25 CDs you need on your Christmas list

Hey there folks! Its that time of year where I tell you about the great CDs you should put down on a list and hope to find under your tree, menorah or kwanza bush.

Some of these albums I have already reviewed so if there is more info you need on these albums check previous posts or email me at SomeOtherStuffMusic@gmail.com and I will gladly give you any info you request. I am also aware that 90% of this list is made up of horn players, but hey give me a break, I'm a trumpet player.
Enjoy!

In no particular order
1.Animal Collective: Merriweather Post Pavilion
2. Deer Hunter: Rain Water Cassette Exchange
3.This Is Our Moosic: Mostly Other People Do The Killing
4.Kenny Dorham Quintet with Jackie McLean: Complete Recordings
5.The Smoke Sessions: 10th Anniversary Limited Edition 4 CD Box Set
6.Sonny Rollins/Don Cherry Quartet: The Complete 1963 Paris Concert
7.The Mars Volta:Octahedron
8.Marcus Strickland: Of Song
9.Benny Golson: New Time, New 'Tet
10.Dave Douglas & Brass Ecstasy: Spirit Moves
11.Miles Davis: Collector's Items
12.The Asteroids Galaxy Tour: Fruit
13.The Bad Plus: For All I Care
14.Medeski, Martin & Wood: Radiolarians vol. I-III
15.Sex Mob: Live in Willisau 2006
16.Alex Sipiagin: Mirages
17.Joe Magnarelli: Persistance
18.Tom Harrell: Prana Dance
19.Wadada Leo Smith: Tabligh
20.Horse the Band: Desperate Living
21.Joe Lovano: Folk Art
22.Freddie Hubbard: Without a Song, Live in Europe 1969
23. Charlie Hunter: Baboon Strength
24.Masada: Book of Angels vol. 12, Stolas
25.J.D. Allen Trio: Shine
26. Honorary: John Zorn & the Dreamers: O'o

My Ipod Ruined My Ability To Make Decisions!

Hey folks,

Yes you read that right, after long and very sincere thinking I blame my ipod for the reasons why I can not make a single decision in life.

just kidding....

lil bit....

Seriously though I was updating my ipod tonight when I started noticing I was deleting very little off of what I believe to be the strongest ipod ever made. i say it is the strongest because I bought this ipod second hand back in 2006 for $50. It was only meant to be a temporary replacement when my 20 gig died. (yeah remember the 20 gigs)

When I bought it, it was already really scratched up and the USB port was damaged. Despite all these soon to come to fruition problems I grabbed it because I was hoping to save the money for a replacement within the next 6 months. Well that six months turned into 3 years, maybe even 4 at this point now that I think about it....yeah it may have been 2005, who knows.

I've dropped this ipod, stepped on it and gotten water on it numerous times and its still going strong. Its outlived every other ipod I had before it combined and bought it second hand even! One tough little motherfucker if I do say so myself.

Anyway, this ipod is a 30 gig and it was completely filled about just over half of my current CD collection. **side note: most of the tunes on it are jazz, an average jazz song is about 6 minutes long so I only have 3,978 songs currently on it (after most current deletion so i probably had well over 4,000)

Everytime I look at my ipod to make a random choice I feel a small amount of anxiety, ya know that butterfly feeling in your gut. I get this way because I think about the enormity of the song selection within my grasp! Everything from Art Blakey to Zorn, Debussy to Led Zepplin, its all there and I can never make a choice. I usually listen to the same 5 cds all the time but still 5 cds out of God knows how many hundred!

Most of the time I get so aggravated I listen to a couple single rock songs first or the Temptations to ease myself into choosing an album. Alot of the time I switch songs mid song! Uggghhh!! not cool

So I feel that every hard decision I've had to make isn't hard at all but because of this terrible habit from this awesome piece of technology I can't choose anything. Whether its deciding on which soda flavor to drink or where to hang out on a weekend or which song to practice I can not decide without rethinking that idea again and again. So I blame you: my ipod, Fuck you, you wonderful bastard. Because of you I may listen to any song at any time that I own.






....if I could only make up my mind

Your weekly dose of music in the neighborhood.

Hey everyone. I am trying really hard to maintain a consistent posting schedule but of course things never go as you plan.

I am currently listening to Woody Shaw's album Woody III on vinyl that I just got for 50 cents at a record store I am keeping the name of hidden because I am taking a close friend there for his triumphant....monumental....huge....medium-sized...unnoticed return home in a few weeks.

Upon first listening, I wasn't really digging the first side which is a 3 part suite entitled Woody I, Woody II, Woody III. On the cover is Woody with his dad and infant son which is a nice theme for a 3 piece record. The first track is apparently mature sounding, reflecting his wise old man. Woody II is adventurous, a fast tempo and exciting and the third track, Woody III sounds like the theme song to a kids show on PBS. I didn't really like the third track's vibe and melody, quite honestly it sounded very hokey.

The second side however is much more worth the time of any fan's ears. The first track "To Kill A Brick" features a 'schmorgisboard' of top notch players: Rene Mclean, James Spaulding, Buster Williams and Victor Lewis. I starts off Side B with energy that makes up for the crappy ending of Side A with Woody III.

The second track, Shaw's famous "Organ Grinder" is medium-up with the tempo and has been recorded by Wood many times before. Its classic Woody Shaw: angular, airy and very well developed. Its a great tune and even reminds me of a Jeremy Pelt composition...the title is escaping me but I'll figure it out.

The last track, "Escape Velocity" is a perfect name for an album closer, especially at such a brisk tempo. Carter Jefferson takes a solo that sounds on fire, with that 'school of Coltrane' vibe going on. I always enjoyed his playing on the Woody Shaw albums I have. Wood comes in right away after Jefferson and sounds like a cat in control. This late 70's period, Wood seemed to enjoy the cornet over the trumpet more and for those of you who don't know, the cornet and trumpet, although cousins are completely 2 different beasts....but Wood has mastered both in an unique style. Wood's playing sounds linear and concise and lastly, Victor Lewis is a sick drummer....is all I have to say about his playing on this track.

Although I am more of a fan of Wood's early 70's albums like Song of Songs and Blackstone Legacy which were more avant-garde than his 80's works like "Imagination" or "Solid", there really isn't an album that is unsatisfying. Check out Little Red's Fantasy or the Live Series to here some amazing playing as well.
**1/2


Last Friday night, I was able to take out my lovely girlfriend to Firehouse 12 in New Haven to catch the Peter Evans Quartet. I didn't know much about the group, just that they were kind of 'out there.' With an arrangement of a classic ballad called "Bodies and Souls," how could I not attend.

May I take a minute to also brag that my wonderful girlfriend has accompanied me on multiple jazz concerts of all varieties. Yes she has, from avant-garde jazz to rained out concerts in Central Park, I've got it made. So Jazzers believe me when I tell you that there are beautiful women who do enjoy great music, but watch out all you Steve Martin fans, I've got this one for good.

Anyway, the show on Friday was awesome despite never hearing the group before. The band started with Evans playing on trumpet, the most chop-crazy intro I've ever heard. I was happy to tell him it sounded like the Arban's exercise from Hell. It started out as a weak, out of tune G but quickly developed into a frenzy of trills, runs and half valving that had me jumping in my seat! The band played for 45 minutes straight, their first tune was a rendition of "All The Things You Are" that I thought at one point I heard the bridge too but the tune was so out there I was surprised to hear it mentioned. The other 3 pieces were equally enthralling. The performance was more of an experience of sound and mood than melody and harmony. I myself welcome music of this kind but understand most people wouldn't be able to stand it.


I am excited for the new Black Keys album that came out this month stay tuned for the review. Also I was only able to catch a fraction of the Ethan Iverson Trio at Small's the other night, if anyone has anything to say about it please send your thoughts @ someotherstuffmusic@gmail.com. The band will play tonight as well via live feed so if you can check it out.

Last but not least, check out the Live at Smalls record series. You can buy recorded shows on disc!!

Back From The Dead!!

Ok, first off I would like to apologize for keeping all the millions of readers out there in Blogdom that have been patiently waiting for the newest post here, but what can I say I was busy.

Anyway I hope everyone has been well these last few weeks and had a great Halloween...I know I did.


So in these last few weeks I have been checking out tons of great new music and have been dying to share it all with you, but then every time I thought of doing a CD review post I got annoyed and kept procrastinating writing something, but in the long run I will do a couple reviews right now.

So the last few months I have really gotten into the music of John Zorn. Think of any adjective; and that best describes John Zorn, you have to hear his music to believe it. This guy puts out about 10 CDs a year! He just put out 3 in the last 3 months!! All with different groups and projects but he writes all the music, so unfair...

The first CD I would like to review is
John Zorn's Masada Quintet:
Stolas: Book of Angels Vol. 12
2009
****

John Zorn's Masada group is usually comprised of Zorn on alto sax, Dave Douglas on trumpet, Greg Cohen on bass and Joey Baron on drums. The band plays a mix of avantgarde jazz infused over Jewish folk melodies. The band sounds like if Ornette Coleman went to Temple Beth David. A great band that I'll admit took a few listenings to get into but was totally worth it.

This disk however is an altered line up with Zorn only on 1 track, and the rest of the band joined by Joe Lovano on tenor sax and Uri Cane on piano. The first part that struck my attention was the addition of Lovano who at first would seem out of his element but knocks your socks off with incredible inside/outside playing a la early 60's Coltrane. Douglas and Cane show off track after track that they are truly two modern titans of the genre and Cohen and Baron once again make me think they are 'the buck stops here' with avant rhythm sections.

The first track, Haamiah, is a Jewish inflected song over a latin rhythm which is both intriguing and enjoyable. What I love about a lot of this music is the different use of feel and style with such a distinct set of harmonies, it makes the music so fresh.

Another track that stood out was Rahtiel, which is the only track Zorn is on. His use of sax sqealing sometimes sounds like a maniac chasing after you with a butcher knife chewing on his last victims brains....yeah you get it.

The whole band sounds tight and like they've been doing this forever. Now the name Stolas comes from Jewish lore. Stolas is a high prince in Hell who controls 26 legions of demons and teaches astronomy and the knowledge of poisonous plants, herbs and precious stones and his form is depicted as a crowned owl. If you enjoy this album, check out Book of Angels Vol. 11 by Medeski, Martin and Wood.


John Zorn and The Dreamers:
O'o
2009
****

I don't know where to begin! Again John Zorn has written another album of completely original, addictive music.

This time he has shift gears completely and wrote this music for his more up beat band: The Dreamers.

The Dreamers are comprised of keyboards, vibes. guitar, bass, drums and alto sax, however on this disk, Zorn lays out and only takes on the easy roles of writer, arranger, conductor and producer...piece of cake.

The Dreamers blend everything from surf-rock to jazz to pop to lounge music to latin music. Again, you have to hear it to believe it.

This disk is named after a type of bird only found on Hawaii but has been extinct for over a centuary. The other titles are also named after rare, extinct birds but what surprised me the most was no track named after the Dodo....oh well.

The first track, Miller's Crake, starts off the disk in a very upbeat way that you just can't help but smile when you first hear it. Its got a surf rock, country feel to it and when the vibes kick in with the melody you will be hook....I was. Great soloing by pianist Jamie Saft follows and the tune just never gives up. It took many listenings of this song before I moved on.

Another track of note is the waltz ballad, Po'o'uli, which has a very simple ostinato under neath the groove and to top the tune off, it has various bird calls which is almost hypnotic.

Little Bittern changes the vibe entirely with a Fender Rhodes sound, back beat driven funk feel that has great playing on it. Lastly, Laughing Owl is by far my favorite track that has a melody played on vibes that sounds too perfect to be written. It has a sound that reminds you of a childhood song and you just can't help but make sure no one's looking and start bobbing in your seat.


Its incredible that these two albums were released back to back in a two month period. If you are on a tight budget save your pennies and get these albums immediately.

"I Get It, Blues Just Isn't Your Thing."

...No that's it.
"Well you know, Blues is a particular feel."
No man, the band fucking sucks.


As a musician for the better part of the last 15 years of my life I have been in some interesting groups that have spawned interesting dialogue between myself and other band members.

The most recent time was with a group I just left. (For the sake of anonymity I am changing names and names of bands...in some cases.) They were a blues band, Blues Brothers style in instrumentation, 3 piece horns, rhythm and fronted by female vocals of the Janis Joplin type. I always talked with the leader of the band, Bill about starting a blues band in the past but every attempt left the concept dead in the water. I remember once after a day of student teaching, private lessons and 5 cups of coffee learning Pink Floyd tunes in our rehearsal space only to say to myself, "this isn't blues?!" and losing the drummer in the group. I always just said to Bill, keep me posted I'm down to play whenever.

That whenever came about 2 months ago, but the band's concept was like a wolf in sheep's clothing.

Bill approached me in the hall by the water cooler of course and said he was putting together a Motown band. Now for those who don't know me, I have a weakness for Motown, and have always wanted to perform the classics of the Temptations, The Miracles and Four Tops. I immediately jumped at the idea. I couldn't wait to start! I said tell me when and where, I'll even bring Alan because I know he would love to play!...oh Al...sorry dude, so very very sorry....

Turns out when Bill said it was a motown band, he meant we would play one motown song....dammit.

I showed up to practice, which was weekly with the promise of 'great paying gigs' and started learning my parts for every blues tune you can think of. I did the classic move of just learning the tunes the day of, but still I managed to hold down my own on the trumpet.

A lot of this situation you had to be there so let's just say that the weirdness that would result in my departure was plentiful and down right retarded at times. After a few weeks I realized the band seemed to only rehearse the same (mistakes) tunes every week. It seemed the band was always moving in a circle of mediocre sounds and rock cliche's.

What got me through, every week I showed up...oh yeah after like a month I realized there was no way I was coming every week to sit around and listen to a bunch of dudes figure out songs, because some people are going to tell you it ain't about dudes, but I've got news for you....it is.

Once the crotch gyrating began I knew my time was at an end.

The part that did get me the most was the drummer. My theory is, you can always judge a drummer's groove by the amount their head turns in preparation for the downbeat. The more intense the turn the more metal and un-grooving it will be. That theory was proven every week when the drummer's head would practically spin 360 degrees, embrace his wind up and play the lamest beat behind a Stevie Wonder tune....the double bass pedal was only seconds away at times I swear.

By the way there's nothing wrong with metal, but it doesn't belong in funk, or Chicago style blues for that matter. You disagree? Show me on a Howlin' Wolf album sometime.

The band was just not happening for me and I was realizing I still didn't know the rhythm guitarist's name.

Alan and I decided to quit together. Like a suicide pact gone wrong, Alan quit weeks before I got the chance. At the same time he quit I wasn't showing up to rehearsal and pretty much set myself up for the dialogue that was to come. The resignation could not wait any longer and so one day walking by Bill's room I popped my head to tell him I was done. He said he figured and told me blues isn't for everybody. Holding back laughter I said "No that's not it" and walked out.

....laughing.

You're right Bill, I guess its not for everybody.

Hunting for the Holy Grail

This past week I was on quite a trek.

For a long time now I have been fascinated, even amazed with electric pianos, primarily the Wurlitzer 200 and the Fender Rhodes. Both of these keyboards are legendary, they were the first real keyboards to be used in all kinds of music. From the Beatles to Frank Zappa to Ray Charles to Miles Davis, these two keyboards were supreme.

I am sure back then, no one really thought that these heavy, analog junk buckets would be so sought after 30 years later...I need to hold on to my first Yamaha keyboard, you never know it may be worth millions in 30 years.

I don't want to give you a history lesson on mechanics here so if you really want an intense look at electric piano history I am sure Wikipedia can help you out, I am going to explian my obsession.


Personally, my favorite is the Wurlitzer 200. Its got a much more mellow tone with an amazing tremelo effect on the sound. It was used by Ray Charles, Herbie Hancock and even Beck; most notably on that 90's hit he had....I don't know the name because Beck sucks, but it was like "two turntables and a microphone.." The intro to that song is a great groove done by a Wurly.


Right: Wurlitzer 200a


The Rhodes however, used much more and seems to be the easier to maintain and find at a reasonable price. My favorite Rhodes playing is done by Herbie Hancock on the album 'Filles de Kilimanjaro' by Miles Davis and Chick Corea on Return to Forever's 'Light As A Feather.'

So I embarked on finding a Wurly 200 to purchase and love for the rest of my life. I never thought it would be impossible to find.

First off I found that these keyboards are harder to maintain, the parts are hard to obtain and the price will never be lower then $1500 for a decent working keyboard. I tried ebay, music shops all around, even a Hippie from Philidelphia. No luck at all.

This has been quite a drag and after much thought I think I am actually settling to get a modern Nord Electro 2 which has great Rhodes and Wurly sounds. I guess not bad but take a look at these pictures and even just the look will make you want one.


Right: Fender Rhodes MKII

Thats Right You! You Right There!

One idea that came to my head about how to reach out to a broad reading fan base here on SomeOtherStuff is this; I am looking for people to post as guest bloggers. This is open to anyone who has something to say about music, review an album or show or just want to ramble about some ideas.

Email any work to ndimaria22@gmail.com and I'll go over it and if it fits, I will gladly post it up here on SomeOtherMusic.

Thanks for reading!

Nick