What I’ve been listening to lately

  • Roland Kirk & Al Hibbler – A Meeting Of The Times. This curious item seems gimmicky in its teaming of the legendary avant-garde showman Kirk with the much older blues vocalist Hibbler; the only apparent commonality is that they were both blind. In fact they work very well together: Kirk was a deep student of the jazz tradition and loved Ellington, and Hibbler sang with the Ellington orchestra in the 1940s. It’s a spectacular record, and one of the better Ellington tributes out there. Hibbler reprises his old hit “Don’t Get Around Much Anymore” (whose lyrics were written for him) and some other Ellington tunes. On “Carney and Bigard Place,” Kirk pays homage to those two key Ellington sidemen as only he could, playing clarinet and baritone sax, successively and then, of course, simultaneously.
  • Nat Birchall – Mysticism Of Sound. A beautiful piece of spiritual jazz, produced during the isolation of the pandemic year by British saxophonist Birchall, who accompanies himself on all the instruments: drums, bass, keyboards. Birchall wears his influences on his sleeve: the titles sound like results from the Sun Ra Random Title Generator and the vibe recalls the mellower moments of Pharoah Sanders. Perfect solitary headphone listening.
  • Mat Walerian – Every Dog Has Its Day But It Doesn’t Matter Because Fat Cat Is Getting Fatter. A long title for a long recording: this is nearly two hours of lengthy jams from Polish multi-instrumentalist Walerian’s ongoing collaboration with pianist Matthew Shipp. The extended explorations feel pretty appropriate for the revived ESP-Disk label, but these are much more listenable than a lot of the noisy messes from the 1960s. Walerian is in excellent excellent form throughout, and his bass clarinet playing is particularly evocative.
  • William Parker – Painter’s Winter. The legendary bassist teams up again with multi-instrumentalist Daniel Carter and drummer Hamid Drake for a sequel to their 2001 trio record Painter’s Spring. That was a good session but this one is even better, with all the players showing the benefit of two decades’ more experience and wisdom. No one combines propulsive grooves with complex improvisation better than Parker.
  • Art Ensemble of Chicago – Les Stances à Sophie. The opening track of the 1970 Paris session, “Thème De Yoyo,” is legendary and rightfully so; no one before or since has so convincingly combined hard funk and free jazz. It’s one of those pieces of music that holds within itself the promise of an entire unexplored genre. But having demonstrated convincingly that they could make a better funk record than almost anyone, the Art Ensemble characteristically changes tack and plays little avant-garde miniatures for the rest of the album, one of their best.

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