Jazz Don’t Hurt: The Industrial Jazz Group

Jazz don’t hurt — in fact, as Jason Crane points out in his latest column, it sometimes channels the mustachioed ghost of Frank Zappa.

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Jazz Don’t Hurt: Taking a Stand With “Conscious Jazz”

sirotaDrummer Ted Sirota and his band Rebel Souls have a new record out called Seize the Time (Naim Jazz, 2009). It’s an explicitly political instrumental album, very in line with Sirota’s previous CDs, all of which have featured album titles, song titles and liner notes that make clear Sirota’s progressive politics.

I talked with Sirota about Seize the Time for my show, The Jazz Session. (That interview will air later this year.) During the interview, Sirota mentioned that he believes many critics ignore or dismiss — or simply miss — his music, instead talking about his politics and nothing else. His comment, coming as it did 25 minutes into an interview where I’d done nothing but talk about his politics, initially made me regret the direction of the conversation up to that point.

After a few moments’ thought, though, I told Sirota that while I think the album is powerful musically, I think it’s even more powerful socially because we live in an age where explicit political statements are vital to our survival. I’m happy to have another CD of smart, fun music to listen to. I’m even happier to turn people on to an artist who puts his social awareness where his drumsticks are.

In the 1960s, jazz artists made socially aware music, much as their counterparts in other genres did. I’ll give some specific examples in a minute. To be fair, such music has never completely disappeared, although “conscious jazz,” to coin a term, has ebbed and flowed in the same way as political engagement in this country. (more…)

Jazz Don’t Hurt: Joni Mitchell, Jazz Musician

hejira I was (briefly) in college in 1992. My best friend was a very talented drummer name Mike. We played in a jazz group together called, for no apparent reason, the Pre-Flattened Cats.

One day I was in Mike’s room, high up in one of the dorm towers, sitting on the windowsill and looking out over the sunlit fields that ringed our small state school in northern New York. Mike said, “I’m going to put on a record for you and you’re either going to fall in love with it or never like it.” And he started “Coyote,” the first track on Joni Mitchell’s 1976 masterpiece Hejira. Given that I just referred to it as a masterpiece, you can probably guess which side of his challenge I fell on.

I was already a fan of big band jazz, and I’d started to get more into small-group jazz, largely under Mike’s tutelage. He also introduced me to people like Roky Erickson & the 13th Floor Elevators and The Band. Joni Mitchell was a new name to me, but I could instantly hear in Hejira a blend of the folk, rock and improvised musics that were the hallmark of that phase of her career.

When it came to recruiting personnel, Mitchell didn’t mess around. Hejira features a cast of jazz heavyweights, including guitarist Larry Carlton, clarinetist Abe Most, trumpeter Chuck Findley, saxophonist Tom Scott, vibraphonist Victor Feldman, and bassist Jaco Pastorius. A quick game of “jazz family tree” shows you how connected these players are to the jazz pantheon: (more…)

Jazz Don’t Hurt: The Industrial Jazz Group

“If I could go back in time, I might go back and change the name of the band,” said Andrew Durkin, composer and bandleader extraordinaire, in his hotel room in Pittsfield, Massachusetts. Durkin and his band, the Industrial Jazz Group, had just finished the first night of a 10-night, 10-city East Coast tour that will take them more 2,000 miles through six states and the District of Columbia. (The tour runs through 10/24. Visit the IJG site for details.)

Durkin said the Los-Angeles-based Industrial Jazz Group started life as a trio and slowly grew from there as people subbed into the band and never left. The current incarnation is a 16-piece band that can — and does — play anything. Really anything. At the Pittsfield show on Oct. 15, the band tore through complex arrangements, stopped on a dime, brought the funk, made everyone laugh, and demonstrated tons of chops without showing off.

“It’s not really industrial, and it’s not really jazz,” writes Durkin on the band’s Web site. He said he chose the name years ago mostly because it sounded good, but he also mentioned that the name might serve as a barrier for some people. (See last week’s Jazz Don’t Hurt column for a discussion of this concept.)

It shouldn’t, though, because the IJG has something for everyone. And while it’s sometimes unfair to say “X sounds like Y,” the Industrial Jazz Group is definitely channeling the mustachioed ghost of Frank Zappa. (more…)

Jazz Don’t Hurt: What Is Jazz, Anyway?

jazz[1]What is “jazz,” exactly? I sure as hell don’t know. And neither, I would suggest, does anyone else.

Sure, everybody knows what they think jazz is, and which particular elements music has to contain to qualify as jazz — swing, the blues, improvisation, etc. But put to the test, it turns out the word is extremely subjective.

From the list of three elements above (swing, the blues, improvisation), I would certainly eliminate swing and the blues as required parts of what I call jazz. First of all, defining a word like jazz with another word no one understands, such as “swing,” just makes the issue murkier rather than clearer. Many people would say “swing” refers to ding-ding-a-ding on the ride cymbal, or the same rhythm represented on some other instrument in the band. That would immediately eliminate much of the free jazz cannon, and just about all of the latin jazz world, to name just two “micro-genres.” (I think that’s a term I stole from Vijay Iyer.) Plus, much of the music being made today (and nearly everything I recommended in my Five Recent Jazz CDs for New Listeners piece, would also get the axe if swing — strictly defined — is a requirement. (more…)

Jazz Don’t Hurt: The Blazing Fire of a Man’ish Boy

dariusjonesMan’ish Boy is music born of poverty and wealth.

Saxophonist Darius Jones grew up poor in Virginia, son of a single mother, living either on his relatives’ farm or in a trailer. He also grew up rich, surrounded by a loving family and close to an uncle who loved music and played the saxophone by ear along with records by Grover Washington and Parliament.

For his debut statement, 31-year-old Jones wanted to tell his story. To talk about what it means to be poor and black and struggling and intelligent in this day and age. Jones has fit all that and more into an incredible recording that will make you sing, make you weep and make you marvel. You’ll marvel at the assurance shown by Jones as he navigates the rhythmic and harmonic landscape created by his trio partners, pianist Cooper-Moore and drummer Rakalam Bob Moses. Cooper-Moore and Moses are decades older than Jones, and they support him and also push him.

The church is never far from this music. And it’s the church of “joyful noise,” where both those words have equal weight. It’s the gospel according to the human voice, to the makeshift percussion instrument, to the two-note saxophone solo played by a young man whose horn was held together with rubber bands and fire. A young man who walked miles to take saxophone lessons that he couldn’t pay for. A young man who befriended the family that owned the instrument repair shop so they’d work on his horn and let him settle up when he could. (more…)

Jazz Don’t Hurt: Five Recent CDs For New Listeners

Recently, the fine folks over at NPR’s A Blog Supreme have started asking young jazz aficionados to recommend five recordings from recent years that they would give to someone who was just getting into jazz. I’m much, much too old to have been asked to be a part of the series (clocking in at an ancient 36), but here are my contributions anyway.

Vijay Iyer: Historicity (ACT, 2009)

There are a lot of things I like about pianist and renaissance man Vijay Iyer, but perhaps my favorite of his qualities is his unswerving commitment to speak the truth. That comes across when you listen to him speak, but it also shines through when you hear him play. Iyer is always in pursuit, always moving forward, always absorbing and reconfiguring improvised music. Oh, and his current trio kicks ass, if I may use a technical term. Start with the track “Galang” on his new record, Historicity. And turn it up loud. (more…)