Posts Tagged maxwell chandler
We were in her hotel room because my tiny place had been made even smaller by the still drying paintings. Even though she was going home at the end of the week and there were parts of Vienna that she still wished to see, I stubbornly remained too sick to go out for more than a quick meal nearby.
While using her full bathroom mirror which allowed for a better shave than that of my small circle, as I smoothed my left cheek I once again told myself that I really was sick but that I could make far more of an effort, this debating continuing onto my right cheek.
A beautiful day, the windows stretched out their wings wide, reaching towards the Stadt park. We drank vermouth and sodas lying atop the covers while listening to bop.
I put on my most unwrinkled shirt. We ran all over the city and when her legs became tired we barnstormed with a crazy Serbian taxi driver. I loaded her up with chocolates and kirsch for her journey home. Sneaking into the opera house to see the Rodin bust of Mahler, my wet shoes squeaked but still didn’t give us away.
Now she is gone. I must find a new framer since Marc ran away with a student from Algiers, at least temporarily.
I find myself going back to all the places we had been; as if there were a chance of glimpsing at least her shadow and then by stepping on it she would be unable to leave. I play our records over and over but I would have anyways.
I am sitting in the Stadt park sketching. A few benches down from me a girl stands, thighs holding her bicycle as she throws something in the trash. Her figure is made to seem plump by her sky blue capris and white ankle socks. I notice her brown mole above the corner of her right lip which slowly twitches in concentration.
As I turn to a clean page and settle she is already off. I do some detailed studies of acanthus and some poppies. I want to enjoy the weather but now indirectly so I stop at a café on my way home.
At the counter is the girl from the park whom I now find myself standing beside. She is taller than I, which had earlier been camouflaged by the bicycle.
I think of a passage from Don Quixote. The Don had told his man Sancho to go by himself to see the Don’s raison d’ etre, Dulcimina. In doing so, Sancho would then come to understand the reason for the arduous mission that the Don and he were on.
Sancho went and not being beset by passion or delusions as was his master reported back a far less superior picture including the descriptive phase:
“A horsey scent.”
Of course she had been out in the sun riding a bicycle. Two people together do not always produce roses either but it was made more tolerable by the activity which went into creating the bouquet.
I came out of my musing to sip my coffee. The girl was gone, replaced by a man with a camera around his neck carefully unfolding a map.
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Coming in from lunch as always, unless it is nighttime and I have finished working, I am alone. In my solitude I remain silent, not feeling the need to make a show of how tired I am after my long walk back on a full stomach.
A plump fly sits on the edge of the bed, perhaps confusing the brown duvet for soil. Like me, he wants only to take an hour or two to sleep in the warm sun. When I stir, no matter how fast he flies away, later on I will still manage to capture him with my prose.
I must be careful though, to not metamorphose him into a type of insect which could bite and make me sick.
Not too long with my head down and I wake up having left my food stupor behind. I work for a few hours, the words mount up in pleasant cascades which make me giddy until everything seems to be covered in ink and one would have to lie on their belly to write on what remained of the whiteness of the wall.
Now I can go out and work up an appetite, accompanied depending upon what pattern of people the city is wearing, by the heat of desire.
I grab my book bag from its place by the door. Locking up I take the stairs and pat my pocket three times for luck. Once I own a home I will keep the keys on an oval brass keychain as would have been handed to any gumshoe in an old film.
I will still travel the world and even though I would not need it again until I was once more home, no matter where I was, I would keep it in my pocket letting it weigh my coat down on the left side. After becoming used to the weight and learning to keep my pen in my right pocket as to prevent any knocking together with the brass, I would not even need to go home. I would carry it with me, embodied by the brass in my pocket.
Amy did not understand why I did not merely buy the so often described keyring instead of the ordeal of working towards becoming a home owner of which she suspected contributed to my moodiness. No, no. It was a phony faith which I feared. An act, such as just totting around the keychain, was a pantomime of satiated ambition.
The poet in me once said during a party by way of dramatically filling in a dull silence that we carry our homes in our hearts, particularly with the food we cook and the songs we sing.
A correlation between cooking and music, specifically jazz is that one can have a recipe but then depending upon location, available ingredients and even mood there are changes or improvisations made from the established conception. Just as a musician may improvise off of “Melancholy Baby” so too can it occur with a pot of gumbo or Coq Au Vin.
Stylistically, whether it is food or music sometimes there is a sea change within the creator which is not about rejecting the familiar ancestry but building off of it to create something new but still containing recognizable components.
The debut of John Schott’s new album and trio Actual Trio travels along such lines. The trio’s set up is that of a classic guitar trio, this familiar ground serves as a sort of jumping off point. The material on the album is all original compositions. While not a radical stylistic departure from its trio forefathers neither is there any museum glass stagnation.
“Frequently asked Questions” has a laconic strolling quality to its structure. There is an almost programmatic feel to the piece. Me, someone, flapping madly the lapels of my raincoat as I hit the street. Daydreams and inspirations as befitting a flaneur. Within the DNA of the piece are elements of Grant Green and Wes Montgomery combined within a generation also equally exposed to rock, blues and modernist composers such as Babbitt, Berio and Schoenberg.
John’s tone is a clean sound akin to the cadence of those from vintage Fender Guitars. Throughout the album he eschews use of effects to alter or gild his instruments voice. The interplay among the musicians is immediately apparent and made more impressive by the fact that the entire album was recorded live in the studio in one session, without overdubbing. All the playing is top notch yet there is never the distraction of overly fussy to mire things down.
“Hold On Sheldon” is a sort of samba as if done by James Brown late at night when a good portion of the band has gone home. The varying components within the piece show what big ears the trio has. The bright punch of John’s guitar declaiming single note runs, a Morse code to get funky morphs into bent string chiming; the mission bell in the land of the blues calling people in for catharsis or to dance. John Hanes drums do not merely keep time nor add density to the piece but provide a sort of forward thrust feeling. Especially starting at the midway point to the song. He incorporates intricate polyrhythms and touches of louder rock leaning heaviness, underscoring that is not merely a lead voice being backed by two others.
“Egyptians” starts off with the guitar peppering Dan Seaman’s rich bass pattern. The initial tempo suggests an air of slinky contemplation. A descending guitar pattern followed by a brief series of volcanic rumblings and the tempo and general feel of the song drastically changes. The funk of a Saturday night circa the late seventies. The trio lock into a deep groove. If we are not fighting or crying then we should be dancing said a neo-Greek chorus from atop their barstools. The trio show an inherent taste regardless of the tempo or tempo changes in a song. Absent is any kind of stylistic Achilles’ heel in regards to performance ability.
The entire CD finds great interplay among the musicians. With the manner in which the CD was recorded, it has a great organic, warm sound. Who these musicians are may change down the line with time or travel. This CD offers a compelling snapshot of their here and now, well worthwhile.
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The cat knew that she was not supposed to be on the jacket despite the fact that I had earlier lazily let it fall to the floor. Staying low to the ground, she approached it from across the room with the slow deliberate steps of an actor in a Noh play.
The end of the day found the swallows returning the night, their spread wings carrying the blue black back up into the sky. In this season, so swift was their ascent that the motion, seen peripherally did not take attention away from the garment.
Finally she pounces on it, looking up at me to gauge my mood. I can’t be bothered to reprimand and after a moment of silence she comfortably settles down amongst the folds. If only I could make everyone, someone, as happy so easily.
I pad into my office. The top of the lowest of my bookcases where I keep my blank notepads also has a vase. I keep flowers as often as I can remember but not for the obvious reasons. Always a cut flower has already received its death sentence. I like this subtle reminder of the terminal futility of beauty. I used to keep the vase closer to my desk but depending upon the type of flower, the petals would fall onto my workspace mixing with the pencil shaving butterflies.
An important component of all great works of art regardless of medium is its ability to seemingly speak to each person individually, calling for it to be incorporated into our lives and selves in some manner of totem. For every person it will vary, which is fine so long as there is not too great a deviation from the artist’s initial intent.
Outside, the huffing of trucks dropping off palettes of things for the restaurants, the murmur of a crowd whose bodies are in constant motion and the intermittent testimony of impatient car horns. The dichotomy of civilization, all the places of man, and every city, have the same noises yet each place has its own subtle variations which flavor it. It is the same with birthdays and funerals. I grab a book and record off of the shelves.
Poetry and jazz share certain key qualities with cities. Within works of both are specific intents, executed in such a way as to leave room for the audience to fill in the blanks as is meaningful to themselves. The effect is akin to hearing a story and without changing the narrative structure, each of us imaging in our own way what the characters look like.
All poetry is poetry, yet there exists within this blanket term a myriad of genres and sub genres. The same can be said of jazz. Each has its cannon which is revered and passed down from generation to generation even while the art form(s) remain in flux and ever evolving.
The current album by Wayne Horvitz underscores how well the two art forms mesh. Some Places Are Forever Afternoon is paying tribute to American poet Richard Hugo (1923-1982).
Richard Hugo is a perfect fit for Wayne’s genre defying music as neither can be pegged down to a specific time or rigidly within any one specific school. Richard’s writing was rhythmically complex and forward thinking, yet was sometimes framed within the older structure of an epistolary format of a bygone era. Wry humor, heartbreak, nature and bars coexist within Richard’s work providing the perfect mercurial templates off of which Wayne works from.
The music while not programmatic is inspired by the poetry with which it directly emotionally resonates. One need not be familiar with the writing to enjoy the music but when paired there is no feeling of the sonics being a lesser artistic sibling, so organically do they enmesh themselves.
The ensemble is made up of long time collaborators from two of Wayne’s bands; Sweeter Than the Day and the Gravitas Quartet. The instruments which comprise the band are far from that of the usual jazz ensemble which subtly underscores the lack of sonic borders.
The track listing gives the name of each song and also the poem that inspired it. Also reproduced are the poems along with some photos which are visual works of poetry unto themselves. The photos show, if not exact locations of Hugo’s life and work, then places cut of the same cloth.
“Money or a story” exists within a quick groove which is not overly frantic, its steady engulfing pace, like a poetic metre. Each of the instruments offers up their voice in long lines, the similarity of declamation creating a density usually achieved by complexity of changing tempos but here made more by a layering. The effect achieved is even stronger for its departure from the normal technique.
Starting softly, “Those who remain are the worst” unfolds into a near waltz like feel with an organic casualness. The richness of the cello at the piece’s introduction is counter balanced first by the plink-tink transition of the piano and then the coronet and guitar. So different but go together well are the guitar and horn; that they conjure up the feeling of a sort of musical signpost within the piece’s landscape along with the people who stand by them waiting, in conversation. The work ends with the woody murmuring of bassoon, the secrets which we softly tell ourselves and the odd things that remind us of them.
Slowly revealing itself, “You drink until you are mayor” is one of my favorite pieces on the album. It is dark but not in the artificial milieu of theater. The darkness is more akin to the repercussion of deep thoughts as occurring when one is honest with themselves late at night or early in the morning. A pulsing drone of piano, bass and guitar with near subliminal discordance in the background shows that there is some Walter Piston and Ned Rorem mixed into the artistic DNA of the piece. It is all legato beauty, illuminated darkness as reflected in the curved brass railing of the bar. As the piece nears its end, the instruments stagger their statements. The silence between adding to the feel and being of equal importance before elliptically the work ends as it had begun.
Poetry and jazz each in their own way offer a myriad of emotional, spiritual and intellectual possibilities. This album shows how well these two universal art forms can go together. It is the power of the commonalties which we all make our own yet allow us to still sympathetically shake our heads when hearing of someone else with the blues or stretching their arms skyward in ecstatic joy.
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The Institute for Collaborative Education is a small public alternative middle/high school in Manhattan that attracts families of all incomes from across the city. Its music department is run by professional jazz musician and poet, Roy Nathanson. Roy’s songwriting class has been invited to perform their original songs in Hamburg, Germany, April 19-27 at the Youngstar Theater Festival. Many other young performers from all over the world will be joining them in a cross-cultural exchange. The festival will pay all of their expenses once they get to Hamburg. This Kickstarter campaign is to raise money for airfare. Parents are all paying what they can afford towards this goal, but many cannot afford the full fare. It’s the opportunity of a lifetime—please support them.
My writing going out in the world, I know it is merely a matter of personal perception but it seems to go further when the notes become separated from one another. Each paragraph takes up residency in a different piece.
The cat laying by the fountain and the sound of her broom on the steps both captured by my pen on the same day and sharing a page in my notebook. Once utilized they live many miles apart as one goes to an essay while the other in a poem.
All the words circle the globe, they create the lines of a special map as groups of words come together to form countries with names like;
“Bar at night…”
“That girl from then…”
“Regret from a lack of tears.”
No nation’s borders have straight lines of demarcation, although some do more so than others owing to the suppleness of certain words and their groupings.
I take long walks and talk to myself about the nature of what goes into any given work. Picasso once told Andre Malraux that he dreamed his “Bull” sculpture, which was the skeletal head of the animal made up of a bicycle seat for skull and handlebars for horns, would one day have a reverse birth. Like watching a film run backwards, the parts would subtly vibrate, then shake and then detach from one another. Jumping out the window each would separately place themselves back on the frame of some bicycle, where their former prestige unnoticed, they would go back to carrying out their original functionality.
I imagined the similar magical motion behind the absorption of my notes into various pieces. The sea change that the words underwent from their birth in a reporter pad into something less functional but perhaps grander in some people’s eyes.
With the vision of the Toro behind me, my inner dialogue on this day was the nature of influence and components which make up any work of art.
It has been written that the twin wellsprings of all modern (Western) classical music flows from Igor Stravinsky (1882 –1971) and Arnold Schoenberg (1874 –1951). With the passage of time, these two influences have not waned but in some cases have occurred via a ripple effect, the influenced composers in turn influencing the following generations.
Even for these two composers, neither of them started off fully realized as the artists whom countless people would treasure. And once their artistic identities were fully gestated, there was still a near constant evolution occurring. The forms of inspiration offered up by these two were the foundation to build off of or reject, spurring on further explorations. Their different theories and techniques taken apart, cannibalized to reappear in new forms, like The Bull.
Modern jazz has had many similarities with modern classical music. In both cases diverse components from traditional folk/ethno-world and previously established cannon have been utilized and mixed to varying degrees with the aural vernacular of the day along with each composers own voice. Creating something new, yet linked to what came both before and after.
Both jazz and modern classical have had instances of cross pollination within their genres and with each other. As both genres were ever evolving, they have conveyed an aural shorthand for capturing the zeitgeist of progress.
Although non-populist music stateside is largely marginalized in regards to where the casual listener can discover (or see live) works which do not strictly adhere to a genre, in some ways it is a golden age for creating uneasy to define works. Now artists need not restrict themselves from where they cull influences and inspiration. Cologne musician/composer Jurgen Friedrich’s new release Monosuite (For String Orchestra and improvisers) is more a classical piece with improvised solos than a jazz album. Yet in this age we need not worry about coming up with a too exacting classification.
Jurgen draws from not only a myriad of musical influences and inspirations but painters and nature as well. All perfectly apropos given the visual feel to the piece.
The structure of the work is a suite which is non-programmatic. The orchestra is made up of strings with the improvised solos of bass, alto saxophone, piano and drums. The lack of a brass or woodwind section allows for the episodic nature of the suite to subtly present itself to the listener.
“Waves” begins with a lush swell of strings, sonorous cello and viola above which crystalline waves of violin rise. This is a good example of the subtle colorations of the score. There is a reoccurrence throughout; a sort of ambient vibration(s) as one may experience when looking at the color field paintings of Marc Rothko or during a long good conversation.
“Breaks” is mainly the fluttering breath of flute punctuated by the occasional emergence of the orchestra. It is meditative beauty, the soft wind which hits the cheeks as one catches themselves standing in contemplation of an abstract.
“Fiddlesticks” has a great drum pattern accompanied by strings which conjure up a North African feel. These colorations strive for the rigid confines of authenticity to the place from where they came but as an added influence to be incorporated into the esprit de corps. The melody takes on a sort of rolling motion, rolling the way the dunes do across a dessert and over which can faintly be heard the glissando of piano and above that, horn.
“Blossom” starts with strings building into a wave of tension. The shrill violins are a rope or wire about to break, the crooked looping cello the voice warning that they are about to do so. The string is broken and there is a fall through the roof into a lopsided cabaret where the piano attempts to intermittently gallop away when the discordant voice of the horn is distracted by the ratchet like percussion. The bass becomes both the front door opening and closing and the footsteps of the patrons many of whom wear ill-fitting hats. The flute is a type of nocturnal peace as can be achieved in such places at a late hour, not necessarily real but believed. This section marks the introduction of discordant elements. I would not say they are necessary but their presence with their piquant cacophony serves to underscore the lushness of the more out right beautiful sections.
“Low Tide” is my favorite section. It has an elliptical flute breathing over the tinkling of a piano. It is a predawn Gotham, someone practicing in their fourth floor walkup or softly talking to themselves via the ivories. There are swells of strings and the rumble of bass, so much concrete resettling in its predawn coolness. The percussion is the rattle of found objects, umbrella skeletons with their spindly metal bones now bereft of any fabric, empty cans which lost the fight and with their middle dented in now have a V for the victory of their opponent. All tripping up or being kicked away by a lone flaneur. Walking alone at night, gently enfolded in the wings of the city, I want to wear a suit the color of yesterday but will settle for a peace nestled in discordance.
The suite ends with “Weave” which is not a summing up but more the mirror twin of the first section. Where our entry into the suite was lush, this last section is densely beautiful and of a darker hue. There is short bursts of strings, their humming a code converging with flinty notes of piano. Cello conjuring up the ghost of Boccherini’s nights mark a change in the sections cadence. Percussion and piano mirror the pattern of the strings before flute, piano and bass delicately add solos which stay inside the melody.
In his composition Jurgen never falls back on repetition to move onto the next idea or to merely fill space. All the soloists make statements in the end, the effect is of individuals running into a crowd, joining it and then continuing on at the same brisk pace from within it. The close of the suite, the strings drop away and it is all soft murmurings and plinkings, the symmetry of beauty.
More information on Jurgen
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Lying on my back, I raise my left arm parallel to the edge of the bed. The square of sunlight which comes in the late afternoon…
In October it is golden with an almost greenish tinge to it. Always, it is quickly retreating after only offering a stage for my shadow puppets for a mere twenty minutes before the elongated square then sinks back into the rest of the wall.
Dawn too may have offered a brief theater but I was rarely awake to observe if it was so.
I look best in bar-light and so tried to bathe myself in it as often as possible. This trick of light also encompassed the perception of time. Regardless of how long I held myself absent, none of the stool vultures noticed. Conversations and arguments could easily be picked up again as if they had just been started the previous night.
I spend a lot of time in my head giving my life currency via obeying Socrates’s old adage. Sandra noticed my lack of presence as I became wrapped up in a project. She insisted I go out with her, adding the prerequisite that it be some place free of other distractions or crowds in which I could camouflage myself.
A home cooked meal, the preparation for which painted my shirt that I changed right before her arrival. Offered up, a heavy pasta meal whose execution and richness induced a near sensual stupor. We talked, the music played and as I remained an active participant it all remained dreamily peaceful.
However, as good as the evening was she knew that there was every reason to believe that tomorrow would find me once again solitarily soaring through the air on notepad wings at the expense of all else not birthed from the barrel of my Waterman. She wanted to squeeze as much of my attention out of the night as possible.
We went for a walk. I choose an area which I did not usually find myself in as to avoid the transmutation of this evening into just another night. There was a diner, whether mere ritual or the heaviness of the meal, I desired a coffee even though most likely it would not be any good. Sandra was fine, so I go it to go.
A small park. We sit in the empty bandstand. I drink smoldering coffee from a cardboard cup while Sandra smoked one of her endless, last cigarettes.
The bandstand sits in meditation on the ghosts of Duke, Basie, Kenton and a then young modern America. As for myself, I think of Nathan. He had driven a taxi for thirty years, big band music providing the soundtrack. Not necessarily wisdom but the desire for a minor immortality is the catalyst of one generation telling the next their stories. A lot of Nathan’s anecdotes centered on the time of his youth. Whether this was because he thought I would relate better or because it was the more interesting time in his life, I never knew.
There was his pal who had lost an arm in the war but afterwards continued to drive his taxi that was affectionately known as “The one arm bandit”, countless get rich quick schemes involving silver mines and commercial tuna boats that had nearly paid off and a general excitement which kept his taxi circling the city well after hope of obtaining fares was gone as he was afraid that he would miss something where he to merely go home and go to bed.
The stories I never tired off. The music he tried to share did not do much for me; I was pure into the then new to me, bop and would not appreciate it for many years and by then he would be long gone.
I initially when I finally got into Duke, it was his later recordings on Columbia which were closer for my ears to the modern jazz I had been cutting my teeth on. From this I traveled backwards in his catalog and then outwards, exploring and embracing his peers.
I grew big ears, listening to music from every era and genre, the who and what depending upon my mood. I gained an affection and knowledge of big band.
From the early 1950’s on, while no longer the soundtrack for youth, the big band genre continued past its cultural reign. It was not merely nostalgia, a mere few remaining bands playing the favorites at festivals, the genre continued to evolve well past the inception of bop, albeit it outside of mainstream attention.
Overall, modern jazz, while supplanting big band from its previously held cultural position did make the incorporation of largely previously unutilized components such as Western classical and world music easier to incorporate.
People like Mel Lewis/Thad Jones Orchestra, Gil Evans, Charles Mingus (not big band per see but amazing large ensemble writing with some Duke in his DNA) and Bob Brookmeyer continued evolving the genre well past what had been its era utilizing palettes which were no longer limited in the way their artistic predecessors had been due to commercial or other consideration.
For big band and large ensemble music it would seem that now would be a golden age to be a musician/composer as there are not limitations to where one can draw influence from nor what can be incorporated into a work. However there is neither the widespread innovation nor evolution as one would expect from such freedom.
Once in a while there are little flashes of something, the power of it being real as it comes neither from gimmick or novelty.
Jon Armstrong’s new jazz orchestra album Farewell offers something new but clearly built off of what had come before him.
The ensemble is made up of woodwinds, trumpets low brass and percussionists. The first track “Ardnave”, begins with a foundation of percussion and trumpets playing in unison a theme which has an Iberian peninsula feel to it without it ever lapsing into ethno caricature.
After a solo trumpet statement there comes a percussion break. This section really puts forth the warmth of the album’s sonics. The album’s sound is very good with an ambient warmth which I will take any day over a cold digital, pristine perfection. Recorded in a school in North Hollywood (California) the artist and engineer clearly understood how to utilize the room. After the percussion break comes a section with clarinet. It has a mild klezmer feel to it. The contrast between clarinet and the swell of brass is enjoyable. The clarinet’s voice, a rich woody shade as found in the forest, the trees’ canopy broken here and there by the shafts of sunlight brass.
With a lot of larger contemporary ensembles, regardless of how good the players are and how forward thinking the charts, there is always that effect of garnering a suspicion that the band sounds better live. The overall warmth of this recording keeps that feeling at bay throughout the length of the entire album.
“Fool of Me” starts with a legato, split reed murmuring and is a perfect example of the intimacy of Farewell’s cadence. The lone horn is joined by other voices in a plaintive lament. The low brass roils in contrast to the bass and saxophone which remain delicately buoyant in a duet. Slowly a near vocalese trumpet speaks its piece as the rest of the ensemble add an underlying richness. I enjoy the density of this composition which is kept from feeling overly heavy by achieving its mass through the emerging and reduction of various instruments in smaller groups within the group.
“Dream Has No Friend” begins with horns in unison laying out slowly descending lines. After a low end march is introduced there are some subtle tempo shifts accompanied by varied orchestral colorations. Rising out of the aural miasma, the trombone lays out long lines upon which the piano and clarinet intermittently appear all voices unified by a slight waltz like rhythm.
The clarinet has chime like echoes accompanying it upon its initial introduction which makes for a unique and compelling sonic contrast. Towards the end of the piece the rest of the ensemble comes in, an impasto effect. The work ends with the deep brass reduced down and once again in a descending pattern.
Jon’s work does not strictly adhere to genre formula(s) and the entire album is all the more better for it. It stands up to repeated listenings. It has substance but is never so forward thinking as to turn off the more casual listener. The CD comes in gatefold packing with a liner note booklet.
For more information on Jon
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