway
PJ Harvey, lots of PJ Harvey
Pusha T: It’s Almost Dry
Rachika Nayar: Heaven Come Crashing
The Smile’s Open The Floodgates, Waving A White Flag & Skrting On The Surface*
Sondra Sun-Odeon‘s Desyre & Hit
Sonic Youth: Washing Machine*
Sonny Sharrock*
Sudan Archives: Natural Brown Prom Queen
Yeah Yeah Yeahs: Cool It Down
Yellow Swans, lots of Yellow Swans*
Youth Valley: Youth Valley EP
Zola Jesus’s Sewn
Bold and italicized indicates a favorite released this year.
The Beyoncé, Chat Pile, Emeka Ogboh and God Body Disconnect albums are my favorites from the year. The Daniel Rossen album gets a special mention for being beautiful, and sounding like Yellow House part 2. According to my Last.fm, I listened to more music this year than I did last year. I said I wasn’t going to do that, but oh well. I listened to over 50 albums from this year. That list only mentions 18 of them.
I have pretty much stopped listening to commercial radio. Ari, Fivio and Bob Moses are the only things I heard on the radio I liked this year.
The last two years have been me casting a rather large net, and seeing what I found that I liked. This year has been me exploring artists adjacent to the ones I learned about and fell in love with over these past two years. Then there was my desire to really dive deeper into jazz this year. While I’m sure that’s going to continue, because there’s just so much to explore. Next year I want to start digging through all of the electronic albums the synth bros swear are the most important albums ever made.
Beyoncé: Very early into getting into synths I realized that most of the synth forums are populated by obnoxious cis white heterosexual dudes. A guy I follow on Youtube made a video about his interactions with them a year or two ago. They are very closed minded. They do not respect artists of color, women, the usual shit. When Aphex Twin picks up an 808, it’s the greatest thing of all time. When Beyoncé or Metro Boomin pick up an 808 or Pharmakon uses her modular, that’s not music. The fact that RENAISSANCE explicitly culls its influences from Black dance music throughout the past 50 years has made listening to it the most fun I’ve had this year. If you’ve listened to any of the patches I’ve uploaded in the past 6 months, you’ll hear there’s been an influence.
Chat Pile: That’s what living in America feels like right now. Watching shit collapse around you.
Eric Dolphy: My first jazz albums were A Kind of Blue and other late fifties early sixties Miles albums. They all sound like what I expected jazz to sound like. It took me moving on to seventies Miles and finally late Coltrane for me to come back to those sixties albums. I’ve expanded what I listen to since then, but I really wanted this year to be the year I really went searching for jazz that scratched an itch the way I do for other styles. This was the year it really hit me that I’ll never get to hear all the music I’ll ever want to hear. There’s a sub genre of jazz named third stream, it attempts to meld classical and jazz together into a new genre. I’m not sure if he was actively attempting to do this while he was alive, but his music has become an example of the style. This is just a gorgeous, haunting album.
Grachan Moncur III: A completely different style of jazz compared to Dolphy. Moncur‘s style was incredibly moody and atmospheric. Him, Mingus and Alan Shorter are my favorite jazz composers I’ve stumbled upon so far. Moncur was basically my guiding light this year. After finding his bandleader work, I started to look for albums that had him as a sideman and composer. That would introduce me to other soloist I enjoyed, and then I’d start getting into them. Rinse and repeat. So my favorite thing this year is learning to actually pay attention to who composed a song, and using that to open doors. My favorite jazz song is Mephistopheles, the last track on Wayne Shorter‘s The All Seeing Eye. I learned his brother Alan wrote it years ago, and that’s how I got into Alan’s music. This year has just been me taking that idea to the extreme. When I say this is the most music I’ve ever listened to in a year. I mean it......
Lovesliescrushing: Cough Syrup Shoegaze
The Smile: Every album Thom has worked on over the last decade has had an unreleased Radiohead song on it. Radiohead were the last band I super obsessed over when that was a thing I did. They’ve played a lot of these songs live, so I know and have heard them many, many, many times. I’ve known Skrting On The Surface for a decade now. It was my favorite of the unreleased songs. Skrting On The Surface has become another in a line of songs where I prefer the live version to the album version. Of course I can always look them up on Youtube, but everybody hears the album version. Who is looking up a poorly shot video with pristine audio of a unreleased Radiohead song from 2008. As a side note, this has ruined Swans’ To Be Kind and The Glowing Man for me. Those pre album live versions destroy the studio versions. The way The Seer, She Loves Us and Bring The Sun feel like bombs live. Michael was having rips of Not Here/Not Now pulled off of Youtube back when it came out. They sold it as a way to fund recording To Be Kind, but if you ever get a chance to hear that.... The live version of Avatar rearranged my DNA back in 2012.
Sonic Youth: Sonic Youth remind me of Miles Davis. I got Goo and Experimental Jet Set, Trash And No Star years ago, and just did not like them. I love Tunic, and that’s the only thing from them I would listen to. I kept hearing people talking about how amazing they were. Eventually I asked a mutual what albums they were listening to. He said he hated Goo and Experimental Jet Set, Trash And No Star too. He pointed me in the direction of Bad Moon Rising. I liked that and started moving forward. I picked up Washing Machine this year. If only I had started there........
Sonny Sharrock: Damn, damn, damn, damn!
Yellow Swans: I am typing this in late September. Right now I’m making beat heavy music with the Digitone and Syntakt, but in my dreams I make noise and drone.
I have not chosen what albums are going in the car next year. I usually choose months, if not years, yes years, in advance. I’m going to wing it next year.
Last year’s list.
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A preeminent jazz trombonist in the 1960s, he passed away on his 85th birthday
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just got done transcribing benny golsons solo on this one. such a beautiful modal blues, grachan moncur iii's compositions are really underrated generally i think. if grachan moncur iii has one fan i am that one, if grachan moncur iii has no fans that means im dead etc.
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BRASS AT MEZZROW’S
JEREMY PELT with Rick Germanson and Clovis Nicholas, 6 FEBRUARY 2024, 9 pm set
MICAH THOMAS/KALIA VANDEVER, 7 FEBRUARY 2024, 10:30 pm
Mezzrow’s continues the tradition of piano bars like Bradley’s which I got to in the late 1970s. Mezzrow’s by now has drummers whereas Bradley’s offered piano/bass duos. But horns do show up occasionally as they did this week when JEREMY PELT continued his periodic drummerless gigs in the style of his Art of Intimacy recordings and MICAH THOMAS workshopped some tunes with trombonist KALIA VANDEVER. Both more than interesting enough to pique my curiosity, but, alas, slightly flawed.
JEREMY PELT was reliably elegant and tasteful navigating standards with old buddy Rick Germanson and the very fine Clovis Nicholas in from France to play bass. The tune selection was strong and enough off the beaten track—Henry Mancini, Horace Silver, a ballad likely associated with Engelbert Humperdinck and not Ed Sheeran, Nat Adderley, and Dizzy Gillespie. In overly voluble stage patter, Pelt confessed that he spent the afternoon as part of Rod Stewart’s band taping for Jimmy Fallon’s tonight show and that cocktails were served. So he talked too much and, frankly, played too much. What he played was just fine, but he lacked focus and discipline. But he was still wonderful witness the Woody’N’You closer which included Carlos Abade sitting in. Two trumpets in such a small ensemble is tricky anyway, but Abade just doesn’t have the tone or ideas to stick with Pelt subject to a PUI citation. Playing Nat Adderly and Dizzy back to back though was a meaningful tribute to the legacy of his instrument. The Two Different Worlds ballad was my favorite, probably because it was the ballad. Germanson was strong but probably too indulgent of his old pal, but Nicholas was delightful underneath everything though he had only one solo.
I spent the day listening to MICAH THOMAS’s well regarded recent album Reveal and couldn’t quite see the enthusiasm. Yes, he’s a very fine player who pushes the boundaries, but I don’t hear his music soar. I’ve heard him with altoist Immanuel Wilkins who is also edgy. This gig was a tamer version of a similar late night set with the very free tenor player Doh Alma who, with Thomas, went way out there on extended excursions. What was different though was that this was a workshop of compostions, some quite partial, with titles like Random Swing Tune, February 2024 Sketch #3, and Untitled from both him and trombonist KALIA VANDEVER. Her instrument can certainly play terse and experimental lines, but there is a mellowness that takes the edge off what an avant-garde saxophonist might do. To be sure, Rosewell Rudd and Grachan Moncur III among others played free music on trombone, but the instrument has an undeniably richness. They played seven tunes, so they kept the focus on the compositions which were terse and fidgety, not mere exercises but more atmospheric than tuneful and generally rather somber. I won’t parse the relationship to New Music but jazz really only broke out on a tune for bassist Kanoa Meldenhall who was in the audience and the last chorus of the tune that resolved into I’ll Be Seeing You. The closer had a nice figure shared between Thomas’s right hand and the horn and it was brighter than the others.
All that said, these shows met my expectations, both to stretch my ears and to be a little different than usual.
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The 3AM Music Room- jazz show no. 4
BUSINESS DRUNK RADIO
Today 10am EST bombshellradio.com
our late late night stop for an hour of incredible jazz
Guest list:
Something I Dreamed Last Night- Miles Davis
13 Avenue B (live at Pookie's Pub)- Elvin Jones
Night Shift- Mary Halvorson
Emnation- Immanuel Wilkins
Black Circle- Bobby Hutcherson
Air Raid- Grachan Moncur III
Moon (the return amplifies the unity)- Ambrose Akinmusire
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12/25 おはようございます。Dave Valentin / Land Of The Third Eye grp5009 等更新しました。
Count Basie / the Count Mgc685
Hal Otis Bea Abbott / Out of Nowhere Wp6072
Art Blakey / Orgy In Rhythm Volume Two Blp1555
Jimmy Smith / At Club Baby Grand Wilmington Delaware Volume1 blp1528
Hampton Hawes / for Real m3589
Charlie Mingus / The Jazz Experiments Of Charlie Mingus bcp65
Kitty White / Cold Fire mg36068
Bud Powell Trio / At The Golden Circle Volume3 scc-6009
Walter Dickerson / Peace Scs1042
3 Sounds / Live at the Lighthouse bst84265
Grachan Moncur III / Echoes of Prayer j2003
Flora Purim / Carry On bsk3344
Herbie Hancock / Man Child pc33812
Ramsey Lewis / Sun Goddess kc33194
Dave Valentin / Land Of The Third Eye grp5009
Marlena Shaw / Let Me in Your Life Sb1004
Natural Four / Natural Four Crs8600
Betty Wright / I Love the Way You Love sd33-388
Tim Buckley / Happy Sad EKS-74045
Tim Buckley / Starsailor WS 1881
~bamboo music~
https://bamboo-music.net
[email protected]
530-0028 大阪市北区万歳町3-41 シロノビル104号
06-6363-2700
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Our Episode 21 poster. Listen to our radio show Thursday’s at 11am only on @shadypinesradio ! Please download the app - it’s free! Or listen on shadypinesradio.com ! Here are some of the great tunes you will hear today:
1. Rabbits (Black Francis)
2. I’m the Wolf (Howlin’ Wolf)
3. Dry the Rain (The Beta Band)
4. Riboflavin (45 Grave)
5. Traveling Riverside Blues (Led Zeppelin)
6. Aco Dei De Madrugada (Grachan Moncur III)
7. Stuart (The Dead Milkmen)
8. Easy on the Eyes (molly BANG)
9. Red Flags (Tom Cardy / Montaigne)
10. Lament for Javanette (Barney Bigard and his Orchestra)
11. Red Right Hand (Nick Cave and the Bad Seeds)
12. Mt. Saint Helens (Jim & Jennie and the Pinetops)
13. Surfin / Surfin Part 2 (Ernest Ranglin)
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looks like we'll be set for a new show on wlur at 8pm tonight. i hope you can tune in! last week's show is below if you'd like to catch up.
in only semi-related news, over the weekend i was informed that june 10th was the birthday of kim and kelley deal from the breeders, who we heard from as part of our 'sibling band' theme two weeks earlier. sometimes i wish i had a time machine so that i could make these indie rock puzzle pieces all fit together nicely but then i guess it wouldn't be radio!
no love for ned on wlur – june 10th, 2022 from 8-10pm
artist // track // album // label
the fiery furnaces // here comes the summer // ep // rough trade
the undertones // here comes the summer // the undertones // sire
blondie // moonlight drive // against the odds, 1974-1982 // numero group
superchunk // endless summer // wild loneliness // merge
horsegirl // anti-glory // versions of modern performance // matador
boat featuring the crystal furs // dark dependency // no plans to stick the landing // magic marker
sasami featuring j. mascis // tried to understand // tried to understand digital single // domino
teenage tom petties // lambo // teenage tom petties cassette // safe suburban home
junk monkeys // all in a day // bliss // metal blade
chronophage // summer to fall // chronophage // post present medium
helvetia // the brink // fantastic life // moone
camp cope // blue // running with the hurricane // run for cover
angel olsen // big time // big time // jagjaguwar
bill noire // breathin' // bill noire cassette // we don't make it
roy montgomery // rhymes of chance, part four // rhymes of chance // grapefruit
lucas brode // we all miss and are missed // "vague sense of virtue" and other dreams of mundane profundity // cacophonous revival
maxime petit and daniel carter // iv // maxime petit and daniel carter cassette // lurker bias
grachan moncur iii // exploration // new africa // actuel
dave holland quartet // see-saw // conference of the birds // ecm
jean carne, adrian younge and ali shaheed muhammad // the summertime // jid012 // jazz is dead
moor mother featuring melanie charles // woody shaw // jazz codes // anti
brian jackson // all talk // this is brian jackson // barely breaking even
gang starr // manifest // no more mr. nice guy // wild pitch
fly anakin // got it for cheap // got it for cheap digital single // bigger picture
phife dawg featuring rapsody and renee neufville // fallback // forever // smokin’ needles
m.i.a. // the one // the one digital single // island
adrian quesada featuring angélica garcia // ídolo // boleros psicodélicos // ato
claudine longet // here, there and everywhere // claudine // a&m
isik kural featuring spefy // coral gables // in february // rvng intl.
acid house kings // honey, honey // honey, honey digital single // labrador
the wendy darlings // fun in the summer // the wendy darlings against evil // odd box
belle and sebastian // a bit of previous // a bit of previous 7" // matador
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