What You'll Find Here: Music, Movies and Me

Since May 1976, I have written in journals. When I have nothing particularly resonant to say about my own inner turmoil, philosophic ramblings, sexual peccadillos or whining on about the state of the world around me...I have always fallen back on reporting the cultural time consumption that takes up in inordinate portion of my daily goings on.

In the 40+ years since my first concerts seeing Children's Symphony presentations on Sundays at the Pasadena Civic or The Hot Jazz Society's monthly Dixieland romps in an old meeting hall on the edge of the L.A. "River" across from Griffith Park, I have been sold heavily on the magic of live music. As Neil Young so aptly put it, "Live music is better bumper stickers should be issued."

Growing up a few orange groves and canyons length away from Hollywood also contributed greatly to my family's addiction to movie going. From the time I was a small there were weekly trips to the drive-in theaters that dotted the landscape, or the local Temple theater for the Saturday matinees. Once in a while we'd drive the 12 miles into Hollywood and see something in one of the magnificent old movie palaces like Grauman's Chinese, the Egyptian, The Pantages or later the Cinerama Dome. My dad loved Westerns and War movies, as if he didn't get enough shoot-'em-up as an L.A. County Sheriff in his day gig, my mom adored musicals and comedies. My brother and I loved them all.

At SDSU, I played in my first gigging band and began booking concerts on campus as part of the well-funded Cultural Arts Board, kindling for my future life in and around music.

So it's not surprising that my first jobs out of college were working in local video rental places (which were all the rage) or managing a couple of Sam Goody record stores in Mall's on the East Coast where we marveled at the new CD format and sold the first home computers and video games (yes Commodore and Pong and Atari).

So these are really just extensions of all of those journal entries talking about the great new movies I was seeing and LPs/CDs I was listening to.

Though iPODS/iPADs, apps, smart phones and downloads now make music and movies accessible in your own pocket, there is still nothing like sitting in front of a stack of speakers with a room full of people swaying to music created before your eyes. Nor is there anything that works quite so well for me to escape the real world and all of it's pressures just outside than two hours in a dark theater, absorbing the stories flickering across that wide screen as they pull you into their world.

But a really good taco runs a close third...

Wednesday, October 19, 2011

CD REVIEW: STATE OF ART by Ben Williams





            Young bassist Ben Williams, while schooled in the music of his predecessors makes a hip statement here about the state of jazz music today on his Concord Jazz debut, State of Art. In the liner notes he states his respect and love for the music of the past but also sees this album as his “honest and humble attempt at expressing (musically) what it means to be alive in 2011.” In interpreting the music of Stevie Wonder, Michael Jackson, and Goapele as well as his own compositions, he believes that “The great American Songbook is an open book to which we should continue to add pages.” And yes, this has always been a huge part of the jazz tradition itself: reflecting a modern spin on the state of the world in the present.
            A solid and spirited bassist, Williams has surrounded himself with a young crew of his peers who obviously embrace the same sense of NOW in their approach to Williams’ vision. Saxophonists Jaleel Shaw (Mingus Big Band, Roy Haynes Quintet) and Marcus Strickland (Haynes, Jeff “Tain” Watts, Tom Harrell, Dave Douglas) as well as pianist Gerald Clayton are all accomplished leaders in their own right.
            The uplifting vibe of the music throughout is refreshing, especially on Williams’ own compositions including “Mr. Dynamite”, a modern take on a groove-based, mid-60s soul/jazz trip featuring a fun bowed bass solo. Even the more laid-back tunes on the disc have a palpable positive strength to them. 
            The leader’s short original intro to Michael Jackson’s “Little Susie” is a wonderful minute and a half bass solo highlighting his warm tone and fluid touch. Shaw’s soprano sax is featured on this decidedly jazzy take on this Williams’ hip arrangement of this pop chart. This tune features a stroing quartet which is also wonderfully incorporated on the Goapele cover, “Things Don’t Exist”.
            The most noticeable diversion from form here is the tune, “The Lee Morgan Story” which features emcee John Robinson rapping his own composition about the legendary trumpeter. Guest star Christian Scott fills the Lee Morgan role with his winding trumpet lines. Other than this track, the CD is an all-instrumental affair.
             There are a couple of older pieces here illuminating Williams feel for what came before. Woody Shaw’s great tune “Moontrane” comes early in the program to keep your ears attuned to the fact that this release is versed in the masters as well as embracing today’s world. Ending the CD is a more straight-ahead arrangement of the standard “Moonlight In Vermont” . Guitarist Matthew Stevens and Clayton play wonderfully off of each other her. Stevens also really shines on the solo laden burner, “November” 
            Also of note are the tasty contributions of drummer Jamire Williams, percussionist Etienne Charles throughout. Expect great things from Ben Williams and his bandmates for years to come. State of Art is a sterling introduction.
             DC native, Williams was winner of the prestigious Thelonious Monk International Jazz Competition in 2009. This led to his signing by Concord Records. He has worked with Wynton Marsalis, Terence Blanchard, Mulgrew Miller and Roy Hargrove among others. If State of Art is any indication, you will be hearing much from this ambitious and talented young musician.

- A short interview with Ben Williams

- Hear all of the music from State of Art on YouTube. Here’s track 1: “Home”
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