We search the murky back waters of youtube to find full concerts and post them to the site weekly, come back every seven days to help us celebrate Full Show Friday's. These shows are of varying quality and may not be here for long so enjoy them while you can...As always, please support the artist every which way, but especially by seeing them live (if they are still playing)...This week...Linda May Han Oh!
It's Jazzy January again here at RtBE, so get ready to kick off 2020 with some different styled shows every Friday. For this series we skew into new (or more recent) jazz lands. Keeping it current proves there is amazing live jazz still being performed no matter what Ken Burns says.
Bassist and band leader Linda May Han Oh directs her players in this engaging musical adventure. Pro Shot, Pro Sound, full set list and information below. Enjoy:
This concert was recorded at NPR's Studio One in Washington, D.C., on July 1, 2019.
SET LIST 00:00 - "Kirigami" 10:44 - "Song Yue Rao (Moon in the Pines)" 16:02 - "Aventurine" 22:13 - "Lilac Chaser" 28:11 - "Yoda" 33:05 - "Lucid Lullaby" 45:40 - "Broome We Are Here" 47:33 - "The Sirens Are Wailing" 55:46 - "Ebony"
MUSICIANS Linda May Han Oh (bandleader, acoustic and electric bass) Greg Ward (soprano and alto saxophones) Matt Mitchell (piano) Ches Smith (drums and vibraphone) Fung Chern Hwei (violin) Curtis Stewart (violin) Benni von Gutzeit (viola) Jeremy Harman (cello)
The first single from Pearl Jam's upcoming album Gigaton has been released. It is titled "Dance Of The Clairvoyants (Mach I)" and you can listen below.
The tune has a huge Talking Heads influence which was completely unexpected. The over produced drums and groovy bass line make this a rare dance track in Pearl Jam's catalog. Honestly RtBE holds little hope for a new Pearl Jam studio record, as their last one was dull, but this slight switch in style makes us more intrigued.
No matter their studio output Pearl Jam are one of the last great rock bands playing these days and tickets for their North American tour go on sale to the general public tomorrow on the evil Ticketmaster.
Chronology Of A Dream: Live at the Village Vanguard
**** out of *****
On his Jon Batiste's first release from his 2018 Village Vanguard residency, titled Anatomy of Angels, he delivered a more traditional jazz record in a tribute to one of his musical heroes Thelonius Monk. Now comes the second release from that residency titled Chronology Of A Dream and it is a richer, fuller representation of the artists skills and charisma, blending genres, incorporating new styles and remaining true to his own sound.
From the soulful scat singing on the opening rollicking "BLACCK" to the tambourine shaking New Orleans tribute of "PWWR" the vibrant energy is palpable through the speakers as Batiste leads the crowd through some Who Dat? Saints inspired cheering around gorgeous high tempo and soft piano playing to fade out. His hometown of New Orleans is never far from his mind as "KENNER" gets the gumbo bumbling with hints of James Booker and Professor Longhair while one of Batiste's friends and mentors Roy Hargrove gets a tribute during a cover of his "SOULFUL".
The core group of players are drummer Joe Saylor, bassist Phil Kuehn, percussionist Negan Santos, trumpeter Giveton Gelin, saxophonists Tivon Pennicott and Patrick Bartley, tubist/trumpeter Jon Lampley, and guitarist Louis Cato but it is Batiste's record. The groove may march the way forward during the popping "BIRTHE" but it is Batiste's piano work which shines above the funky head bopping lines.
Chronology Of A Dream is just a ton of fun and as it was taken from the same set of shows as Anatomy of Angels, this is clearly the livelier record and better representation of his sound. That said, getting to see both sides of Batiste, the classical trained jazz professional and the lively party time band leader, on the same night makes him a special talent and one never to be missed on the live stage or live album.
Our second New Orleanian jazz artist we are lucky enough to talk about (and talk to) on RtBE today as we direct you to our interview with Stoo Odom which Glide Magazine was nice enough to publish.
We have known Stoo for a few years now and after a recent trip south we discussed his new album coming out, as well as his upcoming tour of Japan. This was a perfect time to conduct a formal interview with Mr. Odom and include it both on Glide as well as RtBE'sJazzy January.
Following up the excellent and huge in scope Centennial Trilogy, Christian Scott aTunde Adjuah goes even further away from traditional sound, pulling his self proclaimed "Stretch Music" as he explores lyrical passages, less and less horns and more and more variations on percussion and just odd soundscapes with Ancestral Recall.
The album opens with layered clapping leading into the most gorgeous and complete piece delivered this go around as "Her Arrival" is a stunner. Propelled by rhythmic drumming, trumpet blasts and a sense of purpose with band mate Elena Pinderhughes contributing on flute . "Before" (also featuring Pinderhuges) is a wonder as well as the natural sounds morph as the horns and flutes rise into a deep drum groove which enchants and could roll on forever; tracks like these are wonderful and point to CSaA's immense talent and ear for combining sonic worlds.
It must be noted though for all of the tracks success other times on the record, such as "Diviner [Devan]" and digitally repetitive "Prophesy", things feel as if they are just sonic experiments, not meant to really go anywhere, like all experiments, some are more successful than others. Vocals are now a clear part of CSaA's attack as his friend Saul Williams arrives to deliver his spoken word poetry over digital beats on "I Own The Night" and the incredibly percussive title track while "Forever Girl" invites MC's Mike Larry Draw and Chris Turner to rhyme and sing over the playing.
"Songs She Never Heard" pushes the groove but also incorporates soaring sax work from Logan Richardson and Lawrence Fields piano before distorting the sound with various filters and production tricks. A track like "Overcomer" feels like a natural progression as it incorporates breathy chanting, a deep bass groove and soaring solos, but the filters/production again shellacs the horn with distortion, diluting it's sound and impact. These production add on's seem to be the work of a restless ear and while certainly unique, they tend to detract from the overall style. Scott has said he makes his own horns because he disliked the sound of the trumpet and that coloring of the main instrument can be both exciting and off putting.
Also at times his horn work doesn't feel like main instrument on Ancestral Recall as the bass and drums in various coloring's are put in the forefront. Frequent collaborator Weedie Braimah percussion is all over the album as is the synth percussion from CSaA himself. "Ritual (Rise of Cheif Adjuah)" pairs that production with swirling sounds and horn work before petering out with weird synths then rising again around percussive hand drums.
Ancestral Recall is a challenging album and one that continues the push for blending everything into the sonic whole, and while not always successful, it is never boring. Christian Scott aTunde Adjuah is constantly trying out new scopes and spaces for sound and is tied to no musical boundary. This can be classified as jazz because what else can it be? The best answer is the one CSaA gave years ago, "stretch music" as he continues to explore and see how far he can take the sound and RtBE will certainly be along to enjoy the ride.
It is of Algiers newest release, There Is No Year.
Produced by experimental artists like Randall Dunn [Sunn O))), Earth] and Ben Greenberg [Zs, Uniform] the band tries to scale back their rock sound and push minimalist industrialist sound. The band has been better, but definitely check them out for yourselves.
The first of two live albums from Jon Batiste recorded during his 2018 six night residency at The Village Vanguard in New York City, Anatomy of Angels captures Batiste and his band as they move through elegant passages of sound and scope.
Opening with his original composition "Creative" finds Batiste leading things as his Stay Human bassist Phillip Kuehn and drummer Joe Saylor support in acoustic trio fashion. The tune shows Batiste elegant piano leads before shaking stomp breaks, complete with tambourine shakes, lively up the number.
The first guest is invited to sing on a version of Ray Noble's classic "The Very Thought of You" as Lake Street Drive's Rachael Price delivers the standard in a smooth and understated manner. The torch song breaks up the rivers of flowing piano keys and adds a different dynamic to the short record.
Unlike some of Batiste other offerings, or his Late Show television theatrics, Anatomy of Angels is old school jazz (no R&B or hip hop here) in the vein of his musical idol Thelonious Monk. Batiste pays tribute to Monk's style with his own tune "Dusk Train To Doha" before expanding his band to an eight piece and tackling Monk's own "Round Midnight" with grace and power.
The extra players (trumpeters Giveton Gelin and Jon Lampley, saxophonists Patrick Bartley and Tivon Pennicott) stick around for the most successful effort, the adventurous and flowing title number. After a blissful start a flurry of keys begins to quicken the pace as tempos shift and adjust around the excellent drumming and trumpet work. The most natural and exciting number presented on this live album.
Even with an expanded band Batiste remains the focal point, as his piano runs are loud and constantly moving, giving the supporting players the notes to rally around. Batiste easily slips into the role of bandleader, and after his huge Hollywood Africans release this lighter throwback live album is a mellow listen.
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Support the artist, buy the album and peep some video below:
