Posts filed under “Digital Media”
Friday, June 15
CASSANDRA WILSON/OLU DARA In the early 1990s Cassandra Wilson
made “Blue Light ’Til Dawn,” an album with light, slow-moving,
Southern-signifying arrangements informed by ’60s folk and pop. The
trumpeter, guitarist and songwriter Olu Dara, a Mississippian like Ms.
Wilson, was one of her collaborators; his own subsequent solo albums,
full of acoustic guitar grooves and rural-blues echoes, complemented
hers. Central Park SummerStage, Rumsey Playfield, midpark at 70th
Street, summerstage.org, 7 p.m., free.
Wednesday, June 20
BRANFORD MARSALIS/JOSHUA REDMAN TRIO Mr.
Marsalis started making his own records in 1984, Mr. Redman nine years
later. But as if responding to a common call, both these tenor
saxophonists have crystallized what they do best and made possibly the
best records of their careers over the last year: Mr. Marsalis’s
“Braggtown” and Mr. Redman’s “Back East.” With Mr. Marsalis this comes
down to the mechanics of his gloriously coordinated, hard-hitting
quartet; with Mr. Redman, it’s the clarity and flow of his improvising
within the simplicity of a trio setting. Town Hall, JVC, 8 p.m., $50 to
Friday, June 22
STEFANO BOLLANI A fine and
freewheeling Italian pianist in his mid-30s, Mr. Bollani has come to
the crucial understanding that he can find an audience without having
to choose among attitudes, influences and styles: deeply playful or
serious, ragtime, pop, Prokofiev, Jobim, Keith Jarrett, whatever. He is
a particularly good solo performer (as suggested by last year’s “Piano
Solo,” on ECM), so this performance will be a special one. Fazioli
Salon at Klavierhaus, 211 West 58th Street, Manhattan, pianoculture.com, 8 p.m., $25.
Sunday, June 24
LOUIS MOHOLO-MOHOLO A South African jazz
drummer, Mr. Moholo-Moholo was part of the British jazz scene in the
mid-’60s as a member of the Blue Notes and the Brotherhood of Breath,
living in London and collaborating with South African and English
musicians. (See Tern [LIVE]) He recently returned to South Africa, where he leads a big
band.) He’s an exemplary modern drummer, in his flexibility between
strong swing and a free-rhythm vocabulary, and he’s still mostly
unknown here: aside from one Vision Festival show six years ago, he
hasn’t played here since the 1960s. Vision, 9 p.m., $30.
Wednesday, June 27
‘RON CARTER: THE MASTER AT 70’ The bassist Ron Carter, first famous as a member of Miles Davis’s
mid-1960s quintet and then loosed on the jazz world as a ubiquitous
free agent, has played on so many records — including more than 30 of
his own — that a concert like this seems almost necessary, never mind
the fact that he turned 70 last month. He will perform with two other
members of that great Davis group, the saxophonist Wayne Shorter and
the pianist Herbie Hancock,
alongside Billy Cobham on drums; in duet with the guitarist Jim Hall (a
good thing, as their rich duet records are underrated); in a trio with
the pianist Mulgrew Miller and the guitarist Russell Malone; and with
his own quartet. Carnegie Hall, JVC, 8 p.m., $30 to $75.
NANCY WILSON Ms. Wilson remains an
exciting jazz singer, despite the light, low-pressure subtleties of her
voice, and even if her records have been treated as a kind of antidote
to excitement. (Her hits started showing up on the Billboard
easy-listening chart in the mid-’60s, but few can condescend to the
casually brilliant album “Cannonball Adderley and Nancy Wilson” or the
recently released “Live in Las Vegas.”) JVC, 8 p.m., $35 to $85.
That’s all for this belated (and highly stolen) version of FRIDAY NIGHT JAZZ . . .
If It’s June, This Must Be Jazz
NYT, June 15, 2007
While waiting for last night’s Soprano’s to start, I decided to pop in a DVD I had lying around: Steely Dan – The Making of Aja.
Since someone else is sure to bring it up in comments, let’s deal with the finale: Creator/writer/director David Chase made his bones adding a level of reality — Cinéma vérité — to his plotting and characters. He never liked neat endings, always leaves a level of ambiguity and uncertainty.
And while I didn’t love last night’s episode — it was just another episode, and not any way at all a special "finale" — I recognize what Chase attempted: He ended the show on a note of tension, uncertainty, and ambiguity. You know, just like real life. Hey, no one knows what will happen in the future, or what fate awaits us. He ended the show the same way . . .
Not that I really liked it — it was disappointingly slow, and except for Phil "Flat-Head" Leotardo, not a whole lot happened.
Where was I? Oh, yes.
Turns out its part of a series of DVDs titled "Classic Albums" series that aired originally on VH1. So, while waiting for the last episode to begin, I popped in this DVD I’ve had lying around.
– are just so damn good, it makes you wonder how the rest of their programming can be so goddamned awful. It was that much better than what you would expect from typical VH1 stuff.
If you are any type of Dan fan, you must go order this right now.
In fact, I was so impressed with the quality of the interviews, clips, and sound quality — I can’t recall the last time I did this — that, even as the DVD credits were rolling, I ordered four more DVDs (all $10 or less) from the same series.
I’ll update how these are at a latter date, but based on the Steely Dan DVD, and the high caliber of reviews at Amazon.com, I expect these all to be similarly excellent . . .