Kamasi Washington Is Back

...we always suspected he could walk on water

It was good to see you last night. I appreciated the book recommendations and the advice. Yes, I think  you’re right: it’s time for change, though it's easier said than done.

I neglected to tell you something that made my day. Remember how much I went on about Kamasi Washington’s The Epic when it came out a couple years back? I listened to it for two months straight. Most of us did. The voices, the grooves, the horns.  

As a fan of the bass, Thundercat's presence on that album helped make it for me. It was a huge album and it could have fallen apart under the weight of it's own ambition, but it doesn't.

the man they call Thundercat

The big news that I never had the opportunity to tell you is that Kamasi has new music out and it's as bombastic and brilliant as you’d expect. Be sure to listen to the two advance tracks he released. You’ll love them. Let's get together with a nice Cabernet when the album comes out and listen to the whole fantastic thing. It's another long one, looks like two albums unlike The Epics' three, but I have not doubt, judging form these samples, that we're in for another treat. May need a second bottle.

And about that other thing you told me: hang in there. Things will turn around for you.

Oscar Pettiford: Another Bass Master Revealed

Friends, even those of you who are casual visitors to this site know that I have a fondness for the bass. Not only is this site named in honour of Charles Mingus, but I written at length about my man Paul Chambers as well as Scott LeFaro's masterful performances with the Bill Evans Trio. Well, I have more proof that even two decades of enjoying jazz will continue to reveal wonders. In this case, the wonder is Oscar Pettiford.

Listening to his music, the finest of which was recorded in the early to mid 1950s, he sounds like a bridge between the 1940s and the modern postbop surge of the 50s. He was an amazing soloist, made all the more interesting since he often soloed on the cello, which was pretty rare in jazz. I know Chico Hamilton employed a cello in his fine group that featured a young Eric Dolphy, but other than in orchestral settings, I can't think of another group that employed cello. Those tracks with Oscar on cello are all the sweeter since it was often Charles Mingus who took over on bass, and it's hard to imagine two more talented people playing those eight strings.

He died too young, like so many jazz artists, yet left behind a wealth of wonderful music. I know you are interested in some advice on where to start, so let me recommend two albums that I have no doubt that you will enjoy. "Complete Jazz Series 1951-1954" and "Complete Jazz Series 1954-1955".

Just looking at the names that join him on those album covers must have you intrigued...

I dare any of you to listen to 'Marcel the Furrier' and not agree that his music is a must for your ever-expanding jazz collection.

I look forward to speaking with you about this exuberant music. Over a Bodum perhaps?

My Man Paul Chambers and the great bassists of his time

Mr. Chambers takes a rest

Friends, it's been too long since we've talked about Paul Chambers.  It is not a contentious statement to say that he is one of the top two or three bassists of all time.

That being said, when you are talking about that elite calibre of musician, it is difficult to rank them based on skill but purely on personnel preference.  Off the top of my head I'd have to say Charles Mingus is the only player that was his equal in terms of proficiency (or was it just that he was a better composer?).  Well... in terms of skilled players you know how much I love Scott LeFaro with the Bill Evan's Trio, but can a few months recording, even though they were stellar recordings, put him into that elite category?  And what about Ray Brown? Ron Carter?  Percy Heath?  Charlie Haden? maybe even Steve Swallow?  Ah now you see why I stay away from ranking musicians.

Have a listen to the Paul Chambers Sextet's 'Whims of Chambers'  (from the album Whims of Chambers, Blue Note, 1956).

Fabulous!

Bassists Get No Respect: a discussion continues

My man Paul Chambers backs up the argument I made on December 29, 2009 (the quotes are from Downbeat, Jan. 11, 1956):

"If a bassist is capable of playing a solo, he should be given a chance to."

 Well put, Mr, Chambers!  Not only was he an adept soloist, he was interested in expanding the limits of the double-bass in a jazz context:

"The reason why the bass isn't as dominant  as other instruments is that bassists don't get the chance to explore... Once a bassist's duties in accompanying a horn are over, the bass should have a chance to speak."

At this moment I am listening to his intro to Big Paul from the Kenny Burrell & John Coltrane album recorded for Prestige in 1958.  Magic!

My Man Paul Chambers Gets No Respect

If you have been reading this blog then you know I have a fondness for the bass work of Paul Chambers. It mystifies me that he does not rank higher in the jazz world. But let's face it, bassists rarely get the respect they deserve, and I suspect this is true across all genres.

Need proof, my friends?

An album was recently released called 'Sides of Blue: The Jazz Greats Who Played on Kind of Blue'.

The album has tracks by Wynton Kelly (1 song), Cannonball Adderley (1 song) , John Coltrane (3 songs) , and Bill Evans (3 songs).

Hmmm... who is missing from that list?

 Mr. Paul Chambers, of course. Sure, he  was the sideman on one of the Bill Evans tracks (Woody'n You) as well as the Wynton Kelly (Willow Weep For Me) but why not give Paul Chambers his due? After all, Wynton Kelly didn't even play piano on every track on 'Kind of Blue' (why would he when Bill Evans was around?) yet he gets a track on 'Sides of Blue'.

If you buy 'Sides of Blue', which isn't such a bad idea as it is a pretty decent compilation (though you could buy better) and if you download it from iTunes or another similar site, I propose you also spring the 99 cents and download Chamber Mates by Paul Chambers (listen to that bass work! and the compositional skill!) as add it to the album. It is worth it for the man's bowed solo. The man could make the double bass sing and it is time the jazz world gave him the respect and status he so rightly deserves.

Okay okay, I will get off my pedestal now since my dinner is ready (a Mexican feast!) and Yusef's Mood by the multi-instrumentalist Yusef Lateef is playing.  Another delightful night!