tag:blogger.com,1999:blog-66083287638297314532024-02-20T10:46:23.047-08:00bebopifiedjazz and arts mostly in Minneapolis-St. PaulPamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.comBlogger1011125tag:blogger.com,1999:blog-6608328763829731453.post-82234293937543907492019-08-30T13:13:00.000-07:002019-09-13T13:13:23.311-07:00The Great Black Music Ensemble will perform in Minneapolis. Here are 3 reasons to go.<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">The Great Black Music Ensemble by Michael Jackson</td></tr>
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<b><i>Originally published at MinnPost.com, August 30, 2019</i></b><br />
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The Great Black Music Ensemble (GBME) will make its Twin Cities debut at <a href="https://www.thecedar.org/" style="box-sizing: inherit; color: #801019; text-decoration: none;">the Cedar</a> on Friday, Sept. 6. These Chicago-based musicians are masters of improvisation and creative music. Here’s where we might add, “The GBME is like so-and-so, or sounds like so-and-so,” except there’s no comparison. They are wholly original.</div>
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The Cedar, the <a href="https://composersforum.org/" style="box-sizing: inherit; color: #801019; text-decoration: none;">American Composers Forum (ACF)</a> and the <a href="https://schubert.org/" style="box-sizing: inherit; color: #801019; text-decoration: none;">Schubert Club</a> have partnered to bring the GBME here. This is a collaboration we don’t see every day: the eclectic West Bank music venue, the national service organization for composers and booster of contemporary classical music, and Minnesota’s earliest arts organization and presenter (mostly) of classical recitals.</div>
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The three nonprofits found common ground in wanting a Twin Cities audience to hear and experience this singular group – how it sounds and what it stands for.</div>
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For the ACF, Friday’s concert is a kick-off to its daylong Racial Equity and Inclusion Forum, which will take place Saturday, Sept. 7, at TPT. The forum is free, but <a href="https://composersforum.org/programs/racial-equity-and-inclusion-forum2019/" style="box-sizing: inherit; color: #801019; text-decoration: none;">reservations are recommended</a>.</div>
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ACF President Vanessa Rose said in a recent interview, “I want nonwhite artists to have the platform and space to tell their own stories, write their own music, and be recognized on a greater scale than our organizations have done in the past.” The concert and the forum are steps in that direction.</div>
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Schubert Club Executive and Artistic Director Barry Kempton has been broadening his organization’s audience since 2014, when he launched a new series called Schubert Club Mix. Designed to take the formality out of classical music, the concerts are held in nontraditional venues and the music is a mix of old and new.</div>
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For the Cedar’s Executive Director David Hamilton, the chance to co-present the Great Black Music Ensemble “comes at an opportune time for the Cedar as we’ve started to expand our historical definition of global music by including more experimental and improvisational music and jazz in our programming.”</div>
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Those are their reasons. But what about you? Why should you spend next Friday night with a bunch of musicians you probably don’t know and music you for sure haven’t heard?</div>
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<span style="box-sizing: inherit; font-weight: 700;">1. Because of who they are.</span></div>
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The GBME is the premier performing group of the <a href="http://www.aacmchicago.org/" style="box-sizing: inherit; color: #801019; text-decoration: none;">Association for the Advancement of Creative Musicians (AACM)</a>. That’s a very big deal.</div>
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Founded in Chicago in 1965 during the Black Power movement and the civil rights movement, the AACM is an artists collective that nurtures and promotes experimentation, individualism, innovation and originality. It is a musical revolution that began more than 50 years ago, when free jazz meant cultural freedom, and continues today. Its contributions to modern music are immense and include <a href="https://thevinylfactory.com/features/aacm-influence-introduction-10-records/" style="box-sizing: inherit; color: #801019; text-decoration: none;">thousands of hours of recordings.</a></div>
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A mind-blowing number of important and influential musicians have come out of the AACM.</div>
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Henry Threadgill won the Pulitzer Prize. George Lewis and Anthony Braxton are MacArthur Fellows. Jack DeJohnette, Muhal Richard Abrams and Roscoe Mitchell are NEA Jazz Masters. Mitchell is also a United States Artist Fellow. Wadada Leo Smith is a Pulitzer finalist. Nicole Mitchell, Threadgill, Smith, Abrams and Lewis are all Doris Duke Artists; Lewis is also a Guggenheim Fellow. His history of the AACM, “A Power Greater Than Itself,” won the American Book Award. Several AACM members are or were professors at major colleges and universities.</div>
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The mighty Art Ensemble of Chicago (whose motto “Great Black Music: Ancient to the Future” says it all) was formed by AACM members.</div>
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The AACM has spread to New York City. Its members, now numbering more than 130, are making new music all over the world. Its 50th anniversary in 2015 was widely celebrated in concert halls, at festivals, in museums and art centers, including the Walker.</div>
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<span style="box-sizing: inherit; font-weight: 700;">2. Because of the music.</span></div>
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The GBME’s July performance at Chicago’s Pitchfork Music Festival was “an amalgamation of sounds that ranged from the fluidity of jazz improvisation to moments of pure funk, urging festival attendees to dance as much as they could” (Third Coast Review). Their music is filled with improvisation and invention, but it also draws from other black music traditions: funk, reggae, swing, African and Caribbean styles.</div>
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<a href="https://www.youtube.com/watch?v=3vpK9fXphvE" style="box-sizing: inherit; color: #801019; text-decoration: none;">Here are two short segments</a> from a performance by a larger version of the ensemble. The first is from a composition by Saleek Ziyad called “Ancient Creation.” It imagines ancient civilizations before colonization, and it’s played with such joy. The second is from “Move: An Afrofuturistic Ijó” by Tomeka Reid.</div>
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<span style="box-sizing: inherit; font-weight: 700;">3. Because of who’s playing.</span></div>
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The GBME is intergenerational and flexible in size, ranging from three to 30 musicians. The group at the Cedar will be 13: Ernest Dawkins, soprano, alto, and tenor sax, and clarinet; Taalib-Din Ziyad, flute, alto flute, voice; Adam Zanolini, flute and bass flute; Ben LaMar Gay, cornet and electronics; Stephen E. Barry, trombones; Darius Savage, acoustic bass; Alexis Lombre, piano; Edward House, tenor saxophone; Dee Alexander, voice ; Sam Trump, trumpet and flugelhorn; Reggie Nicholson, drum set; Donovan Mixon, electric guitar; Art T. Burton, congas and bongos. The repertoire will be drawn from the great pool of AACM composers.</div>
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This will be the first time the GBME has performed in the Twin Cities, but AACM artists have played here often over the years – some at the Dakota and the late Vieux Carré, many at the Walker, where performing arts curator Philip Bither has long been a fan and supporter. Key AACM members Muhal Richard Abrams, Roscoe Mitchell, Wadada Leo Smith, Henry Threadgill and Douglas Ewart have all performed at the Walker, some several times. Threadgill celebrated his 75th birthday there earlier this year.</div>
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The relationship between the American Composers Forum and the Great Black Music Ensemble will continue beyond this weekend. On Wednesday, the ACF announced that three composers have been commissioned to write new music for the GBME: Elizabeth A. Baker, Adegoke Steve Colson and Rudresh Mahanthappa. Each will receive a $7,500 commission. The premieres will take place in Chicago in fall 2020 as part of the AACM’s 55th anniversary season. Sounds like a good excuse for a trip to Chicago.</div>
Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-67234966083573987292019-08-23T11:55:00.000-07:002019-09-13T13:23:03.040-07:00How heartbreak led to a breakthrough<span style="caret-color: rgb(68, 68, 68); color: #444444; font-family: "poynter serif re" , "georgia" , "times" , serif;"><span style="font-size: large;">The father of a child with health issues, Twin Cities musician Chris Thomson learned to trust his skills and rediscover the joy of creativity.</span></span><br />
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<b style="color: #444444; font-family: "poynter serif re", georgia, times, serif;"><span style="font-size: xx-small;"><i>Originally published in the Minneapolis Star Tribune, August 23, 2019</i></span></b><br />
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<tr><td class="tr-caption" style="text-align: center;">Chris Thomson/Cedar Thoms<br />
Courtesy of the artist</td></tr>
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Call it a comeback, a rebranding, or both. After four years of infrequent sightings, Chris Thomson, a highly regarded tenor saxophonist, returns to the Twin Cities music scene — as <a href="https://www.cedarthoms.com/" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">Cedar Thoms</a>, electroacoustic artist.</div>
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The photo for his new album, “Celestial Being,” shows a young boy facing distant mountains. He’s small and slight, and the back of his neck looks tender and fragile. The letters CEDAR THOMS wrap around him almost protectively.</div>
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The music is optimistic and uplifting. Saxophones and clarinets float over and twine with electronically generated sounds, plush and layered, rhythmic and percussive.</div>
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The title refers to his daughter, Eden, who was born in May 2015. She was sweet and beautiful but small. She struggled with eating and vomited after she ate.</div>
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Doctors were consulted and tests were done.</div>
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Just after the holidays, a blood test revealed that Eden has a rare genetic abnormality described as “a <a href="https://rarediseases.info.nih.gov/diseases/10847/chromosome-12q-deletion" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">chromosomal deletion on the q arm of the 12th chromosome</a>.” There are four or five known cases in the world.</div>
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“We were told that Eden likely won’t walk and might not talk,” Thomson said. “It was a horror story.”</div>
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Over the next several months he and his wife, Emma Nadler, a therapist, helped Eden endure major surgery on a tiny, twisted intestine, a feeding tube, bouts with pneumonia, a hydrocephalus scare, countless doctor visits and multiple hospital stays.</div>
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“We’ve seen her in some precarious places,” he said. “It was kind of — your time is not a given. You assume you’re going to be here, but you just don’t know.</div>
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“It was a visceral experience.</div>
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“I didn’t want to go through the door of despair and hopelessness. [The album] was a way of creating something and staying hopeful and representing something for the kids, my wife and myself.”</div>
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<span style="font-weight: bold;">A personal breakthrough</span></div>
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Thomson’s first full-length album since 2007’s “The Three Elements,” “Celestial Being” will be available online Tuesday. Two nights later, he will play an <a href="https://www.icehousempls.com/events/2019/8/29/cedar-thoms-album-release-show" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">album release show at Icehouse</a> in south Minneapolis with Martin Dosh.</div>
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<tr><td class="tr-caption" style="text-align: center;">Chris Thomson and Dosh. Courtesy of Icehouse.</td></tr>
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Except for Greg Schutte’s drumming on two tracks, everything is written, programmed and performed by Thomson (known as C.T. to his friends and colleagues).</div>
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In the years before Eden — and her 7-year-old brother, Avi — the saxophonist performed widely and often. Besides gigging with his own quartet, he worked with Delfeayo Marsalis, the New Standards, Mason Jennings, Anthony Cox, Aby Wolf, Chris Morrissey and Dave King, among many others. With support from the Jerome Foundation and the State Arts Board, he created and performed the music for an evening-length work by TU Dance.</div>
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Today, if Thomson wants to play a show, “I have to secure a PCA [personal care assistant]. I have to pay someone, often more than I’m going to make, so my wife is not overburdened with the two kids, who both take their own energy. Emma’s super-supportive — I couldn’t ask for a more supportive partner — but I have to really, really care or it’s not worth it.”</div>
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<a href="https://www.hometownsource.com/sun_sailor/news/local/sax-appeal-hopkins-teacher-lucky-to-tour-with-bon-iver/article_c4f19e11-4de6-5d80-b115-a1edaee40da5.html" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">Touring with Bon Iver</a> in 2016-17 was worth it, but tough. Thomson was part of the saxophone section for “22, A Million,” Justin Vernon’s third studio album. He played with Bon Iver on the West Coast, in New York and Europe.</div>
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“We were playing in some of the most incredible places,” Thomson said. “I was at the peak of my external experience as a musician, and Eden was in the hospital and not doing well. Here’s this high, amazing time, grounded in a daughter in the hospital and my wife trying to hold it all together while I’m across the country. It was really rugged, and really rugged on my partnership with Emma.”</div>
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Shortly before they learned the news about Eden, Thomson released an <a href="https://thethomsonquartet.bandcamp.com/album/empathy-ep" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">EP called “Empathy”</a> with his jazz quartet (Patrick Harison on accordion, James Buckley on bass and Cory Healey on drums).</div>
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The music explored how fatherhood had made him face his own demons, become more patient and develop empathy for his son. Avi is a high-energy child — “his own little force,” Thomson said.</div>
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In early 2017, the family sold its two-story house in southwest Minneapolis and moved to a one-story home in Deephaven to be closer to Nadler’s parents. “They are crazy generous and supportive,” Thomson said. “They have been monumental in helping us stay sane and afloat.”</div>
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A year or so ago, Thomson and Nadler shared what he sees as a major breakthrough.</div>
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“We were on a walk together, and it had been a hell of a run — pretty awful — and we both realized how much joy and happiness we get from creating. Sometimes I wish I had other skills besides music skills, but this is what I’ve got. This is what I’m working with. You’ve just got to own what you’ve got.”</div>
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With the new album and the new name, Cedar Thoms, Thomson is also sending a message. “I want to collaborate. I want to find people who think what I’m doing is interesting and work together. I’m sending up a flare. This is what I do. Does anyone else feel this way?</div>
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“Cedar Thoms and this music is my reopening to the love I feel for music, the community of musicians we have in this region, and the creative process. It’s saying I don’t want to have despair. I want to have hope. … The end goal of all of this is I just want to make good music.”</div>
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<span style="font-weight: bold;">‘The hope is there’</span></div>
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As Thomson sees it, “ ‘Celestial Being’ is Eden.”</div>
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“She was a small, ethereal creature. She is so sweet and innocent, and she’s gone through such an insane journey in her first four years. She’s also so joyful, considering what she deals with. Not to be too graphic, but she throws up multiple times per day. She goes through it, and it’s done, and she pops right back into her little sweet, joyful spirit.</div>
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“It’s crazy. I don’t know how she does it.”</div>
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Eden is on her way to being 5. She’s growing, she’s walking (with braces), she’s talking and reading. Starting in the fall, she’ll attend preschool three hours a day, four days a week.</div>
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She still has a feeding tube, but her parents are hoping that won’t be forever. “The problem is, for the first chunk of her life, she equated eating with pain. … There’s a doc we went to in Boston, a highly regarded gastroenterologist, who did a study on Eden a couple summers ago. He’s seen kiddos in her situation outgrow it. So the hope is there.</div>
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“We’re in consultation with occupational therapists, speech therapists, physical therapists, gastroenterologists, a developmental pediatrician and pediatric neurology. It’s a treadmill of medical appointments. … With Eden, I have no expectations of what will or won’t happen. I’m mostly at peace with that.</div>
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“You know how you have a lot of expectations for your kids and what you want them to be? All bets are off with her. It’s heartbreaking. And in a way — in a really interesting alternate universe — it’s liberating.</div>
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“I feel these songs come from an unconscious place. From being open. I let go of the theory, trusted in my music skills and let my unconscious speak. That’s totally Eden’s effect on me.”<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6in_1tbsLUKjF3FW01aqfy_kgBWWgLUv3pYKyAuIAtIoKnWsN-FBnhGX28OI9g2_Es7fPd7_1iqzNP_PhXZNN84thojiDeulA72HGKPUdcEgGZQ_f5QAILR4_td14am7mwWDMFH113JhK/s1600/Celestial+Being.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6in_1tbsLUKjF3FW01aqfy_kgBWWgLUv3pYKyAuIAtIoKnWsN-FBnhGX28OI9g2_Es7fPd7_1iqzNP_PhXZNN84thojiDeulA72HGKPUdcEgGZQ_f5QAILR4_td14am7mwWDMFH113JhK/s320/Celestial+Being.jpg" width="320" /></a></div>
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Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-13304606931702470312019-06-23T12:26:00.000-07:002019-09-13T12:33:33.173-07:00Can the pipe organ be cool? <span style="caret-color: rgb(68, 68, 68); color: #444444; font-family: "poynter serif re" , "georgia" , "times" , serif;"><span style="font-size: large;">A new generation is creating cutting-edge music on this 'big toy box full of sounds.'</span></span><br />
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<span style="caret-color: rgb(68, 68, 68); color: #444444; font-family: "poynter serif re" , "georgia" , "times" , serif;"><b><i>Originally published in the Minneapolis Star Tribune, June 23, 2019</i></b></span><br />
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<tr><td class="tr-caption" style="text-align: center;">Kit Downes courtesy of ECM Records</td></tr>
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What is old can be new again, in the right hands and under the right feet. For example, the pipe organ. With <a href="https://www.youtube.com/watch?v=GzpZRV9Cmac" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">origins in ancient Greece</a>, it is associated today mostly with church music and horror films.</div>
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Pipe organs are big, expensive, and complicated. Most have multiple keyboards, called manuals, and a pedalboard. Each manual can play many different sounds, controlled by knobs called stops. Organs are the opposite of portable. Each is site-specific, built for the space it occupies. An organ can have many thousands of pipes, hidden behind walls and even under the floor. Once they’re installed and voiced, they’re meant to stay put.</div>
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Until the building comes down, or is renovated or burns. After the devastating Notre Dame fire in April, musicians around the world waited anxiously to hear if the Grand Organ with its five manuals and almost 8,000 pipes survived. It did.</div>
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If you want to hear a pipe organ — and for some people, that’s a big if — you have to go to a church or a concert hall. And while the organ repertoire is vast and majestic, it’s rarely cutting-edge.</div>
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But that may be changing. Last month, the wildly talented <a href="http://www.startribune.com/westminster-abbey-veteran-to-electrify-northrop-pipe-organ-with-dark-intense-music/509434161/" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">young British organist James McVinnie</a>, who zoomed to fame when he played at the wedding of Prince William and Kate Middleton, joined London-based electronics duo Darkstar at the University of Minnesota’s Northrop auditorium for the world premiere of a Liquid Music Series commission called “Collapse.” An evening of swirling, immersive music, it was brand new and thrilling.</div>
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In early 2018, longtime Minnesota Public Radio host <a href="https://www.mpr.org/about/people/mbarone" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">Michael Barone</a> heard a new recording by another young British musician. Kit Downes is an <a href="https://www.kitdownes.com/" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">award-winning jazz pianist</a> with his own trio and dozens of recordings. But he chose to make his first solo album for the influential German label ECM on three different pipe organs, each with its own distinct character.</div>
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The music on <a href="https://www.ecmrecords.com/catalogue/1508746001/obsidian-kit-downes" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">“Obsidian”</a> is a mix of his own compositions and improvisations, a haunting version of the Scottish ballad “Black Is the Colour” and a song co-written with his father. It’s lyrical and emotional, full of unexpected sounds, dynamics and colors. One reviewer called the album “a richly layered, moving soundscape with dark, whispering undercurrents.”</div>
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“Obsidian” caught Barone’s ear.</div>
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“I’m always curious about the many ways in which the organ can express itself outside of what we think of as its norms — the traditions of use in the church and the virtuosic concert hall,” said the veteran broadcaster, whose program<a href="http://pipedreams.publicradio.org/" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;"> “Pipedreams,”</a> distributed by MPR affiliate American Public Media, is the only national weekly radio show devoted to the pipe organ.</div>
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“Kit’s album utilizes the organ in a subtle and expressive way, which I found quite refreshing and very intriguing and attractive.” (Read some of Barone's other picks <a href="http://www.startribune.com/mpr-s-michael-barone-picks-the-best-of-new-music-for-pipe-organ/511590842/" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">here</a>.)</div>
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In April 2018, Barone <a href="http://pipedreams.publicradio.org/listings/2018/1817/" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">featured selections from “Obsidian”</a> on “Pipedreams.” He learned that Downes was planning a North American tour for summer 2019 and hoped to play a date in Minnesota. Barone modestly says, “I made that happen.”</div>
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Downes will make his Minnesota debut <a href="http://www.saintolaf.org/eventcalendardetails.aspx?vieweventguid=e912d7f6-6d5e-4b0b-ac3f-dbc430db2e88&subheadertext=Kit%20Downes%20in%20Concert" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">June 30 at St. Olaf Catholic Church</a>in downtown Minneapolis. More of his music was recently heard on “Pipedreams.”</div>
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<span style="font-weight: bold;">Meeting Pärt as a choirboy</span></div>
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Downes played organ before he played piano. But first he was a choirboy at Norwich Cathedral in Norfolk, one of the great medieval cathedrals of England. He sang everything from Palestrina to Arvo Pärt.</div>
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He was 9 when he met the minimalist Pärt, who was writing a piece for the choir. “It was amazing,” Downes said by phone from London. “I enjoyed the reflective quality of the music. It stayed with me.”</div>
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He started taking organ lessons and playing church services, improvising on psalms and hymns. When he was 13, his mother gave him an Oscar Peterson CD.</div>
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“She realized that I was interested in the process of improvising,” Downes said. “She thought that jazz would be a natural kind of next step. And once I got into that, I completely forgot about the organ for a long time, because when you catch the jazz bug you go pretty deep into it. So that was that for about 15 years.”</div>
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“Obsidian” isn’t a jazz recording, but Downes credits jazz with his understanding of rhythm and harmonics.</div>
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“Jazz was the music I learned everything through,” he said. “I still say that about all the music I’m playing now. It all comes through the very broad prism of jazz music. Even if aesthetically it sounds completely different, it still owes much of its DNA to the records I listened to in my teens: American jazz.”</div>
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He credits British saxophonist Tom Challenger with bringing him back to the organ. (Challenger appears on one of the tracks on “Obsidian.”)</div>
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“I was getting to a point in my playing where I felt like I needed to make a more original statement,” Downes said. “I started thinking about playing the pipe organ, which for me wasn’t something new. It would be something old because it was what I played first, when I was a kid.”</div>
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He and Challenger played a couple of concerts together, with Downes improvising on the organ.</div>
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“When we started working like that, I found that all the things I’d learned since playing the organ as a kid, all the things I’ve learned through jazz and through contemporary classical music, sat in a really interesting way on the organ … It felt very freeing and liberating to play an instrument that was so colorful and had such a huge dynamic range compared to the piano.”</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYuwAGTUeW4eZJj4gOGiIGw91PIaRTD6QhMsjq1ih4Fxq3Ad8XBWoH2ce_wtKc0VME2jU8R-s1sYT187c2A_ayJ4zY1ai8h4_qLsKA5k4LQZGcHi0YawZuarwmmQ-vnVPzUg9dkhJ1f1sY/s1600/Kit+Downes+by+Alex+Bonney+courtesy+ECM.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1052" data-original-width="1600" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYuwAGTUeW4eZJj4gOGiIGw91PIaRTD6QhMsjq1ih4Fxq3Ad8XBWoH2ce_wtKc0VME2jU8R-s1sYT187c2A_ayJ4zY1ai8h4_qLsKA5k4LQZGcHi0YawZuarwmmQ-vnVPzUg9dkhJ1f1sY/s400/Kit+Downes+by+Alex+Bonney+courtesy+ECM.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kit Downes by Alex Bonney, courtesy of ECM Records</td></tr>
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<span style="font-weight: bold;">A new wave of experimenters</span></div>
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Downes calls the organ “a big toy box full of sounds.” One of the musicians he took inspiration from was pianist and Golden Valley native <a href="http://www.startribune.com/pianist-craig-taborn-returns-to-walker-art-center-his-inspiration-point/204590221/" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">Craig Taborn</a>.</div>
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“I was 25 when I first heard him with [American saxophonist] Tim Berne’s band, and that changed many things for me musically. His solo record, ‘Avenging Angel,’ had a big influence on how I wanted some of this organ music to sound.”</div>
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As Downes traveled and toured with “Obsidian,” he met “some really interesting organists who are doing really fascinating stuff as well. You don’t hear experimental music on the organ in the mainstream that often, so it’s a nice surprise when you find it.”</div>
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He offered a few examples. “There’s a guy called <a href="https://www.youtube.com/watch?v=C5vT-skOs_Y" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">Jürgen Essl</a> in Stuttgart who teaches improvisation. It’s not jazz, but that kind of sensibility in terms of modern harmony and use of the instrument. And <a href="https://youtu.be/bn4aqxM60IA" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">Daniel Stickan</a> near Hamburg. And <a href="https://www.youtube.com/watch?v=kblgJCbNiKw" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">Claire Singer</a> at the Union Chapel in London. She uses the organ in completely different ways — like a noise instrument. Drone noise. She has abstracted the instrument, and that’s super inspiring. So there are people doing really cool things with it. I get very inspired by hearing a lot of that.”</div>
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When asked “Do you think it’s possible to make the pipe organ cool again?” Downes laughed.</div>
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“I’m not sure it was ever cool,” he said. “But it’s really cool to me … [The pipe organ] has become more of a museum piece. But because it has such a heavy history, it’s ripe for being abstracted and subverted, if you don’t mind the risk of it not working out sometimes, taste-wise or technically. I think that’s the appeal and allure of it: Something new through something old.”</div>
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Barone put it this way: “The Greek root for ‘organ’ simply means ‘tool.’ This is a device which — as John Zorn and Kit Downes and Henry Martin and Olivier Messiaen and Johann Sebastian Bach have proved — can be used in any number of ways. It’s really for us to say ‘Wow, let’s see what’s next around the corner.’ … The organ can do anything you ask of it.”</div>
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Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-83559888609279950022019-03-25T13:07:00.000-07:002019-09-13T13:14:59.664-07:00Music is his monument<span style="caret-color: rgb(68, 68, 68); color: #444444; font-family: "poynter serif re" , "georgia" , "times" , serif;"><span style="font-size: large;">A "national treasure" himself, musician Wadada Leo Smith expands the notion of "America's National Parks" at the Walker.</span></span><br />
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<span style="caret-color: rgb(68, 68, 68); color: #444444; font-family: "poynter serif re" , "georgia" , "times" , serif;"><b><i>Originally published in the Minneapolis Star Tribune, March 24, 2019</i></b></span><br />
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<tr><td class="tr-caption" style="text-align: center;">Wadada Leo Smith by Maarit Kytöharju</td></tr>
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A potent force in creative music for more than 40 years, trumpeter and composer <a href="https://wadadaleosmith.com/" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">Wadada Leo Smith</a> stepped into the national spotlight in 2013. He was a <a href="https://www.pulitzer.org/finalists/wadada-leo-smith" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">Pulitzer Prize finalist</a> for “Ten Freedom Summers,” <a href="https://www.popmatters.com/161658-wadada-leo-smith-ten-freedom-summers-2495827157.html" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">a monumental work about the civil rights movement</a>. Heads turned. Ears opened.</div>
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A Doris Duke Artist Award followed. Jazz critics’ polls named him artist, musician and composer of the year. A DownBeat cover story dubbed him a national treasure.</div>
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At 77, Smith has never been as popular and in demand as he is right now, or as prolific. The creator of <a href="https://cuneiformrecords.bandcamp.com/album/americas-national-parks-hd-96k-24b" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">“America’s National Parks,”</a> an epic work he’ll <a href="https://walkerart.org/calendar/2019/wadada-leo-smith-americas-national-parks" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">bring to Walker Art Center on Saturday</a>, is a geyser of original music. He has more than 1,500 new compositions he hasn’t yet played or recorded.</div>
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“I could record every day for the next five years, just about,” he said by phone from his home in New Haven, Conn. “I won’t be able to, but I could if there was a possibility.”</div>
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Since 2012, the year of “Ten Freedom Summers,” Smith has released 16 albums. His latest, “Rosa Parks: Pure Love,” is an oratorio for the civil rights hero “who made the right move of resistance at the right time,” Smith says. Recorded in January, and due for release this fall or next spring, “Appassionata” is a multi-movement work about Anita Hill, the Rev. Martin Luther King Jr., Lorraine Hansberry, Pablo Casals and the Falling Man (and Woman) of the Sept. 11 attacks.</div>
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An integral part of Chicago’s seminal <a href="https://aacm-newyork.com/wadadaleosmith.html" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">Association for the Advancement of Creative Music</a> for 50 years, a professor of music for almost 40 years (he retired in 2013), a leader and member of numerous forward-thinking groups, Smith is a maker of what he calls “creative music,” eschewing “jazz.” He prefers “creation” to “improvisation.” Straddling what we think of as free jazz and chamber music, his compositions are spacious, inventive, pointed, haunted, and full of emotion and humanity.</div>
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Smith’s idea of a national park goes beyond the usual.</div>
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“He has an expanded view,” Walker curator Philip Bither said. “He celebrates places like Yellowstone, Yosemite and Sequoia. He also posits that we should make the entire <a href="https://www.youtube.com/watch?v=3-_6dIs4Pqo" style="box-sizing: border-box; color: #003366; margin: 0px; padding: 0px; vertical-align: baseline;">city of New Orleans a national cultural park</a>. And the Mississippi River, for its charged role in American history as a dumping ground for black bodies. And he thinks a national park should be made around writer Eileen Jackson Southern, an African-American ethnomusicologist.”</div>
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Born and raised in Leland, Miss., where his first music teacher was his stepfather, blues guitarist Alex “Little Bill” Wallace, Smith taught himself to play trumpet at 12 and started composing at 13. After five years in the Army, he moved to Chicago and has since lived in New York, California and Connecticut, though he never lost his Southern accent. He’s warm, generous and patient in conversation, firm in his convictions and refreshingly optimistic. This interview has been edited for length and clarity.</div>
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<b>Q: You’ve achieved great honor and recognition in your 70s. Would your life have been different if that had come sooner?</b></div>
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<b>A: </b>You never know, but I would say this: I’ve never changed my dreams, whether I had an empty pocket or whether I had a bank account that was full. For me, the journey has never been about whether I was acknowledged or rewarded for my achievements. The journey has always been that I have lived an artistic life, all my life.</div>
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I’ve never suffered, I’ve never gone hungry, I’ve never been without a place to live, and I’ve always lived with what I have. At an early age, I read “Walden Pond.” Anybody who reads that can understand that no matter how much or how little you have, you can always manage to live and do the things you want to do, without having the social or political pressure to conform to the way everybody else wants you to be. </div>
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<b>Q: What made you want to start composing so early in life?</b></div>
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<b>A: </b>The idea that the same piece of music could influence more than one person in various and different ways. The kind of empowerment it gives the individual, to play an instrument or compose a note of music. </div>
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<b>Q: You were thinking about that at 13?</b></div>
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<b>A: </b>I was thinking about all that at 13. I had also read Marcus Aurelius’ “Meditations” at 13. My thoughts have always been serious thoughts. </div>
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<tr><td class="tr-caption" style="text-align: center;">Wadada Leo Smith by Scott Groller</td></tr>
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<b>Q: How do you manage to compose at such a furious pace?</b></div>
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<b>A: </b>I do it every day. I live alone. I have no extra distractions. I have few responsibilities. Most of them are to my granddaughters and grandsons and daughters, and I find time to put them into my close encounter every week. But I spend the majority of my time in my house alone. The only time I speak is when I do prayer or open up the telephone for a call.</div>
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<b>Q: Do you look for ideas, or do they come to you?</b></div>
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<b>A: </b>They come to me. I’ve understood the stream of inspiration, and I know how to connect to it and tag it and get on it in a moment that I need to. And even when I’m not looking to jump onto the stream of inspiration, it’s a constant part of my reflections, because spiritual growth is based off of the same stream. </div>
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<b>Q: Your projects are ambitious and thoughtful. You’re not just making another album.</b></div>
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<b>A: </b>No, never. That’s what they used to complain about me — the early promoters. They would say, “Well, he’s got this kind of project and that kind of project. It’s too many.” My whole career has all been projects, particularly on the recording side.</div>
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I look at making art the same way the almighty made creation, though on the level of human reality. For every piece I do, I have something that’s inside of me, and what helps it is reflection, meditation, contemplation and research. I don’t ever start a new project until I get the buzz inside of me, and once that happens it begins to explode, and it keeps going until it’s finished.</div>
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<b>Q: You’ve said that the late playwright August Wilson was an inspiration for “Ten Freedom Summers.” In what way?</b></div>
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<b>A: </b>Everybody thinks that his Pittsburgh cycle of plays are concerned with history. They are not. What he says quite clearly in some of his own notes is that he was dealing with culture, and [the plays were] an explicit way of mapping out the experience of a people in an oppressive nation. From that, I was inspired to think about: How does music fit?</div>
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I decided to look at the psychological impact of struggling for liberty, justice and human dignity, and being rejected. “Ten Freedom Summers” is based on my reflections on the psychological experience of African-Americans in this society. Knowing about August Wilson — reading his plays, seeing productions of his plays — gave me the courage to think the way I want to think.</div>
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<b>Q: You mentioned Thoreau and Marcus Aurelius. Who have been other guiding lights for you?</b></div>
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<b>A:</b> Dr. Martin Luther King. I have all of his books, which I’ve read, and collections of his speeches. His speeches, to me, are very close to spiritual studies, and I have always used him for moments when I need to be uplifted — moments when I read and see stuff that’s absolutely appalling. I take out his texts and start reading, and I immediately come back to the same thing he was trying to teach the world: that love is the most powerful factor. </div>
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<b>Q: You’ve said that you’re an optimist. Even in a time when people are angry and divided.</b></div>
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<b>A: </b>I’m an optimist even when they say bad things about people I think are great human beings. I always believe the best will prevail, even if it comes from one human being on just one little tiny planet.</div>
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<b>Q: Some people who come to the Walker to see you will have heard “America’s National Parks.” Some won’t. What would you like people to know?</b></div>
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<b>A: </b>Two things are important for me. The first is that the recorded document, the CD, is a historical thing. It will stay fixed until creation is gone. But in a live performance, I’m responsible to offer something in addition to what’s on that recording. So if the person has heard the CD, they will hear also a new configuration of those ideas and those dreams, a unique gift for just that moment only.</div>
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Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-26585932773248057472018-12-01T10:37:00.001-08:002018-12-01T12:22:46.683-08:00The Year of the Woman in Monterey<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Tia Fuller and Ingrid Jensen during the Geri Allen tribute<br />
at the 61st Monterey Jazz Festival in 2018<br />
Photo by John Whiting</td></tr>
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<b><i>Originally published in the program for the 61st Annual Monterey Jazz Festival, Sept. 21-23, 2018</i></b><br />
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<span style="font-family: "times new roman", serif;">When asked to comment on women in jazz today, saxophonist Tia Fuller starts by looking back. “We’ve always been there,” she says. “Lil Hardin Armstrong, Cora Bryant, Mary Lou Williams … It’s just that the history books have been about </span><i style="font-family: "times new roman", serif;">his </i><span style="font-family: "times new roman", serif;">story.” </span><br />
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The 61st Monterey Jazz Festival will help to write a new chapter. More than half of this year’s performances feature women as leaders, co-leaders or side players. Some 60 women jazz artists will be on the grounds, many with their own bands. Most are instrumentalists. The majority play what are traditionally (and inexplicably) viewed as “masculine” instruments: saxophone, trumpet, clarinet, bass, drums.<o:p></o:p></div>
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Women have been welcomed at Monterey from the start. The inaugural year, 1958, featured Billie Holiday, Ernestine Anderson and others. Women have been artists-in-residence, commission artists and showcase artists. But this year feels like a turning point, one from which there’s no turning back.<o:p></o:p></div>
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A changing zeitgeist, fueled by the #MeToo movement, has made women jazz artists more outspoken about inequality, underrepresentation, gender discrimination and harassment, and harder to silence and ignore. If 2017 was a “year of reckoning and recognition” for women in jazz, as the <i>New York Times</i>has said, then 2018 is a year when we’re seeing some results. <o:p></o:p></div>
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The Atlanta Jazz Festival in May featured a whole day of women headliners. Fuller was there with her group. So was trumpeter Ingrid Jensen. Fuller remembers thinking, “This is exciting for me, because we’re able to have more voice. Men aren’t necessarily seeing it as this feminist movement, but more as ‘Yeah, women do need to be more present!’”<o:p></o:p></div>
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Keychange, an international campaign begun in Europe in late 2017, is asking music festivals to achieve gender parity by 2022. New York’s Winter Jazz Festival is among the 100+ festivals around the world to sign the pledge. <o:p></o:p></div>
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We Have Voice, a collective of 14 women in jazz and experimental music, has released a Code of Conduct to Promote Safe(r) Workplaces in the Performing Arts. The message: Zero tolerance for harassment of any kind. Seattle’s Earshot Jazz, Chicago’s Hyde Park Jazz Festival and SF Jazz are just a few of the institutions that have adopted the code. Fuller and drummer Terri Lyne Carrington are members of We Have Voice.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Tia Fuller at the 61st Monterey Jazz Festival<br />
Photo by John Whiting</td></tr>
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“What I wanted to do this year was make a strong statement,” says Tim Jackson, Monterey’s artistic director. “It started with putting together our next Monterey Jazz Festival on Tour band. Half the band is women, and they’re on the front line, in prominent roles with the trumpet [Bria Skonberg], saxophone [Melissa Aldana] and vocals [Cécile McLorin Salvant].”<o:p></o:p></div>
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Fuller and Jensen are this year’s artists-in-residence. Last year, they were part of “Women in Jazz,” a lively panel discussion in the Blue Note tent. (An edited version appeared in <i>DownBeat</i>.) “Women in Jazz Part II” takes place Sunday in the Pacific Jazz Café, a bigger venue.<o:p></o:p></div>
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The 2018 Showcase Artist and Jazz Legends Gala honoree is vocalist Dianne Reeves, who was recently named a National Endowment for the Arts Jazz Master. “Monterey was one of the first major festivals she played, early in her career,” Jackson says. That was in 1984. She’s been back several times since.<o:p></o:p></div>
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Monterey wanted to honor the late and much-loved pianist and educator Geri Allen, who died in June 2017. Allen was a great friend to the festival, a profoundly influential artist and an inspiration to many women. Jackson put Fuller and Jensen in charge of curating Friday night’s tribute concert in the Arena. They brought in Carrington and pianists Kris Davis and Shaime Royston. <o:p></o:p></div>
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Also on this year’s game-changing line-up: stellar clarinetist Anat Cohen, immensely creative soprano saxophonist Jane Ira Bloom, internationally acclaimed saxophonist and flutist Jane Bunnett and her group Maqueque (five young Cuban women), trailblazing jazz guitarist Mary Halvorson, and avant-garde flutist Jamie Baum. <o:p></o:p></div>
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Jackson says, “A lot of situations just fell into place to make this the Year of the Woman at Monterey. But the real key will be next year – making sure that next year, and every year after, there’s a strong gender balance in the programming that we do. And that we’re putting each artist in the best situation for success, and the best venue, and the best project possible, to set them up to have an incredible rapport with the audience.”<o:p></o:p></div>
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By phone and email, our two Artists-in-Residence offered up some thoughts and insights about where we are and what they would like to see happen next.<o:p></o:p></div>
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<b><i>On the state of women in jazz today</i></b><i><o:p></o:p></i></div>
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<b>Tia Fuller: </b>There are more opportunities now because people are talking about it. Women are feeling more empowered to speak out. Men are being held more accountable to give more visibility to the women who are out there. More festivals and clubs are providing platforms for us to be seen.<o:p></o:p></div>
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<b>Ingrid Jensen: </b>The state is solid. There are more and more women gaining the skills and experience necessary to rise to the top of a very challenging and ever-evolving musical field.<o:p></o:p></div>
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<b><i>On what can be done to make jazz more open and accessible to women players<o:p></o:p></i></b></div>
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<b>TF: </b>We have to raise the level of consciousness in the formative years in school, so these environments are equally as nurturing as they are toward boys and men. So we can see more young ladies out there on the scene who don’t have to wear this armor of protection to go and sit in at a jazz club.<o:p></o:p></div>
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<b>IJ: </b>Education! Conversation and support. Band rooms need to have more pictures and CDs of female musicians, as well as the standard Wynton, Dizzy, Miles, and Ella posters.<o:p></o:p></div>
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<tr><td class="tr-caption" style="text-align: center;">Ingrid Jensen at the 61st Monterey Jazz Festival<br />
Photo by John Whiting</td></tr>
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<b><i>On why some instruments are considered “masculine” and what that even means<o:p></o:p></i></b></div>
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<b>TF: </b>I think it’s about who has traditionally played the instrument. When we think about a saxophone, who do we think about? Trane or Bird. We don’t think about Vi Burnside, who went to high school with Sonny Rollins, played tenor saxophone and was a soloist with the International Sweethearts of Rhythm.<o:p></o:p></div>
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<b>IJ: </b>I never got that “masculine” thing when it comes to a hunk of metal. Maybe it’s an American thing? I actually wanted to play the trombone. Both instruments were equally acknowledged as legitimate choices by my Canadian parents and band teacher. Does this mean we have to ask men why they chose flutes and piano? <o:p></o:p></div>
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<b><i>On their own women role models</i></b><i><o:p></o:p></i></div>
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<b>TF: </b>Definitely Terri Lyne Carrington. She started out playing with Clark Terry early on. It wasn’t even an idea for her not to play because she’s a woman. Her mindset is, “If something is in your way, you just move it out of the way.” She will always hold people accountable if they’re not giving her the respect she feels she deserves. She calls them out right there.<o:p></o:p></div>
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<b>IJ: </b>My latest role models are Cécile McLorin Salvant, Becca Stevens and Tia Fuller. All stellar humans who inspire me. Early role models: Stacey Rowles, Marianne McPartland, Lil Hardin Armstrong, Melba Liston. Also Laurie Frink. She was the first female trumpet teacher I had, and her incredible teaching launched my career forward.<o:p></o:p></div>
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<b><i>Any advice for young women instrumentalists today?</i></b><i><o:p></o:p></i></div>
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<b>TF: </b>Move in faith, not fear. Move faithfully into your purpose and the direction of your life. Know this is a continuous thing. There’s never an arrival point. Know this is not going to be easy, but it’s going to be worth it.<o:p></o:p></div>
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<b>IJ: </b>Study hard! You cannot Instagram your way into this music. It takes a long time to get good at it, so get on the edge of your seat and get going. Don’t take any abuse from anyone. Use the discouragement that naturally occurs along the way as food for power to get even better. Get a good teacher and get out and play as much as possible. ASK QUESTIONS!<o:p></o:p></div>
Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-6133149824913368772018-11-21T18:57:00.003-08:002018-11-21T18:59:43.977-08:00Atlantis Quartet says "Hello Human" with first new album in five years<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuVv54KO4oV5GGeWsdzDAP8yOpu_XFkSixDDxPvnn7N6Df9laoOGL_CIgrN_LqNAK5Cnge3NlD6sSjad-5kdOnCzcZywuH9lutF4ZFM4i75nI-HxXZvSrQ3QU6o6La_Cqy-cuCrQRLtfz0/s1600/Atlantis+Quartet+Press+Photo+by+Benny+Moreno.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1067" data-original-width="1600" height="265" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuVv54KO4oV5GGeWsdzDAP8yOpu_XFkSixDDxPvnn7N6Df9laoOGL_CIgrN_LqNAK5Cnge3NlD6sSjad-5kdOnCzcZywuH9lutF4ZFM4i75nI-HxXZvSrQ3QU6o6La_Cqy-cuCrQRLtfz0/s400/Atlantis+Quartet+Press+Photo+by+Benny+Moreno.jpeg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Brandon Wozniak, Pete Hennig, Zacc Harris and Chris Bates<br />
Photo by Benny Moreno</td></tr>
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One great thing about jazz is the pick-up band. Someone’s on the road or comes to town, finds two or three more musicians and plays a night or two. The So-and-So Trio is really so-and-so from New York, Chicago, Detroit or New Orleans plus the bassist or pianist you saw last night at Jazz Central and the drummer or saxophonist who just played the Black Dog, the Dakota, Ice House or Crooners.<o:p></o:p></div>
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Another greater thing about jazz is the band that’s been together for a long time. When they’re still together because they want to be – even when life happens, even if everyone individually plays with or leads a bunch of other bands – it’s about more than music. It’s about history, friendship, trust, respect, collaboration and connection. They’ve grown together and learned from each other. You want to be in the room with them and hear what they have to say, to feel that camaraderie and shared creativity. <o:p></o:p></div>
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On Friday at <a href="http://vieux-carre.com/" style="color: #954f72;">Vieux Carré</a>, <a href="https://www.atlantisquartet.com/" style="color: #954f72;">Atlantis Quartet</a>– Brandon Wozniak on saxophone, Zacc Harris on guitar, Chris Bates on bass and Pete Hennig on drums – will bring their 12 years as a band to the stage as they release their fifth album, “Hello Human.” The title track nods to the fact that all four are now dads, which wasn’t true when the band formed in 2006. Back then the bassist was Travis Schilling, who appeared on their first album, “Again, Too Soon” (2007). Bates had stepped in by 2009, when “Animal Progress” came out. That was followed by the live album “Lines in the Sand” (2011) and “Expansion” (2013). <o:p></o:p></div>
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Meanwhile, Atlantis was named Best Twin Cities Jazz Artist by City Pages and the Star Tribune. They performed in The Current studio. In 2015, they won a McKnight Fellowship for Performing Musicians, a $25,000 prize that opened the door to “Hello Human” and four days at Pachyderm Studios in Cannon Falls, where a blizzard was Nature’s way of saying get to work.<o:p></o:p></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7FAe_dIgfoAcC90ptuc5bC1sQ0U9z0-4qwqJ7EgXJDWSqOCtURAbFY3oUNfjtJSGUqN4gqCla9SegG5JS14ePmiSWzvaN2XHipvMPx0J38jcGA9FN-A3oB8waapwkMOD3vBNtvmKYt7wn/s1600/Atlantis+Quartet+HELLO+HUMAN+Cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7FAe_dIgfoAcC90ptuc5bC1sQ0U9z0-4qwqJ7EgXJDWSqOCtURAbFY3oUNfjtJSGUqN4gqCla9SegG5JS14ePmiSWzvaN2XHipvMPx0J38jcGA9FN-A3oB8waapwkMOD3vBNtvmKYt7wn/s200/Atlantis+Quartet+HELLO+HUMAN+Cover.jpg" width="200" /></a></div>
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Every track on “Hello Human” is an original. All four band members are composers and terrific improvisers. The only times I’ve heard them perform other people’s music was during a series of Halloween shows, when they played classic albums in their entirety: Coltrane’s “A Love Supreme” (2008), Herbie Hancock’s “Headhunters” (2009), Led Zeppelin’s “Houses of the Holy” (2011) and Sonny Rollins’ “The Bridge” (2012). (Those concerts were really fun, by the way, hint hint.)<o:p></o:p></div>
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Along with Bates’ musings on fatherhood (and, by extension, acknowledging each other’s humanity), “Hello Human” includes songs inspired by the connective tissue of the body’s bones and joints (“Ligaments”), a place where five roads converge (“Five Corners”), ancient Chinese medicine (“Meridians”), the music of Ornette Coleman (“Just Ate”), and the stresses and demands of our modern technological world (“Ghost Tensions”). <o:p></o:p></div>
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From the earliest days, Atlantis has always had its own distinct ensemble sound, no matter what the musicians were playing. You can listen to “Again Too Soon” and “Hello Human,” two songs 12 years apart, and know you’re hearing the same band. And it doesn’t matter whether they’re playing a fiery, high-energy tune or a tender ballad. <o:p></o:p></div>
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Their music can be serious and playful, rowdy and lyrical. It can lead you down a path with a lot of sharp turns. Often complex and unpredictable, it’s never off-putting. The door is always open to those who want to listen.<o:p></o:p></div>
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*****<o:p></o:p></div>
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<a href="https://www.atlantisquartet.com/" style="color: #954f72;">Atlantis Quartet</a> plays <a href="http://vieux-carre.com/" style="color: #954f72;">Vieux Carré</a> on Friday, Nov. 23, at 9 p.m. <a href="http://vieux-carre.com/event/atlantis-quartet-album-release/" style="color: #954f72;">FMI and tickets</a> ($15/10). From there, they go to the Jazz estate in Milwaukee (Nov. 24) and the Tonic Room in Chicago (Nov. 25). “Hello Human” is on the Twin Cities-based collective label Shifting Paradigm Records. <a href="https://www.youtube.com/watch?v=d0wbrjzuzas" style="color: #954f72;">Here’s an album preview for “Hello Human</a>.”</div>
Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-74634110141333788772017-12-26T13:00:00.000-08:002017-12-27T14:54:52.452-08:00The Bad Plus Interviews 2017: Introduction<div class="MsoNormal">
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<tr><td class="tr-caption" style="text-align: center;">The Bad Plus at the Dakota on December 22, 2017<br />
Photo (C) 2017 John Whiting</td></tr>
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On
April 10, 2017, <a href="http://www.thebadplus.com/">The Bad Plus</a> – bassist Reid Anderson, pianist Ethan Iverson and drummer
Dave King – surprised a lot of people by posting this on the band’s <a href="https://www.facebook.com/thebadplusofficial/posts/1258233177558202">Facebook page</a> and <a href="http://www.thebadplus.com/">website</a>:</div>
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<b style="mso-bidi-font-weight: normal;"><span style="color: #1d2129; font-family: "calibri" , sans-serif; letter-spacing: -0.1pt;">A message
from The Bad Plus to our fans and followers</span></b><span style="color: #1d2129; font-family: "calibri" , sans-serif; letter-spacing: -0.1pt;">: We will soon begin an exciting new chapter in our life as a band. As
of January 1, 2018, The Bad Plus will consist of founding members Reid Anderson
(bass) and Dave King (drums) and new member Orrin Evans (piano). Original
pianist Ethan Iverson will finish out the 2017 touring schedule in support of
the album “It</span><span style="color: #1d2129; font-family: "calibri" , sans-serif; letter-spacing: -0.1pt;">’</span><span style="color: #1d2129; font-family: "calibri" , sans-serif; letter-spacing: -0.1pt;">s Hard,”
culminating in a New Year</span><span style="color: #1d2129; font-family: "calibri" , sans-serif; letter-spacing: -0.1pt;">’</span><span style="color: #1d2129; font-family: "calibri" , sans-serif; letter-spacing: -0.1pt;">s Eve gig at the Village Vanguard in New
York City.</span> </blockquote>
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<span style="color: #1d2129; font-family: "calibri" , sans-serif; letter-spacing: -0.1pt;"><o:p></o:p></span><span style="color: #1d2129; font-family: "calibri" , sans-serif; letter-spacing: -0.1pt;">The Bad Plus have always been a band in the
truest sense </span><span style="color: #1d2129; font-family: "calibri" , sans-serif; letter-spacing: -0.1pt;">—</span><span style="color: #1d2129; font-family: "calibri" , sans-serif; letter-spacing: -0.1pt;"> a group
of passionate collaborators with no single </span><span style="color: #1d2129; font-family: "calibri" , sans-serif; letter-spacing: -0.1pt;">“</span><span style="color: #1d2129; font-family: "calibri" , sans-serif; letter-spacing: -0.1pt;">leader.</span><span style="color: #1d2129; font-family: "calibri" , sans-serif; letter-spacing: -0.1pt;">”</span><span style="color: #1d2129; font-family: "calibri" , sans-serif; letter-spacing: -0.1pt;"> That spirit
will continue in full-force as we welcome Orrin into the group. This is not an
act of replacement; no tryouts were held. We</span><span style="color: #1d2129; font-family: "calibri" , sans-serif; letter-spacing: -0.1pt;">’</span><span style="color: #1d2129; font-family: "calibri" , sans-serif; letter-spacing: -0.1pt;">ve known and respected Orrin as
a musician and as a person for longer than The Bad Plus has existed. His heart
and his talents are simply a perfect match to continue our trajectory.<span class="apple-converted-space"> </span></span> </blockquote>
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<span style="color: #1d2129; font-family: "calibri" , sans-serif; letter-spacing: -0.1pt;"><o:p></o:p></span><span style="color: #1d2129; font-family: "calibri" , sans-serif; letter-spacing: -0.1pt;">A
brand-new album featuring the refreshed lineup will be recorded this fall for
release in 2018, with a supporting tour cycle to follow. The Bad Plus’
extensive songbook will continue to be represented at shows. We remain grateful
to our supporters and invite you along with new listeners to be an integral
part of our evolution and the exciting music it’s sure to deliver.</span></blockquote>
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<span style="mso-bidi-font-family: "Times New Roman";">The
band’s touring schedule for the rest of the year included its usual annual Christmas
residency (for 18 years) at the <a href="http://www.dakotacooks.com/">Dakota Jazz Club</a> in Minneapolis, followed by
its usual New Year’s residency at the <a href="https://www.villagevanguard.com/">Village Vanguard</a> in New York City.<o:p></o:p></span></div>
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<span style="mso-bidi-font-family: "Times New Roman";">Although
the band will continue as The Bad Plus with Orrin Evans at the piano, Ethan
Iverson’s leaving signals the end of an era. I wrote about that – and the
band’s history, music, and impact on jazz – for the </span><a href="http://www.startribune.com/minneapolis-jazz-band-the-bad-plus-prepares-for-final-shows-with-original-lineup/464249433/"><span style="mso-bidi-font-family: "Times New Roman";">Minneapolis Star Tribune</span></a><span style="mso-bidi-font-family: "Times New Roman";">, in an article published on
December 14, the Sunday before they came to the Dakota. I spoke with Reid,
Ethan and Dave at length, and also with Lowell Pickett, owner of the Dakota,
and Philip Bither, performing arts curator for the <a href="https://walkerart.org/">Walker Art Center</a>, who
knows contemporary music, knows the band and featured them several times over
the years, mostly recently in <a href="https://walkerart.org/calendar/2017/the-bad-plus-bill-frisell-85-95">a Walker commission with Bill Frisell</a>. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="mso-bidi-font-family: "Times New Roman";">Because
I could use only brief quotes in the print article, I’m including the full
interviews here, edited for clarity, minus chit-chat and off-the-record
material. I’ve been listening to The Bad Plus, attending their concerts, buying
their albums and following them almost from the start. I saw this as a moment
in the life of a great piano trio that deserved a close look. Conducted
immediately after they returned from an intense European tour in early December
2017 and just before they came to Minneapolis, these interviews are for the
record.<o:p></o:p></span><br />
<span style="mso-bidi-font-family: "Times New Roman";"><br /></span>
<span style="mso-bidi-font-family: "Times New Roman";"><i>Related:</i></span><br />
<span style="mso-bidi-font-family: "Times New Roman";"><br /></span>
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017-reid.html">The Bad Plus Interviews 2017: Reid Anderson</a></b></span><br />
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/date-ofinterview-december-3-2017-pamela.html">The Bad Plus interviews 2017: Ethan Iverson</a></b></span><br />
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/date-of-interview-december-5-2017.html">The Bad Plus Interviews 2017: Dave King</a></b></span><br />
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017-lowell.html">The Bad Plus Interviews 2017: Lowell Pickett</a> (Dakota Jazz Club)</b></span><br />
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017-philip.html">The Bad Plus Interviews 2017: Philip Bither</a> (Walker Art Center)</b></span></div>
Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-38204993821701010002017-12-26T12:00:00.000-08:002017-12-27T14:55:16.409-08:00The Bad Plus Interviews 2017: Reid Anderson<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh02clN720vYrH1FzzmUeiyJwLPc1f2wjq_zBiOWVURjs6gmRxgpnv2ZErWeReX2zVu0XAWnygStpqvabL_VIyWksPn-dsILx5dtUmr6QNoI8q22kvXCXpQNf2m7i_8l8mDO_KNn7pv7Cbf/s1600/IMG_2909.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="893" data-original-width="1600" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh02clN720vYrH1FzzmUeiyJwLPc1f2wjq_zBiOWVURjs6gmRxgpnv2ZErWeReX2zVu0XAWnygStpqvabL_VIyWksPn-dsILx5dtUmr6QNoI8q22kvXCXpQNf2m7i_8l8mDO_KNn7pv7Cbf/s400/IMG_2909.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ethan Iverson, Reid Anderson and Dave King<br />
at the Dakota on December 21, 2017<br />
Photo (C) 2017 by John Whiting</td></tr>
</tbody></table>
<i style="text-indent: 0in;"><br /></i>
<i style="text-indent: 0in;">Date of interview: December 4, 2017</i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">Pamela Espeland: According to Lowell, this
will be your 18th Christmas at the Dakota. <o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
[Note:
Lowell Pickett is the owner of the <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="http://www.dakotacooks.com/">Dakota Jazz Club</a></span> in Minneapolis.]<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">Reid Anderson:</b> Wow. I guess if Lowell
says, that’s what it is. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">PLE: What has it meant to you to play there
every Christmas? <o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">RA:</b> It’s been very meaningful for us to
feel the support of our hometown. That people have come back year after year,
and the audience has grown, has been a localized symbol of what we set out to
do: to be a band, to create a sound and to have actual fans in the world. It’s all
we could really ask for.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">What will we hear this year at the Dakota?<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
For
the last 17 years, we’ve always done a combination of older and newer music.
The first year it was all newer music. It’ll be business as usual in that
respect. We’ll try to put out a combination of older songs and some of the
later stuff as well. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">Are you approaching this any differently
because it’s your final Christmas here as the original configuration?<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
No,
we’re not. There’s all this end-of-an-era thing, but that’s not the way we see
it. Of course it is [the end of an era], and I understand putting it that way,
but for Dave [King] and I, the band is continuing. It’s not like we’re going to
make this big, dramatic statement of “this is the end.” It’s not the end. It’s
just a change. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">Is there a secret meaning to the name The
Bad Plus? <o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
No.
<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">What was your plan when you started out as
a trio? Where did you think this would lead? <o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
When
we started the band, everyone was talking about, “If only we could have a band
that was a committed band. We could all get together and develop a sound, and have
a cooperative group that can play group music, and develop a language and do
what we do.” I think lots of people still talk in those terms. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
We
just committed to doing it. That was our main objective: to make this happen
and commit for as long as we could. Even to the extent of turning down other
work when we were just starting off, when we were paying money out of our own
pockets to play concerts in the name of “we believe we have something here.” <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
The
only way to make this happen is to have that level of commitment. We’ve done
it. We’ve had an 18-year run of playing this music together, and we’re very
proud of that accomplishment.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">Your first album was “The Bad Plus” [2001] on
the Spanish label Fresh Sound, and then “These Are the Vistas” [2003] for
Columbia. That kind of blew things up. The Bad Plus were called the saviors of
jazz and the destroyers of jazz. You got a lot of press attention, both
positive and negative, including mainstream press. What was that like, and did
it give you any second thoughts about what you were doing?<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
It
was a surprise to us, as it was for everybody else. But we didn’t come out of
nowhere. We were all in our 30s when that album came out. We had all been
laboring in obscurity and making our own records and writing music for years
before that. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
By
the time we made “These Are the Vistas,” we really knew what we were doing. We
had experience under our belts. We had our personal aesthetics pretty much
established, and our writing styles were very much there as well. It was an
opportunity to record for a major label, and we were ready for it, and we had
something unique to say. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
I
guess in a sense it was an idea whose time had come. We were just there. The
combination of the kind of stylistic open-mindedness that we brought, and
playing the famous cover songs as well – which was not unique to us, but I do
think we brought a certain attitude and energy to it that was fresh and, dare I
say, it was needed. Something needed to be shaken up. We were just in the right
time and place to do that, and we had a sound that was personal. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
The
jazz world isn’t always receptive to a personal sound. They’re much more
comfortable with something that they can easily describe and check certain
boxes in terms of “this comes from this” and “this is referencing this,” and
all that. But we were much harder to do that with. That was disturbing to some
people and positive for others. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
Having
said that, I do think that people who were our detractors, a lot of them, if
they’ve bothered to stick around, have come around to saying these guys [The
Bad Plus] clearly weren’t the end of everything. Jazz has continued on in
myriad ways, and we’re another part of that stream.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi62RQj7uR43NCJ0PjJjgXGwr60P50-swyUzkKNBDyXuQOhrWO1YTIDYOz_Czwnsqv_2xPebra8UMB24BEDCa7k0fFcG_YN2W-4HIhbNpYWseWTpaNHo90o8Q_sXchqWvE4wwp01hxm5G0i/s1600/Reid_2875.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1129" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi62RQj7uR43NCJ0PjJjgXGwr60P50-swyUzkKNBDyXuQOhrWO1YTIDYOz_Czwnsqv_2xPebra8UMB24BEDCa7k0fFcG_YN2W-4HIhbNpYWseWTpaNHo90o8Q_sXchqWvE4wwp01hxm5G0i/s400/Reid_2875.JPG" width="281" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Reid Anderson<br />
Photo (C) 2017 John Whiting</td></tr>
</tbody></table>
<b style="mso-bidi-font-weight: normal;">When did you and Dave and Ethan first start
playing together? <o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
We
grew up together. Dave and I have known each other since junior high school.
Ethan [Iverson] and I met in 1989 or 1990, when I was a student for one year at
the University of Wisconsin—Eau Claire, and Ethan was still a high school
student in Menomonie. We were introduced because Ethan needed to make a demo
tape for something, and Ron Keezer, who was a percussion teacher at Eau Claire,
put us in the same room together. We had mutual interests and hit it off. So we
have a long relationship, but The Bad Plus didn’t start until 2000.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
[Note:
Ron Keezer is the father of jazz pianist Geoff Keezer.]<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">So we can actually put this on Ron Keezer. <o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
Yeah,
it’s Ron Keezer’s fault. [Laughs.]<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">Did you start playing together around the
same time?<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
I
guess around 1990, we got together once in my parents’ living room. That was an
unremarkable meeting. We were just young kids all trying to push ourselves and
push the boundaries, but without the skills or perspectives to do it very
successfully at the time, like a lot of 20-year-olds.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">But there must have been something there. <o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
No.
There wasn’t. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">What happened then?<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
Ten
years went by, and we all had been pursuing our musical paths and playing with
each other. Ethan is on two of my records; I’m on three of his from the ’90s. Dave
was doing some incredible things with Happy Apple in Minneapolis. I think what sparked
it was when Ethan had a concert in Menomonie, and he called Dave to do it, and
they hit it off. I remember Ethan coming back from that and saying he had
enjoyed playing with Dave. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
One
thing led to another, and we thought – we know each other. Let’s see what
happens if we play together. I was a big admirer of Happy Apple. That was kind
of the original committed band. So we played at the AQ or something. It just
kind of started from there. At that point, when we got together, we felt there
was something there. Something we didn’t have to talk about that was there in
the music. So we decided – let’s try to play together every couple of months
and commit to that and make a record. It just kind of came together naturally. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
[Note:
The AQ was the Artists’ Quarter in St. Paul, which closed in 2013.]<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">The record was your first, on Fresh Sound.
Had you recorded for them before?<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
I
had done three records for them under my name, and Ethan had done several under
his name. Fresh Sound was an important label for a lot of New York musicians,
giving a lot of us a chance to make records that no one else would’ve given us.
<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
[Our
first record for Fresh Sound as The Bad Plus] got us out there in the world and
got us some attention. You can see from that first record that there’s
something there. We already had a sound.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">How many gigs have you played together? Has
anybody kept track?<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
It’s
a pretty big number at this point. We weren’t doing so many concerts in the
earliest days, but probably by 2004 or ’05 it was starting to get up there.
Let’s say on average maybe 100 shows a year. That’s just a wild guess. I’m
trying to be conservative.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">That’s a lot of shows, a lot of travel, a
lot of road.<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
Yeah.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">It’s a lot of music. Yet every time I’ve
seen you, I’ve never once felt that you were phoning it in.<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
Good.
I think that’s one of the things that’s kept us together. We don’t phone it in,
and that’s part of a committed band and the group music ideal that we were
going for. It’s like – we’re going to go out and not only have this sound, this
tribal language that we speak together, but we’re going to have a collective
energy with this music. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
Part
of it is because it’s always our music. Everything we play, every song, no
matter who writes the song. We’re all playing our music. That’s a different
energy from backing someone up or being the leader.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">What are you leaving undone as the original
trio? Is there anything you would’ve done differently? <o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
Honestly,
no. We’ve done so much, and there’s no single project or concept we’re leaving
on the table. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">Looking at jazz 18 years ago, and looking
at jazz today, what’s different? And what part has The Bad Plus played in that?<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
It’s
hard to say from the inside. I suppose we’ve probably influenced the sound of
some of the music that’s happening these days. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
I
think bands are really important. I think group music is really important, and
I hope we’ve kind of shown the way on that front. We’ve been an example of why
you would commit to a band. This is something that can exist within this music,
and it should.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">We heard Brad Mehldau’s trio last night.
They’ve been together for a long time.<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
The
difference between the Brad Mehldau Trio and The Bad Plus is it’s the Brad
Mehldau Trio. They play Brad’s music, and that’s incredible music, but it’s not
quite the same as three conceptualists and composers and what The Bad Plus does
and represents. Granted, it’s not so easy to get three people to cooperate on
that level either, but that’s something we stand behind. We did this. We
contributed this. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">Who do you think is The Bad Plus’s closest
imitator?<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
I
have no idea. I’ve heard some things where I’ve thought they’ve clearly checked
out The Bad Plus, but I’m not trying to uncover or discern who’s trying to
emulate The Bad Plus.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">People are saying <a href="http://gogopenguin.co.uk/">GoGo Penguin</a> sounds like
The Bad Plus, but to me, they sound more like <a href="http://e.s.t./">E.S.T.</a><span id="goog_874212446"></span><span id="goog_874212447"></span><a href="https://www.blogger.com/"></a>, but then I think E.S.T.
sounded like The Bad Plus.<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
E.S.T.
was around before The Bad Plus. And E.S.T. stands for Esbjörn Svensson Trio, so
that was different.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">What’s your favorite The Bad Plus album and
why?<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
You
know I can’t answer that question. I like them all, for their own reasons. I
honestly can’t say we’ve ever made a record that I think is a lesser record.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">When I first contacted you about this
interview, I said I would not be writing a breakup article. But I do need to
ask about the transition. When did you know that a change was coming and Ethan
would be leaving the band?<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
In
a sense, I could say it’s been clear for a long time, but Ethan told us in
January of this year that he wanted to move on.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">Was that surprising to you?<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
No.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">Can you talk about the decision you and
Dave made to stay together as The Bad Plus and keep the name?<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
First
of all, Dave came up with the name. It’s very much our band as well. Ethan is one-third
of it, but Dave and I have built this thing as well, and we feel very much that
it’s ours. It’s not a life sentence to be in The Bad Plus. Ethan wants to move
on, and that’s his right, and that’s fine, but in terms of what we’ve done and
what we’ve built and what The Bad Plus represents, that’s something that [Dave
and I] want to continue.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">Why is <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="https://jazztimes.com/features/the-bad-plus-great-white-hypes/">Orrin Evans</a></span> a good fit for
The Bad Plus?<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
I’ve
known Orrin since the early ’90s. I’ve played a lot with Orrin and he’s a
friend. My stock answer is he’s a fellow weirdo. He’s a brilliant pianist, and
he’s also someone who has really committed to a group aesthetic in his various
projects over the years. He’s a very inspired player, and he’s the only person
we considered.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
Dave
and I said – let’s see if Orrin will do it. We had no one else in mind, and we
didn’t have any auditions or anything like that. We just said let’s call Orrin
and see if he’s open to doing this. He said yes immediately, which I think was
quite brave of him. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">Maybe you know this, but <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="https://jazztimes.com/features/the-bad-plus-great-white-hypes/">John Murph wrote a piece in April 2004 for Jazz Times</a></span>, responding to “These Are
the Vistas,” that said – and this is an exact quote – “Meanwhile, equally
daring and inventive black artists such as Steve Coleman, Jason Moran, Greg
Osby and the bad plus Orrin Evans have had to toil for far more years to
receive such praise.”<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
He
wrote “the bad plus Orrin Evans”?<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">He did.<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
See?
Written in the stars.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">You and Dave have already made your first
album with Orrin. <o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
Yes,
and I have to say I really think it sounds very much like The Bad Plus, and
that’s the whole point. Orrin is a very different pianist from Ethan, but The
Bad Plus is more than just some guys getting together. We’re overall very
highly curated, and we’re very concept-based, and we’re very composition-based,
and that’s also why Dave and I felt so strongly about continuing, because … how
do I say this? What makes The Bad Plus tick is very much in our possession.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
When
we did the record with Wendy Lewis [“For All I Care,” 2009], it sounds like The
Bad Plus. When Josh [Redman] comes in [“The Bad Plus Joshua Redman,” 2015], it
still sounds like The Bad Plus. There’s a reason that we sound the way we do.
It’s not an unconsidered equation. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">Do you have any final words about The Bad
Plus in its original incarnation?<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
No,
because it’s not final. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
I
think our body of work speaks for itself, and it’s something we’re all
extremely proud of. That’s pretty much what I would say.<o:p></o:p><br />
<br />
<span style="mso-bidi-font-family: "Times New Roman";"><i>Related:</i></span><br />
<span style="mso-bidi-font-family: "Times New Roman";"><br /></span>
<span style="mso-bidi-font-family: "Times New Roman";"><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017.html"><b>The Bad Plus Interviews 2017: Introduction</b></a></span><br />
<br />
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/date-ofinterview-december-3-2017-pamela.html">The Bad Plus interviews 2017: Ethan Iverson</a></b></span><br />
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/date-of-interview-december-5-2017.html">The Bad Plus Interviews 2017: Dave King</a></b></span><br />
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017-lowell.html">The Bad Plus Interviews 2017: Lowell Pickett</a> (Dakota Jazz Club)</b></span><br />
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017-philip.html">The Bad Plus Interviews 2017: Philip Bither</a> (Walker Art Center)</b></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
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Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-29563494319370658272017-12-26T11:00:00.000-08:002017-12-27T14:55:47.029-08:00The Bad Plus Interviews 2017: Ethan Iverson<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidslHWWsSHb96TpWcVrUM4oeoSz2ILQRwLorBdgbqz5A8Nr4rLM2vahY6JadeQmMLCEwdhIOwpghOYAK_umxkknbRZLrfCLCmmGpEiwwWGWLCoez_RVoYKiq37LT-lLvLdtrUAg76n0RiZ/s1600/IMG_7353.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="957" data-original-width="1600" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidslHWWsSHb96TpWcVrUM4oeoSz2ILQRwLorBdgbqz5A8Nr4rLM2vahY6JadeQmMLCEwdhIOwpghOYAK_umxkknbRZLrfCLCmmGpEiwwWGWLCoez_RVoYKiq37LT-lLvLdtrUAg76n0RiZ/s400/IMG_7353.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ethan Iverson, Reid Anderson and Dave King<br />
at the Dakota Jazz Club in Minneapolis<br />
on December 28, 2007<br />
Photo (C) 2007 John Whiting</td></tr>
</tbody></table>
<i style="mso-bidi-font-style: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><br /></span></i>
<i style="mso-bidi-font-style: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Date of
interview: December 3, 2017</span></i></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Pamela Espeland:
This will be your 18th Christmas at the Dakota, which is amazing.<o:p></o:p></span></b></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Ethan Iverson:</span></b><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> Is that true?
Is it actually that many?<o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">PLE: According
to Lowell it is. Your first Christmas there was 2000, so this makes 18. <o:p></o:p></span></b></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">[Note: Lowell Picket is the owner of the <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="http://www.dakotacooks.com/">Dakota Jazz Club</a></span> in Minneapolis.]<o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">EI:</span></b><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"> I feel like we
played the AQ and then the Dakota in 2001, but whatever. Close enough. <o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">[Note: The AQ was the Artists’ Quarter in St. Paul, which closed
in 2013.]<o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">What has it
meant to you to play there every Christmas?<o:p></o:p></span></b></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">There’s something about The Bad Plus which really is the Midwest. We’re
three guys from that area. We’ve played all over the world, but I’ve always
felt that when we played in the Midwest and played in America, there’s some
element of our music that was understood on a folkloric level better than
anywhere else. <o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">The Bad Plus is
considered a Minneapolis band. It is always referred to as a Minneapolis band,
even though you and Reid have lived in New York for years. That’s something
both Philip and Lowell made note of when I spoke with them. <o:p></o:p></span></b></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">[Note: Philip Bither is the performing arts curator at the Walker
Art Center.]<o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">[Dave King and Reid Anderson] grew up in Minneapolis, or outside
the Twin Cities, and Menomonie is not so far away. All my relatives are from
Duluth. My family is from Duluth. Calling it a Minneapolis band seems fine to
me. Probably it’s a bonus, because Minneapolis is cooler than any city in
Wisconsin.<o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><a href="https://boniver.org/">Justin Vernon and Bon Iver</a> have been helping to boost Eau Claire’s coolness profile. <o:p></o:p></span></b></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">I can’t believe how cool Eau Claire is now. When I left high
school in 1991, Eau Claire was nothing like it is now. It’s incredible.<o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">What will we
hear this year at the Dakota? Are you approaching these shows any differently
because this is your final Christmas here as the original trio? <o:p></o:p></span></b></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">We haven’t learned any new music this year, so it’ll be a lot of
the hits we’ve played over the years. It’s not like a special roundup program
or something. <o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">What is the
secret meaning of the name The Bad Plus? <o:p></o:p></span></b></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Dave made up that name, and as far as I know there wasn’t really a
secret meaning. It’s hopefully memorable. I think it is memorable, in that
sense. It was really successful. Lorraine Gordon of the <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="https://www.villagevanguard.com/">Village Vanguard</a></span><span id="goog_1454350693"></span><span id="goog_1454350694"></span><a href="https://www.blogger.com/"></a> called it
a report card, which is about as good as I ever heard. <o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">You’re going
back to the Vanguard for New Year’s. How many nights will you play there?<o:p></o:p></span></b></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">It’s actually an extended run. We’re playing Christmas night
through New Year’s Eve. Seven nights. It’s just the way it worked out, that my
last night with the band will be New Year’s Eve, and on January first I’ll wake
up a free man.<o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">What was your
plan when you and Reid and Dave started out as a trio? Where did you think this
would lead?<o:p></o:p></span></b></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">I never expected to have a career in this music that was notable.
My whole life, I assumed I’d just be on the fringe, because a lot of my great
jazz heroes were and are on the fringe. So to have had this amount of exposure
really shocked me. In the first couple of years, I was in a perpetual state of
shock about it. It’s notable to have a career that lasts this long in one band.<o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">We really had a breakthrough in 2003. We were written about in all
the magazines, and there was still a Tower Records, and our album [“These Are
the Vistas,” 2003] was in the lightbox at Tower Records, and everybody in the
jazz world heard about us as this overnight sensation. That was a profound
shock, and I’m still surprised that any of that happened.<o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">“These Are the
Vistas” was your first release on Columbia. You signed to Columbia after a rep
saw The Bad Plus at the Vanguard. How did that happen?<o:p></o:p></span></b></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Yves Beauvais [from Columbia Records] was signing acts. He’d moved
there from Atlantic. He’d done really nice things at Atlantic as an A&R
person, signing people but also producing the great box sets of both Ornette
Coleman and Led Zeppelin. Both are really important to The Bad Plus. <o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">He was sort of interested in what I was up to, and eventually I
told him, “Yves, you’ve got to check out The Bad Plus. This is what’s
happening.” He came to see us one time and didn’t believe it yet. But then he
came back to the Vanguard show we did for the JVC festival in 2002, and he
signed us the next day.<o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">When “These Are
the Vistas” came out, suddenly The Bad Plus was everywhere. You were praised by
the mainstream press, which irritated a lot of jazz people, and you were
vilified. It was an interesting mix of “we love them, we hate them, they’re
saving jazz, they’re ruining jazz.” What was it like to be in the middle of
that?<o:p></o:p></span></b></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">All my heroes took flak, so I also regarded haters as more or less
an honor. Having haters means you’re doing something. People got upset about
it, and that was a clear indication that we must be having an impact with our
music, that it could create that kind of discourse.<o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">So it didn’t
give you second thoughts about the direction the band was going?<o:p></o:p></span></b></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Not for me.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">How many gigs
do you think you’ve played together in 18 years? Did anyone keep an exact
record?<o:p></o:p></span></b></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">No. It’s between 100 and 150 for at least 16 of those years.
That’s a lotta gigs. <o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Now that you’re
about to leave the band, what are you leaving undone? Is there anything you
would have done differently?<o:p></o:p></span></b></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">[Pause.] That’s the problem when there are three leaders. At some
point, people aren’t on the same page. Reid and Dave are still on the same
page, but I’m not on the same page. We’re opposites musically, too. Personally
and musically.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">What would you
have done musically?<o:p></o:p></span></b></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">[Pause.] The two things that come to mind are I’m very
historically focused, and I guess if the group had all wanted to be interested
in digging out the history, that would’ve been good for me. <o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">The other thing is that I think there’s a real element of pop
music in what we do, and I could’ve used more of just playing pretty music at
some point. We had real incredible power playing clear, direct music. At some
point, it was almost too avant-garde for the circumstances, as far as I’m
concerned.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">I read
somewhere that you hadn’t even heard Nirvana’s “Smells Like Teen Spirit” before
the band decided to record it. <o:p></o:p></span></b></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Frankly, to this day, I have very little technical or spiritual
interest in rock and pop. I just barely know anything, still. That’s part of the
problem personally, too.<o:p></o:p></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWYLnjiAh9vVniaAMXAOPiwGFkFSRSSWrd1v9TaB_2FPsyhqVp9BLnWGd_4GfnmtLVPxXMVUk6Np6FI1WcVVvVZgmbaCpFvHrfAr9PTgMYxBmlGPyahKzNt3fYx7crFqmEyIA6EAWIBScx/s1600/Ethan_2884.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1216" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWYLnjiAh9vVniaAMXAOPiwGFkFSRSSWrd1v9TaB_2FPsyhqVp9BLnWGd_4GfnmtLVPxXMVUk6Np6FI1WcVVvVZgmbaCpFvHrfAr9PTgMYxBmlGPyahKzNt3fYx7crFqmEyIA6EAWIBScx/s400/Ethan_2884.JPG" width="303" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ethan Iverson, December 2017<br />
(C) John Whiting 2017</td></tr>
</tbody></table>
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Looking at jazz
18 years ago and jazz now, what’s different, and what role do you think The Bad
Plus played in that? <o:p></o:p></span></b></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">When you’re inside it, when you’re on the road playing 150 gigs a
year, it’s hard to get an assessment. But there are people who will stand up
and say, “Jazz is great, it’s better than it’s ever been, long live jazz!” That’s
actually not the way I feel about it. <o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">I feel like it’s a hard time for the music, it’s a hard time for a
lot of stuff. A blend of esoteric and popular is hard to find. I think we have
stuff that’s very populist and stuff that’s very esoteric, but that sweet spot
in the middle is difficult, not just in jazz, but in the American arts in
general. <o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">That’s why we [America] ruled the world in the 20th century
culturally. We had this mix of high and low. We owned it all because it was so
great. And then at the 21st century – I guess it’s not the American century
anymore. It’s like we’ve lost our magnificent balance of stuff that’s really
complicated and stuff that’s really direct.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Do you think The
Bad Plus made a difference in music in general? Do you think you paved new
ground?<o:p></o:p></span></b></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">People have said that. I can’t really know that myself. I’m just
doing it. I’ve heard music that’s influenced by us, for sure. Definitely, I’ve
heard stuff and thought they checked out The Bad Plus. At the same time, I
guess I’ll be hyper-egotistical and say I wish we had been more of an influence
than we seemed to be at times. <o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">The truth of the matter is we do have fans. We have people at the
Dakota that come to see us time and time again, and it’s not just because we’re
favorite sons. It means there’s something about our show that’s entertaining
and you have a good time even though it’s avant-garde jazz. And that seems to
me the crucial message. That’s what Miles Davis and Thelonious Monk and Duke
Ellington were, too – that blend. <o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">We’d have to take this on a case-by-case basis of who’s doing what
out there now, but I do feel that’s essentially the message of The Bad Plus – “We
like this, and you’re going to like it, too.” I’m dumbfounded at times, when
I’m checking out some modern jazz and that kind of engagement seems to be off
the table.<o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Do you mean the
engagement between the artist and the audience?<o:p></o:p></span></b></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Yeah.<o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Who do you
think is The Bad Plus’s closest imitator?<o:p></o:p></span></b></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Mostly European groups. There’s a group called <a href="http://gogopenguin.co.uk/">GoGo Penguin</a> that
has kind of a big following. I don’t think there’s too many famous groups. I’ve
heard things from <a href="http://vijay-iyer.com/">Vijay Iyer</a> in the last decade that I thought sounded like he
checked out some Bad Plus.<o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Have you played
with him?<o:p></o:p></span></b></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">He’s a piano player, so no.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">He’s done some
double bills with Craig Taborn. Do you think you might explore that?<o:p></o:p></span></b></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">You never know. He’s not on my list of collaborators.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Who is?<o:p></o:p></span></b></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Right now, I’m trying to find some great young musicians to form a
new group with. I don’t feel like I can do another piano/bass/drums trio after
this. The first thing I’m doing that’s more like my own project is a duo with <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="https://markturnerjazz.com/">Mark Turner</a></span>, the great saxophonist. We’re
putting out a record on ECM and we’ll be touring that next year. But I think
that’ll just be a season, not a long-term thing. We’ll see how it goes. Mark
has his own band. He’s busy, so I’m lucky that he’s doing this with me.<o:p></o:p></span></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="http://www.americancomposers.org/2017/10/10/american-composers-orchestra-announces-commission-club/">I’m writing a piano concerto that will premiere in April with the American Composers Orchestra at Zankel Hall</a>.</span> The <a href="http://markmorrisdancegroup.org/">Mark Morris Dance Group</a> will be touring a piece called “<span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="https://www.sgtpepperat50.com/events/pepperland/">Pepperland</a></span><span id="goog_1454350732"></span><span id="goog_1454350733"></span><a href="https://www.blogger.com/"></a>”
which I wrote the music for. It’s like an hour-long dance suite with a
relationship to the album “Sgt. Pepper’s Lonely Hearts Club Band.</span>” It’s sort of
hard to explain until you see it, but it’s not a cover of the Beatles. It’s
more like a meditation on the swinging ’60s. It’s got an interesting band, with
theremin, trombone, soprano sax, two keyboards, drums and vocal. We did that in
England last year in Liverpool. It was commissioned by Liverpool and it was a
huge hit. That’s going to be on the road quite a lot the next couple of years.</div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Is it coming to
Minnesota? <o:p></o:p></span></b></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">There’s no date for Minnesota yet. I’m hoping it will; we’re
playing it all over. I played the <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="http://www.northrop.umn.edu/">Northrop</a></span>
[at the University of Minnesota] with Mark Morris back in the day, but that’s
so big. What would be the right hall for us there?<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Northrop is not
as big as it was. It was completely redone, and they cut more than 2,000 seats
out of it. It’s completely different. … You’re starting a new blog, Do the Gig,
In addition to your blog <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="https://ethaniverson.com/">Do the M@th</a></span>.<o:p></o:p></span></b></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Yeah. One thing about The Bad Plus was we were in the old system,
where we were written about in the New York Times even before we broke through.
We had coverage. And then we got signed to a major label. All those things
can’t happen anymore. How can a young group even do it anymore? <o:p></o:p></span></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">There are so many great musicians in New York. They keep on moving
here, and I’m interested in the written word and jazz, but I’ve never really
done anything with younger musicians because I’ve been mostly historically
focused on my own writing. But I thought – let me just try this out. <o:p></o:p></span></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">I’ll give it a six-month trial period. I’ve got some interest.
It’ll have a splash page with just club listings and what’s happening in the
city, because there’s no single online source for that in New York City. Incredibly,
there’s no one stop where you can find out who’s playing jazz around town
tonight. And there are about 20–30 worthy gigs every night. And then I’m trying
to encourage people to write simple reviews, not crazy praising or blaming;
just sort of like what’s happening. Because a lot of stuff is happening and I
don’t even know what’s out there. I feel a little old. There are some
references here I don’t know.<o:p></o:p></span></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">I do think the discourse around New York jazz needs a boost of
something, so I’m going to try to do it with this. We’ll see if it happens.
Most new websites fail, so we’ll see. I’ve decided to give it a shot. <o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">You’re also
writing for the New Yorker. Will you continue doing that?<o:p></o:p></span></b></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Yes. <a href="https://www.newyorker.com/contributors/ethan-iverson">I have three pieces so far in the New Yorker at the Culture Desk</a>. My literary
agent said, “You want to write a book. Why don’t you place some articles in a
mainstream publication first?” So I got the New Yorker out of the gate, which
was incredible. You can’t really do any better than that. The goal is to do four
to six pieces for the New Yorker, and then double down on writing a book about
the music. <o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">What will your
book be about?<o:p></o:p></span></b></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">It’ll be about jazz. A history. I feel like there’s stuff about
the way the music was created that still isn’t understood that well. I’m not
saying I understand it perfectly either, but in my mind Duke Ellington and John
Coltrane and Miles Davis and Thelonious Monk and all these other greats, they
were the great music of the 20th century. <o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">The book would put that in a perspective where we can say, in a
more academic sense, this is why it was so great. This is why this [music] is
in the canon.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Who are you
writing it for?<o:p></o:p></span></b></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">It wouldn’t be too academic, because I actually hate academia and
I hate that writing and that sort of stuff. If I bring anything to my jazz
writing, it’s the fact that I’m a player. <o:p></o:p></span></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">In the New Yorker articles, I’m trying to temper the wonkiness of Do
the M@th. I spent 15 years being very technical at trying to do my homework,
and now, with these New Yorker pieces and for the book, I’m trying to find a
spot where I can talk about the music in an accurate way that someone who wants
to learn about it will understand.<o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">If you’re in it to win it as an artist, you have to take care of an
incredible amount of miniscule details. But the art should communicate in a way
that a lot more people can get it. And that’s what I’m working on with my
writing, too.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Do you have a
favorite The Bad Plus album?<o:p></o:p></span></b></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">The first three on Columbia still have a kind of weight. It was so
fresh, and the engineering by Tchad Blake was so special, and there wasn’t
anything else like it.<o:p></o:p></span></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">I think Reid and Dave feel like each new record has been better
than the past. That’s not my feeling, honestly. I don’t know that the later
records have so much charisma around them as compared to the first ones. That’s
another reason to move on. For me, the statement was made. <o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Whatever
happened to the Ornette Coleman “Science Fiction” The Bad Plus did for <a href="https://dukeperformances.duke.edu/">Duke Performances</a>, then briefly toured? You also did Stravinsky’s “Rite of Spring”
for Duke Performances and later made a recording. Is there a recording of
“Science Fiction”?<o:p></o:p></span></b></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">I don’t think there was ever really a plan to record it, because
the [Ornette Coleman] album is there. The album is one of the masterpiece jazz
records. I think the point of the project was to play great improvised music
live with some horn players we wanted to shine a light on – Tim Berne, Sam
Newsome and Ron Miles – and introduce to our audience. So I think that was a
live thing, really. There won’t be any kind of official release.<o:p></o:p></span></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">[Note: <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="https://vimeo.com/141138710">A video of a live performance of “Science Fiction” at the 2017 Jazz à la Villette festival in Paris is available here</a></span>. A complete video of the Stravinsky at
Duke Performances has disappeared from the places where it used to be, probably
because the studio recording came out on Sony in 2014. <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="https://www.youtube.com/watch?v=kHC0QSjZ5yw">Watch four short excerpts here</a></span>.]<o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="line-height: normal; margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">When I
contacted you about this interview, I said I would not be writing a breakup
article. But we need to talk a little about that. Leaving the group was your
decision?<o:p></o:p></span></b></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">It absolutely was my decision.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Was there a
specific turning point for you? <o:p></o:p></span></b></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">I felt personally too uncomfortable, and also felt like the
statement had been made. <o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Any final
words?<o:p></o:p></span></b></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Just that I fully expect to be back in Minneapolis, with playing
of one sort or another, sooner rather than later.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">I enjoyed your
solo performance at the <a href="http://www.croonersloungemn.com/the-dunsmore-room/">Dunsmore Room last year</a>. Did you?<o:p></o:p></span></b></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">It was hard because I don’t do that very much. If I could get in a
groove of doing that kind of thing, it would feel really natural and really
enjoyable. I sort of have this [desire] in me that is like an educator, with
the writing, talking to the audience, that sort of stuff. And if there’s a way
I can put all that together without it being too didactic, that’s something I’m
thinking about for the future as well.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">Aren’t you already
teaching somewhere?<o:p></o:p></span></b></div>
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<br /></div>
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<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;">I did teach a few piano lessons a semester at <span style="color: windowtext; text-decoration: none; text-underline: none;"><a href="https://necmusic.edu/faculty/ethan-iverson">New England Conservatory</a></span>.
I had seven students. I’d see them seven times a semester and teach them seven
sins – my joke about it. I see it coming already that I’m going to be pretty
active as a jazz educator. That’s going to happen. I’m going to Paris next year
to teach.<o:p></o:p></span><br />
<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"><br /></span>
<span style="mso-ascii-font-family: Calibri; mso-ascii-theme-font: minor-latin; mso-hansi-font-family: Calibri; mso-hansi-theme-font: minor-latin;"></span><br />
<div style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: black; font-family: -webkit-standard; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">
</div>
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</div>
<i style="text-indent: 0in;">Related:</i><br />
<div class="MsoNormal" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: black; font-family: -webkit-standard; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0in; orphans: auto; text-align: start; text-indent: 0in; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><br /></span></div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017.html"><b>The Bad Plus Interviews 2017: Introduction</b></a></span></div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017-reid.html">The Bad Plus Interviews 2017: Reid Anderson</a></b></span></div>
<div style="margin: 0px;">
</div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/date-of-interview-december-5-2017.html">The Bad Plus Interviews 2017: Dave King</a></b></span></div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017-lowell.html">The Bad Plus Interviews 2017: Lowell Pickett</a> (Dakota Jazz Club)</b></span></div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017-philip.html">The Bad Plus Interviews 2017: Philip Bither</a> (Walker Art Center)</b></span></div>
</div>
</div>
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Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-31743698397850953022017-12-26T10:00:00.000-08:002017-12-27T14:59:58.076-08:00The Bad Plus Interviews 2017: Dave King<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHCtMsaCF2iS1jqcA_ojPfT4pUJiBs5KRU-MzwJtvmAbf3k_xYS-LJCbzbmbV2qaT-IT0mdLGv_iOhVZtYv1TU2vOgd7fPArsyF2-MX_6s9evmjC6V510olJLkxzdmjiL6TOMW3xH7cIBO/s1600/IMG_8283.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1347" data-original-width="1600" height="336" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHCtMsaCF2iS1jqcA_ojPfT4pUJiBs5KRU-MzwJtvmAbf3k_xYS-LJCbzbmbV2qaT-IT0mdLGv_iOhVZtYv1TU2vOgd7fPArsyF2-MX_6s9evmjC6V510olJLkxzdmjiL6TOMW3xH7cIBO/s400/IMG_8283.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ethan Iverson, Reid Anderson and Dave King<br />
at the Dakota Jazz Club in Minneapolis<br />
December 28, 2014<br />
Photo (C) 2014 John Whiting</td></tr>
</tbody></table>
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<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Date of interview: December 5, 2017<o:p></o:p></span></i></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Pamela Espeland: This will be your 18th Christmas at
the Dakota.<o:p></o:p></span></b></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Dave King:</span></b><span style="font-size: 12.0pt; line-height: 115%;"> That’s right.<o:p></o:p></span></div>
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<span style="mso-bidi-font-weight: normal;"><span style="font-size: 12pt; line-height: 115%;"><b>PLE:</b></span></span><span style="font-size: 12.0pt; line-height: 115%;"><b> What has it meant to you to play the Dakota every Christmas
for all these years?</b><o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">DK:</span></b><span style="font-size: 12.0pt; line-height: 115%;"> I think it’s really special for all of us. Growing up in the
area, we saw very seminal shows at the Dakota as teenagers, in the old location
at Bandana Square, and had all these memories. We started with maybe one night,
then Lowell gave us two nights and it started to build. It felt like such a
great accomplishment to be on the Dakota’s radar for a regular thing. They
treated us as a real deal band with a real buzz on it, even back then. Lowell
always gave us that respect.<o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">[Note: Lowell
Pickett is the owner of the <a href="http://www.dakotacooks.com/">Dakota Jazz
Club</a> in Minneapolis.]<o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
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<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">Lowell has
really great ears. He knows the music. He knows jazz. He knows what he’s
booking, and for him to hear that in us before we had built an audience. … He
helped build the band. In those shows at the Dakota, we started to see the
potential of people really liking this music.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">You’ve had the only annual residency at the Dakota in
this entire time.<o:p></o:p></span></b></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">That’s
correct. Lowell has renewed it with real commitment every year, and also brought
us back at other times off-season. We played once in the spring when a new
record came out. He’s helped us do shows at the Ted Mann and other places. He’s
brought us down to Arizona for shows at the <a href="applewebdata://2AF63EBF-82E6-4589-9FDE-AC0332151CDD/v">Musical Instrument
Museum</a>. So we always felt like Lowell was a part of our inner circle
ascension team. He believed in what we were doing and was proud of what we were
doing, and that meant a lot to us, because Lowell isn’t just a club owner. <o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">We built our
Minnesota audience at the Dakota. There’s an assumption that The Bad Plus is a
Minneapolis band. That’s totally untrue. The band has always been based in New
York. I live in Minneapolis, but it’s a New York band. That’s where our first
shows were. <o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Many people consider you a Minneapolis band.<o:p></o:p></span></b></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;"><a href="http://daveking.net/projects.html">Happy Apple</a> is a Minneapolis-based
band, to make the comparison. I think it’s important to remember that The Bad
Plus didn’t toil in Minneapolis for years and then come out. We played in New
York more, and we would come and play Minneapolis once a year. I just want to
give respect to the bands of Minneapolis that are part of this scene, that have
grown in this scene, that have dedicated their work to this scene. <o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">It’s erroneous
to consider The Bad Plus a band that is Minneapolis-centric, even though we
were born and raised here. Reid [Anderson] and Ethan [Iverson] haven’t lived
here since high school. I moved away and then moved back and formed Happy Apple
in the ’90s. We’re proud of being from the Twin Cities. But 18 years in, when
somebody from London is still going “the Minneapolis-based The Bad Plus,” it’s
like … what???<o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">What will we hear this year at the Dakota? Are you
doing anything different because it’s your final Christmas here as the original
group?<o:p></o:p></span></b></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">I’m not sure
if we’re doing anything different. Sometimes in the residencies we might repeat
a set, but of course they’re always different. We’ve been playing a few older
things lately that we hadn’t played in a long time. Nearing the end of Ethan’s
tenure in the band, we’ve been picking some tunes he would like to play, some
we haven’t played in a while. These will be some of the last times we play
them, because moving forward with <a href="http://www.orrinevansmusic.com/">Orrin
Evans</a>, we’re doing Reid’s and my music. <o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">We’re going to
try and make it thrilling for everyone, us as well, because this is a positive
new chapter for everybody. It’s not a sad thing. It’s a really positive thing.<o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">I’m told that you came up with the name The Bad Plus.
What’s that about?<o:p></o:p></span></b></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">It’s about
nothing. Naming a band is a painful experience for the most part. In the early
2000s, there were a lot of “The” band names. I thought to myself – what if it
was sort of graphic, like Pop Art, where it sounds like it means something, or could
mean something, but it’s not really direct? It’s almost an oxymoron, but it’s
very simple and memorable and graphic. You can see it and you remember it. The
first logo was “The Bad” and then a plus sign, for a minute. It was based on
something simple and memorable that might mean something and might not, but it
really doesn’t. There’s no literal meaning to it.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Was there a runner-up for the band name?<o:p></o:p></span></b></div>
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<span style="font-size: 12.0pt; line-height: 115%;">There wasn’t. One
of the amazing things about this band – and it’s the same bringing Orrin in –
is there’s very little haranguing over decisions. It’s like, “That sounds good.
Done.” <o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">That’s the way
the records have always been made. We make records so fast in this band, and it
continued with Orrin. We had almost the whole record tracked in one day, and
the next day we did a couple tunes and finished by the afternoon. That’s been
the way we’ve done it with Ethan forever. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">When we did it
with Josh [“The Bad Plus Joshua Redman,” 2015], he couldn’t believe how fast it
went. At first, Josh was like, “I’d like to fix that” – not that Josh does a
ton of editing – and then he started to see what this thing is. It’s believing
in the first-thought, best-thought concept. There isn’t a lot of sitting around
and arguing. Everyone recognized each other’s strengths and we rolled with
that. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">I attribute
that to keeping us together for 18 years, one of the longer-standing jazz
groups in history without a lineup change. There wasn’t a ton of “I don’t know
about that.” More like “That sounds good to me. Done. Why make it more
complicated? That sounds great.” That’s been the ethos of the band. Everybody
is personally responsible for dealing with certain things, and everybody has
their strengths and weaknesses, and we try to divvy it up that way. <o:p></o:p></span></div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj59kIaTrCzYAgISg6rsshFQoSfOZXWhQ7nYzOn0kBQyvlKI3-DQshVFJ9_t-JcbsbNjwaQCMyyOIv-pNKFUhbTedTMBjMQiDbDyVzyO-nWB1tmcFup-ywMWLrXBxywgIEYE7n64ZjCTmeG/s1600/Dave_3240.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1207" data-original-width="1600" height="301" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj59kIaTrCzYAgISg6rsshFQoSfOZXWhQ7nYzOn0kBQyvlKI3-DQshVFJ9_t-JcbsbNjwaQCMyyOIv-pNKFUhbTedTMBjMQiDbDyVzyO-nWB1tmcFup-ywMWLrXBxywgIEYE7n64ZjCTmeG/s400/Dave_3240.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dave King, December 2017<br />
(C) John Whiting</td></tr>
</tbody></table>
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">What was your plan when you started out as a trio?
Where did you think this would lead?<o:p></o:p></span></b></div>
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<span style="font-size: 12.0pt; line-height: 115%;">We were very
surprised by the attention. We had a few years before then of noticing that any
time we played it felt strong and at ease, as if we didn’t have to try too hard
or talk about it too much. All those things that can bring down a band or
people working together. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">We felt
excitement from the audiences even in the early days of not many people being
there. We played a three-night stand at the Old Office in New York in 2001. It
was a Friday, Saturday, Sunday. For Friday’s first set, there were about eight
people in the audience. By Sunday, it was totally sold out. That’s, like, 80
people, but it started with eight. And it wasn’t because we were playing Aphex
Twin. We had all these complex originals. We put in a couple of standards and a
couple pop tunes we were deconstructing. We just sort of felt – there’s something
here. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">[Note: The Old
Office was part of the Knitting Factory in Tribeca, which closed in 2009.]<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">None of us
thought when we put this band together that we’d get a record deal. It just
sort of went, and we went with it. We didn’t go into Columbia telling them “We’ll
do anything to be on Columbia records!” We went in with an attitude like “We do
what we do, and we’re glad you like it, so we’re going to continue doing what
we do and you will leave us alone.” That sounds precocious, but we were in our
early 30s. We weren’t this 21-year-old hungry. We’d already done over ten years
in DIY land. So when we rolled in, we felt very strong. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">[Note: The Bad
Plus’s record deal with Columbia began with “These Are the Vistas” in 2003.]<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Where it was
going, we had no idea. But we were ready. And the guy who signed us, Yves Beauvais,
knew that. He realized, “We have to get out of the way. These guys are going to
do what they’re going to do.” We had an engineer, Tchad Blake, who was way
outside the jazz spectrum. We had an artwork concept, a series of paintings
from this artist in New Orleans [<a href="http://www.stephencollierstudio.com/">Stephen
Collier</a>] I’d seen in the New American Paintings journal. One became the
Robonaut cover. We weren’t going to have some dumb jazz cover art from the
Columbia Records art department. <o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">I didn’t know you also managed the art. <o:p></o:p></span></b></div>
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<span style="font-size: 12.0pt; line-height: 115%;">We have been
in control of every single art package, everything we have put out, ever. We
art directed every photo shoot. We delivered records the way we wanted them in
the order we wanted them in. For the second record, “Give” [2004], Matt Freisen,
the bass player for Halloween, Alaska, did a drawing and we used that. All the
graphics, all the aura was generated by the three of us.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Columbia did
the first three records. They were wonderful to us. They left us alone
completely. We haven’t had a regular record deal since Columbia. We’ve had
licensing and distribution deals with everyone including Sony, but we’ve owned
the records.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">With “These Are The Vistas,” things kind of blew up,
and The Bad Plus was both praised and trashed. You were a big deal in the jazz
press and the mainstream press. What was that moment like? <o:p></o:p></span></b></div>
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<span style="font-size: 12.0pt; line-height: 115%;">First of all,
we were excited to be getting attention. Second, we knew that anytime there’s
some sort of attention given, especially in jazz, there’s going to be a side that
will try to bring you down. One thing we knew was that our heroes were
critically derided. So in many ways, we were in line with our heroes.<o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">We were glad
also that some very straight-ahead jazz critics really liked us. Gary Giddins
was a fan. Stanley Crouch was a Bad Plus fan, believe it or not. The surprising
element of where criticism and praise were coming from lent itself perfectly to
the complex nature of The Bad Plus. It led to the story of what we believed
ourselves, that we were much more complex than huge, poppy jazz, or the rock
stars of jazz. You could show up [at a concert] and we’d play all this thorny
music and one or two rock tunes, and they were sometimes the most avant-garde
things we were doing. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">Going through all
that, we were happy we were getting the chance to play music for people. Sure,
if you’re reading an article where somebody is saying you suck, your feelings
can’t not be hurt sometimes. You’d be lying to yourself if you were like, “I
don’t care.” Of course you care that somebody thinks your work is terrible, But
every artist goes through that. Go read old reviews of Thelonious Monk and John
Coltrane and Ornette Coleman. I’m not putting us in that league, but I’m saying
in our generation, that is comparable. Those were all critically derided
musicians. Today every reissue gets five stars, but at the time, they were
maligned. Ornette Coleman was maligned up until his death. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt; line-height: 115%;">We weren’t an
easy conclusion. We were complicated. And we were ultimately seen as that, and
we outlasted a lot of that stuff. We haven’t seen much negativity about The Bad
Plus in years.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">What are you leaving undone as the original trio? Is
there anything you haven’t done that you wanted to do, or anything you would’ve
done differently? <o:p></o:p></span></b></div>
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<span style="font-size: 12.0pt; line-height: 115%;">No. I don’t
have anything. I think we did more than I ever thought we would. From reworking
classical music to doing records with guests to our recent stuff with Bill
Frisell. … Making 13 records in 18 years. It’s unbelievable. And we might have
played more concerts, truly, than any jazz group in history without a lineup
change.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">How many concerts did you play? <o:p></o:p></span></b></div>
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<span style="font-size: 12.0pt; line-height: 115%;">It’s been, like,
150 a year since 2003, and 2002 had at least 30 or 40, and 2001 had about 20.
So if you do the math, that’s far more concerts than any working jazz group in
history. It’s more than the Keith Jarrett trio ever played. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">I’d be
interested in somebody pointing out what jazz group played more shows in
history without a lineup change. And I’m not saying that to be braggadocious.
That’s just being a road band. One reason we have the longevity we have and
built the crowds we built is that we got on the road and toured. We didn’t just
sit around playing a couple weeks here and a couple weeks there. We toured
every month since 2003. It’s rare that we’ve had over a month off since then.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">So I think we
did what we wanted to do, and I think it’s the perfect time to have Ethan move
on to what he needs to do, and he has all the blessings in the world from me
and Reid.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Ethan’s classical background is pretty heavy and deep.
What about Orrin?<o:p></o:p></span></b></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">There’s this
idea that Ethan is the only classical guy in The Bad Plus. Reid has a classical
music degree from Curtis Institute, one of the most prestigious conservatories
in the world. Reid is someone who can get a high-level orchestra gig. Even the
way he writes – the way he uses triadic harmonies – is rooted in European
classical music.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Thank you for reminding me of Reid’s classical
background. Reid has been kind of the quiet Beatle.<o:p></o:p></span></b></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">And he is during
interviews. He typically wouldn’t say anything when people said, “Ethan, you’re
the classical guy. …” We would all kind of shift in our chairs, like – uh-huh. <o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">What Orrin
brings that is very Bad Plus-ian is that Orrin is unique. He’s kind of a
natural weirdo, like we are. He’s not an easy conclusion. He’s a band guy. He
is also idiosyncratic. It’s hard to pin down where he’s coming from, which is
very Bad Plus-like. He has multiple dimensions, and classical music is in
there. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">He and Ethan
are totally different pianists. But for me, the common bond of The Bad Plus is
more about what you do once you’re in there. [Hearing Orrin play] was an
instantaneous glow of joy coming out of the piano. He immediately brings a new
energy. We’re not expecting Orrin to be Ethan or fill Ethan’s shoes. We want
Orrin to be Orrin and join The Bad Plus and be a Bad Plus-ian kind of
philosopher.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Looking at jazz 18 years ago and jazz now, what
difference has The Bad Plus made in the sound of jazz, the attitudes about
jazz, and what people expect from jazz? What do you think your impact has been?<o:p></o:p></span></b></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">In my most
humble space, if I look back on the last 18 years, I think The Bad Plus
challenged the piano trio. We challenged it by being leaderless, which is very
rare in the music. We challenged it by having three composers – not one, not
two, but three. We have three independent voices that are equal. <o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">We challenged
the dynamics of the piano trio the way they’ve never been pushed before, and we
challenged the oeuvre of the piano trio with some rock music that was not the
Beatles and the classic stuff that jazz musicians have taken on. The way we did
that was different, and it’s safer now for everybody to do it. We took a lot of
the heat for that. If you’re coming up today, it’s completely normal to take on
whatever music you want without anyone saying anything. Whereas, if you played
Blondie 18 years ago, that was different.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">And Black Sabbath’s “Iron Man.”<o:p></o:p></span></b></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">Yeah, and the
way we did that was different. We didn’t put a bunch of jazz chords on it and
go, “It’s a jazzy ‘Iron Man!’” We met it on different terms. So honestly, I
think our contribution is, we took every classic format of the piano, bass and
drums and we turned it upside-down. Along with people like <a href="http://www.jasonmoran.com/">Jason Moran</a> and Craig Taborn, we shifted
it around and put it someplace else.<o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Who is The Bad Plus’s closest imitator? <o:p></o:p></span></b></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">I really don’t
know. Sometimes we hear people that we can tell have come up under what we’ve
doing. Sometimes we hear about a band. Sometimes when we hear somebody that
sounds a little bit like what we’re doing, or a lot like what we’re doing, and
you never hear them mention us, we know that’s a dead giveaway that they
checked us out. I’ve heard a few things by a band called <a href="http://gogopenguin.co.uk/">GoGo Penguin</a> from the UK. We’re in there,
man. <o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">There’s no way
you can avoid a band that’s 18 years old with 13 records and has played every
festival on earth 15 times. There’s just no way. But whatever anybody wants to
take from it is fine. We know there wasn’t anybody sounding like us before us.
We do know that. <o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">What is your favorite The Bad Plus album and why? <o:p></o:p></span></b></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">It’s
difficult. … I’m going to say “Suspicious Activity” [2005]. When I think of the
three Tchad Blake records, which I love – “These Are the Vistas” [2003], “Give”
[2004], and “Suspicious Activity” – I think “Suspicious Activity” has the most
tempered version of what we’re like live. <o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">The first two are
very pushed and maxed. People would see us live and say, “You’re a lot softer
than we thought.” “Give” is an explosion of statement because it was the
follow-up to “These Are the Vistas” being so successful.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">I like parts
of all these records still, when I listen to them, which isn’t very often. And
I like a lot of what we’ve done since. I like elements of everything, of
course. You’ve got to like what you’re doing, or else whatever, but I think for
me “Suspicious Activity” stands alone as a sonic statement that’s very unique.
And the writing – it’s all originals other than the “Chariots of Fire” cover,
which I think is a great cover and very intense. That’s the epitome of The Bad
Plus taking on some complex, emotional music, facing down the theme from
“Chariots of Fire.” I remember we all very gleefully agreed that it was a tune
we had to try and do very heavy and serious. It’s a great piece of music.<o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">Ethan loved “Give”
the most, I would have to guess, because he talks about it a lot. But I think
Reid would agree that “Suspicious Activity” is up there. Or maybe Reid likes “Made
Possible” best because of some of the electronics. But for me, it’s “Suspicious
Activity.”<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Reid said he loved all of them equally. <o:p></o:p></span></b></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">That’s very
Reid.<o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">I will say
that the new one with Orrin, with all due respect to everything we’ve done, is
my favorite thing we’ve done in a long time. I think it has a very fresh energy
and a unique set of music on it, so I’m very happy with it<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">When I contacted you about this interview, I said I
wasn’t writing a breakup article. But I want to talk a bit about Ethan’s
leaving. When did you know that a change was coming?<o:p></o:p></span></b></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">You mean, when
did Ethan quit?<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Did you know it was coming? Did you feel it needed to
come?<o:p></o:p></span></b></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">It definitely
needed to come. I had sensed it for a few years, even though every time we play,
everybody’s throwing down. It was never about the work not being good. The
records are strong. I believe in every one of the records we’ve made. But it
became increasingly frustrating between Reid and Ethan, and how they viewed
each other’s motives – not only in improvising together, but what their motives
were for the band and in the band. <o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">The band not
having a leader has always been a sensitive subject. We’ve gone through many
years of leader-centric promoters and people thinking that Ethan is the leader
because he plays piano. And you understand that, but it’s a very difficult
thing to navigate, especially when you contribute at the level Reid Anderson
does. Reid Anderson is not just the bass player of The Bad Plus. Reid Anderson
is one of the most creative composers in jazz. He’s known for this, and he’s a
very strong personality even though he’s quiet, and he has a very serious,
strong vision. Possibly the strongest of the three of us.<o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">I think they
started to distrust each other’s motives. I kind of became the middle child,
which is how I fit into life most of the time anyway; I’m the middle child in
my own family. I just wanted those two to clear the air with each other. They
weren’t yelling at each other or being angry like that. It was more like a
smoldering kind of distrust. And with Ethan getting more and more into his blog
[<a href="https://ethaniverson.com/">Do the M@th</a>], and being out in the
world doing that, and then playing with us, we would feel like Ethan was not
100% in there emotionally. … When you’re a jazz critic and you’re a musician,
that can be a sticky place. <o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">So I felt for
a few years that it could happen at any time. Either Reid would want to remove
Ethan from the band, or Ethan would leave the band. When Ethan quit finally, it
was not a surprise at all. And it wasn’t a huge, dramatic thing.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">How did it happen, and when? Reid said January.<o:p></o:p></span></b></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">It happened
last November, right before we were going to play a show at the <a href="https://www.roughtradenyc.com/">Rough Trade</a> record store for the
release of “It’s Hard” [2016]. He quit when we were driving there in the car. He
said, “I think it’s time for me to move on,” and we accepted that and mulled it
over for a few months and talked about if we’re going to continue or not. We
weren’t quite sure. <o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">Then we went
through the holidays, and Reid and I got together and did a lot of
soul-searching. We came to the conclusion that why should we end The Bad Plus
because Ethan wants to? Ethan’s not the leader of The Bad Plus. So we thought
about Orrin and Reid called him up and put it flatly to him, and he said yes
immediately. <o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">So that’s how
it was. And then we told Ethan last January on tour and he said okay. And we
said – what do you want to do? Do you want to finish out the whole year? And he
said yep. <o:p></o:p></span></div>
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<br /></div>
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<span style="font-size: 12.0pt; line-height: 115%;">So we’ve just
been playing all year. It’s been fine. We’ve been out on the road, doing what
we do. We’ve been playing and I get along fine with Ethan and always have. And
I’m happy for him. I’m happy he’s going to do some other stuff, and I’m happy
for Reid and I. And I know Reid is very relieved, and we’ve been working really
hard with Orrin this year and it’s very exciting. This music is alive for sure.
<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">When did you start working with Orrin? <o:p></o:p></span></b></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">In the spring.
I’d go to New York, we’d rehearse a bit, then Reid and he were getting
together, then we all brought in new music to some rehearsals in the summer
here in August, and then we tracked in September. We’ve been doing a lot of
work. We also rehearsed a bunch before tracking in September and getting the
whole book ready for beginning in St. Louis, and we’ve got a bunch of the older
music going, and we have a whole new record. <o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">[Note: The Bad
Plus has a decade-long tradition of playing several nights at <a href="https://jazzstl.org/">Jazz St. Louis</a>, formerly Jazz at the Bistro, in
January. They’ll debut the new group there.]<o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Can you talk a bit more about the new record?<o:p></o:p></span></b></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">I think it’s
the strongest thing we’ve done in a long time. <o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Where did you record it?<o:p></o:p></span></b></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">In New York at
Brooklyn Audio, where we’ve done several records. We used the same engineer,
Peter Rende. The Bad Plus is a collective, and [the new record] sounds like
three collective-thinking creative people playing together in a language that
everyone understands. <o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">We’ve known
Orrin for more than 20 years. When we tracked it, it went like that – bam!
Easy. Zero stress. There was a bit of stress getting it together because we
don’t live in the same city. Orrin lives in Philadelphia. So you’re adding an
extra element of reuniting on the road, finishing up this year with Ethan, and
preparing all that new music. But then, when we got in the studio, it just felt
so right, so very affirming. It was like – yep, this deal’s good.<o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">I can tell from listening to some of Orrin’s earlier
music that he knows The Bad Plus.<o:p></o:p></span></b></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">He’s been into
The Bad Plus forever. He was one of our earliest supporters.<o:p></o:p></span></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Is Orrin writing new music for the band?<o:p></o:p></span></b></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">Absolutely. He
brought two tunes into the new record.<o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">The ethos of
group music has been our message since the beginning. Here we’re really living
the message. We’re switching the pianists and it sounds like The Bad Plus.
Whoever brings in music, it gets treated like the sound of this band. Everybody
is treating the music like they wrote it, and everyone’s voice is equally
heard.<o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">When Joshua
Redman played with us [and contributed two songs to “The Bad Plus Joshua
Redman”], we still sounded like The Bad Plus. We didn’t sound like Joshua
Redman’s band. Orrin fit in beautifully with that construct. <o:p></o:p></span></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">It should be
stated that we never had tryouts to fill Ethan’s place. We thought we would
continue if Orrin wanted to do it, because we just knew he was the one. So it
was a simple question: if Orrin wanted to join The Bad Plus or not. If Orrin
wanted to join The Bad Plus, we would continue The Bad Plus.<o:p></o:p></span></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 12.0pt; line-height: 115%;">Are you thinking about calling the new album “Never
Stop II”? Reid said that was on the table.<o:p></o:p></span></b></div>
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<br /></div>
<div align="left" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: left;">
<span style="font-size: 12.0pt; line-height: 115%;">Yeah, that’s
the name of the record.<o:p></o:p></span><br />
<span style="font-size: 12.0pt; line-height: 115%;"><br /></span>
<span style="font-size: 12.0pt; line-height: 115%;"></span><br />
<div style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: black; font-family: -webkit-standard; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0px; orphans: auto; text-align: start; text-indent: 0px; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">
</div>
<div class="MsoNormal" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: black; font-family: -webkit-standard; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0in; orphans: auto; text-align: start; text-indent: 0in; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">
</div>
<i style="text-indent: 0in;">Related:</i><br />
<div class="MsoNormal" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: black; font-family: -webkit-standard; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0in; orphans: auto; text-align: start; text-indent: 0in; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><br /></span></div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017.html"><b>The Bad Plus Interviews 2017: Introduction</b></a></span></div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017-reid.html">The Bad Plus Interviews 2017: Reid Anderson</a></b></span></div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/date-ofinterview-december-3-2017-pamela.html">The Bad Plus interviews 2017: Ethan Iverson</a></b></span></div>
<div style="margin: 0px;">
</div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017-lowell.html">The Bad Plus Interviews 2017: Lowell Pickett</a> (Dakota Jazz Club)</b></span></div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017-philip.html">The Bad Plus Interviews 2017: Philip Bither</a> (Walker Art Center)</b></span></div>
</div>
</div>
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Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-784013853270414762017-12-25T16:48:00.003-08:002017-12-27T14:56:50.389-08:00The Bad Plus Interviews 2017: Lowell Pickett<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht1YhEaUSbuzME1EciUeOzIB7U7iH-HXnnc3h7kNDv2eq_Eky8bn42VAks9GZ1eXkrrXmfR6oQK8LGcjBlOPIE0Gpq7xue0zy9hFdhxssiVodEGo_m4P-X1dWw-kVN4ztCWI7nx1L2oWlu/s1600/IMG_3096.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1114" data-original-width="1600" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEht1YhEaUSbuzME1EciUeOzIB7U7iH-HXnnc3h7kNDv2eq_Eky8bn42VAks9GZ1eXkrrXmfR6oQK8LGcjBlOPIE0Gpq7xue0zy9hFdhxssiVodEGo_m4P-X1dWw-kVN4ztCWI7nx1L2oWlu/s400/IMG_3096.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ethan Iverson, Reid Anderson and Dave King<br />
at the Dakota Jazz Club in Minneapolis<br />
December 23, 2017<br />
Photo (C) 2017 John Whiting</td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<div class="MsoNormal" style="margin: 0in; text-indent: 0in;">
<i style="mso-bidi-font-style: normal;">Date of interview: December 2, 2017<o:p></o:p></i></div>
<div class="MsoNormal" style="margin: 0in; text-indent: 0in;">
</div>
<br />
Owner of the <a href="http://www.dakotacooks.com/">Dakota Jazz Club</a> in Minneapolis and a fixture on the Twin Cities music (and restaurant) scene for decades, Lowell Pickett has presented
The Bad Plus at the Dakota numerous times; at <a href="https://www.thecedar.org/">the Cedar</a>; in
Phoenix at the <a href="https://mim.org/">Musical Instrument Museum</a>; and in New York City. “They’re
a band that gives listeners a sense of real joy,” he said. “Having them here
for Christmas is one more thing that makes it worth coming home for the
holidays.”<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="text-indent: 0in;">Pamela Espeland: The Dakota and The Bad
Plus have a long relationship. They’ve spent every Christmas here since 2001.</b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">Lowell Pickett:</b> It’s been wonderful to
watch them grow over the years – this upstart band that was playing these
irreverent versions of pop and rock hits, which is originally what got them
attention in some quarters. Nirvana’s “Smells Like Teen Spirit” and Blondie’s “Heart
of Glass” and things like that. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
But
they also evolved and developed as individual songwriters. It was extraordinary
to watch them grow into this trio where all three members contributed equally
beautiful music to the repertoire they were playing, and asserted a balance
between the stuff that got them initial attention – their interpretations of songs
that a lot of people were familiar with – and their own incredible
compositions. More and more, they became known as a band where all three
members contribute equal levels of virtuosic musicality, and all three write amazing
pieces.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">PLE: Do you remember when you first heard them
play? Did you have any idea they would be so successful?<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b>LP:</b> I
didn’t think of it in those terms. I don’t remember ever listening to music and
thinking “Wow, this is going to be successful” about anybody. You listen to
music and you enjoy it. I loved the music and really enjoyed them musically.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
I
thought it was wonderful that as [The Bad Plus] became more successful, they
continued to have a base here. Prince did that for funk and R&B and pop
music, and Soul Asylum had a big hit and stayed in Minneapolis. When somebody
living in a community like the Twin Cities develops a strong national and
international presence, and a career that sustains them not only creatively but
financially, and they stay here, that opens doors for other musicians to do the
same. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
[Note:
Reid Anderson and Ethan Iverson live in New York; Dave King lives in the Twin
Cities.]<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">The Bad Plus got a lot of media attention
when “These Are the Vistas” came out on Columbia in 2003. They were covered in
Jazz Times and Esquire. They were called “the future of jazz” and “the great
white hype.” <o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
They
were on a lot of covers. They were upstarts, and some people, like Ben Ratliff
of the New York Times, were immediately taken by their musicality, creativity
and virtuosity. At the same time, other people felt it was a gimmick and were
dismissive of them. To watch that change over the years has been great, too. The
fact is, when anybody does anything new, there’s always criticism from people in
the community. That’s happened with all sorts of musicians in all sorts of
genres. Dylan’s an obvious example. When Dylan plugged in, people said “That’s
not folk music!” Fans of Big Band swing dismissed bebop. I remember running
into someone in the 1970s who was a big supporter of jazz but didn’t consider
Charlie Parker jazz. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
The
Bad Plus certainly got a broad variety of responses. Some were incredibly
supportive and laudatory and some were very critical or dismissive. They’ve
proven over the years that what they were doing was real, that their
musicianship was real, their compositional skills are real, and their ensemble
playing was real. There weren’t many trios at the time that played as an
ensemble, because most were built around one player in the group – the Ray
Brown Trio or the Ahmad Jamal Trio. There was a collaborative and cooperative
element to The Bad Plus band that has also proved real over the years.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">What do you think their impact has been on
jazz and creative music in general?<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
They’re
certainly one of the significant groups that have opened up an interpretation of
what jazz is and can be. For music to remain vital means bringing new things to
it – new ideas, new approaches, new concepts. The Bad Plus helped people
understand what improvised music can be, and another way it could grow. And
they’ve legitimized what they’re doing in the eyes of the world. They’ve proven
over the years that their creativity and their virtuosity were the real deal. They’re
just such incredible musicians, and they write so beautifully. All three of
them.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">Who do you think their heirs are, if any? <a href="http://gogopenguin.co.uk/">GoGo Penguin</a> for sure, although they’re
probably more E.S.T. than TBP.<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
All
sorts of musicians have benefitted, and in different ways. I think it’s too
early to talk about who their heirs are. They’re still creating. <o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">What thoughts do you have on Ethan leaving
and Orrin coming in? <o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
Orrin
is a sensational pianist. He’s been to the Dakota several times. I know he’s
played with Sean Jones and Christian McBride. I’d have to go back and figure
out all the bands.<o:p></o:p></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<b style="mso-bidi-font-weight: normal;">I’ve heard people say that with Ethan gone,
The Bad Plus won’t be the same.<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin: 0in; text-indent: 0in;">
No,
it won’t be the same, and that’s a good thing. What The Bad Plus are doing now
isn’t the same as what they were doing 15 years ago. Back then, they were known
almost exclusively for their interpretations of pop and rock songs, and now
they’re known as a band that writes significant amounts of their own music.<o:p></o:p></div>
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<br />
<i style="text-indent: 0in;">Related:</i><br />
<div class="MsoNormal" style="-webkit-text-size-adjust: auto; -webkit-text-stroke-width: 0px; color: black; font-family: -webkit-standard; font-style: normal; font-variant-caps: normal; font-weight: normal; letter-spacing: normal; margin: 0in; orphans: auto; text-align: start; text-indent: 0in; text-transform: none; white-space: normal; widows: auto; word-spacing: 0px;">
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><br /></span></div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017.html"><b>The Bad Plus Interviews 2017: Introduction</b></a></span></div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017-reid.html">The Bad Plus Interviews 2017: Reid Anderson</a></b></span></div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/date-ofinterview-december-3-2017-pamela.html">The Bad Plus interviews 2017: Ethan Iverson</a></b></span></div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/date-of-interview-december-5-2017.html">The Bad Plus Interviews 2017: Dave King</a></b></span></div>
<div style="margin: 0px;">
</div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017-philip.html">The Bad Plus Interviews 2017: Philip Bither</a> (Walker Art Center)</b></span></div>
</div>
</div>
Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-70290926754550281122017-12-25T16:48:00.001-08:002017-12-28T09:30:41.157-08:00The Bad Plus Interviews 2017: Philip Bither<div class="MsoNormal">
<o:p><br /><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvGT0ppZ96hgXne7I9YdeE5vFIHYmVEZkbJd74Q7FLpZ825UwEIFCuclCkmnI3M5_Exegr2dy4r2vyG0RVBuDWQ9tQb70S0X9Fp46_Ll-70n1xAXWkLCV8Lq2vYi3kJc45ddDNoLj7qk2X/s1600/IMG_0069.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvGT0ppZ96hgXne7I9YdeE5vFIHYmVEZkbJd74Q7FLpZ825UwEIFCuclCkmnI3M5_Exegr2dy4r2vyG0RVBuDWQ9tQb70S0X9Fp46_Ll-70n1xAXWkLCV8Lq2vYi3kJc45ddDNoLj7qk2X/s400/IMG_0069.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Bad Plus Bill Frisell at the Walker<br />
September 29, 2017<br />
Photo (C) 2017 John Whiting</td></tr>
</tbody></table>
</o:p></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">Date of interview: December
1, 2017<o:p></o:p></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Philip Bither is the performing arts curator for the <a href="https://walkerart.org/">Walker Art Center</a> in Minneapolis. He first
became aware of The Bad Plus in 2003, when “These Are the Vistas” came out on
Columbia. The band made four major appearances at the Walker: in 2003 at <a href="https://walkerart.org/magazine/authoritative-history-rock-the-garden">Rock
the Garden</a>, the Twin Cities’ popular annual outdoor concert, where The Bad
Plus shared top billing with Wilco; in 2005 for “<a href="https://walkerart.org/press-releases/2005/headwaters-music-and-the-walker-art-center-pr">The
Festival Dancing in Your Head</a>,” a three-day celebration of Ornette Coleman’s
genius; in 2010 for “<a href="https://walkerart.org/calendar/2010/king-for-two-days">King for Two Days</a>,”
a special event spotlighting Bad Plus drummer Dave King and featuring several
of the bands he’s involved with; and, most recently, in September 2017 for “<a href="https://walkerart.org/calendar/2017/the-bad-plus-bill-frisell-85-95">The
Bad Plus Bill Frisell ’85–’95,</a>” a Walker co-commission with Frisell as
guest artist. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
King and Bad Plus bassist Reid Anderson first heard Frisell at
the Walker in the 1980s and ’90s, when they were high-school students. They
jumped at the chance to play live with their hero on the Walker’s stage. In
October, they performed with Frisell in Columbus, Ohio; Urbana, Illinois; and
for six sold-out nights at the <a href="https://www.villagevanguard.com/">Village
Vanguard</a>.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Pamela Espeland: The
commission with The Bad Plus and Bill Frisell was in the works before the band
announced that Ethan would be leaving. Did the news have any effect on what
happened at the Walker?</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Philip Bither:</b>
Dave told me fairly early on in the development what was going on with the band
shifting, and Ethan [Iverson’s] decision to move on in new directions. But he
said – and all three confirmed this when they got here to start the rehearsal
process – how exciting it was for them to do this kind of project. They had done
a few things together around Paul Motian’s music, but no major, dig-deep
project like this for the Walker, with and for Frisell. Ethan seemed fully
connected and interested in the project as much as Reid and Dave. [After the
Vanguard shows], Dave sent me a picture of Robert Plant backstage with the
three of them, telling them how much he loved the set. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I think [The Bad Plus] is something that Minnesota and the
Twin Cities should be really proud of. Even though Reid and Ethan live in New
York, it’s considered a Minnesota band. The fact that this community helped
give birth to the trio, and then to see the national and international success
they’ve achieved, is a great reflection on the music scene here in the Twin
Cities and the cultural scene at large. I’m glad that the Walker, way before my
time, was able to provide opportunities to see great musicians that [Reid,
Ethan and Dave] would come and check out.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">PLE: Did you notice
any tension between the band members in September, when they were here with
Bill Frisell? </b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">PB:</b> No. Everybody
was really cordial with us. They all seemed to love the connection with Bill. I
kind of had my radar up, but my sense was that they really appreciated the
opportunity to do the project, to pursue a commission with the Walker. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This was actually our first formal commission with The Bad
Plus, but it had a wonderful symmetry around their connections with the
Walker’s music program, which served in their teenage years as a kind of
tutorial around who was doing what on the contemporary edge of jazz. They fell
in love with a number of artists, Frisell in particular, and the chance to
return to honor somebody who was important to them in their earlier years was
exciting for them. It was exciting for us, too, to look back at our own
history.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Just a couple years after [The Bad Plus] formed, we invited
them to play Rock the Garden [2003], one of the great Rock the Gardens. Then
they came back to play a key role in our Ornette Coleman festival, “Dancing in
Your Head” [2005]. Both The Bad Plus and [King’s band] Happy Apple played, and
the combination, Bad Apple. I’ll never forget Ornette, who was in the house for
the tribute concert, making a particular point backstage of telling The Bad
Plus how much he appreciated their approach to his music. Of course, Ornette’s
always been in the DNA of The Bad Plus, part of how they think about their
music and how they play. [In 2016], The Bad Plus played Ornette’s “Science
Fiction” at the Chicago Jazz Fest. There were nice links there.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The trio was the cornerstone to a celebration of Dave King’s
own work [at “King for Two Days” in 2010], so it made great sense to have them
back seven years later. We didn’t know when we first started talking with them
[about the Frisell project] that Ethan would be stepping away, but of course, given
our long history with the band, it felt great to have Ethan still in the lineup
when they revisited Frisell’s work.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For The Bad Plus, the Walker has not been an annual thing or
a place they play all the time but a place I think they look to as a home for
unique, special moments in the trio’s career.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">When did you first
become aware of The Bad Plus?</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I met Dave soon after moving here in 1997. I think I saw him
play with some other musicians. I didn’t really know about The Bad Plus until “These
Are the Vistas” came out [in 2003]. Right away, I knew this was a band Dave
King was in, and I soon heard about Reid and Dave growing up here, and Ethan
not that far away in Wisconsin. So I started following them.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
[After “These Are the Vistas”] there was this big critical
split, with some of the jazz critical community dismissing them as a novelty that
just covered rock tunes. I felt like those first records were great and what
jazz needed in a certain way. Not to say that jazz was just waiting for someone
to cover Nirvana’s “Feels Like Teen Spirit,” but their ears were wide open and
they weren’t making genre distinctions about what was and was not good music. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I think it’s healthy for jazz to have different generational
and stylistic inclusions. Nobody yelled at bebop musicians in the ’40s and ’50s
for doing Rodgers and Hart. I was on the side of cheering them on. Sometimes the
jazz purist world gets deeply suspicious when someone is successful and is
attracting big houses, like somehow this can’t be pure enough. It’s been nice
to watch the broader music community, and the jazz community overall, go from being
suspicious [of The Bad Plus] to taking them seriously, to the point where they’re
considered one of the great American bands. They’ve proven a lot of skeptics
wrong with the seriousness of their original compositions. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">What do you think has
been their impact on jazz and creative music?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
They helped break down barriers around what jazz can wrap
its arms around compositionally. There’s a playfulness and an irreverence,
almost a kind of punk attitude, about shaking things up and being humorous at
times. They’re committed to the importance of every gig mattering and putting
on fantastic live performances. They infused new energy into the standard piano
trio that has been a staple form for jazz for decades. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Not to be too regionally boosterish, but I think it’s sort
of a Midwestern sensibility to be generous and collaborative and supportive of
one another. Their regular-dudes, regular-people energy is somewhat tied to a
Midwestern orientation. But they’re fierce musicians, and they’ve proved their
critics wrong. Some people feel they’ve injected a rock energy into jazz. I
think that’s simplistic. Each individual member brings his own qualities into
the band in a way that gels so beautifully. Each works from distinctly
different aesthetics. But the fact that they have collectively led this trio,
and have all contributed as composers to the body of work, is pretty rare and
pretty great.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
To me, their connection to a cool and eclectic spectrum of
pop and rock tunes was a positive, because they approached them creatively.
They would deconstruct them, and sometimes people wouldn’t even know exactly
what tune it was. People would think, “I know that melody …” and then,
two-thirds of the way through, someone would say “That’s a Madonna tune!” <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I love to see how connected they’ve become to so many
different musicians and parts of the jazz lineage; [an example is] their recent
record with Josh Redman [“The Bad Plus Joshua Redman,” 2015]. They’re so
connected now that they’re an important pillar within the current jazz scene. I
think that they have contributed a lot to helping shape the jazz of our time. They
raised the level of the conversation. It was partly the controversy, and that’s
kind of what they became known for, but that’s a reductive way of thinking
about them, because they were so much more than that.<o:p></o:p><br />
<br />
<i style="text-indent: 0in;">Related:</i><br />
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<span style="mso-bidi-font-family: "Times New Roman";"><br /></span></div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017.html"><b>The Bad Plus Interviews 2017: Introduction</b></a></span></div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017-reid.html">The Bad Plus Interviews 2017: Reid Anderson</a></b></span></div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/date-ofinterview-december-3-2017-pamela.html">The Bad Plus interviews 2017: Ethan Iverson</a></b></span></div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/date-of-interview-december-5-2017.html">The Bad Plus Interviews 2017: Dave King</a></b></span></div>
<div style="margin: 0px;">
<span style="mso-bidi-font-family: "Times New Roman";"><b><a href="http://www.bebopified.com/2017/12/the-bad-plus-interviews-2017-lowell.html">The Bad Plus Interviews 2017: Lowell Pickett</a> (Dakota Jazz Club)</b></span></div>
</div>
</div>
Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-45649249073793351872017-11-29T18:41:00.001-08:002017-12-01T10:27:19.848-08:00The triumphant, transcendent return of Fat Kid Wednesdays<div class="MsoNormal">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUrHfYl0Hz4Nu-lQRBHgEuHJi9R5Jj5rQZ-edYj6u98hgNIRS4UczdCmlsudfvCfpYcNt1o5HK9epqn1QSCccZkmDSE6GS6v98ERDxwBMcH8Emaysi7VJp3_qBnNJh6hbZvYietioVX3no/s1600/IMG_2636.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="993" data-original-width="1600" height="245" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUrHfYl0Hz4Nu-lQRBHgEuHJi9R5Jj5rQZ-edYj6u98hgNIRS4UczdCmlsudfvCfpYcNt1o5HK9epqn1QSCccZkmDSE6GS6v98ERDxwBMcH8Emaysi7VJp3_qBnNJh6hbZvYietioVX3no/s400/IMG_2636.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Adam Linz, JT Bates, Michael Lewis</td></tr>
</tbody></table>
<span style="font-family: "times new roman" , serif;"><br /></span>
<span style="font-family: "times new roman" , serif;">“Fat Kid
Wednesdays.” What kind of band name is that?</span></div>
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<br /></div>
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<span style="font-family: "times new roman" , serif;">The kind you
make up when you’re teenagers crazy for jazz.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Michael
Lewis (saxophones), Adam Linz (bass) and JT Bates (drums) started playing
together as friends in high school. On Monday, November 27, 2017, some 26 years
later, they played two sets at <a href="https://www.icehousempls.com/">Icehouse</a>.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Between then
and now, they played together often, then less and less. For years, they were
the band in residence at the Clown Lounge, a bar in the basement of the old
Turf Club. <a href="http://www.bebopified.com/2011/01/changes-at-turf-club-no-more-fat-kids.html">The Clown closed suddenly in January 2011</a>. Two years earlier, in January 2009, Fat
Kids spent two nights at the Stone, John Zorn’s club in New York City. <a href="https://www.newyorker.com/culture/goings-on/fat-kid-wednesdays-at-the-stone">Someone
reviewed the first night for the New Yorker’s Culture Desk</a>, noting the trio’s
“preternatural mutual responsiveness that comes from an instinctive sympathy,
but is developed over time through work” and their “exhilarating performance”
that “revealed both the depth of their individual artistry and the symbiotic
wonder of their interplay.” The review ended with “They play again tonight. Don’t
miss it.”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">Fat Kids
made some albums: “Shiftercar,” “Singles,” “The Art of Cherry.” A mini-album
called “Bomb” is listed at Discogs.com, and something called “Set One” is available at <a href="http://www.shiftingparadigmrecords.com/">Shifting Paradigm Records</a>. Some songs “recorded at the clown
lounge by sam” are on myspace but no longer playable. Same goes for a few
labeled “Minnesota sur Festival,” which means recorded at the Minnesota Sur
Seine Festival, a late, much-lamented, trés amazing improvised music festival held in the mid-2000s that brought artists from France to play with artists in Minnesota. Fat Kids
played often in France.<o:p></o:p></span></div>
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<br /></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBtVzOHt8y5OmsjhyphenhyphenxPTPVC3xlYbLZIpzwedDeviBD8dg0mUlGS74yite_bSj3iJWJkv8n_V0oCMBTKgbMJsbDwEW-bqTXtGfuX0hTdIvD2HCm8WfQq4zGhjGBm5dAaT0wELd605yVlaXJ/s1600/IMG_0868.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1509" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBtVzOHt8y5OmsjhyphenhyphenxPTPVC3xlYbLZIpzwedDeviBD8dg0mUlGS74yite_bSj3iJWJkv8n_V0oCMBTKgbMJsbDwEW-bqTXtGfuX0hTdIvD2HCm8WfQq4zGhjGBm5dAaT0wELd605yVlaXJ/s400/IMG_0868.JPG" width="376" /></a></div>
<span style="font-family: "times new roman" , serif;">When Mike,
Adam and JT took the stage at Icehouse on Monday, it had been four years since
they last played together. The room was packed. The tables had been moved
around to make standing room for 120 people. <i style="mso-bidi-font-style: normal;">Everyone was there to listen.</i><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">I don’t
know what they played. They didn’t announce the songs. The singer Wendy Lewis,
who is Mike’s aunt, thought she heard a
reconstructed “Stardust.” I thought I heard Mingus. And so many other things; hints and asides that teased and evaporated. The music
washed over the room in bursts of playfulness and waves of beauty. There were
ballads so full of emotion that I wanted to weep. I had forgotten the trio
could do this, or maybe they’re better at doing it now, as men in their
forties, grown, working, with histories, making lives for themselves, all as in-demand, professional musicians. </span><br />
<span style="font-family: "times new roman" , serif;"><br /></span>
<span style="font-family: "times new roman" , serif;">Mike’s
saxophones wailed, screamed and sighed as he paced the stage. Adam’s big, gorgeous-sounding acoustic bass
sang with a human voice. JT’s drums – clutches of thunder, crashes, skitters, the
shimmer of cymbals – seemed like the source of all rhythm. They were happy to be together, old friends hanging out and doing what they love. We were damn lucky to be there.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;"><br /></span>
<span style="font-family: "times new roman" , serif;">During one
song, near the end, I barely breathed. Without words, Mike’s saxophone told a
story of sadness, longing, regret, wisdom and acceptance. I am not exaggerating.
His horn said all of that and probably more. I heard it very clearly. I wish there had been a photographer on
the stage, taking pictures of the crowd and the wonder on our faces, because
the whole room was transfixed by the music. Afterward, I turned
to Mary Lewis, Mike’s mom, and asked, “Where did that come from?” She put her
hand on her heart.</span><br />
<span style="font-family: "times new roman" , serif;"><br /></span>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimq8_xPbw1c1GyajN4tksyx2RhrK__fc5zm6_qKYMQ4xokUF8MIc7SQPxCbjdL8kbCEC8zeuGtJe9S5PJaSlqO0o9CG_W6KCwcpJ50jA2BjwbeWZBYYvT-9jCZqSw2PITXXrOxQlzkUE1w/s1600/IMG_2678.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1054" data-original-width="1600" height="263" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimq8_xPbw1c1GyajN4tksyx2RhrK__fc5zm6_qKYMQ4xokUF8MIc7SQPxCbjdL8kbCEC8zeuGtJe9S5PJaSlqO0o9CG_W6KCwcpJ50jA2BjwbeWZBYYvT-9jCZqSw2PITXXrOxQlzkUE1w/s400/IMG_2678.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Adam Linz, JT Bates, Michael Lewis</td></tr>
</tbody></table>
<span style="font-family: "times new roman" , serif;"><br /></span></div>
Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-11325509993103454612016-12-22T12:41:00.000-08:002016-12-22T12:58:25.060-08:00On seeing Denzel Washington in “Fences” at the Cort Theatre on May 16, 2010<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH2V9jt5yxIuRKMvNt2Yjl73RpZUZClqe2eAu_QhE826j955sxoq7mvDiOfaVdIi-SBZPLDaPpZgQz0OQ7zNkPhrQqibYAJJAgGJVq3aGdguoU4b91ded3kyc31_MPQndGkyVcWBV6TkYI/s1600/1+in+line.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH2V9jt5yxIuRKMvNt2Yjl73RpZUZClqe2eAu_QhE826j955sxoq7mvDiOfaVdIi-SBZPLDaPpZgQz0OQ7zNkPhrQqibYAJJAgGJVq3aGdguoU4b91ded3kyc31_MPQndGkyVcWBV6TkYI/s400/1+in+line.jpg" width="371" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">In line for "Fences," May 16, 2010</td></tr>
</tbody></table>
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Denzel Washington’s “Fences,” his big-screen adaptation of
August Wilson’s play, opens Christmas Day and is already being hailed as a
strong Oscar contender.<br />
<br />
Washington has also made a deal with HBO to executive
produce adaptations of the other nine plays in Wilson’s “Century Cycle,” also
known as his “Pittsburgh Cycle” (because all 10 plays are set in Pittsburgh). <o:p></o:p></div>
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This is tremendous good news for him, the plays, African
American actors (here come a lot of movie roles for African American actors)
and for American culture as a whole, because Wilson’s cycle about African
American life in the 20th century is a pearl of great price.<o:p></o:p></div>
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“Fences” premiered on Broadway at the 46th Street Theatre on
March 26, 1987, ran for 525 performances and won four Tonys. The first Broadway
revival opened on April 26, 2010, for a limited 13-week run and won three
Tonys: for Best Revival of a Play, Best Actress in a Play (Viola Davis), and
Best Actor in a Play (Washington), his first and so far only Tony.<o:p></o:p></div>
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The cast of the movie is almost identical to the cast of the
Broadway revival, with Washington, Davis, Stephen McKinley Henderson, Russell
Hornsby and Mykelti Williamson all reprising their roles as Troy Maxson, Rose
Maxson, Jim Bono, Lyons and Gabriel. On Broadway, Eden Duncan-Smith and SaCha
Stewart-Coleman alternated in the role of Raynell, and Chris Chalk played Cory.
In the film, Saniyya Sidney is Raynell and Jovan Adepo is Cory.<o:p></o:p></div>
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We saw the 3 p.m. matinee on May 16. Our seats were high in the
Cort’s balcony, which has such a steep rake that everyone has an unobstructed
view.<o:p></o:p></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_yovB8Mefxj18-l9LIw253L329k-IZ6-HI25CSmtXoftOaCK_98vgNvewZBAckdQx3WGR_H3kiQeq4nqhNoQToguFJNJ0KzyPipQMDWtVPQnLZL6KJg3-uDdCSYOFtUACm-ykNB95EN57/s1600/2+the+set.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_yovB8Mefxj18-l9LIw253L329k-IZ6-HI25CSmtXoftOaCK_98vgNvewZBAckdQx3WGR_H3kiQeq4nqhNoQToguFJNJ0KzyPipQMDWtVPQnLZL6KJg3-uDdCSYOFtUACm-ykNB95EN57/s400/2+the+set.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The set of "Fences," from the balcony</td></tr>
</tbody></table>
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Seated around us were several ladies who had come into New
York by bus from Atlantic City. They had enjoyed long lunches with cocktails
and wine, which they were chatting about. They were excited and happy.</div>
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<o:p></o:p></div>
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<br /></div>
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When the house lights dimmed and Henderson and Washington
walked on stage – they have the first lines – the ladies screamed. Even from
the balcony, Washington was a powerful presence, sending out hot Denzel waves. He may be one of the few actors who doesn’t appear smaller in person than he does
on screen. He definitely has charisma. I almost screamed myself. I’m not lying; it was thrilling.<br />
<o:p></o:p></div>
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<br /></div>
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He ignored the noise and said his lines, and continued to say his
lines. Throughout the play, some members of the crowd gave feedback. They
cheered and gasped, yelled “You go, girl!” when Rose (Davis) stood up to Troy
(Washington) and “No, you didn’t!” when someone said something outrageous.
Halfway through the first act, a woman seated in our row, a few seats away,
started snoring.<o:p></o:p></div>
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<br /></div>
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During intermission, the snoring was
a topic of conversation. “Did you hear that?” “Somebody was snoring.” “Who was
snoring?” Several people turned to look at us. I looked back. “Oh, no,” I said. “Honest,
it wasn’t me. Or him, either.” By now, the snorer was awake, sitting up and acting all innocent. We didn't blow her cover.<o:p></o:p></div>
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We had seen “Fences” before, in a 2008 <a href="https://penumbratheatre.org/">Penumbra Theatre</a> production
directed by Lou Bellamy, with this stellar cast: James. A. Williams, Marion
McClinton, Elayn J. Taylor, Kevin D. West, James Craven and James T. Alred,
with Marianne McGee and Mahogany Ellis alternating as Raynell. So we knew the
play. Parts of the Penumbra show were still in my head, and I thought – this New
York play is awfully good, but so was ours back in St. Paul. Washington’s sparkling star-power aura was something, but it wasn’t everything. I’d still
rather see an August Wilson play at Penumbra.<o:p></o:p></div>
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On the way out, we ran into Matthew Fox, another heartthrob
and the star of “Lost,” which was in its last season (the final episode would
air a week later, on May 23). John shook his hand and said “Thanks for doing
what you do.” Fox said, “Thanks, man.”<br />
<br />
We joined the crowd at the stage door. Washington never
came out (or left earlier), but Williamson, Davis and Chalk did. I had brought
my copy of “Fences” from the <a href="https://www.amazon.com/August-Wilson-Century-Cycle/dp/155936307X/ref=cm_cr_arp_d_product_top?ie=UTF8">Century
Cycle box set published by Theatre Communications Group</a> (an investment I
made years back, so glad), and Davis and Williamson signed it.</div>
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<o:p></o:p></div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtQHKkSCWvTpqrNfjLV_HdIoNJC-AqmUwn8f79ifWcFH1WHaW601sAPLXUmAYKzNm38lWQ3ZNKM3S9cWo8ARGM-D0cDCo5vl3AXx3Uefj8vAJFgwtFk-xSVYrWkQXDL05Wz7o6uiT4T8OQ/s1600/3+stage+door.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtQHKkSCWvTpqrNfjLV_HdIoNJC-AqmUwn8f79ifWcFH1WHaW601sAPLXUmAYKzNm38lWQ3ZNKM3S9cWo8ARGM-D0cDCo5vl3AXx3Uefj8vAJFgwtFk-xSVYrWkQXDL05Wz7o6uiT4T8OQ/s400/3+stage+door.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The stage door after the play</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_cSvx7R9pBlUzRIaRpYyRgwyecqSvYkojgsLdzKRpEvQU1PQMKoa_jbiGEa-5p0g3W8Ul7VYdgH3gW0Iw-Dh8hWWI-x33pAPFThmLZUx2wyMsMvqN-MUGS1R7oTFujtgVkugg7k7c_zzc/s1600/5+stage+door+3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_cSvx7R9pBlUzRIaRpYyRgwyecqSvYkojgsLdzKRpEvQU1PQMKoa_jbiGEa-5p0g3W8Ul7VYdgH3gW0Iw-Dh8hWWI-x33pAPFThmLZUx2wyMsMvqN-MUGS1R7oTFujtgVkugg7k7c_zzc/s400/5+stage+door+3.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The stage door after the play</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjnlyAI1kHxFQml4P3iFkugSIjs5tvrUyTo6lnvy76A9at4HtNmBiXpREyKSCcP3HUVyA2dE9D09WKaQsnXDaBvfm-Y6DfcvWe2nlDLxwFXBO3oiX0UFDkvcxPhq11dvbKT21Tt31ydpRM/s1600/4+Mykelti.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="303" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjnlyAI1kHxFQml4P3iFkugSIjs5tvrUyTo6lnvy76A9at4HtNmBiXpREyKSCcP3HUVyA2dE9D09WKaQsnXDaBvfm-Y6DfcvWe2nlDLxwFXBO3oiX0UFDkvcxPhq11dvbKT21Tt31ydpRM/s400/4+Mykelti.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mykelti Williamson and Chris Chalk </td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2emkd40iMyyK8HJaFsPAV1-hBYX90SIHil0tsO-XEPUL4fueJI2dJCAeD8cHaXctVWL3HljVDFXE9-8ekaOoyktSJ1CMpCXXFy5EVL1ZsmTnGFVVnqMCE3IxuFD3RfB5g0_L7eJGI5RsL/s1600/4b+Mykelti.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2emkd40iMyyK8HJaFsPAV1-hBYX90SIHil0tsO-XEPUL4fueJI2dJCAeD8cHaXctVWL3HljVDFXE9-8ekaOoyktSJ1CMpCXXFy5EVL1ZsmTnGFVVnqMCE3IxuFD3RfB5g0_L7eJGI5RsL/s400/4b+Mykelti.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Mykelti Williamson</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnJ1kMDdFwXcLzl8zHmg66feWJGEb215DEGj2QFs5GJ1Y3PFYkL8hqFfFJI0mCW4AP_jWOnqV3V2xa6hDLRge0Nk0_6ASlCP6PmpmdDDJ_CYGL7ogN0f7uj2k-RLp9jFGkPTmLixt6EGfP/s1600/6+Mykelti+and+Chris+Chalk.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnJ1kMDdFwXcLzl8zHmg66feWJGEb215DEGj2QFs5GJ1Y3PFYkL8hqFfFJI0mCW4AP_jWOnqV3V2xa6hDLRge0Nk0_6ASlCP6PmpmdDDJ_CYGL7ogN0f7uj2k-RLp9jFGkPTmLixt6EGfP/s400/6+Mykelti+and+Chris+Chalk.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Security, Mykelti Williamson and Chris Chalk</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF8uRAIqnmhzxplRs2DpgOhjd7QtbMXV0aAbwX4mz_hv174DB7RhxhyphenhyphenuFzrEQTFPP6dbd9WokOYfItLzWJSMoaauXJ9gnbmxDepx21QlS1HePk3tySq0q0KZAHuuqK0ef4WDWWBgsAdlBN/s1600/7+Viola.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="327" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF8uRAIqnmhzxplRs2DpgOhjd7QtbMXV0aAbwX4mz_hv174DB7RhxhyphenhyphenuFzrEQTFPP6dbd9WokOYfItLzWJSMoaauXJ9gnbmxDepx21QlS1HePk3tySq0q0KZAHuuqK0ef4WDWWBgsAdlBN/s400/7+Viola.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Top center: a peek at Viola Davis</td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3mhyphenhyphenzcHoAM-0ZChpXohXfiw4uV_uhlJZ6074kcMae7YK_uUGXgtu8QhZ3Xc6_cR8__4XjAe5_6DUJBmUcEGPeyEAavLuMc4WADSg4wQvYXnyqqqr3BTGoDj-DggjrdBAxGcjCn0TQw_ik/s1600/FullSizeRender.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="308" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3mhyphenhyphenzcHoAM-0ZChpXohXfiw4uV_uhlJZ6074kcMae7YK_uUGXgtu8QhZ3Xc6_cR8__4XjAe5_6DUJBmUcEGPeyEAavLuMc4WADSg4wQvYXnyqqqr3BTGoDj-DggjrdBAxGcjCn0TQw_ik/s400/FullSizeRender.jpg" width="400" /></a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP7ZhPeR-ijovbv3xI8zJKUyu1jPjsR4e7Ndh8RcKXDSfu5LB_AHaGCaqvKJFZ_W97i-xlM3pAn5FCUFZOvTRaPy2oCfYtumxxkyv3uzXX4TE798E3CKhz-IWflwYYMi7c2GCmwQaFa8eC/s1600/IMG_2011.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP7ZhPeR-ijovbv3xI8zJKUyu1jPjsR4e7Ndh8RcKXDSfu5LB_AHaGCaqvKJFZ_W97i-xlM3pAn5FCUFZOvTRaPy2oCfYtumxxkyv3uzXX4TE798E3CKhz-IWflwYYMi7c2GCmwQaFa8eC/s400/IMG_2011.jpg" width="300" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Johnny, New York City, May 16, 2010</td></tr>
</tbody></table>
Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com2tag:blogger.com,1999:blog-6608328763829731453.post-8784636609242122862016-10-14T16:25:00.002-07:002016-10-15T09:35:00.194-07:00Visiting Minnesota, poet Billy Collins calls Bob Dylan’s Nobel Prize a “bold choice”<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpKCLptAtiZhu_JL5o_rv2Htkx7fc0KLjf_rIKk5f087VTktqww6xWxSuZhVyTgmU_7IgsYd2GWqcsKzEvFP0lkMRYe1xq1EEl7oGqe2nV4oi7sIRZ9R9wtRLdA-qLXjeSSmU7XyZNiEk8/s1600/Billy+Collins+by+Suzannah+Gilman+.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpKCLptAtiZhu_JL5o_rv2Htkx7fc0KLjf_rIKk5f087VTktqww6xWxSuZhVyTgmU_7IgsYd2GWqcsKzEvFP0lkMRYe1xq1EEl7oGqe2nV4oi7sIRZ9R9wtRLdA-qLXjeSSmU7XyZNiEk8/s320/Billy+Collins+by+Suzannah+Gilman+.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Billy Collins by Suzannah Gilman</td></tr>
</tbody></table>
<div class="MsoNormal">
When Bob Dylan won the Nobel Prize for Literature, former U.S.
poet laureate Billy Collins was in Minnesota, making two appearances
for <a href="https://www.supporthclib.org/pen-pals">Pen Pals, the Friends of the Hennepin County Library’s author series</a>. It seemed
only natural that someone would ask Collins his opinion on that, and on Friday
morning, Oct. 14, at the Hopkins Center for the Arts, someone did.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“I was fine with it,” Collins told the sold-out crowd who
had come to hear him read and speak. “The Nobel Prize committee often comes up
with obscure writers, and you have to play catch-up [to learn who they are].
But you don’t have to google Bob Dylan.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
“Some people are saying [Dylan’s lyrics] are not quite
literature. Students are asking, ‘What about Jim Morrison? He’s a poet, isn’t
he?’<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
(Pause.) “No.” (Pause.) (Crowd laughter.) <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
“If you want to test to see if a song lyric is a poem,” Collins continued, “you have to get everyone off stage, including the three singers in
their sparkly dresses, so all you have is a piece of paper with the lyric, and
then you read the lyric. ‘Come on, baby, light my fire/Come on, baby, light my
fire’ is not a poem.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“I’ve read [Dylan’s] lyrics on paper, and his liner notes. And
I think his lyrics do hold up on paper.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“I thought it was an inspired, bold choice, and I’m all for
it.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Collins is a rock star himself, in the literary world,
poetry subcategory. He has a new book, “The Rain in Portugal,” which made its
debut today at #15 on the New York Times bestseller list for hardcover fiction (because
the Times doesn’t have a bestseller list for poetry), which put Collins in a
good mood. Or maybe he was already in a good mood. He seemed like a happy man, someone you’d like to know, genial, glad to be a poet, and a successful one at that. In a little over an
hour, leaving time at the end for a Q-and-A, he read 26 poems, interspersing
them with often humorous anecdotes.<br />
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Collins’ poems are plainspoken, laced with humor, yet profound. They usually
start with something simple, even mundane, then rise up and expand in meaning
and importance, sometimes to the point of majesty.<br />
<br />
Two poems he read on Friday morning, “1960” and “Nightclub,” made
jazz references. <a href="https://www.facebook.com/BillyCollinsPoetry/">According to his Facebook page </a>(which is updated by his management
and publisher, not Collins himself, but with his approval), <a href="https://www.facebook.com/BillyCollinsPoetry/photos/a.221423644585546.56214.152116558182922/1154060421321859/?type=3&theater">he recently read a poem aloud to Wynton Marsalis.</a> The poem, <a href="http://www.poemhunter.com/poem/man-listening-to-disc/">“Man Listening to Disc,”</a> mentions Sonny Rollins, bassist
Tommy Potter, drummer Arthur Taylor and Thelonious Monk, and the track “The Way
You Look Tonight,” so Collins was probably writing about the Concord recording “Thelonious
Monk/Sonny Rollins.”</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Because Collins is a rock-star poet, here’s his set list from Friday –
the titles of the poems he read. Many are from “The Rain in Portugal,” but not
all. Some, like “The Lanyard” and “Forgetfulness,” are old favorites people in
the audience already knew. <o:p></o:p></div>
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<br /></div>
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“You, Reader”<o:p></o:p></div>
<div class="MsoNormal">
“1960”<o:p></o:p></div>
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“Lucky Cat”<o:p></o:p></div>
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“Only Child”<o:p></o:p></div>
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“Predator”<o:p></o:p></div>
<div class="MsoNormal">
“In Praise of Ignorance”<o:p></o:p></div>
<div class="MsoNormal">
“Sixteen Years Old, I Help Bring in the Hay on My Uncle John’s
Farms with Two French-Canadian Workers”<o:p></o:p></div>
<div class="MsoNormal">
“December 1”<o:p></o:p></div>
<div class="MsoNormal">
“Down on the Farm”<o:p></o:p></div>
<div class="MsoNormal">
(a poem about staying awake at night wondering which member
of a couple would die first; sorry, didn’t catch this title)<o:p></o:p></div>
<div class="MsoNormal">
“Cheerios”<o:p></o:p></div>
<div class="MsoNormal">
“To My Favorite Seventeen-Year-Old High School Girl”<o:p></o:p></div>
<div class="MsoNormal">
“Royal Aristocrat”<o:p></o:p></div>
<div class="MsoNormal">
“The Death of the Hat”<o:p></o:p></div>
<div class="MsoNormal">
“The Lanyard”<o:p></o:p></div>
<div class="MsoNormal">
“The Golden Years”<o:p></o:p></div>
<div class="MsoNormal">
“Oh My God!”<o:p></o:p></div>
<div class="MsoNormal">
“Divorce”<o:p></o:p></div>
<div class="MsoNormal">
“Flock”<o:p></o:p></div>
<div class="MsoNormal">
“No Time”<o:p></o:p></div>
<div class="MsoNormal">
“Elk River Falls”<o:p></o:p></div>
<div class="MsoNormal">
“Dharma”<o:p></o:p></div>
<div class="MsoNormal">
“Forgetfulness”<o:p></o:p></div>
<div class="MsoNormal">
“Nostalgia”<o:p></o:p></div>
<div class="MsoNormal">
“On Turning Ten”<o:p></o:p></div>
<div class="MsoNormal">
“Nightclub”<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
He introduced each poem, or followed it up, with a brief comment, story or explanation. A selection: <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
<o:p> -- </o:p>“Our cat shows no sign of going anywhere except from room to
room. … She looks like she has something to say, but she just forgot it. She’ll
stare at you, and you’re sure she’s about to speak, then she’ll blink and you’ll
know she just lost it.”</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<o:p> -- </o:p>“Poetry began as a series of memory tools, mnemonic devices –
the impulse to write, to capture a moment in amber.”</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<o:p> -- </o:p>“A friend used to stay awake at night wondering which Everly
Brother would die first. He liked them both equally.”</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<o:p> -- </o:p>“Poems can arise from the meanest of circumstances.” (An example: his poem “Cheerios,” which he wrote after learning that he
and the cereal are the same age.)</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<o:p> -- </o:p>“Here’s how poetry works: You start with something simple
and see how it goes. An object gathers significance.” (From his introduction to
“Lanyard,” which was sparked by seeing the word “Lanyard” in the dictionary. He
noted that “no cookie nibbled by a French poet could send one so quickly into
the past” as that word did for him, which yanked him back in time to summer
camp, when he wove a lanyard for his mother. “I could have made her a
potholder, but I probably wouldn’t have written a poem about it.”)</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<o:p> -- </o:p>“Here’s a sonnet, just because I can do it.”</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<o:p> -- </o:p>“A nutshell is another name for the grave. … If you think
writing a funny poem about your dead parents is easy, give it a whirl.”</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<o:p> -- </o:p>“Majoring in English is pretty much majoring in death. Most
poems are about mortality. That’s what gets poets up in the morning.”</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Collins’ responses to audience questions during the Q-and-A
gave insight into his process, how he writes poetry and what others who want to
write poetry might try. A selection:<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
-- On the state of mind that produces poems: “Vigilance. … I’ve
never sat down to write. I’ve never had any work habits. … Poetry is an
exploitative, opportunistic view of human experience. … Being able to spot
something you think might have poetic possibilities, then trying it out later.”
He always has a notebook, and many of his poems begin with something he’s
written there.<o:p></o:p></div>
<div class="MsoNormal">
<o:p> -- </o:p>On poetry and emotion: “Young people write at night. That’s
not a good idea. It intensifies your feeling of being the only person in the
world. … The worst thing is to be emotional in a poem. You have to play it
cool, to write cold. You want your reader to be emotional. … You’re trying to
get a stranger to be interested in you and your life. Readers don’t come to
poetry because they care about you; they come because they care about poetry.
You have to convince them that you love poetry as much as they do. That links
you together.”</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<o:p> -- </o:p>On science fiction: “All science fiction is about two things: either we go
there, or they come here.”</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<o:p> -- </o:p>On learning from an audience member that all the letters for
the word “typewriter” are found on the top row of the keyboard: “I didn’t know
that. Thank you, Mrs. Qwerty.”</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When asked, “How does it feel to stand in front of hundreds
of women who are profoundly in love with you?” Collins said, “It feels good.
And that’s a good note to end on.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On the way out, everyone received a copy of “The Rain in Portugal.”<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLqi6DzxM4Jxmhe4VFu50cueKA0EgXg1QOvsEUHZpWYGnkaE2zkpULFHqQ2Yo58dRM53rIQ5LSEMVCr7puyA60dGhqkbGyy6Qiwrzmnl7Cn0YAP0ym0g4bC3aVwGKSUppPxp5VfpbbT3zi/s1600/IMG_5970.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLqi6DzxM4Jxmhe4VFu50cueKA0EgXg1QOvsEUHZpWYGnkaE2zkpULFHqQ2Yo58dRM53rIQ5LSEMVCr7puyA60dGhqkbGyy6Qiwrzmnl7Cn0YAP0ym0g4bC3aVwGKSUppPxp5VfpbbT3zi/s320/IMG_5970.JPG" width="320" /></a></div>
</div>
Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com2tag:blogger.com,1999:blog-6608328763829731453.post-66580381348818657262016-08-23T20:56:00.002-07:002016-08-24T07:32:51.702-07:00Ethan Iverson talks about his Steinway, Sweeney, Paulson, and Trump post<div class="MsoNormal">
On Friday, August 19, pianist Ethan Iverson added <a href="https://ethaniverson.com/2016/08/19/steinway/">a new post</a> to his
blog, <a href="https://ethaniverson.com/">Do the M@th</a>, and announced it on
Twitter:</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLfH5If6qzxGh-ZKbyX3jPM6nWEftWzkvL-KeT9_U7gOuyBFpdLDD69PRhW-lhoue0XNMt58yxJMPi9ph0kJwaijMFYHhPTf_3Q4D7Qhb-bYlHB-HIkq2TMFeH3KV8tCraIrp0eMLoy2Oj/s1600/ETHAN+1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLfH5If6qzxGh-ZKbyX3jPM6nWEftWzkvL-KeT9_U7gOuyBFpdLDD69PRhW-lhoue0XNMt58yxJMPi9ph0kJwaijMFYHhPTf_3Q4D7Qhb-bYlHB-HIkq2TMFeH3KV8tCraIrp0eMLoy2Oj/s400/ETHAN+1.png" width="400" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Iverson had learned that hedge fund billionaire John
Paulson, whose company bought Steinway Musical Instruments in 2013, was recently named to Donald Trump’s economic team.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“As far as I know,” Iverson wrote, “this post is the first
to make the Trump/Steinway connection explicit to an arts audience.” <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The Sweeney is Michael Sweeney, former Steinway CEO, with
whom Iverson had a cordial relationship. Sweeney left the company last week. <a href="http://www.cnbc.com/2016/08/22/steinway-sons-ceo-out-three-years-after-billionaire-john-paulson-purchase.html">According
to CNBC</a>, “A Steinway spokesman would not say if Sweeney, 58, resigned or
was forced out of the company, or reveal what led to him leaving.” Ron Losby,
Steinway president since 2008, has taken over as CEO.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Excerpts from Iverson’s post (not that you shouldn’t read it
yourself):<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoListParagraphCxSpFirst" style="margin-left: .25in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: "symbol"; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]-->About Paulson: “Getting into bed with Donald
Trump crosses a line.” <o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: .25in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: "symbol"; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]-->“With the Paulson/Trump alliance in full effect,
I can’t in good conscience keep asking promoters to go out of their way to
provide me with Steinway pianos.”<o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: .25in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: "symbol"; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]-->Iverson mentions being “on the verge of becoming
a full-scale Steinway artist” and enjoying “some nice privileges.” <o:p></o:p></div>
<div class="MsoListParagraphCxSpMiddle" style="margin-left: .25in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: "symbol"; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]-->“I do think my fellow pianists should at least
be aware of this jarring dissonance at the top end of Steinway’s (pay) scale.” <o:p></o:p></div>
<div class="MsoListParagraphCxSpLast" style="margin-left: .25in; mso-add-space: auto; mso-list: l0 level1 lfo1; text-indent: -.25in;">
<!--[if !supportLists]--><span style="font-family: "symbol"; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">·<span style="font: 7.0pt "Times New Roman";">
</span></span></span><!--[endif]-->“After all, while we all love beautiful things,
part of our greater worth is the company we keep.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Iverson played a solo concert in Minneapolis on Saturday,
August 20. He answered a few questions afterward about his post and Steinway
decision.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">PLE: You mention
being “on the verge of becoming a Steinway artist.” <o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Ethan Iverson: </b>[I
was told] I could have all the privileges of being a Steinway artist, but I
wouldn’t become a full Steinway artist until I actually owned a Steinway. I
bought a low-end Boston, which is a great little piano, and was going to work
up to buying a Steinway. But I was already thinking about making requests for [Steinway]
pianos for certain venues. They gave us a great deal on the piano we used to
make our new album.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
[Iverson is talking about <i style="mso-bidi-font-style: normal;">It’s Hard</i>, the new album by The Bad Plus, his trio with Reid
Anderson and Dave King, that comes out Aug. 26.]<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Did you talk with
Reid and Dave about your post?</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I talked to a couple of people in the industry and fellow
pianists. I didn’t really talk to Reid and Dave because for years The Bad Plus
has played whatever pianos are there at the venue. I think there’s plenty of room to worry about other things
about your musicianship before you become a piano diva, especially if you’re a
jazz player. If you’re playing virtuosic classical music for a living, that’s a
different kettle of fish.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Have you gotten any
pushback on your post?</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Everybody seems to think I’m the hero of the hour. Both Marc-André Hamelin – in my opinion, the greatest
living classical pianist – and Thomas Adès – whom I think is the greatest
composer – tweeted positive things. Alex Ross put it on his blog [<a href="http://www.therestisnoise.com/">The Rest Is Noise</a>] today. [Ross
called it “an important, dismaying read.”] A lot of people retweeted it. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Did something happen
that brought this on?</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I was at dinner with a person who’s in the financial world,
and he told me Paulson was the Steinway owner and was Trump’s economic advisor.
I hadn’t connected those dots.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I think probably everyone in music just looked at the list
of Donald Trump economic advisors and didn’t really pay any attention. I didn’t
really pay any attention either, but I did see Paulson speak at the Steinway
gala [on March 14] and had a negative impression. Then I was like, “Wait a
minute, who is this guy?” And I started doing my research, and it became
obvious to me that this was something we should know about.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It’s worth knowing so people think, “Maybe I don’t need to
go with Steinway. Maybe I can go with someone else.” There’s the first
African-American piano maker, a guy named Warren Shadd, and I’ve been thinking I
should go down and play a Shadd piano. There are some extraordinary Yamahas
now. They’ve really upped their high-end game.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
60 or 70 years ago, there were about 50 piano makers, and
now it’s essentially down to a couple, and everyone wants to play a Steinway because
it’s the only handmade one. It would be nice to have a little more competition
for Steinway.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">This is a serious
decision for you as a pianist.</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I lost a night of sleep over it. I thought, “Am I really
going to do this?” But I figured, “Who knows what the future brings?” It’s not
like I’m never going to play any Steinways anymore. There are Steinways at a
lot of venues. What I’m really giving up is being in that elite class of
Steinway pianists.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And that’s really not my personality anyway. I bang around
Bohemian style. That’s sort of what I believe in. And frankly, I think that
East Coast elite stuff is really a drag. And for someone like John Paulson, I
think almost any musician is probably not much … I can’t speak for Paulson, but
I’ve met various rich people on the East Coast, and sometimes they have an
appreciation of art only as something that ornaments their wealth. I think that
perspective is horrible.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Being economic advisor to Donald Trump, as I wrote, just
crosses the line. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">What do you see as
the consequences for you personally? Beyond not being a Steinway artist?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I like some of the people at Steinway, and I know it was probably
not good for them that I posted this. So that was a little problematic. I don’t
want to make life worse for anybody. On the other hand, I’m just a little jazz
blogger. It’s hard to know what the consequences are of anything. But it was
totally dark and I turned on the light. And there might be consequences there,
I suppose. Who knows? Is this any of my business? Maybe I should just let it
lie. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Truthfully, I don’t think it’s going to make any difference
to anything. But if just a few people I know and respect who didn’t know about
it now know about it, and it’s part of the conversation, that’s as much as I
could hope for.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
***<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On August 23, <a href="http://slippedisc.com/2016/08/did-you-know-that-steinways-owner-is-backing-donald-trump/">Norman
Lebrecht featured Iverson’s post on his Slipped Disc blog</a>, with (nice touch,
Norman) a photograph of a Steinway lying on its back.<o:p></o:p></div>
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Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-39379695589425461282016-04-12T18:01:00.003-07:002016-04-13T06:38:46.277-07:00Director Haydn Reiss talks about his new film, “Robert Bly: A Thousand Years of Joy”<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhISviu_tYT_C4HL5K-qDep68EBQ5G5ZGB_WrpGzppYw7kq_S7-GpocdUd09DDcs8MLnQB0NNN2bYnVr98SNIbM0BF1OW9yqSg7WGWlFOXtYIflLqggZmoTuP7N9gYD824O6tGhHgxAOYRC/s1600/Robert_Bly_At_Carlssons_Farm.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhISviu_tYT_C4HL5K-qDep68EBQ5G5ZGB_WrpGzppYw7kq_S7-GpocdUd09DDcs8MLnQB0NNN2bYnVr98SNIbM0BF1OW9yqSg7WGWlFOXtYIflLqggZmoTuP7N9gYD824O6tGhHgxAOYRC/s400/Robert_Bly_At_Carlssons_Farm.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">A still from "Robert Bly: A Thousand Years of Joy"</td></tr>
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I fell in love with Robert Bly’s poetry when I was in
college and read his book “Silence in the Snowy Fields.” I’ve been an
admirer ever since, following him through his various books and collections,
carrying around a battered copy of his Kabir translations, attending his
readings (and once reading with him, as part of a large group of poets in Morris, Minnesota, hardly
believing my luck), and wishing I could write like him, which I never could.</div>
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California-based filmmaker Haydn Reiss has made a
documentary about Bly’s life, poetry and importance to literature and the men’s
movement (which began with his best-selling, often parodied book “Iron John”).
I first heard about the film in 2014 and have pestered Reiss about it ever since.<o:p></o:p></div>
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This week, “Robert Bly: A Thousand Years of Joy” comes to
the Minneapolis St. Paul International Film Festival (MSPIFF) for screenings on
April 14 and 17. I spoke with Reiss for MinnPost last week. Here’s more (much
more!) from that interview, including Reiss’ story of how he settled on the
film’s perfect title. I could use only a small part of the interview on MinnPost, but
the rest was too interesting to leave unsaid. So here’s a deep dive for those who want to know more about
Bly, the film and the filmmaker.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">Haydn Reiss on how a 10-minute short became a feature-length documentary:</b><o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">HR: </b>When Robert was turning 85, I said to myself, “I have a lot of footage from over the years. I’ve had him in three other documentaries. Maybe I’ll put together a little 10-minute piece for his birthday and send it on to the family and they can look at it.”<br />
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<!--StartFragment--><span style="font-family: "times new roman"; font-size: 12.0pt;"> </span><!--EndFragment--><o:p></o:p></div>
<div class="MsoNormal">
There’s no biography on Robert, so there was nothing for me
to draw from. I had to do a lot of my own research and readings and interviews
to piece together what we thought we could tell. And of course it’s a film;
what can we illustrate it with?<br />
<br />
I’m very good at stretching a dollar. I’ve become <i style="mso-bidi-font-style: normal;">too</i> good at begging. I’m ready to retire
that. But I often need money. I wound up doing 25 interviews in five states and
two countries, working streamlined. … Why so many people? Because Robert
crossed paths with a lot of people and I wanted a reflection on that.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I love Robert, and love can lead you astray, but it can also
lead you on. There’s a little 8-line poem of Robert’s which I’m shocked didn’t
make it into the film. It’s on the DVD as one of the extras, and it’s called
“Gratitude to Old Teachers.” That 8-line poem was going to be my framing
device. [The 10-minute film Reiss first planned to make] was going to be called
“Gratitude to Old Teachers,” and it was going to have poems written by the
teachers who inspired Robert, and then we realized that <i style="mso-bidi-font-style: normal;">we</i> are inspired by Robert; he is <i style="mso-bidi-font-style: normal;">our</i> teacher. So that poem – that theme – to me is still the heart
of it.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">On meeting Bly: </b><br />
<b style="mso-bidi-font-weight: normal;"><br /></b>
In 1990 or 1991 – “Iron John” came out in 1990 – I’m living in L.A., working on feature films as a small cog in a big wheel, and somehow I learned there was going to be this men’s event up in Ojai with Robert Bly. ... I get there and there are 300 men including Martin Sheen and his boys. I was still a naive, immature man. My immaturity about where I was in my life was revealed to me. I projected
all of my father wishes onto Robert. I had lost my father fairly young in life. … I wish I could have made a time machine to send everybody back 20 years to one of those events, where Robert is in full power and form and brilliance, and have you taste that, because it’s life-changing.<br />
<br />
In the years of working on the film and talking to all these different people,
I repeatedly was stunned by how many of them Robert had touched in a
significant way. Nobody I interviewed had a mediocre response. One after
another, I thought, “When did this man have the time to create the depths of
relationships where he could be that impactful?” It’s something about him; it’s
something about his generosity; it’s something about being a great teacher, and
all those aspects.</div>
<div class="MsoNormal">
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Robert’s got a shadow side. He is a human being. Regardless,
I feel that Robert, in his own search in working on his own life, has always
found things, and if he valued them he shared them with others. At his events
and readings and conferences, he brought you into what he was pondering and
thinking and reading and questioning. … He’d be in these events and the conversation
would get to a certain pitch, and rather than more conversation, Robert would
reach into his bag, pull out some beaten-up book of poetry and read you [poems
by] Antonio Machado or Rumi, or he’d know them by heart and he’d just say them.
He’d be able to pick just the poem you needed to hear. ... The magic of poems is alchemical. Suddenly your soul, your heart, everything is dragged out of you into this gift of language that can help us. ... Robert showed me what poetry could be."<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">When asked “Are you a
poet yourself?”<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
If the question is “Do I write poetry?” I would say no. Have
I written some poems? Yes. But to me, a poet is someone who writes poems with real
commitment and craft. I think a poet is more than output. That’s not enough. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
But I read a lot of poetry. I go to public poetry readings. I
love to read poems out loud. I learned that from Robert and others – the
pleasure of reading poetry out loud.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">On poetry today:</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When I was a kid, at some point everybody wanted to be in a
rock band. I’ve seen for the last 15 years the rise of everybody wanting to be
a filmmaker. There’s a certain amount of people who want to say, “I’m a poet.”
The barrier for entry has lowered, and people, in my view, want the superficial
sense of it. … <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Even though Robert in a sense did a lot of teaching, he was
very critical of the university writing program for a number of reasons. First
and foremost, because you have to have something to write about. You have to
live and have experiences, and then you <i style="mso-bidi-font-style: normal;">might</i>
come up with some stuff that’ll be food for your poetry. … And he was extremely
hard-working. How hard-working are kids today, and people writing today?<span style="mso-spacerun: yes;"> </span>Do they really know their craft? Poet is not just some hip name you give yourself and you write some boring, self-centered, trite stuff and call it a poem. Back then, you
had to be willing to do translation. That was part of your poetic development.
You had to be willing to write criticism meant to help fellow writers.
Today … we could go on, but you get my point. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTyqKJv5qYpYD0rj0hyphenhyphenOQZ_I1pZa0WFx57daWSGz-vw_D6XSAIuJWy60b_UMdrnmANPjy5hMqg2p2qSVIjhULUz6WGzYWxnmZOaN1GaaOgJhVhyphenhyphen4aYIW5L5q4VWkqg7cBy5oovOKbkD5cW/s1600/Reiss.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="356" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTyqKJv5qYpYD0rj0hyphenhyphenOQZ_I1pZa0WFx57daWSGz-vw_D6XSAIuJWy60b_UMdrnmANPjy5hMqg2p2qSVIjhULUz6WGzYWxnmZOaN1GaaOgJhVhyphenhyphen4aYIW5L5q4VWkqg7cBy5oovOKbkD5cW/s400/Reiss.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Robert Bly and Haydn Reisd</td></tr>
</tbody></table>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">On how he got started
making films about poets and poetry (“Robert Bly: A Thousand Years of Joy” is
his fourth):<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When I saw Bly in ’91, I had a moment there. I realized I
wasn’t meant to be a studio executive. It wasn’t going to happen for me. I was
just too … whatever. And I had been smitten by Robert, and I wanted more. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I went to another conference up near Seattle, and at some
point in that three- or four-day retreat, Robert said, “I’m going to bring out
a poet now who’s a dear friend of mine, and we’re going to do some reading
together,” and he brought out William Stafford. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Stafford was about a dozen years older than Robert, and
outwardly a different kind of man. He was quieter and contained. Robert is loud
– big and boisterous. And they sat side-by-side and for about 40 minutes they
traded stories and poems and jokes, and it was brilliance. It was
heartbreakingly beautiful, too, to see older men who had such wisdom, kinship,
care. I remember feeling less afraid of getting old because I saw what you
could become. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I had been working for a film director and I thought, “Why
can’t <span style="mso-bidi-font-style: normal;">I</span> make a film?” This is still
back in the day. This is before Avid and Final Cut Pro. You still had to have a
little bit of chutzpah to try to be a documentary filmmaker. But I said, “Why
not?” and I went up to Robert at some anti-war gathering and said, “I’d like to
make a film about you and poetry.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
He said, “The only person I want to do anything with right
now is William Stafford.” Then he said, “Do you have any money?” At this time,
Robert was in full “Iron John” bloom – magazines and Bill Moyers. I sort of
exaggerated that I had some money, which I didn’t, but I thought I could try to
get some nominal amount. Anyway, he said, “Okay if Bill says okay,” and William
Stafford – gracious, lovely man – said yes. So in the next couple years, I made
my first documentary. It was “William Stafford and Robert Bly: A Literary
Friendship.”<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In the course of a year or so I went up to Minnesota, when
Stafford was going to be there with Robert, and got them together. Then I went
up to Portland, Oregon, where Stafford lived, when Robert was coming to
Portland, and [filmed] readings in cabins and had the two of them wandering the
bookshelves or Powell’s Books. They’re it. There are no more moving parts.
They’re the only people in the film. But if you like William Stafford and
Robert Bly you’ll love the film, because they’re great guides, and they had
such a wonderful friendship. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I was editing in August ’93 and got the call that Bill,
at 79, had dropped dead of a heart attack. We were stunned. We were getting the
film done for his 80th birthday tribute celebration in January, which we still
all went ahead with, and they brought the film there. I thought – this is the
first film I’ve done, and the first time I’m showing it to the public, under
these conditions, to Robert and Ruth Bly and the Stafford extended family. Stafford
was very loved in Portland. He had taught at Luther Clark College for, like, 20
years. I thought – I hope this is going to be okay, because people are in
serious mourning. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The film was embraced and loved, and for years later I’d see
Robert at events, and Robert would thank me, and for at least a year or two
after Bill passed, Robert started every reading he gave with a Stafford poem.
He loved Bill Stafford. He loved me for making the film that brought them
together and left this document. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I did my second film around Bill Stafford in 2009, “Every
War Has Two Losers,” because Stafford was a conscientious objector in the
Second World War. I made a short film about that. Robert’s in that, too. So were
Alice Walker and Maxine Hong Kingston and others.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And [before] then [Rumi translator] Coleman Barks had seen the
Stafford/Bly film, and the Rumi thing was starting to really heat up in
America. In 1998 or so, I saw Coleman at an event and he said, “I really loved
that film on Robert and Bill Stafford and you should do something on Rumi.”
Naively, I said “Sure!” And so in ’98 I made “Rumi, Code of the Heart,” which
centers around Coleman, but Robert plays a significant role because it was
Robert who got Coleman translating Rumi. Robert knew Rumi before Coleman and
thought Coleman could be the translator of record. And so that film was very
well received and much loved<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
[By 2009] I felt, “I’ve done Robert. I’m done.” But I wasn’t,
because it was still not <i style="mso-bidi-font-style: normal;">this</i> film
that showed all these chapters of his life. I discovered so many things about
him that I went back to the well.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">On what he left on
the cutting-room floor:<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It’s ridiculous. If you have a strong appetite for something,
you want more. I had to make a film that was not just for the hardcore. I had
to make a film that hopefully, even if you didn’t know who Robert Bly was, you
could follow his story and be drawn into it. I wanted a film that would have a
chance to be seen. So going deep down into one corner of his world would’ve
been too much. There had to be a balance to how deep we could go into any one
thing. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I left out a lot of things. I could’ve made a 4-hour film,
but being a filmmaker means you have to eventually self-edit, and you have
to leave things out. On the DVD there’s a half-hour of extra little bits and
bobs that are all, I think, delicious. There’s a poem from the ’70s called
“Going Out Over Pastures.” It’s so incredible – a wonderful poem. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For poetry writers, there was a whole lot of stuff on the
craft of poetry. If I just strung together everything Robert gave in terms of
craft lectures, it would be brilliant for anybody trying to write.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">On the surprise of
seeing black poets and spoken-word artists – Pulitzer Prize winner Tracy K.
Smith, Cave Canem co-founder Cornelius Eady and Roger Bonair-Agard – sing the
praises of an aging white poet:</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I’ve heard Robert say, “I’m not white; I’m pink.” He’s got a
pink face. He was born into a homogenous community – a Norwegian-American farm
community – but he traveled and he continued to travel. In fact, Robert
probably traveled earlier and farther than a lot of the writers and people of the
time. He was digging into Indian poetry and Persian poetry in the 1970s, when not
a lot of people were looking out there to these different cultures. Then he went
to great effort – translating is a tremendous task – to bring it back into our
culture. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This is what I was saying earlier: If Robert finds something
that he thinks might be helpful, he shares it. His discovery of Pablo Neruda in
an Oslo library in the 1950s leads him to realize that [the writings of] Neruda
and others have something that we don’t have in America, and we need, so he
comes back and starts to translate that stuff, self-publish that stuff, because
he’s trying to contribute to American culture. His range and where he will look
is so remarkable. He goes far afield.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">On the final film:</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I don’t think it’s a story about the past. I don’t think
it’s about a man’s past, even though there is a man’s story of 90 years in it.
I think it’s a story of today. The great real artists – how I define the word “artist”
– are people who can see a little bit further, think a little bit clearer, and
the form in which they bring it back is in the arts. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
That’s what an artist is, and in [Bly’s] case, an artist of
language. You read what he’s written. It’s as fresh today as when he first
wrote it or said it. He’s touching into very deep waters. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This is the difference from the confessional poets … as
Robert once said about the confessional poets, “A lot of their writing is very
good, but after you hear the poem you feel like you should send them $10.” He’s
a community guy. You don’t feel his “I” hammering away at you. He’s right <i style="mso-bidi-font-style: normal;">in</i> his poems, but somehow <i style="mso-bidi-font-style: normal;">you</i> find your way in. You resonate with [his
words], and the next thing you know you’re taken somewhere. … <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I love his later poetry more than his early poetry now. I’m
shocked by that. There are a lot of early poems I love, but he’s gotten richer
and deeper, wiser and more musical and powerful.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">On arriving at the title of the film:</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In 2013, Robert gets the Robert Frost medal from the Poetry
Society of America, a venerable organization in New York City. To get the medal,
you have to show up and you have to do a little reading. So Robert’s in his
mid-’80s, but he goes, and I hear about this thing and say, “I’m going.” There’s
still footage [to shoot] and hopefully there’ll be something there, and on a
wing and prayer I get there with my buddy and camera. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It’s an evening event in this great old building, but no air
conditioning, and it’s summer and it’s hot. A bunch of other little awards will
be given out, and then the biggest award, the Frost medal, will end the evening
and Robert will read a little, too. So [the event] is packed.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I set my camera up in the back of the room. There’s no house
technician. There’s nobody there to run the PA system from Poetry Society of
America, so we run a cable under all these chairs and up to the lectern and
plug in the mic. And then we wait, because we have to wait through all these
other poets getting awards for this and that. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I will say that there were a couple [of poems] I liked a
lot, but there were a whole lot that were like … I’m scratching my head. It’s
negative poetry, it’s self-centered poetry. For me, it’s like … yikes.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And we’re waiting through this and the evening is going longer
and it’s hot, and finally Robert gets up and he gets to the lectern, but he
doesn’t want to stand. So they pull over a chair and then somebody in the front
of the room rips the microphone from the lectern to move it over to where he’s
sitting, and in the course of that, clips my audio cable. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I lose my audio. And in order to regain my audio, I would have to stop the evening, which has already gone long. Everybody’s hot,
impatient, Robert wants to go, and I can’t get my audio. So there I am. I’ve
come all the way to New York, and in a moment of whatever, the audio gets
clipped, and I can’t stop [everything] to rethread it, and I sit back there
feeling pretty defeated. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And his daughter sits next to him and holds the microphone
for him, and Robert reads about 10 poems, and his voice isn’t booming as in the
old days, but it’s clear. And the selection is spot on. Each poem is just
right, and it’s as if the ceiling opens up and after all these very small poems
and very small ideas. the sky opens up and the universe can come into the room.
Robert’s language and poetry and ideas are so big, and suddenly you feel
something bigger come into the room, and I’m being moved along by this. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I’m not getting it for the film, so that’s sort of
heartbreaking. And finally he gets to the last poem, and it’s “Stealing Sugar from
the Castle,” and two-thirds of the way through he stops and looks up and out into
the room and says, “Do you think it’s going to be over soon?” And I look around
and see these New Yorkers looking at their watches. It’s a long evening. [But]
he’s not talking about the evening. He’s talking about eternity. And he says,
“I don’t think so. I think it’s just getting started.” <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And then he reads the final stanzas, which begin with the
line “I don’t mind your saying I will die soon.” If a 20-year-old says that
line, or a 30-year-old or even a 50-year-old, it’s not a big deal. You know
they don’t quite mean it. But he’s an 85-year-old who says:<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
I don’t mind you saying I will die
soon.</div>
<div class="MsoNormal" style="margin-left: .5in;">
Even in the sound of the word soon,
I hear</div>
<div class="MsoNormal" style="margin-left: .5in;">
the word you, which begins every
sentence of joy.<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
“You’re a thief!” the judge said.
“Let’s see<br />
Your hands!” I showed my callused hands in court.<br />
My sentence was a thousand years of joy.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
And that was it. It stunned me because here’s this old man
who’s not saying that when I die, it’s all going with me. Most people [think], “I
don’t want it to go on without me.” But he’s saying a couple of things. First, “It’s
just getting started.” There’s that. And secondly, when he reviews his life,
the hands are calloused. That means he’s lived a life. The sentence he gets is
1,000 years of joy. Through it all, this is having this life. And it hit me: This
is what’s great about Robert. This is why he matters. This is the guidance he
offers: How to value your life.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I’m post-irony. I’m not for that outlook. I could have
hedged my bets, but I didn’t. That’s a poem where he’s sort of summarizing his
life, and when he adds it all up – and he had a lot of losses that I didn’t
even put in the film – he still says it was 1,000 years of joy. And I say, stay
with that. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
More importantly, it’s what I want to hear. When I struggle
to make these little films, part of it is because I want to be in that
material, and I’m hoping it’s going to feed me. I hope it feeds you, but I’m
also hoping it feeds me. And I look at what I want to be fed. Do I need to be
told one more time about how screwed up we are? No. There are plenty of other
people doing that.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
[I also] realized that to enter festivals, I needed an
upbeat, over-the-top title. How can you top 1,000 years of joy? That’s a lot of
joy.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">On why people should
see this film:</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I’ve screened it now a number of times. People feel good
afterwards. My hope is that you see the film and you leave thinking not just
what a wonderful fellow [Robert Bly] is, but you actually start thinking more
about your own life. My hope is that his example – a man who struggled to be
engaged with his times, to care for his inner life, to make a way in himself to
try to live some authentic life – is an example that inspires us to do that in
our lives. That’s my real hope.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
*** <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>To learn more about “Robert Bly: A Thousand Years of Joy,”
watch the trailer and order the DVD from the filmmaker, visit
robertblyfilm.com.<o:p></o:p></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i>Early in the interview, Reiss mentions Bly’s poem “Gratitude
to Old Teachers,” which was going to frame the short film he originally planned
to make for Bly’s 85th birthday. Here’s the poem:</i><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
<b style="mso-bidi-font-weight: normal;">Gratitude to Old Teachers<o:p></o:p></b></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
When we stride or stroll across the
frozen lake,<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
We place our feet where they have
never been.<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
We walk upon the unwalked. But we
are uneasy.<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
Who is down there but our old
teachers?<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
Water that once could take no human
weight – <o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
We were students then – holds up
our feet,<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
And goes on ahead of us for a mile.<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
Beneath us the teachers, and around
us the stillness.<o:p></o:p></div>
<div class="MsoNormal" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal" style="margin-left: .5in;">
—Robert Bly</div>
Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com1tag:blogger.com,1999:blog-6608328763829731453.post-15464104464017920602016-03-07T15:37:00.003-08:002016-03-07T15:42:49.310-08:00Ethan Iverson joins New England Conservatory Jazz Studies faculty<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwZzTPEi6GcPdzOTU39qvZyxjOv5VAvNpSVTaewOv2PYEtR9JUCYVlZzepy1o8FKiM-4AWNBixf1mnNQ0tW72OFdyn_Rg2bLk_8rMkhdeOwqkhLyZnnVxhPUc3kJeTMMlfz1zQVq4UEB3e/s1600/Ethan+Iverson+by+Cristina+Guadalupe.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="277" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwZzTPEi6GcPdzOTU39qvZyxjOv5VAvNpSVTaewOv2PYEtR9JUCYVlZzepy1o8FKiM-4AWNBixf1mnNQ0tW72OFdyn_Rg2bLk_8rMkhdeOwqkhLyZnnVxhPUc3kJeTMMlfz1zQVq4UEB3e/s400/Ethan+Iverson+by+Cristina+Guadalupe.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ethan Iverson by Christine Guadalupe</td></tr>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
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<i>Congratulations to Ethan Iverson on his new position. Here's the press release.</i><br />
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"Perhaps NYC's most thoughtful and
passionate student of jazz tradition–the most admirable sort of
artist-scholar." – Time Out New York<o:p></o:p></div>
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<b>New England
Conservatory’s Jazz Studies Department has hired renowned
pianist Ethan Iverson </b>– best known for his work as part
of <b>The Bad Plus</b> – to
join the jazz studio faculty beginning with the 2016-2017 academic
year.<o:p></o:p></div>
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"I've been a big fan of Ethan Iverson for many
years, not only because of his incredible playing with Bad Plus and
others, but also because of his probing and insightful blog, 'Do the
Math.' I'm thrilled to have him joining us at NEC," said Ken
Schaphorst, Chair of NEC’s Jazz Studies Department.<o:p></o:p></div>
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“After visiting NEC recently I was impressed with
the level of students and the general commitment to searching out
creative music,” said Iverson. “Teaching is something I've been more
and more attracted to recently: It is a natural outgrowth of my blog Do
the Math. At NEC I expect to grow personally and artistically alongside
the students."<o:p></o:p></div>
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Iverson has earned wide acclaim for his work as
one-third of The Bad Plus, a game-changing collective with Reid
Anderson and David King. The New York Times called TBP
"...Better than anyone at melding the sensibilities of post-60's
jazz and indie rock." TBP has performed in venues as diverse as
the Village Vanguard, Carnegie Hall, and Bonnaroo; collaborated
with Joshua Redman, Bill Frisell, and the Mark Morris Dance
Group; and created a faithful arrangement of
Stravinsky's The Rite of Spring and a radical reinvention of
Ornette Coleman's Science Fiction (the latter with Tim Berne,
Ron Miles, and Sam Newsome).<o:p></o:p></div>
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In addition to TBP, Iverson participates in the
critically acclaimed Billy Hart Quartet with Mark Turner and Ben Street
and occasionally performs with an elder statesman like Albert
"Tootie" Heath or Ron Carter. For a decade Iverson's
blog Do the Math has been a repository of
musician-to-musician interviews and analysis, which is surely one
reason Time Out New York selected Iverson as one of 25 essential
New York jazz icons: "Perhaps NYC's most thoughtful and
passionate student of jazz tradition–the most admirable sort of
artist-scholar." <o:p></o:p></div>
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NEC's Jazz Studies Department was the first
fully accredited jazz studies program at a music conservatory. The
brainchild of Gunther Schuller, who moved quickly to incorporate jazz
into the curriculum when he became President of the Conservatory in
1967, the Jazz Studies faculty has included six MacArthur
"genius" grant recipients (three currently teaching) and four
NEA Jazz Masters. The program has spawned numerous Grammy winning
composers and performers and has an alumni list that reads like a who's
who of jazz. As Mike West writes in JazzTimes: “NEC's jazz
studies department is among the most acclaimed and successful in the
world; so says the roster of visionary artists that have comprised both
its faculty and alumni.” The program currently has 95 students;
48 undergraduate and 47 graduate students from 13 countries.<o:p></o:p></div>
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Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-85254856404010980392016-01-27T12:08:00.001-08:002016-01-27T14:50:15.676-08:00When clarinetist Julian Bliss hung out with Wayne Shorter in L.A.<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5mxugAVJka9adZdO0pfmquRQvqLfx_WufFEGFdR965udekHzQYomAj8JCABQsQplZk-y1-iQ4D8MwcsxO5uuSvCwnsIY1AafBUpQ45cL9siCI9QeHdLP7ePnlcpvcVBJfr23aTj8nACBa/s1600/Wayne+and+Julian.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5mxugAVJka9adZdO0pfmquRQvqLfx_WufFEGFdR965udekHzQYomAj8JCABQsQplZk-y1-iQ4D8MwcsxO5uuSvCwnsIY1AafBUpQ45cL9siCI9QeHdLP7ePnlcpvcVBJfr23aTj8nACBa/s400/Wayne+and+Julian.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wayne Shorter and Julian Bliss<br />
Courtesy of Julian Bliss</td></tr>
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Internationally known on the classical scene as a gifted
soloist and chamber musician, 27-year-old British clarinetist <a href="http://www.julianbliss.com/">Julian Bliss</a> discovered
Benny Goodman at age seven. At 21, he decided he wanted to play Goodman’s music.
He reached out to pianist <a href="http://www.operajazz.f2s.com/">Neal Thornton</a>,
who knows about jazz and putting bands together.</div>
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<o:p></o:p></div>
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Within a year, the <a href="http://www.julianbliss.com/projects/julian-bliss-septet/">Julian Bliss Septet</a> had gone into the
studio and made a recording, “A Tribute to Benny Goodman,” a swinging set that re-creates
the sound of swing from the 1930s and ’40s with a modern sensibility and
virtuosic playing. The Septet is currently touring the States, and their second stop is
at Orchestra Hall in Minneapolis on January 30. <o:p></o:p></div>
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<a href="https://www.minnpost.com/artscape/2016/01/julian-bliss-septet-pay-tribute-benny-goodman">I spoke with Bliss for MinnPost</a>, and the interview fell
neatly into two halves: one for MinnPost readers, and this one for jazz fans. (MinnPost
readers who are also jazz fans will find their way here, I hope.)<o:p></o:p></div>
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On Monday, Jan. 25, Bliss was at the NAMM show (National
Association of Music Merchants) in Los Angeles. (Along with playing clarinet
with major orchestras, chamber ensembles and his own sextet, <a href="http://www.conn-selmer.com/en-us/our-instruments/band-instruments/clarinets/l210s/">Bliss designs clarinets for Conn-Selmer</a>.) From reading his Facebook band page, I learned that
he also spent time in L.A. with <a href="http://www.wayneshorter.com/">Wayne
Shorter</a>. And there was a brief mention of a concerto Shorter is writing,
so I was dying to ask Bliss about that, too.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">PLE: Tell us about your
meeting with Wayne Shorter. <o:p></o:p></b></div>
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<b style="mso-bidi-font-weight: normal;">Julian Bliss: </b>Where
do I start? A truly inspirational man. I’ve had the pleasure of meeting up with
Wayne three or four times now over the last couple of years, and he’s one of
the nicest people I think I’ve ever met. He is so down to earth, so friendly,
so chilled out that it’s amazing, and some of the stories that he has – it just
blows my mind. <o:p></o:p></div>
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<br /></div>
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He took the time, the first time I met him, to sit down and
talk to me for a while, and I really appreciated that in these days where
everything moves so fast, and sometimes you meet a musician and it’s a quick
handshake and that’s it. It was the complete opposite with Wayne, and his whole
outlook on life and music was really refreshing. <o:p></o:p></div>
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He’s an amazing man – absolutely phenomenal. The stories
that he has … then he comes around [and talks about] Miles Davis and an endless
list of musicians, and tells little stories that he remembers from being on
tour – it’s just fascinating. <o:p></o:p></div>
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<br /></div>
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I just wanted to take all that information in. I asked him
about jazz improvisation and how he started. He used to play the clarinet
himself. It’s interesting to learn his journey through music and onto the
saxophone and through there. A truly inspirational man and a real pleasure; a
real gentleman. <o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">Can you share some of
what he told you about improvisation, or a bit from one of his stories?<o:p></o:p></b></div>
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We were talking about the struggle of – can you play what’s
in your head? You can hear things in your head. You can hear lines, you can
hear little phrases, and can you play that on your instrument? <o:p></o:p></div>
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<br /></div>
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In his own journey, from what I hear, he was incredibly
competent and amazing at theory. He was telling me about a music theory exam
that he had to do. If you stood up [during the exam] you were done. You couldn’t
sit down and [go back to it again]. <o:p></o:p></div>
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Everybody started writing and he went through it and stood
up. Not much time had passed. He [wondered], “Have I done something wrong? Have
I missed some questions or what?” He went up to the front and handed in his
paper, and the teacher looked at him and thought, “There’s no way you could’ve
finished this so quickly,” and the teacher said, “OK, you can go.”<o:p></o:p></div>
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And as Wayne was walking out of the room, she started
looking over his paper and called him back and held the paper up in front of
the class. He’s thinking, “I’m in trouble here, I’ve messed up completely.” And
she said, “This is a 100% paper; every single question answered perfectly.” <o:p></o:p></div>
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<br /></div>
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I think he just has one of those minds. He has one of those
understanding minds. When it came to harmony, he said he used to hear things; he
used to hear lines and little phrases and start to play. <o:p></o:p></div>
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<br /></div>
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I think he has one of those minds that is not bound by just
being a classical musician, for example, or just being a jazz musician. He wanted
to play good music.<o:p></o:p></div>
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<b style="mso-bidi-font-weight: normal;">Have you ever played
with him? Have you played together?<o:p></o:p></b></div>
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<br /></div>
<div class="MsoNormal">
No, we haven’t. We sat down and listened to a lot of music,
and yesterday he was showing me some of the stuff he’s been writing. No, we haven’t
played together, but we did joke about it yesterday. He says he hasn’t played
the clarinet for a number of years, but really wants to get back into it. I
promised I could hold the clarinet for him and we would play it together the
next time I saw him, which would be fantastic. I’m sure he will be phenomenal
on the clarinet as well. <o:p></o:p></div>
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<br /></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<tr><td class="tr-caption" style="text-align: center;">Julian Bliss by Ben Wright</td></tr>
</tbody></table>
<b style="mso-bidi-font-weight: normal;"><a href="http://www.conn-selmer.com/en-us/our-instruments/band-instruments/clarinets/l210s/">You
have designed a clarinet</a>, so you can give him one of yours.<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Of course. I’d be honored to do something like that for him.
It’s a nice thing to be able to do – I mean, designing an instrument – and a
nice thing to be able to offer him. It’s the least I can do. He’s a legend, an
absolute legend. I saw his lifetime Grammy when I was there as well. It’s the
first time I’ve seen a Grammy in the flesh. It was alongside his countless
other Grammys and awards. Hopefully I’ll have one myself one day. <o:p></o:p></div>
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<br /></div>
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<b style="mso-bidi-font-weight: normal;">Have you seen him
play with his quartet – with Danilo Perez, John Patitucci and Brian Blade?<o:p></o:p></b></div>
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<br /></div>
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I saw him play with his quartet in London a couple years ago
and I got to go backstage and see him, and he also did a piece with his quartet
and orchestra there, and I got to meet his band and sit down and chat with
those guys. They’re all phenomenal musicians. It’s mind-blowing what they can
do.<o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
He was telling me about rehearsing what they do on stage. He
said, “You can’t rehearse the unknown.” They just get together and they just
play. And that’s really refreshing and an interesting take on the whole thing. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
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I’ll have a smile on my face for days after seeing him.<o:p></o:p></div>
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<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">You wrote on your
Facebook page, “Had a sneak peek at some of the Concerto and I can’t wait to
play it!” Is Wayne Shorter writing something for you, or is he writing
something that you will play at some point?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
He’s writing a concerto for me, which is … amazing doesn’t
come close. It’s going to be a phenomenal experience and I’m incredibly lucky
to be able to work with him. It’s was a bit of a long shot dream when I asked
him, but I was incredibly happy when he said yes. It’s going be great to see it
and play it. <o:p></o:p></div>
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<br /></div>
<div class="MsoNormal">
I think it’s going to be quite fun for him to write it, as [the
clarinet] is an instrument he knows very well. The clarinet and saxophone share
a lot of similarities, and from what I’ve seen, he’s having a lot of fun with
it. He says he wakes up sometimes at 4:00 in the morning and the music is like
a journey through his mind, and he’ll have this sudden wave of inspiration and
go and write. It’s fascinating to see. He writes everything by hand still.
Everything is done by hand.<o:p></o:p><br />
<br />
<b style="mso-bidi-font-weight: normal;">Will this be
something you perform with a classical orchestra?</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Yeah. My idea was to bridge the worlds between jazz and
classical. There’s this big separation between the two genres, and I don’t
really like it. Surely, we should play good music, no matter what it is, and
there’s lots of music that’s both jazz and classical. <o:p></o:p></div>
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<br /></div>
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For example, take [the music of] Gershwin, Bernstein, Copland. At times
it’s jazz, but is it classical? That was the fascination for me, to try and do
something where an undisputed legend, an absolute hero in the jazz world, writes
something for a classical orchestra and a predominantly classical player. I
think at times it will be jazzy; at times it will be classical. Like his own
playing onstage, it’s going to be a bit of a journey – the unknown. And I’m
really excited. <o:p></o:p></div>
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<br /></div>
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I shall really want to see that. I want to see all the music
and I want to play it now, but I’ll have to wait.<o:p></o:p><br />
<br />
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[<b>Note:</b> The new concerto was commissioned by the London Philharmonic Orchestra.]</div>
<br />
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</div>
<b style="font-family: times;">What’s the timeline
on this? How is it going to unfold?</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I believe it’s going to be this year. There are still a few
things to finalize. Hopefully I’ll be able to bring it to the U.S. I believe
there’s a concert scheduled in England, but hopefully it’s something we can
bring to the U.S. afterwards. <o:p></o:p></div>
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<br /></div>
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It’ll be a pleasure to tour. I love coming to America, and
it’s always one of my favorite places to travel, and I seem to spend a decent
amount of time here these days. It’ll be good to bring [the new concerto] back
here, and hopefully [Wayne Shorter] can come along for a couple of the
concerts. <o:p></o:p><br />
<br /></div>
Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-20361067502212538332016-01-24T14:03:00.001-08:002016-01-27T12:12:54.473-08:00 John Raymond talks about Real Feels, lessons learned from Billy Hart, and being a new dad <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvoAELsqnSJ22SKas8QzEpAE8pLbkjt8BBv982e73BZT289WjLvYPoPs81XLo3zs1w2D07CKpCV3WWsTi7jV-s1CZjqtHgyETzjgG_ylPa7rcayjWjgY0dAGo-2qEhwtvBvBnNUU-yh7jK/s1600/image1.jpeg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvoAELsqnSJ22SKas8QzEpAE8pLbkjt8BBv982e73BZT289WjLvYPoPs81XLo3zs1w2D07CKpCV3WWsTi7jV-s1CZjqtHgyETzjgG_ylPa7rcayjWjgY0dAGo-2qEhwtvBvBnNUU-yh7jK/s400/image1.jpeg" width="357" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">John Raymond by Josh Goleman</td></tr>
</tbody></table>
<div class="MsoNormal">
Brooklyn-based jazz trumpeter <a href="http://www.johnraymondmusic.net/">John Raymond</a> is a frequent visitor
to the Midwest. He grew up in Minneapolis, where his family still lives, and
went to college in Eau Claire. He returns to see his family, gig with old friends
and, more recently, play CD release shows: for “Strength and Song” in 2012,
“Foreign Territory” in 2015 and now “John Raymond and Real Feels,” his latest, available
in February.</div>
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<o:p></o:p></div>
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For “Real Feels,” Raymond organized – on his own – an
ambitious two-part touring schedule of 26 performances and master classes in 22 cities
on 22 days, beginning Jan. 21 in Indianapolis and ending Feb. 26 in Akron, OH,
after swings through the Midwest and the West. On Saturday, Jan. 23, “Real
Feels” came to <a href="http://vieux-carre.com/">Vieux Carre</a> in St. Paul.<o:p></o:p></div>
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The self-released “Strength and Song” was Raymond’s first
album, recorded as the John Raymond Project with Gerald Clayton on piano, Gilad
Hekselman on guitar, Tim Green on alto sax, Raviv Markovitz on bass and Cory
Cox on drums. It’s mostly original compositions, a solid introduction to his
songwriting skills and distinctive tone. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For “Foreign Territory,” recorded with pianist Dan Tepfer,
bassist Joe Martin and legendary drummer Billy Hart and released by Fresh Sound,
Raymond re-imagined and transformed familiar standards, basing “What Do You
Hear?” on “I Hear a Rhapsody” and “Deeper” on “How Deep Is the Ocean?” He added
some originals, including the strong title track, and let Hart, Tepfer and
Martin do their thing on “Hart of the Matter,” a brief free improvisation
captured in the studio. “Foreign Territory” was a Downbeat editor’s pick and
earned high praise from Nate Chinen of the New York Times, both big deals for a
young jazz musician. Raymond won a 2015 Herb Alpert Young Jazz Composer Award
from ASCAP for “Deeper.” <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMGjr5VwXYMwWP1FRNmyoy9pr02mJn9hC8WXKHCA_Xl_IV0w17ZBZBkOu9mY8JdDp38fi0lIH8ZZhhWwYItip64qz-k2FzbHjAO_vBA-q1Knke3pWjdUo1dR-IM2SOlyXPLWq1ip4GoZkK/s1600/Real+Feels.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMGjr5VwXYMwWP1FRNmyoy9pr02mJn9hC8WXKHCA_Xl_IV0w17ZBZBkOu9mY8JdDp38fi0lIH8ZZhhWwYItip64qz-k2FzbHjAO_vBA-q1Knke3pWjdUo1dR-IM2SOlyXPLWq1ip4GoZkK/s1600/Real+Feels.jpeg" /></a></div>
<div class="MsoNormal">
“John Raymond and Real Feels,” on <a href="http://www.shiftingparadigmrecords.com/">the Twin Cities-based collective label Shifting Paradigm</a>, is a bassless trio with Raymond on
flugelhorn, Hekselman on guitar and Colin Stranahan on drums, playing some very
familiar tunes: “Amazing Grace,” “Scarborough Fair,” “This Land Is Your Land.”
It’s simpler, looser and more relaxed than “Strength and Song” or “Foreign
Territory.” Raymond,
Hekselman and Stranahan – then called the Roots Trio – recorded it in Minneapolis soon after playing a concert in St. Paul in Sept. 2014. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“Real Feels” could have come out in fall 2015, but Hekselman
was on the road with his fifth album as leader, “Homes,” Stranahan was busy and it
seemed best to wait. So though the new CD is technically not brand new, it
feels like a new direction. Stripped down and agile. Still jazz, but other
things, too. Wide open.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In live performance before a full house at Vieux Carre – SRO
in the first set – the trio took already fine music and kicked it up several
notches, playing with infectious joy and the kind of skill that makes you glad
to be there in person. This is a very good band, a band of brothers. Just
before the final tune of the night, which no one actually called, Raymond said,
“That’s the nice thing about this band. You can just do something, and something
happens.” <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Raymond and I have formed the habit of meeting for long,
rangy conversations once or twice a year, catching up on where he’s been,
looking ahead to where he’s going, finding out where his head is at and also,
often, his heart. Our most recent talk was in Minneapolis on Dec. 29, just
before the turn of the year.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">PLE: You were the
Roots Trio when you went into the studio to record this music, and now you’re
Real Feels. What happened?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">JR:</b> Band name
change. Big moment. I decided to change it partly of my own volition, and
partly because the other guys were saying, “You know, this kind of sounds too
much like The Roots.” Or “roots music.” Which to some extent it is, for me, but
not in the way that maybe it’s thought of. And I felt like “trio” made it sound
too jazzy. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Turns out that band names are hard to come up with. I spent
three or four weeks making list after list. Then suddenly I thought – Real
Feels. I looked back and had actually written that down on one of my first
lists.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">What does Real Feels
mean to you?</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When I think about playing with this band, and the band
itself, it feels very authentic to who I am, and it feels very real. It helps
that it’s a trio, because a trio can function in a different capacity than a
larger group. It’s smaller, more intimate. There’s a different sense of
communication going on. I feel like when we play for audiences, that’s a huge
selling point. People come away saying, “Wow, we can really connect to this
band.” A lot of people have told me they don’t really like jazz, but they love
this band.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyN68s2G3L_ohAQdECo-GpjHAJJJ-iEBrpZzc6XCV-D6P2kvHlABL2iAH7Gse3lreGT3gfELEPOOVShHlSqvqLYwOaa66naxeX4ULw0-fYZ96CUxVTptNfLBBaW_e9sZSdoMb3X60zw5Oy/s1600/Real%252BFeels_PressPhoto2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyN68s2G3L_ohAQdECo-GpjHAJJJ-iEBrpZzc6XCV-D6P2kvHlABL2iAH7Gse3lreGT3gfELEPOOVShHlSqvqLYwOaa66naxeX4ULw0-fYZ96CUxVTptNfLBBaW_e9sZSdoMb3X60zw5Oy/s400/Real%252BFeels_PressPhoto2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Real Feels: Colin Stranahan, John Raymond, Gilad Hekselman<br />
Photo by Josh Goleman</td></tr>
</tbody></table>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><br /></b></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Many people have
said they don’t like jazz without knowing what they’re talking about.<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Yes, and that’s fine, but it meant something to me. It was
like – okay, I must be doing something that’s connecting with them. For me,
with this band and this music, there’s a continued feeling of no pretense. It’s
just who I am. It’s a much more relaxed version of myself.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The “Foreign Territory” version of myself is more searching
and introspective. But I’m thinking about doing another record with Billy and
Dan and Joe. I did a really short tour with that band in September and it was <i style="mso-bidi-font-style: normal;">awesome</i>. A life-changing experience.
Three days with Billy! I came out of it very different.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Different how?</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
There’ve been times when I’ve played with Billy and felt
like he was playing too loud for what I wanted, or pushing me in directions I might
not have wanted to go. I always kind of felt like he wasn’t listening. We had a
couple conversations during the tour that opened my eyes to his process. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
He told me about a time when he talked with Tony Williams.
Billy asked Tony if Miles [Davis] had ever told him anything specific to do, during
the second great quintet. Tony said the only thing Miles ever said was “Keep me
up there.” <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Billy took that with him. He said that every trumpet player
he’s ever played with more or less wanted the same thing.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
He said that and left it with me, and I had to process it
and chew on it. He didn’t explain it at the time. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I asked him about it toward the end of the tour. He said it
didn’t mean volume or range or whatever. It meant <i style="mso-bidi-font-style: normal;">intensity</i>. Billy knows that a trumpet player has to bring a
different intensity level than everybody else because that’s what the trumpet
demands. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
He said that even when he played with Art Farmer – who I love
and asked him about a lot when we were playing together – Art would call tempos
that Billy could hardly play, they were so fast. Those were symbols, or signals,
of the intensity of Art’s playing.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Billy also talked about how all trumpet players came out of
the Big Band tradition. That’s why they’re as strong and intense as they are. I
told Billy that I had a thorough education in playing with big bands. He said to
me, “You need to go back and check that out, and deal with that a little more.”
That got me thinking, “Do I play differently in a big band than I do in my
quartet?” And the answer was yes.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When I talked to him about that, he said it wasn’t a volume
thing, but a projection thing. “You have to assert yourself,” he said. He told
me about playing a gig with Ron Carter. Ron came up to him on
a set break and said, “Billy, I can’t hear your opinion.” <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Billy let me process that and chew on it, and I took it to
mean that I need to be more assertive with my own voice and what I really want
to say. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The last night of the tour – the night before had been
disappointing, at least in my own mind – I decided to put it all out on the
table. I didn’t care what anybody thought, and I don’t even know what was going
through my head, but it was clearly the best the band had every played
together, and I’m convinced it was because I was more assertive than I had ever
been. And Billy played totally differently. As soon as he felt that I was
asserting myself, he followed me instead of pushing me. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I think when I felt like he was playing too loud and pushing
me, he was actually just trying to get me to voice my opinion. He was saying,
“Come on! Be assertive! You gotta come up to here! Here’s the intensity level!”
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
That was a life-changing night. I came away feeling like,
“Okay, I know I have it in me now. I can play like this.” So now I just have to
do it all the time.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Is it hard?</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It’s hard for me because I thrive when I feel comfortable,
whether that’s with somebody else in a conversation or on the bandstand. I
don’t like being in situations that feel hostile or uneasy. That’s something
I’ve had to work through, because I’ve realized I have to create my own
comfort, no matter what the situation.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I feel like there’s a voice in me now saying, in a stronger
way than ever before, “Be yourself. Do your thing. Don’t wait on anybody else,
don’t worry about anybody else. To some extent, don’t even listen.” I’m
obviously listening and wanting to communicate with the musicians and the
people I’m around, but I can’t let that be the deciding factor.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">When you’re playing
in someone else’s band – with Orrin Evans and his Captain Black Big Band, for
example – don’t you run the risk of overstepping?</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
With Orrin, it’s unique because he <i style="mso-bidi-font-style: normal;">wants</i> that. He encourages it. We have this weekly Monday-night
thing at Smoke Jazz Club, and we’ll do largely the same songs every week in
different order, maybe throw in some curveballs we haven’t done for a couple of
weeks. Even if it’s expected that a song will start out with a certain intro,
or a certain person is going to solo, there have been times since this tour
when I have felt so strongly I have to play – I want to play <i style="mso-bidi-font-style: normal;">right now</i> – that I’ll just start taking
an intro. Orrin will be like, “Okay, you got it.” Everybody else is cool with
it, too.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">You’ve been playing
with a lot of interesting people: Orrin Evans, Ethan Iverson, Sullivan Fortner. When Colin Stranahan was unavailable for some of the trio dates, Rudy Royston stepped in.</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Rudy told me a story about playing with Ron Miles. I’ve
never met Ron Miles, but I love Ron Miles. Ron was one of Rudy’s mentors
growing up, and they would do all sorts of gigs together. Rudy remembers doing
a gig at a country club, some private event where Ron was playing the most
avant-garde, out stuff. At first Rudy thought – what’s happening? The thing he
told me is that Ron has always done his own music in his own way.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In recordings I’ve heard, I can sense that here’s someone
who has a strong musical vision, and is also a warm, kind, lovely person. I
really want to meet him. In February, Real Feels is going to Denver – that’s
where Colin is from – and we’re doing a clinic at Ron’s school. I’m excited.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">In <a href="http://revive-music.com/2015/01/29/premiere-john-raymonds-roots-trio-amazing-grace/#.VqUd71MrLkF">an
interview with Revive</a>, you said this about Real Feels: “The music we play
all ties back to my roots as a simple, faith-centered Midwesterner.” I get the
“faith-centered Midwesterner,” but “simple”?<span style="mso-spacerun: yes;">
</span><o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I’m seeing “simple” as maybe in comparison to the people I’m
around in New York. And Midwestern life is so much simpler than New York life.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Are you still struggling
with living in New York?</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Yeah, a little bit. Especially now with [baby daughter]
Nora. [Wife] Dani and I both love the Midwest, and we love Minneapolis. But I
also love Brooklyn and where I’m at and being around the people and things I’m
around. There are definitely trade-offs. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When I come home for vacation – granted, it’s vacation –
life is simple here. That’s what Real Feels feels like to me. It brings out
that part of my personality that’s comfortable, relaxed, and simple. I’m not
distracted by the hustle and bustle of the industry and the city, the press and
labels. That’s how I feel coming home. Not necessarily that I’m a simple
individual.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
With Real Feels, we’re pushing the music. But it’s not an
urgent push. It’s more like – let’s take it here. It’s more of a joyous
surprise than a search, search, dig, dig. I guess the ambitious part of me
comes out in the “Foreign Territory” music, and my domesticated fatherhood
comes out in Real Feels. Something like that.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">You’re enjoying being
a dad?</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Love it. It’s great. The best! It helps when you have a
really great, sweet little daughter. She’s been the best baby and she’s cute as
heck. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I beam when I talk about her. Everybody says that. I go into
full-on dad mode.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">What are your hopes
and expectations for 2016?</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
First, we’re doing a couple of tours. I’ve basically done
all of the work myself, which has been incredibly strenuous with a child. It
was definitely overambitious, and it has ground me down and worn me out. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
While I’m excited to have done it and I think it’ll be great
for me and the band, I realize I can’t do things like that and have a sense of
saneness and normalcy and be a good dad and a good musician. It took too much
time and energy. A lot of hours, details, and organizing, contacting a lot of
venues and a lot of schools. I’m trying to branch out into other parts of the
country where I haven’t been. We’re playing at Dazzle in Denver, the Blue Whale
in Los Angeles and the Royal Room in Seattle.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I bought a whole bunch of Real Feels merch to sell. That’s a
totally new thing, and I’m taking a risk with it, but I’m excited to see what
happens, especially with this band, because I think this is the kind of music
where people will be into the merch thing. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I’ve taken a lot of risks in 2015 and done a lot of stuff. I
feel like 2016 is going to be a year when I’m recalibrating. I don’t think I’ll
spend as much time or effort booking big-scale things like tours because I want
more time for the music. 2015 was a business experimentation year. In 2016, I
want to keep advancing the music, making smarter choices now that I have that
experience and have taken those risks.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">What about your
teaching?</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I teach [at the United Nations International School] three
days a week. Twenty-three students, mostly private lessons, some paired
lessons. I have the middle school jazz band and a class of beginning
fifth-grade trumpet players.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For a long time, I wanted teaching to be the side thing, but
I’ve realized that teaching is part of my identity. I want it to be more of a
main thing, but not lack depth and ambition with music, performing, writing and
recording. I’ve realized in the past six months how much I love teaching. The
reason why is the connection with the students, beyond music. My role is only
half to teach them music. The other half is to be a figure in their lives who
can impact them and shape how they see the world, how they see themselves.
Teaching them what hard work looks like, and what discipline looks like. I
think that’s the father in me coming out. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Teaching is more rewarding to me sometimes than playing out.
So I think 2016 will be more of a year of being okay with that and maybe
performing a little less. And when I am performing, doing that with more depth
and assertiveness.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Who inspires you
these days?</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Dave Douglas. Here’s a guy who admits that in his first five
years in New York, he wasn’t doing well and wasn’t getting called. I’m still
not getting many calls to be a side man, which has been hard. Dave kept doing
his own thing, and now he is where he is today.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I’ve gotten to know Jon Irabagon. I think he’s one of the
most fascinating musicians on the scene – all the stuff he does with different
bands. He’s in Dave’s band, and Mostly Other People Do the Killing, and he does
his own stuff.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
After that tour with Billy, Dan and Joe in September, I felt
a strong sense that I need to go back and do some homework with certain things,
holes in my playing. I got so into Lee Konitz, and I knew he was a [Lennie]
Tristano man, but I’d never really checked out Tristano. So I started to get
into Tristano and I’ve been obsessed with his order and melodicism. I’ve been digging
in on a deeper level and trying to get that into my playing.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I’m also really into Mark Turner. I transcribed a Mark
Turner solo I really wanted to check out, on a blues. I’ve been studying it,
how he’s thinking about navigating certain chord changes, certain parts of the
form and phrasing. Turner got hooked on Warren Marsh, who was a Tristano
disciple.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
One of my other goals – I’ve said this for a year now – is
to get a lesson or two with Lee Konitz. And Mark Turner. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">What happens in a
lesson with someone like Lee Konitz or Mark Turner?</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I don’t know! I’m curious. I’ve heard that lessons with Lee
are a lot of singing and playing. And going back and listening to Lester Young.
With Lee, a lesson could last a few hours. With Mark, I’ll bet it will last an
hour. I literally live a block away from Mark, so it’s silly I haven’t
contacted him up to now. I want to pick his brain about how he adapted
Tristano.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I think Mark is incredible. He’s one of those people who
balances – Billy even said this – the Coltrane virtuosity on the horn and a
lyrical, melodic sense. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Along with becoming a
father, what was the high point of the year for you?<o:p></o:p></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I don’t think it was one moment, but a gradual thing of
becoming more comfortable in my own skin. Becoming a father helped that,
because it made me realize on a logistical level that I don’t have time for
certain things anymore. It prioritizes things. It also made me play music way
better. It’s just more sacred to me now.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">You’ve mentioned
wanting to be more melodic.</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We visited Nashville this summer – me and Dani and Nora –
because they had an exhibit on Bob Dylan and Johnny Cash. It was a cool
experience for me because I felt it was very much along the lines of what I’m
into with Real Feels. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">Are you drawn to country
music?</b><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I’m drawn to it in the sense that it’s about storytelling.
White American music traces back to country music, simple folk songs that tell
stories about a time, a place, a person or whatever. I’ve been drawn to that,
trying to communicate that as an improviser, trying to tell a story without
words that gets across the same kind of feeling that a Johnny Cash song does,
or a Bob Dylan song.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
When I think about what I can contribute to music, I feel
like it’s going to be down that road, in an instrumental, lyricless way. I’m
going to spend a lot more time this year composing. I haven’t composed much
this year. One way I can make my voice unique, assert myself more and grow is
through my compositional voice.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">This interview has
been edited and condensed.</i><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Related: <o:p></o:p></div>
<div class="MsoNormal">
<a href="http://www.bebopified.com/2015/07/jazz-trumpeter-john-raymond-brings.html">Jazz
trumpeter John Raymond brings “Foreign Territory” home to Minnesota<o:p></o:p></a></div>
<div class="MsoNormal">
<a href="http://www.bebopified.com/2014/09/john-raymond-talks-about-intensity.html">John
Raymond talks about intensity, disappointment, and his new Roots Trio</a><o:p></o:p></div>
<div class="MsoNormal">
<a href="http://www.bebopified.com/2012/03/john-raymond-talks-about-his-music-his.html">John
Raymond talks about his music, his faith, and his new CD<o:p></o:p></a></div>
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Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-14331676869686467812015-12-30T21:32:00.002-08:002015-12-31T13:57:47.764-08:00Our 10 best-album picks for the 2015 Twin Cities Critics Tally and why<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEwG7ls80NRpxUHTIjN0GL1cD_JWZPsY0OWIhGpdUlGpjaKR4a8D8fRgOMb_hbTfNX87WtJay-c_wl4Ur5T0zybrrbgfDOdWrRlFgrQok8CAcYFGkX4T6WeNL_Y-dwvFbqFdDp5SB7kBem/s1600/Dred+Scott+Fitzgerald+album+cover.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="281" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEwG7ls80NRpxUHTIjN0GL1cD_JWZPsY0OWIhGpdUlGpjaKR4a8D8fRgOMb_hbTfNX87WtJay-c_wl4Ur5T0zybrrbgfDOdWrRlFgrQok8CAcYFGkX4T6WeNL_Y-dwvFbqFdDp5SB7kBem/s320/Dred+Scott+Fitzgerald+album+cover.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The cover of Irie Sol's "Dred Scott Fitzgerald"<br />
references the original cover of "The Great Gatsby"</td></tr>
</tbody></table>
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<span style="font-family: "Times New Roman";">Each year for
the past several years, Star Tribune music writer Chris Riemenschneider has
kindly included me in his annual Twin Cities Critics Tally, in
which a bunch of us music and arts writers pick our top 10 Minnesota albums of
the year. </span><span style="font-family: 'Times New Roman';">He knows that most of my choices will be lone flags flapping in the
breeze – I listen to jazz, new music and classical – and none will have any influence on the TCCT’s ultimate goal of identifying the 20 Best Minnesota
Albums of the Year. But he asks me anyway and I’m happy to shine
some Strib light on artists who might not get much otherwise. </span><span style="font-family: 'Times New Roman';">All that being
said, here are my top 10 (in alpha order, not ranked), plus a Just Shoot Me extra.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTYNPp4ry8toi7K7SX01eQVZBs4uEPDFyFMnQxJlF61xU0-an4qxvqH0gqG13STEP3F2bWwAu8MubLU5BgpLUeE6SPwo-lXPb6yaawXYJGH-01guNxFQz6fXvC5IgveEzFziYgjEvC2EB0/s1600/Peg+Carrothers+Edges+of+My+Mind+album+cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTYNPp4ry8toi7K7SX01eQVZBs4uEPDFyFMnQxJlF61xU0-an4qxvqH0gqG13STEP3F2bWwAu8MubLU5BgpLUeE6SPwo-lXPb6yaawXYJGH-01guNxFQz6fXvC5IgveEzFziYgjEvC2EB0/s200/Peg+Carrothers+Edges+of+My+Mind+album+cover.jpg" width="200" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman";">Peg Carrothers, “Edges of My Mind”
(Vision Fugitive). </span></b><span style="font-family: "Times New Roman";">Vocalist
Peg is the wife of the phenomenal pianist Bill Carrothers, and the glory
usually goes to him, though it’s her voice we hear on his award-winning
“Armistice 1918.” For her debut solo release, recorded in Minneapolis, issued
first in Europe in a beautiful package by the French label Vision Fugitive, Bill plays
piano, with Dean Magraw on guitars and mandolin, and Billy Peterson and Gordy
Johnson on bass (on different tracks). No drums, which seems to free the songs
and Peg’s voice to float and waft and soar. It’s a strange mix of tunes – some
Stephen Foster (“Gentle Annie”), some Johnny Nash (“I Can See Clearly Now”),
some Aerosmith (“Dream On”), some Rolling Stones (a dark and rather terrifying
“Sympathy for the Devil”) – but it holds together, creating its own dreamy,
languid world. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOv3GC118t3XFvTiETH1VRL5kDD48Ew_JGePSNJvQMtOtbH19gRTEt_GakPdEDWPZ1NF7u3dSpNyOiH2J0pIWigpdrK7ZKzrNmOJnj3e3EJWJtosWhdzUxXDwaKPv1ZWSFuFecPerUN2th/s1600/Seven+Secrets+of+Snow.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="150" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOv3GC118t3XFvTiETH1VRL5kDD48Ew_JGePSNJvQMtOtbH19gRTEt_GakPdEDWPZ1NF7u3dSpNyOiH2J0pIWigpdrK7ZKzrNmOJnj3e3EJWJtosWhdzUxXDwaKPv1ZWSFuFecPerUN2th/s200/Seven+Secrets+of+Snow.jpg" width="200" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">An image<br />
from "Seven Secrets of Snow"</td></tr>
</tbody></table>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman";">Paul Fonfara, “Seven Secrets of Snow”
(self-released).</span></b><span style="font-family: "Times New Roman";"> I don’t
follow indie music very closely (actually I don’t follow it at all), so when
this dropped into my email I almost didn’t listen. Except Fonfara gave me some
background on where the music came from. He originally wrote “Secrets” for a
BBC documentary about a Russian clown named Slava (Polunin) and his treks
through Siberia, When that project stalled, he was far enough along that he
commissioned local filmmakers to create original films to accompany his music. Fully
orchestrated, performed by musicians from Painted Saints, Poor Nobodies,
Dreamland Faces and the Brass Messengers on piano, brass, clarinet, woodwinds,
guitar, accordion and singing saw, “Secrets” is cinematic and colorful. I hear a circus, a jazz band, a chamber orchestra, folk songs, and bits of Satie, Nino
Rota and Sting. It was all so unexpected and pleasing that I listened to it
several times, though I never saw the films. I missed the live show at the
Cedar in December and hope it returns.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcGhrLjXyMHfvctMOO1k57mpsTbrCErCUZV7utQLEuONYE-EZdPsFbFoF2I3Pv5RaMO6rzqIQOF1_js-tSorERWbF8JXGygoG-v0sc_-s5mWHB67CxZ1fBtg9Tw2DYJxHyumke90ABjT4d/s1600/JoseJames_YesterdayIHadTheBlues_cover.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcGhrLjXyMHfvctMOO1k57mpsTbrCErCUZV7utQLEuONYE-EZdPsFbFoF2I3Pv5RaMO6rzqIQOF1_js-tSorERWbF8JXGygoG-v0sc_-s5mWHB67CxZ1fBtg9Tw2DYJxHyumke90ABjT4d/s200/JoseJames_YesterdayIHadTheBlues_cover.JPG" width="200" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman";">José James, “Yesterday I Had the Blues:
The Music of Billie Holiday” (Blue Note).</span></b><span style="font-family: "Times New Roman";"> Since starting out as a jazz singer in Minneapolis in his
teens (and becoming a finalist in the 2004 Thelonious Monk International Jazz
Vocalist Competition), James has had a 21st-century music career, releasing two
albums on Brownswood (a London label) and a third on Verve, finally landing at Blue
Note, infusing his music with hip-hop, multitracking, R&B, rock-and-roll,
world rhythms, collaborations and whatever else takes his fancy. His first jazz
album, 2010’s “For All We Know” with Belgian pianist Jef Neve, never caught on,
and it took him a while to circle back to jazz on his own terms: with a collection of songs made famous by the woman he calls his “musical mother.” His last three
albums have all been on Blue Note, where Don Was has the biggest ears in the
world for someone who runs a legacy label. So “Yesterday” feels a lot more
jazzy than anything James has done for a while, which is fine, but it’s also informed
by everything else he’s into, which is also fine. Like Robert Glasper and
Kamasi Washington, James is drawing diverse crowds to a genre that has been an
easy target for too long. (Related: </span><a href="http://www.startribune.com/jose-james-pays-homage-to-the-soul-of-lady-day/297794051/"><span style="font-family: "Times New Roman";">“Jose James pays homage to the soul of
Lady Day.”</span></a><span style="font-family: "Times New Roman";">)<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman";">Peter Kogan, “Some Monsterful
Wonderthing” (self-released on Koganote) and Dean Sorenson Sextet, “Colors of
the Soul” (self-released). </span></b><span style="font-family: "Times New Roman";">We
lucked out this year with two recordings of brand-new hard bop composed by area
musicians, performed by area musicians and recorded in Minneapolis. Drummer Peter Kogan spent several
years as principal timpanist for the Minnesota Orchestra, playing jazz on the
side (and more seriously during the lockout of the musicians during a lengthy labor dispute, when he suddenly, if unwillingly, had the time); trombonist
Dean Sorenson is director of jazz studies at the University of Minnesota. Both
of their CDs feature all-original tunes and top area musicians. Kogan’s core
band for “Monsterful” is a septet with Pete Whitman on tenor </span><br />
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<span style="font-family: "Times New Roman";"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh32FSyQT-TYFaWGN4BUIwHc0zHyFdJIHfX40VHz5kgK0vfleCL3eibVxZ6n4BYuzU4SmyJTjc5fPU1Vq0x0pBrxGSa0LdnCX96euNj36sFnJcSpgIcqoL76CSOc-ocfJflbjqbti__61B5/s1600/Dean+Sorenson+album+cover.jpeg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh32FSyQT-TYFaWGN4BUIwHc0zHyFdJIHfX40VHz5kgK0vfleCL3eibVxZ6n4BYuzU4SmyJTjc5fPU1Vq0x0pBrxGSa0LdnCX96euNj36sFnJcSpgIcqoL76CSOc-ocfJflbjqbti__61B5/s200/Dean+Sorenson+album+cover.jpeg" width="200" /></a></span></div>
<span style="font-family: "Times New Roman";">sax, fellow
Minnesota Orchestra member Charles Lazarus on flugelhorn and trumpet, Scott
Agster on trombone, Cory Wong on guitar, Sean Turner on piano and Brian Courage
on bass, with appearances by New York-based Brazilian percussionist Rogerio
Boccata and pianist Tommy Barbarella. Sorenson’s “Colors” is all sextet, with
Steve Kenny on trumpet, David Milne on tenor sax, Chris Lomheim on piano, Tom
Lewis on bass and Phil Hey on drums. Two great bands playing tight, swinging
original music. I couldn’t choose between them.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman";">Irie Sol, “Dred Scott Fitzgerald: A
Novella” (self-released).</span></b><span style="font-family: "Times New Roman";">
There’s a lot going on in this 20-minute EP – musically, stylistically,
lyrically, historically, multiculturally. Irie Sol is an ensemble of musicians
and vocalists living and working in the Twin Cities and Eau Claire; founder
Junior Williams hails from Jamaica. The five songs blend reggae, blues, funk,
rock, and Americana; add dense, fast-flying lyrics full of references to
Fitzgerald’s novel “The Great Gatsby” and historic figures (Marcus Garvey, Dred
Scott, Haile Selassie, Countee Cullen); and re-imagine Fitzgerald’s Bernice (of
his short story “Bernice Bobs Her Hair”) as a girl from Eau Claire who dreds
her hair and jumps into the Harlem Renaissance. The CD comes with a booklet
that includes all the lyrics. It’s smart, assured “lit-hop” that rewards close
listening, or you can just put it on and enjoy the sound.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman";">Graydon Peterson Quartet, “Duets”
(Shifting Paradigm Records).</span></b><span style="font-family: "Times New Roman";">
A tune for bass and trumpet, then a tune for bass and drums, then one for drums
and Fender Rhodes, then one for bass and guitar … For his second release as
leader, jazz bassist Peterson turns a kind of nerdy idea into a varied,
intriguing listen. The concept: to write songs for every permutation of two
instruments in his quartet. (In fact, Peterson had five instruments to work
with; his original quarter included a guitar and his current group has the
Rhodes.) All the tunes are originals, and all the tracks have that
relaxed, conversational feeling that comes from knowing the person you’re
playing with. There’s satisfying mix of rhythms, moods and grooves. I would
have included one more song featuring all five musicians – Peterson, Adam Meckler (trumpet
and flugelhorn), Adrian Suarez (trap set), Joe Strachan (Rhodes), and Vinnie
Rose (guitar) – just because.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman";">John Raymond, “Foreign Territory” (Fresh
Sound Records).</span></b><span style="font-family: "Times New Roman";"> On his
second album as leader, trumpeter and composer Raymond turns standards
inside-out and creates something fresh and exciting. Making “What Do You Hear”
from the chords of “I Hear a Rhapsody,” the beautiful “Deeper” from “How Deep
Is the Ocean” (and winning a 2015 Herb Alpert Young Jazz Composer Award for
that one), he delivers music that’s new yet somehow familiar, at the same time
freeing himself and the other musicians in his quartet to experiment and
explore. And what a quartet: Dan Tepfer on piano, Joe Martin on bass and the
legendary Billy Hart on drums. The whole album – which also includes a free
improvisation inspired by Horace Silver’s “Peace” (“Rest/Peace”), an homage to
one of Raymond’s main influences, Lee Konitz (“Adventurous-Lee”) and the sole
cover, Kenny Wheeler’s “Mark Time” – is a pleasure, earning well-deserved
coverage and kudos including an editor’s pick position in Downbeat and praise
from Nate Chinen of the New York Times. (<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Related:</i></b> <a href="https://www.minnpost.com/artscape/2015/07/jazz-trumpeter-john-raymond-brings-foreign-territory-home-minnesota">“Jazz
trumpeter brings ‘Foreign Territory’ home to Minnesota.”</a>)<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFiTKAtREU5qXMIGWDGZ9EiMbLINEWjbHxp9zINqbdzDLj_DOgw97DXe81M7vRxRAPGgp5R22LcnFC3WMab-bz048L_IraY8RYhcp0K5povyjIRvZ04M4NnZ1JyvOzhKSKPfO84spQYCib/s1600/The+Thompson+Fields+album+cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFiTKAtREU5qXMIGWDGZ9EiMbLINEWjbHxp9zINqbdzDLj_DOgw97DXe81M7vRxRAPGgp5R22LcnFC3WMab-bz048L_IraY8RYhcp0K5povyjIRvZ04M4NnZ1JyvOzhKSKPfO84spQYCib/s200/The+Thompson+Fields+album+cover.jpg" width="200" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman";">Maria Schneider Jazz Orchestra: “The
Thompson Fields” (ArtistShare).</span></b><span style="font-family: "Times New Roman";">
If there’s justice in the world, Schneider’s eighth album will win at least one
of the Grammys it’s nominated for: “Best Large Jazz Ensemble Album” or “Best
Improvised Solo” (for Donny McCaslin’s work in “Arbiters of Evolution”). Lush, gorgeous,
spacious and embracing, it makes me want to move to Windom, Schneider’s
Minnesota hometown, and grow beans. Schneider leads her excellent New York big
band in eight original compositions about beauty, evolution, the changing weather,
miles of land, monarch butterflies, and the meaning of home. As ever,
she leaves ample room for her soloists – McCaslin being just one example – and I
especially love hearing Gary Versace’s accordion in “A Potter’s Song.” This
music tells stories, taps the emotions and paints pictures with a big, wide
brush and all the colors. If you want to hear it, you’ll have to buy it or
borrow it; don’t look for it in Spotify or other streaming services, which
Schneider fiercely opposes. (<b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Related:</i></b> <a href="https://www.minnpost.com/artscape/2015/09/maria-schneider-her-hometown-windom-leading-band-and-working-david-bowie">“Maria
Schneider on her hometown of Windom, leading the band and working with David
Bowie.”</a>) <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY0ogPGDs4PD5OFXg2U-7igQqx2gZOE4xwrqaGKYM1MpbfBGyf-UaN_k3WgVyEm3fjRmZFkNQWQ4yomjbzsKERqw4uAE6ATS1oFc_EbgWRM0o6_nbX2pyAXWvVcMN9vA3qTzNQwcZvkqQe/s1600/Mike+Olson+Six+Projects+album+cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY0ogPGDs4PD5OFXg2U-7igQqx2gZOE4xwrqaGKYM1MpbfBGyf-UaN_k3WgVyEm3fjRmZFkNQWQ4yomjbzsKERqw4uAE6ATS1oFc_EbgWRM0o6_nbX2pyAXWvVcMN9vA3qTzNQwcZvkqQe/s200/Mike+Olson+Six+Projects+album+cover.jpg" width="200" /></a></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman";">Mike Olson, “Six Projects” (Innova). </span></b><span style="font-family: "Times New Roman";">As the title suggests, this is a compilation of six discrete works, not an album in the traditional
sense of something you listen to from start to finish, although you can
certainly do that. Olson is an experimental/electronic/new music composer, so
these six pieces, spanning 13 years, are soundscapes, not songs. Most were
created using his own fragment-based compositional process – gathering many
small musical fragments (some performed live, some preexisting), then
manipulating, layering, aligning, altering, combining, and mixing them to create
what he wants to say. Some of the musicians heard here include drummer Dave
King and percussionist Heather Barringer (on “De Novo”); Olson also borrowed
bits from works by Stefan Kac, Paul Dresher, Zeitgeist, Anthony Gatto, Pauline
Oliveros, and Janika Vandervelde, among others. You’ll hear thunder and rain in
“Flute Clouds,” the repetition and exploration of a single Ojibwe word in the
haunting, atmospheric a capella choral piece “Noopiming” (that’s the word, and
it means “in the North, inland, in the woods”), vintage and contemporary synthesizers
in “Implied Movement” and “Shift.” This is spacey, ambient, dynamically diverse
(sometimes loud, sometimes barely discernible), occasionally rhythmic (more
often not) music I turned to out of curiosity, then ended up liking very much.
We should all listen to more Innova recordings.<o:p></o:p></span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: "Times New Roman";">Just Shoot Me</span></b><span style="font-family: "Times New Roman";"><o:p></o:p></span></div>
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<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Level 9"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpdoXCUB13gTRikh_0Btf2OX_vbXbOsoXiv94a5qvPdKDbphwA_be6W94njTOgF7-2qezMjBXwpolBo7wMKwaa43U2nfNJ79pkElHhh66QwsTOR_ozujZ8_gFo28_QFKgNO5blmMl8vjoN/s1600/Jeremy+Siskind+Housewarming+album+cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpdoXCUB13gTRikh_0Btf2OX_vbXbOsoXiv94a5qvPdKDbphwA_be6W94njTOgF7-2qezMjBXwpolBo7wMKwaa43U2nfNJ79pkElHhh66QwsTOR_ozujZ8_gFo28_QFKgNO5blmMl8vjoN/s200/Jeremy+Siskind+Housewarming+album+cover.jpg" width="200" /></a></div>
<div class="MsoNormal">
<span style="font-family: "Times New Roman";">I thought <b style="mso-bidi-font-weight: normal;">Jeremy Siskind’s “Housewarming” (Brooklyn Jazz
Underground)</b> came out in 2014. I was wrong; its official release date was
Feb. 24, 2015. I love this album and would have included it in my Top 10; just don’t
ask what it would have replaced. “Housewarming” is the same core trio as Siskind’s
earlier “Finger Songwriter” – Siskind on piano, Clara City native Nancy Harms
on voice, Lucas Pino on reeds – plus guests Kurt Elling, Kendra Shanks and
Peter Eldridge on selected tracks. Nine original Siskind compositions (and four
covers) explore themes of home, belonging, and yearning for home – perfect material
for a group that has made a specialty of house concerts, intimate live performances
in private homes. I heard them at a friend’s home in Plymouth in August and it
was enchanting. So is the recording. Don’t expect drama or pyrotechnics; this
is music of tenderness and taking care. The instrumentation – Siskind’s lyrical
piano, gleaming with arpeggios and pillowed with chords; Pino’s pensive
saxophone and clarinets – is paired with eloquent lyrics borrowed in part from Marilynne
Robinson, W.B. Yeats, Carl Sandburg and Derek Walcott. The singing, most by
Harms, is exquisite and expressive; she can tell a whole story in a
single word or syllable. This is not an album for driving 70 mph down the freeway,
but for an evening at home with friends or loved ones, memories or dreams.<o:p></o:p></span></div>
Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-75694957904557870522015-10-20T19:28:00.001-07:002015-10-20T19:28:02.991-07:00Big Ears Festival 2016 is crazy goodI don't normally cut-and-paste press releases into here, but this lineup is so amazing I had to share.<br />
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Thanks, Kid Logic Media.<br />
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<span class="s1"><b>October 20, 2015 – Knoxville, TN – </b>The internationally acclaimed <a href="http://t.ymlp317.com/eebhagaeebuuavaemyafaujwj/click.php"><span class="s2">Big Ears Festival</span></a><b> – </b>declared<b> </b>“the most ambitious avant-garde festival to emerge in America in more than decade” by <i>Rolling Stone – </i>is proud to announce its most expansive, groundbreaking line up to date, bringing together musical leaders and innovators from the worlds of classical, jazz, electronic, folk, hip-hop and beyond for the weekend of March 31 – April 2, 2016 in venues throughout downtown Knoxville, Tennessee. <b> </b></span></div>
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<span class="s1">Heralded American composer <b>John Luther Adams</b> – winner of the 2014 Pulitzer Prize for Music as well as the 2014 Grammy Award for “Best Classical Composition” – will serve as Composer-in-Residence at this year’s festival. Hailed as “one of the most original music thinkers of the new century” by <i>The New Yorker</i>, Adams’ work combines rich musical experience with his love for the natural world, especially the wild Arctic landscapes of Alaska, where he lived for nearly 40 years. Several of his key works will be performed during the Big Ears weekend, including his powerful, sweeping orchestral masterpiece, <i>Become Ocean</i>, in a concert by the <b>Knoxville Symphony Orchestra</b>, under the direction of conductor <b>Steven Schick</b>.</span></div>
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<span class="s1">Big Ears will also present at least two very special rare performances during the weekend. New music icons and Big Ears alumni <b>Laurie Anderson and Philip Glass</b> will present the American debut of their unique collaboration, thus far heard only once this past summer in Italy. In addition, the legendary 1972 minimalist/industrial rock creation by violinist/filmmaker <b>Tony Conrad</b> with German “Krautrock” legends <b>Faust</b>, <i>Outside the Dream Syndicate</i>, will be heard live in its only concert performance in 2016.</span></div>
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<span class="s1">The remainder of the weekend will see dozens of concerts by a virtual who’s who of the world’s most iconoclastic and visionary music artists. Composer/saxophonist <b>Anthony Braxton</b> will perform with two of his ensembles – a ten piece group and a trio; his former associate, composer/trumpet virtuoso <b>Wadada</b> <b>Leo Smith</b> will perform duos with leading jazz pianist<b>, Vijay Iyer</b>; while the wildly acclaimed young saxophonist <b>Kamasi Washington </b>– collaborator with Kendrick Lamar and Flying Lotus – will present his soulful, spiritual jazz.</span></div>
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<span class="s1">Guitarist <b>Marc Ribot</b> returns for a couple special concerts, and jazz guitar wizard <b>Mary Halvorson</b> will present a solo show as well.</span></div>
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<span class="s1">The Irish supergroup, <b>The Gloaming</b>, will perform, along with young British folksinger, <b>Olivia Chaney</b>; leading American folk and alternative rock artists like <b>Andrew Bird</b>, <b>Yo La Tengo</b>, <b>Bonnie “Prince” Billy,</b> <b>Angel Olsen</b>, <b>Joe Henry</b>, <b>Lambchop</b>, and <b>Circuit des Yeux</b> will be in attendance as well.</span></div>
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<span class="s1">Icelandic producer/composer <b>Valgeir Sigur∂sson</b> will be bringing his <b>Bedroom Community</b> compatriots <b>Nico Muhly</b>, <b>Ben Frost</b>, and <b>Sam Amidon</b> for a show commemorating their 10</span><span class="s3"><sup>th</sup></span><span class="s1"> Anniversary as a label and musician’s collective; and fellow Iceland native composer <b>Ólafur Arnalds</b> will present his electronica collaboration with <b>Janus Rasmussen</b>, <b>Kiasmos</b>.</span></div>
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<span class="s1">Widely acclaimed new music ensemble <b>eighth blackbird</b> will make their Big Ears debut, presenting <b>Bryce Dessner</b>’s new work <i>Murder Ballades</i> during their performance, and Australia’s musical shamans, <b>the Necks</b>, will return to lead Big Ears on another kaleidoscopic musical journey.</span></div>
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<span class="s1">There will be groundbreaking electronics from <b>Nicolas Jaar</b>, <b>Ikue Mori</b>, and <b>Andy Stott</b>; maximum minimalism from drone legends <b>Sunn O)))</b>; future thinking hip-hop and beyond with <b>Shabazz Palaces</b> and <b>Hieroglyphic Being</b>; Saharan Desert electric guitar jams from <b>Bombino</b>; and even more musical exploration with avant-garde sonic explorers <b>Phantom Orchard</b> and <b>Wolf Eyes</b>.</span></div>
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<span class="s1">There’s more to come, including other special performances and details to be revealed in the coming weeks. One thing is certain: Big Ears fans will be fully immersed in an unforgettable weekend of astonishing music-making of all kinds.</span></div>
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<span class="s1"><b>Weekend passes, individual day passes, reserved seat tickets for Tennessee Theatre performances, and the “Sonic Explorer” VIP Pass all go on sale Friday, Oct. 23 at 12 noon eastern.</b></span></div>
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<span class="s4"><b>Full details</b></span><span class="s1"> on the Big Ears lineup – including the daily artist breakdown – as well as all ticketing information can be found at <a href="http://t.ymlp317.com/eebqakaeebuuagaemyagaujwj/click.php"><span class="s5">www.bigearsfestival.com</span></a>. Installations, interactive experiences, panels, discussions, and undoubtedly a few surprises will be revealed leading into the festival. All this and more information can be found at <a href="http://t.ymlp317.com/eebqakaeebuuagaemyagaujwj/click.php"><span class="s2">www.BigEarsFestival.com</span></a>, by “liking” Big Ears Festival on <a href="http://t.ymlp317.com/eehsakaeebuuaiaemyanaujwj/click.php"><span class="s2">Facebook</span></a>, by following @BigEarsFestival on <a href="http://t.ymlp317.com/eehuapaeebuuataemyakaujwj/click.php"><span class="s2">Twitter</span></a>, and by joining the <a href="http://t.ymlp317.com/eeheacaeebuuadaemyafaujwj/click.php"><span class="s2">newsletter</span></a>.</span></div>
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<span class="s6"><b>Daily Lineups:</b></span></div>
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<span class="s1"><b>Thursday, March 31, 2016</b></span></div>
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<span class="s1">Knoxville Symphony Orchestra with guest conductor Steven Schick performing the Music of John Luther</span></div>
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<span class="s1">Adams, Bryce Dessner, and Philip Glass with Guest Cellist Maya Beiser </span></div>
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<span class="s1">The Gloaming</span></div>
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<span class="s1">Yo La Tengo</span></div>
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<span class="s1">Andy Stott</span></div>
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<span class="s1">Tony Conrad</span></div>
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<span class="s1">Wolf Eyes</span></div>
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<span class="s1">Marc Ribot</span></div>
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<span class="s1">Xylouris White</span></div>
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<span class="s1">Zeena Parkins & Tony Buck</span></div>
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<span class="s1">Olivia Chaney</span></div>
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<span class="s1">Mamiffer</span></div>
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<span class="s1"><b>Friday, April 1, 2016</b></span></div>
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<span class="s1">Andrew Bird</span></div>
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<span class="s1">Anthony Braxton Tentet</span></div>
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<span class="s1"><i>Outside the Dream Syndicate</i> (Tony Conrad with Faust) </span></div>
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<span class="s1">Nicolas Jaar (DJ)</span></div>
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<span class="s1">Vijay Iyer & Wadada Leo Smith</span></div>
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<span class="s1">eighth blackbird with Bonnie "Prince” Billy and Bryce Dessner </span></div>
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<span class="s1">Yo La Tengo & Lambchop</span></div>
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<span class="s1">Shabazz Palaces</span></div>
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<span class="s1">Steven Schick</span></div>
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<span class="s1">Bombino</span></div>
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<span class="s1">Joe Henry & Marc Ribot</span></div>
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<span class="s1">Phantom Orchard</span></div>
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<span class="s1">Chris Abrahams</span></div>
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<span class="s1">Molly Nilsson</span></div>
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<span class="s1"><b>Saturday, April 2, 2016</b></span></div>
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<span class="s1">An Evening with Laurie Anderson & Philip Glass</span></div>
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<span class="s1">Sunn O)))</span></div>
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<span class="s1">Bedroom Community 10th Anniversary: Nico Muhly, Ben Frost, Sam Amidon, & Valgeir Sigurðsson</span></div>
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<span class="s1">The Necks</span></div>
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<span class="s1">Kiasmos (Ólafur Arnalds & Janus Rasmussen)</span></div>
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<span class="s1">Angel Olsen</span></div>
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<span class="s1">Lambchop</span></div>
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<span class="s1">Anthony Braxton Trio</span></div>
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<span class="s1">Faust</span></div>
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<span class="s1">Kamasi Washington</span></div>
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<span class="s1">Mary Halvorson</span></div>
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<span class="s1">Hieroglyphic Being</span></div>
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<span class="s1">Circuit des Yeux</span></div>
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<span class="s1">Ikue Mori</span></div>
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<span class="s1">nief-norf</span></div>
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<br />Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-36323088754850038592015-09-25T16:55:00.002-07:002015-09-25T16:55:50.072-07:00Maria Schneider on her hometown of Windom, leading the band and working with David Bowie<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhswfxMTm31fFxQcY1P5nEe-tRC2qHWHkhYmxsmh8Pm5KeWoZRv0jTM7-0vH422eD1ty-lj8goFckcpjiGGWI_A3ukLPifqi-jkln_piqg2jOXApRyB0iWdA8KIKZZhiM7H-RfdLgI27F-s/s1600/MariaSchneider640.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhswfxMTm31fFxQcY1P5nEe-tRC2qHWHkhYmxsmh8Pm5KeWoZRv0jTM7-0vH422eD1ty-lj8goFckcpjiGGWI_A3ukLPifqi-jkln_piqg2jOXApRyB0iWdA8KIKZZhiM7H-RfdLgI27F-s/s400/MariaSchneider640.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Maria Schneider by Briene Lermitte</td></tr>
</tbody></table>
Minnesota native <b>Maria Schneider </b>recently released a luminously beautiful new album, "The Thompson Fields," on the fan-funded label ArtistShare. We spoke with her shortly before her appearance at the Detroit Jazz Festival. <a href="https://www.minnpost.com/artscape/2015/09/maria-schneider-her-hometown-windom-leading-band-and-working-david-bowie">Read it on MinnPost</a>.Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-34761138082888785272015-09-25T07:46:00.001-07:002015-09-25T07:52:16.933-07:00Sonny Knight onstage at 67: "It's like life started all over again for me"<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU1LYWAiEsc3y1NVhQHhxyuQxKDL4nHVRkpgSq-HM-0R12veLHQ4llozXqqLJRcpcfA7BmpWvzdRcHOTJtykHZ4jjm8UsDchJlUCrUrsbMNd87-5bnjMbedO4FvkEQ27BBjhR5zQd8363R/s1600/IMG_0315.JPG" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgU1LYWAiEsc3y1NVhQHhxyuQxKDL4nHVRkpgSq-HM-0R12veLHQ4llozXqqLJRcpcfA7BmpWvzdRcHOTJtykHZ4jjm8UsDchJlUCrUrsbMNd87-5bnjMbedO4FvkEQ27BBjhR5zQd8363R/s400/IMG_0315.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sonny Knight and the Lakers by John Whiting</td></tr>
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We caught up with <b>Sonny Knight </b>at the Monterey Jazz Festival, just before his Saturday performance with the Lakers on the Garden Stage. <a href="http://www.minnpost.com/artscape/2015/09/sonny-knight-onstage-67-it-s-life-started-all-over-again-me">Read it on MinnPost</a>.Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0tag:blogger.com,1999:blog-6608328763829731453.post-36273717475880872642015-09-16T18:44:00.002-07:002015-09-16T18:44:13.989-07:00The 58th Annual Monterey Jazz Festival: What to see and hear
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPhucMPl8U9e1GOKXaYqlOOUuvWjIvOaE5MRctimfSexDcz0mJjS5nCNo4IIMfBYI28CgCZ-nMGHQ86RjsoA3_IDixSNuV5tANNcoUBgxhW62NGKkGT6kX9dQDJKE9gJPIlFILvfigWCN0/s1600/img19.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPhucMPl8U9e1GOKXaYqlOOUuvWjIvOaE5MRctimfSexDcz0mJjS5nCNo4IIMfBYI28CgCZ-nMGHQ86RjsoA3_IDixSNuV5tANNcoUBgxhW62NGKkGT6kX9dQDJKE9gJPIlFILvfigWCN0/s400/img19.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Geri Allen</td></tr>
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From Friday at 6 p.m. when the gates open, through late
Sunday night when the last notes sound and the final stragglers, the diehards,
those who don’t want the music to end (count us in) make their way down the shadowy
tree-lined paths toward the exits, the Monterey County Fairgrounds will be the
jazziest place on the planet.</div>
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At the <b><a href="http://www.montereyjazzfestival.org/">58th
Annual Monterey Jazz Festival</a></b>, which happens this weekend (Sept. 18-20), jazz
by many of the world’s top artists will rise to the sky above the open-air
Arena and the Garden Stage, pour through the doors of the Night Club and
Dizzy’s Den and curl around listeners crowded into the small, intimate Coffee
House. </div>
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Jazz conversations, panel discussions, jam sessions,
workshops, mixers and a film will take place throughout the grounds. Everyone
you meet at a concert, in a line or around a picnic table will be a jazz fan, aficionado,
performer, supporter, producer, journalist, educator, student or at least
curious and willing to listen. No one you meet will claim not to like or understand
jazz, or insist that it’s dead.</div>
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Monterey is a magical weekend, and addictive. This will be
our 11th year, and we come all the way from Minnesota. We’re not the only ones
who travel a long way to soak up the ambience of the place and the excellence
of the programming, which is never the same but poses the identical hair-pulling,
teeth-grinding dilemma year after year: what to see and hear? Because with 500
artists and 109 events on eight stages over just two-and-a-half days, it’s
about choices. It’s also about chance and happenstance, following your ears and
letting yourself be tempted, sidetracked and surprised.</div>
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But you have to start somewhere. So here’s what we like best
this year.</div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9JjzXioVqN6-a5NEmnnl4kZk_9j2_q-7QWMMm2gJCyYo0IuG9xEg3FUURTUpLawvZ2QedPL9_Zw8lcwlt8A0bylRLQwNO9LQ4hYqWJBc8p_KL3H9lak9mLW1jN4VqJoe9_AAh9UdWu3xC/s1600/WyntonMarsalis06playing_crop.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9JjzXioVqN6-a5NEmnnl4kZk_9j2_q-7QWMMm2gJCyYo0IuG9xEg3FUURTUpLawvZ2QedPL9_Zw8lcwlt8A0bylRLQwNO9LQ4hYqWJBc8p_KL3H9lak9mLW1jN4VqJoe9_AAh9UdWu3xC/s400/WyntonMarsalis06playing_crop.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Wynton Marsalis</td></tr>
</tbody></table>
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<b style="mso-bidi-font-weight: normal;">Jazz at Lincoln
Center Orchestra.</b> Why have a single <b style="mso-bidi-font-weight: normal;">Artist-in-Residence</b>
when you can have a whole band? Led by Wynton Marsalis, the Jazz at Lincoln
Center Orchestra is 15 exceptional soloists, ensemble players, composers and
arrangers. They’ll play together in the Arena on Saturday night, then take over
Dizzy’s Den on Sunday with a performance by JLCO saxophonist Walter Blanding
and his sextet, followed by bassist Carlos Henriquez and an eight-member band
(including guest percussionists) in a concert of his original music, ending
with an everyone-but-Wynton jam session that will sound some of the Festival’s
final notes. On Saturday afternoon on the Jazz Education Pavilion, JLCO
saxophonist Ted Nash will lead the MJF High School All-Star Combo. On Sunday
afternoon in the Arena, Nash and Marsalis will perform with the Festival’s Next
Generation Jazz Orchestra.</div>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDOl93xVhHEKiIQdw-qn_y2tjZ_jWxMuSvtt-9Y_0QKBKXzzPKIy7p0S4nOtkIoLp8_hIyjXmMmPrDa4_ztx3KXixOCTiqgeBBIMldQj6546rosFRRDEA7Pxf7PX2JNut15NLI_Nsz83pW/s1600/CCBF_4_by_C_Taylor_Crothers.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDOl93xVhHEKiIQdw-qn_y2tjZ_jWxMuSvtt-9Y_0QKBKXzzPKIy7p0S4nOtkIoLp8_hIyjXmMmPrDa4_ztx3KXixOCTiqgeBBIMldQj6546rosFRRDEA7Pxf7PX2JNut15NLI_Nsz83pW/s400/CCBF_4_by_C_Taylor_Crothers.jpg" width="266" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">B<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">é</span>la Fleck and Chick Corea</td></tr>
</tbody></table>
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<b style="mso-bidi-font-weight: normal;">Chick Corea.</b> Ageless
and tireless, endlessly inventive and enormously creative, this year’s <b style="mso-bidi-font-weight: normal;">Showcase Artist</b> is someone for whom the
term “living legend” is an understatement. Any opportunity to see Corea play
live is a gift. He’ll perform in the Arena twice: on Friday night with his
superb trio Trilogy, with Christian McBride and Brian Blade, and on Sunday
night, again in the Arena, in duo with virtuoso banjo player B<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">é</span>la
Fleck, who has transformed the way his instrument is perceived and played. No
one should have to choose between the two events – both are unmissable – but if
our feet were held to the fire, we’d probably go with the Sunday night show
because it’s not a piano-bass-drums trio. Except missing McBride and Blade is
dumb.</div>
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<b style="mso-bidi-font-weight: normal;">Ambrose Akinmusire
Quartet + 5: “The Forgotten Places.” </b>One of our can’t-fail faves each year
is the <b>MJF commission.</b> We don’t know a thing about this yet, except that Akinmusire
wrote at least part of it at the Glen Deven Ranch in Big Sur, where Bill
Frisell wrote his 2012 commission, a luscious hour-long suite he named “Big Sur.”
We’ll hear Akinmusire’s new work on Saturday evening in the Arena. The eloquent
young trumpeter/composer will also perform with his quartet in the Night Club
later that night.</div>
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<b style="mso-bidi-font-weight: normal;">Geri Allen Presents The
Erroll Garner Project: Concert by the Sea.</b> This is both a live performance
and a major CD release. Recorded on a reel-to-reel machine near Carmel in 1955,
two years before the first Monterey Jazz Festival, Garner’s “Concert by the
Sea” is one of the most popular jazz albums ever released. Almost 60 years
later, it has finally gotten the serious and loving archival treatment it has
long deserved. On Friday, the same day as this concert, Sony Legacy releases
“The Complete Concert by the Sea,” with 11 previously unissued tracks from the
original performance. Pianist Geri Allen, who counts the old album as one of
her major influences and co-produced the new one with Steve Rosenthal, will
lead a celebratory concert also featuring pianists Jason Moran and Christian
Sands, guitarist Russell Malone, bassist Darek Oles and drummer Victor Lewis.
On Saturday afternoon, Dizzy’s Den will host a panel discussion about Garner’s
legacy with Allen, Rosenthal, UCLA professor (and Thelonious Monk biographer)
Robin Kelley and Festival board member Jim Costello, who was at Garner’s
original “Concert by the Sea” performance. The discussion will be moderated by
Erroll Garner Jazz Project manager Jocelyn Arem. The Festival has gone very
deep on this, and for those who are interested, it’s a once-in-a-lifetime
opportunity to dig in, learn from the experts and come away knowing a lot more
than you did going in. Meanwhile, there’s good information <a href="http://www.montereyjazzfestival.org/artists/erroll-garner-jazz-project-concert-sea">on
the Festival’s website</a>, plus an article by Nate Chinen that will appear in
Sunday’s New York Times but is <a href="http://www.nytimes.com/2015/09/20/arts/music/erroll-garners-concert-by-the-sea-gets-a-new-sound.html">available
now online</a>.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxqrkwoN2isn6gyzcqeJ0a_arNnbc0FYDHWQDzQ78bodosxek4nRwvhyphenhyphenM6eiEPXsGDZorEuZnDrpvsdO3jZ77KED4i0DwmAZeluZeRc1bdz8A6mhiWZteKnmbJwiKnRxLOpkdV2Gzb0Gc7/s1600/AtTheBar2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxqrkwoN2isn6gyzcqeJ0a_arNnbc0FYDHWQDzQ78bodosxek4nRwvhyphenhyphenM6eiEPXsGDZorEuZnDrpvsdO3jZ77KED4i0DwmAZeluZeRc1bdz8A6mhiWZteKnmbJwiKnRxLOpkdV2Gzb0Gc7/s400/AtTheBar2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sonny Knight and the Lakers</td></tr>
</tbody></table>
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<b style="mso-bidi-font-weight: normal;">Sonny Knight &
The Lakers.</b> This is a straight-out hometown shout. Sonny Knight and the
Lakers are a Minneapolis soul band, touring behind a new album recorded live at
the Dakota, a club where we have spent countless nights and too many dollars,
and issued on the Minneapolis label Secret Stash Records. We’ll see them on the
Garden Stage on Saturday afternoon. Look for this to be one of those concerts
where the crowd builds and overflows onto the sidewalk. Like the Davina &
The Vagabonds show two years ago. Ahem, they’re from Minneapolis, too.</div>
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<b style="mso-bidi-font-weight: normal;">Monty Alexander Trio.
</b>We can’t remember a Festival year when all six nighttime sets at the Coffee
House were given to a single pianist. With John Clayton on bass and Jeff
Hamilton on drums, Alexander will take us to Jamaica and back again. This is an
old-fashioned residency, something that hardly ever happens anymore outside New
York, and what a treat that it’s happening here.</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP4bCQCZXmxCdn42Ik2iZugF770T-16d1hPCJpACqsvIQB2R-5dDfwFMfdIMNx3OmOj-D37VzyGLpN5_0dzztFpleHIBw2Vd2Zl-0aRIKaYxXl0WqytcO8DF8FbpRo4lyKDWSgU7-rNu2B/s1600/Rudresh-Mahanthappa-3_teaser_700x.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP4bCQCZXmxCdn42Ik2iZugF770T-16d1hPCJpACqsvIQB2R-5dDfwFMfdIMNx3OmOj-D37VzyGLpN5_0dzztFpleHIBw2Vd2Zl-0aRIKaYxXl0WqytcO8DF8FbpRo4lyKDWSgU7-rNu2B/s400/Rudresh-Mahanthappa-3_teaser_700x.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rudresh Mahanthappa</td></tr>
</tbody></table>
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<b style="mso-bidi-font-weight: normal;">Rudresh Mahanthappa’s
Bird Calls.</b> After several excellent albums and heady collaborations with
artists including Vijay Iyer, Kadri Gopalnath, Rez Abbasi, Bunky Green, David
Gilmore and Steve Lehman, second-generation Indian-American saxophonist
Mahanthappa hit one out of the park with “Bird Calls.” Inspired by Charlie
Parker, but without any covers or tunes built on Parker’s chord changes, it leaped
onto Top Ten lists everywhere and earned Mahanthappa a triple crown in the
latest DownBeat Critics Poll: Jazz Album of the Year, Alto Saxophone and Rising
Star-Composer. Mahanthappa plays with fierce energy and intelligence, and his
current quintet – 20-year-old trumpeter Adam O’Farrill (Arturo’s son), pianist
Matt Mitchell, bassist Fran<span style="mso-ascii-font-family: Cambria; mso-hansi-font-family: Cambria;">ç</span>ois Moutin and drummer Rudy Royston – is
amazing. They play Sunday night in the Night Club. Earlier that day in Dizzy’s
Den, Mahanthappa joins Ravi Coltrane for a conversation about John Coltrane’s
“A Love Supreme” hosted by Ashley Kahn.</div>
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As always, Monterey is jam-packed and there’s so much more.
Her Majesty Dianne Reeves in the Arena on Sunday night. A Jaco Pastorius party
led (and arranged) by Vince Mendoza, in the Arena on Friday night. Terence
Blanchard’s new E-Collective in Dizzy’s Den on Friday night. The enchanting Lizz
Wright in Dizzy’s on Saturday, touring behind her soulful, sensual new album
“Freedom & Surrender.” The first public performances of this year’s Monterey
Jazz Festival on Tour band of jazz all-stars, Saturday in the Arena and Sunday
in the Night Club. The incendiary Latin rhythms of the Escovedo clan on
Saturday at Dizzy’s and Sunday in the Arena. And the grand finale? Superstar
trumpeter Chris Botti in the Arena, sending lambent golden notes into the
night.</div>
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<b>Related:</b> <a href="https://www.flickr.com/photos/65937270@N02/albums/72157654648903430">John Whiting's photos from the 57th Annual Monterey Jazz Festival (2014)</a>. </div>
Pamela Espelandhttp://www.blogger.com/profile/17239608155646396942noreply@blogger.com0