Omer Klein: Theme and Variations

October 4, 2014 Leave a comment

Omer Klein: Theme and Variations.

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Jazz Reviews: The art of the modern trio – By Robin Arends — JazzTimes

October 4, 2014 Leave a comment
Categories: Uncategorized

Chuck Israels: Tribute to Bill Evans

April 16, 2014 Leave a comment

Chuck Israels: Tribute to Bill Evans.

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Hans Ulrik: Still Searching

March 15, 2014 Leave a comment

Hans Ulrik: Still Searching.

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Claudio Filippini: Facing North

February 4, 2014 Leave a comment

Please read my interview with Claudio Filippini at All About Jazz:

Claudio Filippini: Facing North.

The Last Waltz

December 31, 2013 1 comment

220px-Yusef_LateefDear people, happy new year to you all. Many brothers and sisters have left us in 2013.

Yusef Lateef, Cedar Walton, Donald Byrd, Chico Hamilton, Mulgrew Miller,Marian McPartland, Butch Warren, Frank Wess and many others.

 

 

You can hear some of them in this spotify- playlist:

Eliot Zigmund (part 4) Eighties – now

December 20, 2013 Leave a comment

 I still love to play and I’m still developing!

Part four of  this Eliot Zigmund special covers his years with Michel Petrucciani in the eighies till now.

Eliot 1

As to your question about Michel (Petrucciani, RA) and Don Friedman. I think both those great pianists were influenced by Bill, but they are very different pianists as far as what is felt like to play with each of them. Don is a contemporary of Bill so shares a certain history of time, place and identity, some harmonic and trio concepts, but is a very different piano player with his own very distinctive style. Maybe in fact, Bill was also influenced early on by Don if he had heard him play somewhere, who knows?. Michel was influenced by Bill like every pianist inevitably was who came after Bill, but he was more a disciple of the straight ahead swingers, McCoy, Cedar, Chick, with a little of the lyricism of Paul Bley or Keith Jarrett thrown in.
My recording Breeze on Steeplechase was the culmination of a bunch of playing sessions at my house over a period several months. We decided to go into the studio and document the music and ending up selling it to Steeplechase under my name. I had played a bunch with Mike Lee on some gigs and jam sessions, we both lived in Brooklyn then, he lived in an coop apartment building in Sunset Park that was all musicians and I had a studio in a store front in the same building, so there was a lot of playing going on. I think Mike introduced me to Gary Versace, Mike had some nice tunes, wrote in a soulful but sophisticated way, Phil Polombi and I knew each other from the scene. I’ve gone on to do different projects with Phil and we do the occasional gig together in town. Breeze was kind of a one off project, although we may have done a few gigs, I worked some at that period as a leader in town in small clubs but we didn’t really actively try to find work for the band, it was a recording project.Eliot 2

In a broader sense playing with myriad players over 50 years, the process of learning from other musicians is a big continuum. There’s a saying, being a jazz player is like singing the same song your whole life. Basically we’re all trying to find people who we’re comfortable singing our song with, and who are comfortable singing their song with us. As all musicians know, there are different levels of comfort zones with different players, in different bands, it’s all very fluid and dynamic. And that the music succeeds on different levels in different ways for different styles that demand different things of the way we play. I still approach it that way today. Every playing situation – every time I sit down to really play, is different – leaves it’s mark, shapes the clay, gives you a challenge to solve, hopefully moves you forward an inch or a foot. I’ve learned from every musician I’ve ever played with, from the worst to the best. I’ve learned how fragile jazz can be, how it’s dependent on everyone you’re playing with, especially the rhythm section players. I’ve learned how strong the music can be when the subtle rhythmic bond is there, when it feels like you can do no wrong.

When you’re a rhythm section player, you’re playing, articulating, every beat of every tune with the rest of the rhythm section and the soloists. We’re like worker bees, continually stitching a rhythmic/harmonic carpet for the soloists to fly on.

Eliot 3I think today we have lived through a tremendous stylistic expansion, the infusion of jazz techniques and theory throughout the world, the popularity of jazz education worldwide, jazz both influencing and being influenced by world ethnic musics. We are no longer moving so boldly forward, to borrow a phrase from Startrek, as when I was younger, when it felt like great waves of stylistic innovation were continually sweeping over the jazz world influencing all who heard it, and it seemed there was endless musical territory to expand into. Expansion or evolution today seems to come more from individual artists – perhaps more self-consciously – mining some unique combination of elements within this amazing choice of style and technique, rather than as part of a musical movement or style that is influencing many people at the same time, as was the case when I was growing up.

For me the playing scene now is very varied, eclectic, and I try to be flexible and supportive, trying to play true to the style of the music I’m playing while still being myself. The music can be anything from swing to bop to post bop to straight eighth note, trio, quartet, backing a singer, playing with a big band, live gigs, recordings, videos, commercial one nighters, whatever. Whereas we used to go on the road for weeks or months at a time with one group, the tours now are much shorter, sometimes only a few days, a week, or even flying around the world for one concert.

I remember people asking Bill Evans, when I was in the band, who was influencing him at the moment. He’d say, more or less, he liked anyone that played well, and maybe he’d name one or two cats he’d heard recently by playing opposite them or on a recording. I’m kind of the same way now. I hear and play so much good music in NYC and around the world,, so many good young players on all the instruments, that I’m inspired and influenced all the time, but not by any one drummer or player, but just by the joy of playing real music with great players. I see myself 50 years ago in all the young drummers I meet trying to make a way for themselves, but one must wonder, given the state of the business of jazz, what the opportunities will be for them.eliot 4
Will jazz survive?What will the future of the music be?

I think the questions are broader in scope.

Will serious culture survive? Is it possible to function in the digital age as a professional, working artist? Is academia the answer? Are too many young people seeking careers in the arts? Certainly jazz techniques will survive, they are the language of today’s harmonic/tonal music and improvisation, a must for any working musician on the scene today. In New York we have a marvelous array of older and younger serious jazz musicians who cover the stylistic gambit of what American jazz has offered and is offering over the last 70 years, as well as musicians from all over the world, who, enamored with jazz and the city, come to NY and bring their musical cultures with them to blend with what’s happening here. In Europe, Asia, South America, the Middle East, worldwide, certainly the States, we find great jazz musicians with regional scenes and communities of musicians everywhere, with the usual hard core fans and musicians hanging on in the usual devoted and low budget, hardscrabble ways. I think the music will always survive while there are musicians in the world dedicated enough to learn and play it and there seem to be no shortage of those. Will it sound like what was coming out of the Cafe Bohemia or Slugs in 1967, or Bradley’s in 1978, probably not.
In general the digital age has cheapened the value of art, artists, and media in lots of different ways. Combine that with the number of young people graduating from jazz programs in the States alone (some 5,000 per year I hear), and the general lack of interest in and knowledge of real jazz in the real world, most glaringly in America, and you don’t have a great prescription for the business of jazz in years to come.

I’m hoping to be proven wrong. And, most importantly – I still love to play and I’m still developing!

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