Posted by flotzam on Sunday, February 26, 2017 | Live Review

Full house at the show, packed, both upstairs and down. But when you are on the cover of Downbeat and playing the Village Vanguard for a week straight upcoming, like Taborn is, well, it isn't shocking. But in a way it is shocking because the music was pretty far out there on the spectrum. They played three compositions in the course of an hour and a half, which morphed and modulated and often felt like four people playing four completely different parts that had nothing to do with one another where even the pulse was hard to find but then it would come back around and there would be a melody that every locked into. Both bass and keyboards shifted between acoustic and electric. One tune sounded like rock, like Ummagumma or something of that ilk. The last tune was a Roscoe Mitchell tune called "Jamaican Farewell."  They played a short encore that was in an insane time signature. Taborn was virtuosic on his instrument, able to do anything. The rest of the band included long-time Minneapolis-area friend Dave King (of the Bad Plus) on drums, former Seattleite Chris Speed on saxophone, and Chris Lightcap on bass. The avante garde is alive and well. Pretty sure Bill Frisell was in the audience.

Posted by flotzam on Thursday, February 23, 2017 |

Flotzam just became an investor/coop member of Resonate, a very cool Web 3.0 way of thinking about music distribution. As they say, Resonate is bringing democracy to music streaming. We are a cooperative of artists, labels, fans, and developers, and we own the platform together.

 

Posted by flotzam on Wednesday, February 22, 2017 | Live Review

Played all country, signature Scofield style. Such a distinct voice. Nobody sounds like him. The way he plays a head, his attack, his articulation. And so many ideas. Was playing an Ibanez through a Fender super reverb clean, and tone was Sco tone. Coming off winning a Grammy he's gotta be stoked. Started with "Mr Fool" which set tenor for the night: familiar melody that slowly fell away into interpretation and then returned. Second tune "Mama Tried" by Merle Haggard. Then, "Jolene" by Dolly Parton of course, imbued with the soul of the song and a killer bass solo. Then, "Bartender Blues" which he played with a capo, don't see that on a jazz guitar very often. Then two Hank Williams tunes, "So Lonesome I Could Die" and "You Win Again" with the usual descent/ascent into jazz madness. Then a really sweet version of Shania Twain's "You're Still The One." Then "The Gambler" a rollickin version as well as a tune from Hee Haw by Buck Owens. Crazy tasteful organ solos on both. Ended with Wild Wood Flower.  Accompanying Scofield was Vicente Archer (bass), Larry Goldings (organ/piano) and Bill Stewart (drums). 

 

Posted by flotz on Wednesday, September 28, 2016 | Live Review

Awesome show, full house, standing ovation at the end. Chemistry was there between the players and the pieces flowed. Pulse always there, music flowing around it. Loved the drummer, Henry Cole, explosive, textural. Gerald Clayton on the keys was so tuneful, responsive, lyrical. Joe Sanders on bass (no shoes) was on his game, cool solo at the end where he sang with his solo. And Ben Wendel was a strong leader and inspiring soloist. They played 4-5 originals and one standard, I Loves You, Porgy, from Porgy and Bess of course.   Wendel's heads were easy to vibe and relate to. Good stuff.

Posted by flotz on Saturday, September 17, 2016 | Live Review

The classic trio set up with organ, guitar and drums sounding so right. Organ old school from the 60s, defining warm. Not sure the names of the other players; they were great. Burchett had chops and style.  Whole band swung.  Played “Misty” not sure of the other heads. Really good vibe. 

Was looking on Burchett’s website and looks like he plays with Max Holmberg, of the Beaver sessions fame, quite regularly. Small jazz world!