JAZZ NEWS - GUITARIST REZ ABBASI 9th CD COMING 10/9

Guitarist REZ ABBASI Releases His Ninth Album Continuous Beat on Enja Records, October 9, 2012 Voted #2 Rising Star Guitarist in 2012 Down Beat International Critics Poll  Inventive guitarist Rez Abbasi takes the pulse of the modern guitar trio on his ninth album, Continuous Beat. Embracing the use of electronics and effects to broaden his sonic palette to a much further extent than he ever has in the past, Abbasi evolves the scope and range of possibilities of the traditional guitar/bass/drums format far beyond its apparent limitations. “People often think of the jazz guitar trio and relate it to all things historical,” Abbasi says. “That's not to say that the Jim Hall trio records aren’t some of my favorite albums of all time. But it’s 2012 now and we've heard a lot of purely ‘warm’ guitar trio albums. I wanted to stimulate the listener’s aural perception throughout the album - to give them a sense of textural surprise from start to finish that embodies both that warmth and the desire to push away from the commonplace.” The occasion for Abbasi’s first ever trio release was his discovery of the very special chemistry between himself, bassist John Hebert, and drummer Satoshi Takeishi. He has known and played with both for over fifteen years, but their uniting as a trio was a fortunate accident brought about by unfortunate circumstances. In late 2011, Abbasi was looking forward to performing for the first time with one of his musical heroes, the legendary drummer Paul Motian. He had composed a number of new pieces for the date, which was to be a trio with Hebert. Unfortunately, a week before the gig Motian was forced to cancel due to the health issues that would lead to his passing last November. Instead of canceling the date altogether, however, Abbasi tapped Takeishi to step in, knowing the Japanese-born drummer’s openness would mesh well with pieces composed with Motian in mind. “I knew Paul's playing intimately from recordings and seeing him live multiple times,” Abbasi says. “I felt this was a good opportunity to write a few tunes with his character in mind, the operative description being ‘complexity within simplicity.’ In other words, music that was comfortable enough to play without a rehearsal, yet stimulating enough to create an interactive trio sound. That seems to encapsulate his aesthetic.” Two of those pieces feature on Continuous Beat, whose title acknowledges the “immortality of great artists” like Motian, Abbasi explains. With Motian’s death, the album became something of a loose tribute and includes pieces from two composers associated with the drummer: Gary Peacock’s “Major Major” and Keith Jarrett’s “The Cure.” The trio also offers an evanescent arrangement of Thelonious Monk’s “Off Minor,” a Motian favorite. “Paul's life galvanized this project,” Abbasi says, “but then it went further from there.” The disc begins with the solo “Intro,” which offers a key to the album’s transformation of Abbasi’s approach. The piece is based on an Indian raga that the Pakistani-born guitarist has played often, but by using a reverse delay the material is mutated into something alien and unpredictable that Abbasi can play against, almost a duo with himself. That piece is bookended with Abbasi’s warm yet melancholy solo rendition of the “Star Spangled Banner,” which closes the CD. “Recording that was kind of cathartic in the sense that being an American at this point in history can be confusing, especially when you were born in Pakistan,” he says. “The question of ‘what it means’ arises given the climate of terrorism, the state of the union, the economy, immigration, et cetera. So I essentially tried to put the beauty back into my faith, although I'm not a ‘patriotic’ type at all. The melody has so much energy behind it that it simply felt right to do a modern day version with modern harmony.” Another meaning behind the album’s title came out of the fact that at the same time that Abbasi was mixing the session, his mother-in-law was undergoing triple bypass surgery. Alternating between the ER and the studio “was strange and emphasized the vitality of the heart,” he says. That vital heartbeat is evident in the trio’s interactions as soon as they appear on “Divided Attention” and is maintained throughout Continuous Beat. Both “Rivalry” and “iTexture” were written with Motian in mind, the latter also being a tribute to Apple founder Steve Jobs following his death. “Back Skin” is a piece built on an Indian form that Abbasi has explored in different fashion in saxophonist Rudresh Mahanthappa’s Indo-Pak Coalition. In projects like that trio and throughout his own work, Abbasi continually explores the conjunction between jazz and South Asian music. The guitarist moved to the US from Karachi, Pakistan at the age of four and went on to study at the University of Southern California and the Manhattan School of Music. He studied Indian music with a disciple of Ravi Shankar and performed and recorded with jazz greats including Billy Hart, Dave Douglas, Marilyn Crispell and Greg Osby. His own music has fused those two sounds in intriguing and surprising ways throughout his nine releases. Most important on this latest album for Abbasi was the chance to reconnect in such an intimate fashion with two longtime collaborators. “We've always had a connection,” he says of his triomates, “partly due to the way we interact as humans, partly due to what our vision of what music can be, and partly due to our unspoken telepathy. As jazz musicians we tend to move forward and make new relationships but there also comes a time to look back at some of our more meaningful relationships.” Release Date: October 9, 2012

www.reztone.com Publicity Contact: Matt Merewitz - Fully Altered Media 347-384-2839 matt@fullyaltered.com fullyaltered.com twitter.com/fullyaltered

LET'S NOT FORGET CORNELL DUPREE & JOE MORELLO

Better late than never...I wanted to be sure to not miss talking a bit about two of the music world's great musicians who passed away earlier this year.

Within two months of each other this past Spring, the music world lost two masterful musical treasures. JOE MORELLO, the innovative jazz drummer passed on March 11th and one of the major unsung heroes of the electric guitar, the great CORNELL DUPREE died on May 8th. Dupree was 68 years old and Morello, 82.

Having recorded on more that 2500 recording sessions, the word among musicians and fans alike was that Dupree always made everyone he played with sound better. His round tone and biting attack somehow complimented each other while his speed, tasteful choices and stylistic diversity made him an in-demand session man and band member.

If you have been collecting music for more than the past 5-10 years you will undoubtedly have numerous records in your stash featuring the smoldering licks of the always slick and tasty Mr. Dupree. Just a small illustration of the breadth and influence of this largely unheralded master, check out this very minor sampling of his session work. He has recorded with:

- King Curtis:

"Memphis Soul Stew"

- Esther Phillips

- Rahsaan Roland Kirk

- Wilson Pickett

- Freddy King

- Gabor Szabo

- Lulu

- Aretha Frankin

- Laura Nyro

- Les McCann

- David 'Fathead' Newman

- Carmen McRae

- Eddie Harris

- Leon Thomas

- Herbie Mann

- Grover Washington, Jr.

- Archie Shepp

- B.B. King

- Donny Hathaway

- Rufus Thomas

- Eddie Palmieri

- Stanley Turrentine

- Bette Midler

- Sonny Stitt

- Duane Allman

- Guess Who

- James Brown

- Lou Donaldson

- Billy Cobham

- Ashford & Simpson

- Jackie DeShannon

- Maggie Bell

- Buddy Rich

- Big Mama Thornton

- Hank Crawford

- Eddie 'Cleanhead' Vinson

- Michel Legrand

- Ian Hunter

- Ringo Starr

- Elvin Jones

- Etta James

- Gladys Knight

- The Average White Band

- Carly Simon

- Chaka Khan

- John Mayall

- The Crusaders

- Sam Cooke

- Michael Franks

- Lou Rawls

- Lightnin' Hopkins

- Lena Horne

- Andy Gibb (yes, Andy Gibb)

- Mariah Carey

- Delbert McClinton

- David Sanborn

- LaVern baker

- Dakota Staton

- Jackie Wilson

- Yusef Lateef

- Grant Green

- Duke Ellington

- Ray Charles

- Peter Wolf

- Jack McDuff

- Dusty Springfield

- Sam Moore

- Quincy Jones

- Brook Benton

- David Ruffin

- Miles Davis

- The Gadd Gang:

"Watchin' The River Flow":

More Gadd Gang "Signed, Sealed, Delivered" (not Stuff as it claims)

Many of you folks of my generation know him from his work on Paul Simon's There Goes Rhymin' Simon or his work from the mid-70s with Joe Cocker. Dupree appeared on these records with his bandmates in STUFF, who released five records for Warner Brothers during the same period. This particularly prolific period for Dupree also found him recording and releasing his first records as a leader.

Cocker was a wreck on this tour but Stuff was the tightest, most inspired band he'd ever front. Here's an audio track from the tour. Listen to guitarists Dupree and Eric Gale wail!

During his recording career, his guitar playing on his own records was as diverse and genre busting as his work as a sideman. Always with a round tone and smooth, tasteful choice of notes, both his rhythm and lead playing were funky and soulful whether playing rhythmic soul numbers of more expansive jazz melodies. His late 80s/90s output was decidedly more jazzy with 1992's live UNCLE FUNKY and 1994's BOP N BLUES being among my favorites. COAST TO COAST WAS NOMINATED FOR A GRAMMY IN 1988.

"Sunny":

I recently spotted Dupree near the end of the wonderful documentary on reclusive singer Bill Withers. Withers has disappeared from the recording and live performance scene for many years and near the end of this illuminating film, we see Withers re-inspired and joining Dupree for an impromptu live version of the singer's own "Grandma's Hands". A stirring and soulful moment.

There is a ton of Dupree video on YouTube. Check out any of it...

The tasteful sounds of Cornell Dupree live on in our music collections.

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If the only session he ever cut was Dave Brubeck's "Take Five", Joe Morello's place in musical history would be assured. The fact is that he was a vital force in the Dave Brubeck Quartet during the years when they were not only the most popular jazz band in the world but a band who brought jazz back onto the pop charts and influenced a nation of college kids and jazz fans with their popularization of non-traditional time signatures, their melodic compositions and impeccable group interplay. In the rhythm section alongside bassist Eugene Wright, Morello redefined jazz drumming for a generation of music students. 

He was child violin prodigy playing with the Boston Symphony at age 6 but by the time he turned 15 he had decided that the drums were his musical calling. He studied and played around Springfield, MA before heading out on the road with Grand Old Opry star, guitarist Hank Garland. In short order he found himself drawn to NYC where he begins getting gigs with the likes of Sal Salvador, Stan Kenton Big Band, Tal Farlow, Gil Melle, Jimmy Raney and really  began to make a name for himself with pianist Marian McPartland's Hickory House Trio (with bassist Bill Crow) in New York in the early 50s. He passed on stints with Benny Goodman and Tommy Dorsey to take a two-month tour with Dave Brubeck that would up lasting over 12 years.

When Brubeck disbanded the Quartet in 1968, Morello dove head first in academics given private lessons, clinics, lectures, etc. As a drum teacher he is raved about by all of his former students. He has mentored many young drummers through private lessons and instructional videos.

Delaware based drummer for the band Kombu Combo, John DiGiovanni remembers Joe:

"I took some lessons with Joe at Glenn Weber's Drum Shop in West Orange, where he'd been teaching for years. I don't know if he was completely blind at this point, but he didn't need to see well to know what I was doing! He was older at this point but he still had those blazingly fast hand chops. I was working through his Master Studies book at the time, putting 2 to 4 hours a day into it. Joe kept directing me to his teacher George Stone's book, Stick Control, which he basically took and made 10 times more challenging. The Master Studies book is arguably the best book for getting your hands together. Very unassuming and humble guy he was, and I wish I could have had more time with him. 

"Joe was one of the very best, one of the few drummers who could give Buddy Rich a run for his money, chops- wise, plus he had all of that sensitivity and great timing. After all, he played on the most famous jazz recording of all time!"

He eventually formed his own bands and played almost exclusively around the NYC area finding time over the years to record on over 120 records (including 60 with Brubeck).

Here are some examples of the late, great Joe Morello in action.

 

 Sounds of the Loop:

Take FIve in 1995 on Conan O'Brien

Heard here with Marian McPartland and Bill Crow in 1955:

and an hour long Drum Method video from Joe for all you drummers out there...don't say I never did anything for ya!

WHY DON’T I KNOW ABOUT THIS GUY? #1 – JOHNNY A

For many in the North East region Johnny A may be on your radar. The Boston based guitarist seems to play regionally regularly and by the look of his videos he’s been doing it for a while. I know I have seen his name listed in Philly etc. in ads and listings but never knew a thing about him. Many of you may have seen his video in my recent blog UNDENIABLY CLASSIC SONGS – WICHITA LINEMAN which features and incredible instrumental version of that song by Johnny. I included it her again for those who missed it (if you saw it move on down for more cool originals and hip covers by Johnny A).

Once I saw this clip, I wanted to check this guy out. Finding this has inspired me to start this regular feature WHY DON’T I KNOW ABOUT THIS GUY/GIRL? So if you know of someone regional or off the beaten track, whether currently performing or someone obscure that you think I should hear about keep me posted.

JOHNNY A PLAYS WICHITA LINEMAN
A fantastic guitar instrumental version of this great Jimmy Webb tune. Wonderfully tasteful and sultry version of this great tune for jazzy trio. Sticking to the melody without a lot of harmonic variance, Johnny A’s touch and tone bring a nice, shimmering quality to Webb’s gorgeous melody. This was the first time I’ve heard this guy while working on a piece on the song Wichita Lineman.


So I look further and it seems he was signed to Steve Vai’s label for a bit and was asked to play on the G3 tour by Joe Satriani. I guess I’m not really plugged into to the shredder scene these days. He is much more a Hendrix/Page/Beck influenced modernist than a lot of the post DiMeola/Vai/Satriani trick-bag guys. More bluesy based but not really a blues player like Stevie Ray was. Now granted, there’s a bit too much Jimi and not enough jazzy in some of the live cover stuff but then again, I’ve already lived through Randy Hansen and Frank Marino, Robin Trower, Billy Gibbons and Stevie Ray so I’ve seen some decent guys approximate some of what Jimi did. I’ve always been one for more individualistic sounding players’ takes on Hendrix. Like Frisell, or Scofield or Clapton among those who have covered Jimi tune interestingly while never copping too much of the original while keeping their own distinctive stuff in tact.

But the reason I decided to do this blog on Johnny A is two-fold. First, I dug the simplicity and taste of the WICHITA LINEMAN so much and I think this guy’s touch and tone is a nice find and I’d go see him for a night of bluesy shredding. Granted, the originality of a Derek Trucks or a Jim Hall or a Richard Thompson will get me back over and over again. I have a feeling I’d like this tons but perhaps not feel compelled to return every time out. I find in my older age I’m not so drawn to technique and volume as much as either experimentation and audacious originality (a la Nels Cline) or sublime harmonic and melodic invention and emotion (a la Kurt Rosenwinkel).

Then again there are a lot of young guitar slingers out there who will never see Jimi or SRV or Garcia or Albert King or Wes Montgomery or Danny Gatton or Tommy Bolin or any of the heavy guitar slingers who are no longer around. Not everyone wants to hear post-Eddie VH pyrotechnics all the time. And truly with Jeff Beck (who I still believe remains, note-for-note the most interesting and unique sounding player out there today) touring so seldom where can you get a full night of smokin’ instrumental guitar music on a regular basis these days. Still, I’d prefer an evening of Johnny’s original music with a couple of his tasty covers thrown in. The Johnny A original tunes are way cool. These Johnny A signature model Gibson guitars are also extremely gorgeous works of art.

Before we get into the crowd-pleasing covers, check out some of his original stuff…

HIP BONE


OH YEAH


SING SINGIN’


2 WHEEL HORSE



THE COVER TUNES:

THE WIND CRIES MARY & JIMI STORY
A long but amusing story about seeing Jimi live when he was 15. Followed by a funky version of “…Mary.” From Sellersville, PA 5/17/08.
http://www.youtube.com/watch?v=tQHyMfo0ey0

YOU DON’T LOVE ME
Yes, he covers the tune made famous by the Allman Brothers Band, here done up funky and with a taste of Wes-esque octave work and slithery wah work.


AMERICA THE BEAUTIFUL
Solo guitar rendition recorded right after 9/11
http://www.youtube.com/watch?v=Aax-38C9LnY

JOHNNY A GUESTING WITH J.J. CALE ON GOIN’ DOWN
http://www.youtube.com/watch?v=Atzp9a9PFPc

RED HOUSE
http://www.youtube.com/watch?v=sOp_lbaEr64

JIMI JAM
Lots of Jimi riffs in here but he also quotes Beatles, Stones, Zep, etc. From King of Prussia, PA. 6/17/07
http://www.youtube.com/watch?v=5PZA5aWJf9U

INTERVIEW FOOTAGE:
Check out the JOHNNY A. OPEN FORUM links on YouTube. There are five parts. Mostly of interest for tech heads and guitarists for the most part. Here’s the link for Pt. 1.
http://www.youtube.com/watch?v=ZNPdsj3imBc

Check out his website for tour dates…looks like his playing nationwide this spring so don’t miss him…

Johnny A's Website

For more on Johnny A:

Wikipedia

Johnny A on MySpace