Out Front Outback

OFOB for 9/29/15

  • Baloni (Joachim Badenhorst, Frantz Loriot & Pascal Niggenkemper)- Belleke- Belleke- Clean Feed
  • *Mike Reed’s Loose Assembly- Simone’s Crumbs- Last Year’s Ghost- 482 Music
  • Pascal Niggenkemper Vision7- Ke Belle- Lucky Prime- Clean Feed
  • Louie Belogenis’ Blue Buddah- Purification- Blue Buddah- Tzadik
  • *Myra Melford- Ching Ching/For the Love of Fruit- Snowy Egret- Enja Yellowbird
  • Nicole Mitchell’s Ice Crystal- Today, Today- Aquarius- Delmark
  • Jaki Byard- Gaeta- Family Man- Muse
  • *Jason Adasiewicz’s Sun Rooms- Mae Flowers- From the Region- Delmark
  • James Falzone & the Renga Ensemble- Interlude- The Room Is- Allos Documents
  • Mingus Big Band- It Was a Lonely Day in Selma, Alabama/Freedom- Blues & Politics- Dreyfus Jazz
  • Steve Swell- Composite #8- Kanreki: Reflection and Renewal- Not Two
  • *Wadada Leo Smith- Lake Superior- The Great Lakes Suite- Tum records
  • Rova Saxophone Quartet- Parallel Construction #1- Planetary- Solyd Records
  • Rich Halley 4- Dead of Winter- Eleven- Pine Eagle Records
  • Gerald Cleaver’s Black Host- Wrestling- Live in the Sugar Candle Mines- Northern Spy
  • Oliver Lake- Hasan- Holding Together- Black Saint
  • Grass Roots w/Darius Jones, Alex Harding, Sean Conly and Chad Taylor- Hottness- Grass Roots- Aum Fidelity
  • *Lisa Mezzacappa’s Bait & Switch- Curciferous- Comeuppance- Not Two
  • Ronald Shannon Jackson- When Souls Speak- Mandance- Antilles

OFOB playlist for 9/22/15

* indicates piece follows mic break

  • Kirk Knuffke (w/Jamie Saft + Hamid Drake)- July Hymn (to Don Cherry)- Little Cross- SteepleChase [2014]
  • *Mal Waldron & Steve Lacy- Round Midnight (3)- The Peak: Live at Dreher Paris, 1981- hatology [live from 1981]
  • Muhal Richard Abrams & Malachi Favors- Sightsong- Sightsong- Black Saint [1965]
  • Jacob Anderskov Trio- Pull Up- Kinetics (The Path)- Ilk music [2015]
  • *Mike Reed’s People, Places & Things (w/Greg Ward, Tim Haldeman + Jason Roebke)- The Star Crossed Lovers (w/guest Marquis Hill)- A New Kind of Dance- 482 Music [2015]
  • Amina Claudine Myers- Have Mercy Upon Us- Augmented Variations- Amina C. records [live from 2005 + 2008]
  • Nicole Mitchell, Tomeka Reid & Mike Reed- Have Mercy Upon Us- Artifacts- 482 Music (celebrating the 50th anniversary of the founding of the AACM) [2015]
  • Mike Reed’s People, Places & Things- Candyland (w/Marquis Hill)- A New Kind of Dance- 482 Music [2015]
  • *Louie Belogenis, Shanir Ezra Blumenkranz & Kenny Wolleson- Duende- Unbroken- Tick Tock [2005]
  • Chicago Reed Quartet (Nick Mazzarella, Dave Rempis, Mars Williams, Ken Vandermark)- Burn Unit- Western Automatic- Aerophonic [2014]
  • Switchback (Mars Williams, Waclaw Zimpel, Hilliard Greene & Klaus Kugel)- Four in One- Switchback- Multikulti Projects [live from 2013]
  • *Friends and Neighbors- Hymn for a Hungry Nation- Hymn for a Hungry Nation- Clean Feed [2012]
  • Jack Walrath- Unsafe at Any Speed- Unsafe at Any Speed- SteepleChase [@2015]
  • (*)Frank Lacy & Mingus Big Band- Portrait- Mingus Sings- Sunnyside [2014]
  • Darius Jones Quartet- So Sad- Book of Mae’bul (Another Kind of Sunrise)- Aum Fidelity [@2012]
  • David Murray Quartet (w/Bobby Bradford, Fred Hopkins + Ed Blackwell) – Bosom of Abraham- Death of a Sideman- DIW (music composed by Bobby Bradford) [1991]
  • *Vinny Golia Quartet (w/Bobby Bradford, Ken Filiano + Alex Cline)- Small Group Caught Up in the Reel World- Sfumato- Clean Feed [2003]
  • Stephen Gauci, Kirk Knuffke & Ken Filiano- Epee- Chasing Tales- Relative Pitch [2011]

…and in the video department:

Misses the beginning of a piece, but a good video of Mike Reed’s People, Places & Things:

This one perhaps would have made more sense next to one of the earlier posts where Bradford + Frode Gjerstad played together, but we played lots of Bradford, so what the heck….

and Mike Reed heads up another project working the Sun Ra thing in Chicago (where the city supports it’s jazz!)

…looking for some Amina Claudine Myers I ran into a fine concert from 2013 of the ACM quartet w/Jim Pepper!  Amina gives Jim a lot of space, and it’s interesting to hear how her gospel roots & Jim’s sourcing of native american music blends…




OFOB radio playlist for 9/15/15

  • James Falzone & The Renga Ensemble- Prelude- The Room Is- Allos Documents
  • *Thomas Heberer’s Clarino- Velvet- Cookbook- Red Toucan
  • Chicago Reed Quartet [Mazzarella, Rempis, Williams, Vandermark]- Camera Oscura- Western Automatic- Aerophonic
  • Darius Jones Quartet featuring Emilie Lesbros- I Can’t Keep from Weeping- Le bébé de Brigitte- Aum Fidelity
  • Kris Davis Infrasound- Union Forever- Save Your Breath- Clean Feed
  • *Rova Saxophone Quartet- K/24 (for Vasilly Kadinsky)- Long on Logic- Sound Aspects
  • James Falzone & The Renga Ensemble- The Fifth Renga- The Room Is- Allos Documents
  • Frode Gjerstad Quartet w/Bobby Bradford- Xmas Cards- Through the Woods- CIMP
  • Universal Quartet [Yusef Lateef, Kasper Tranberg, Adam Rudolph, Kresten Osgood]- Death in the Morning- Light- Ilk music
  • The Engines [Dave Rempis, Jeb Bishop, Nate McBride, Tim Daisy]- Rewind- The Engines- Okka disk
  • *Sonoluminescence Trio [David Mott, William Parker, Jesse Stewart]- Emergence- Telling Stories- Art Stew records
  • Ken Vandermark, Max Nagl, Clayton Thomas & Wolfgang Reisinger- Hat and Beard- C.O.D.E.-  crackedanegg records
  • *Otomo Yoshihide’s New Jazz Orchestra- Hat and Beard- Out to Lunch- Doubt Music
  • Zu / Mats Gustaffson- Eating the Landscape- How to Raise an Ox- Atavistic
  • Gord Grdina Trio with Mats Gustafsson- F.W.R.- Barrel Fire- Drip Audio
  • Nick Mazzarella Trio- Neutron Star- Ultraviolet- International Anthem Recording Co.
  • Christoph Irniger Trio- Air- Octopus- Intakt
  • Olavi Trio- Forest Walk- Oh, La Vie!- Tum records OY
  • Lou Grassi Quartet w/Rob Brown, Herb Robertson and Ken Filiano- Underground Elevation- Avanti Galoppi- CIMP
  • Vinny Golia Quartet w/Bobby Bradford- Even Before This Time- Take Your Time- Relative Pitch records
  • *Jack Walrath and Hard Corps- Sarah Hurts- Journey, Man!- Evidence

You should know about….

Sax Special Card_08.2015

visit rova.org for more information

OFOB playlist for 9/8/15

  • James Falzone’s Klang- Klang… reprise- Tea Music- Allos Documents
  • *Tim Daisy’s Vox Arcana- Contained- Caro’s Song- Relay Recordings
  • James Falzone’s Klang- Giants- Tea Music- Allos Documents
  • Miya Masaoka Trio w/Reggie Workman and Andrew Cyrille- Monk’s Mood- Monk’s Japanese Folk Song- Dizim records
  • Garrison Fewell- Calculations at Yaxchilan- Variable Density Sound Orchestra- Creative Nation Music
  • *Kirk Knuffke- Elephant Boat- Little Cross- SteepleChase
  • William Parker Organ Quartet- Document for LJ- Uncle Joe’s Spirit House- Centering Records/Aum Fidelity
  • David S. Ware Quartet- Ganesh Sound- Renunciation- Aum Fidelity
  • *The NU Band- The Path- The Cosmological Constant- Not Two recordings
  • Ed Wilkerson, Jr.- Light on the Path- Light on the Path- Sound Aspects
  • Peter Brotzmann- Makapoor- The Chicago Octet/Tentet: 1/2/3- Okka Disk
  • *Variable Density Sound Orchestra- Mystical Realities- Evolving Strategies- Not Two
  • Olavi Trio- Chaplin- Oh, La Vie!- Tum Records OY
  • Ken Vandermark’s Audio One- Encyclopedia of a Horse- An International Report- AudioGraphics
  • *Nick Mazzarella Trio- Archaeopteryx- Ultraviolet- International Anthem Recording Co.
  • Louie Belogenis, Shanir Ezra Blumenkranz & Kennie Wolleson- Oasis of Dreams (for John Zorn)- Unbroken- Tick Tock
  • (John Zorn’s) Masada- Tohorot- Het (Eight)- DIW

…. and some pertinent selected videos:


Interview with Bobby Bradford

This is a recent interview which was taken on the same tour which produced the Gjerstad/Bradford “Silver Coronet” concert recording on Nessa!
Cornet Great Bobby Bradford: The Jazzman as Storyteller
Posted by Kevin Whitehead on wonderingsound.com on 07.16.14

Veteran cornet player Bobby Bradford’s weeklong tour in late March, with a quartet organized by Norwegian saxophonist Frode Gjerstad, put him in a mood to reminisce. Maybe it was their auspicious starting point: Austin’s Victory Grill, the same place Bradford first heard his soon-to-be-boss Ornette Coleman 62 years earlier.

The quartet mostly traveled by car, but the hours went by faster than usual. Bradford held forth on various topics, including stuff he’s famous for not doing — like, how he wasn’t on Coleman’s first records, despite being his original trumpet player, or on 1960′s epic Free Jazz even after Coleman sent him a plane ticket. He also talked about a bit of business related to the Kennedy assassination.

On the final night of the tour, five minutes before the quartet went on at Baltimore’s Windup Space, Bradford sat at the bar talking to his bassist Ingebrigt Haaker Flaten (who’s from Norway but lives in Austin) and Chicago drummer Frank Rosaly about European improvised music, a topic of interest to both. The short version: He gets it. But then he’s been playing with Europeans since the early ’70s. “Even if they don’t have the blues in their playing, they can still draw on their own folk music, something closer to home,” Bradford said.

As he talked, a few people came over to say hi, and slowly a crowd began to form, pulled in by his measured voice. Gjerstad came over to usher the band on stage, and he got pulled in too.

Lester Young famously said a jazz solo should tell a little story — one that develops its themes, and takes you someplace. Bobby Bradford honors that ideal. He gets a warm, airy sound on cornet, trumpet’s stubbier cousin, and peppers his solos with shapely motifs he develops in orderly ways.

You can hear a bebop background in his easy facility, even in this quartet where the musicians invent the form on the spot. But then Bradford’s been playing in that freebop style just about longer than anyone. He stood next to Ornette Coleman part of the time he was inventing it.

Bobby Bradford was born 80 years ago, on July 19, 1934, deep in Mississippi blues country. He left when he was around 10, his ears already opened by an itinerant guitarist who’d play down at the dry goods store, by Sonny Boy Williamson’s King Biscuit radio show, and by the loose unisons of country church singing.

“My father’s family were serious, hardcore Baptists — my father, his brothers, their father and his brother were all preachers,” Bradford said over the phone a few weeks after the recent tour. After his parents split, he and his brother followed their father to Dallas. Bradford got himself a Morning News paper route, clearing enough money to buy himself a sharp Bulova watch.

“Our neighbor would sit on his porch and play popular songs on this beat-up cornet when he had nothing else to do. One day he was playing” — Bradford sings the “my-mama-done-told-me” riff from “Blues in the Night.” “I could see how he puckered to make the notes and how he wiggled the second valve, so I said to him [the neighbor], ‘Wallace, I bet I can do that.’ I took the horn, and after two or three minutes I got it down. Soon after, I traded my watch for his cornet. He said, ‘Ask your daddy if it’s OK,’ so I ran home, ran straight through the house and came right back around: ‘He said OK!’”

Bradford joined the Lincoln High band, where there was a bebop clique. He bought a proper trumpet as soon as he could. “When I was a senior in high school or freshman in college, we’d have little group sessions, trying to take tunes down from records, playing them over and over. I cut my teeth on Fats Navarro solos, on Bud Powell’s ‘Dance of the Infidels’ or ‘Bouncing with Bud.’ ‘Nostalgia,’ where Fats plays with the cup mute real tight in the bell — that’s a fuckin’ insane trumpet solo!”

Bradford graduated high school on a Friday in January 1952. The following Monday morning, he started at Huston College in East Austin, where Fort Worth drummer Charles Moffett was in the band. “Then word started spreading: Ornette Coleman was coming to town!” he remembers. “Everyone had already heard of him, this wild guy from Fort Worth with his curly hair piled on his head, and his Cuban heels. He was only coming to be best man at Moffett’s wedding, but they had a jam session right after. I’m sure the bride loved this!”

Coleman was already getting a reputation for stepping outside a tune’s form while improvising. “Ornette would start to play conventionally, then go off to those places he liked to go. Some people said, ‘That’s the worst thing I ever heard.’ I thought, ‘What the hell was that?’ It was clear he had his own sensibility, and wasn’t that much into the boppers. When I soloed at that time, if I had an idea that didn’t fit the chord, I wouldn’t use it. Ornette had another idea.”

In ’53 Bradford quit school and moved to Los Angeles. On the trolley, he ran into Coleman, who had also moved to the city, and they teamed up under Coleman’s leadership, playing occasional gigs and rehearsing often.

“We played down in the red-light district, around Fifth and Main, where you’d buy weed if you were new in town. Sometimes we had piano, sometimes not. We played standards and the bop-oriented tunes that [Ornette] later recorded on his first albums. He didn’t have a strong command of notation, but he knew what he intended. A piece like ‘Peace,’ you’ve got to play it the way he shows it to you. We’d play it together till it was as natural as singing ‘Happy Birthday.’”

But by the time Coleman first recorded in 1958, Bradford was back in Texas, playing in Air Force bands. When he got out of the service, he went back to Austin to finish college. He’d also married singer Melba Joyce and started a family.

Meanwhile, Coleman and replacement trumpeter Don Cherry had moved to New York, and Coleman was plotting his album Free Jazz for Double Quartet: two of everything, stereo-separated. He wanted Bradford to play opposite Cherry, and sent him a plane ticket. Bradford, in mid-semester at school, went to his teachers to explain the situation and request incompletes. His French prof said, bien sûr. The rest said they’d flunk him. So he returned the ticket, and Freddie Hubbard got the gig. Still, Bradford has no regrets.

“In Europe especially, writers say [affecting a posh accent], ‘If you’d been on Free Jazz, you could have been more famous.’ Those writers don’t have a clue. Going to New York, I would have lost the whole semester, and I was getting some heat at home about getting a job.”

The next time Coleman offered, Bradford jumped. In 1962, he came to New York to join Coleman’s new quartet with Moffett on drums. But that was also the moment Coleman decided he was underpaid and tripled his fee, so the band barely got gigs. The quartet recorded an unreleased album for Atlantic; it surely would’ve come out by now, but the tapes got destroyed in a fire. (Bradford finally turned up on Coleman’s 1971 recording Science Fiction.)

In the fall of 1963, Bradford was teaching way out in Crockett, Texas, and he and Melba worked some in Dallas. They got occasional weekend gigs at a strip club where cops hung out. There was a pay phone in the back room, with musicians’ names, instruments and phone numbers penciled all around it. That was how the boss put his bands together.

Then came the Kennedy assassination. Two days later, Bradford had the TV on, watching Lee Harvey Oswald being walked out of the Dallas police station. Then he saw his boss from the strip club step out of the crowd and shoot Oswald. Investigators descended on Jack Ruby’s club. They saw the writing on the wall.

“That night or the next, the local cops come to the door in Crockett at 1 o’clock in the morning. They showed me some pictures: ‘Do you know any of these people?’ Trying to make a connection between Ruby and Oswald. They wanted to talk to Melba too, but she was driving back to Dallas that night. I told them where she was headed, and the FBI was waiting for her when she got there.

“The media said Ruby did it because Oswald killed Ruby’s hero JFK. But everyone from Dallas knew another story: It was because Oswald had shot a cop named Tippit right after the assassination, and Tippit was Jack Ruby’s lover. I don’t know why, but I never heard that story outside Texas.”

Bradford soon returned to Southern California for good, and his fortunes improved. Coleman recommended him to another Fort Worth reed player now in L.A., alto saxophonist and clarinetist John Carter — Bradford’s frequent partner till his death in 1991.

Two recent reissues help chart their evolution. On 1969′s Flight for Four, Coleman’s influence is plain in the pianoless quartet format and freewheeling interplay, though Carter has his own alto style. By the time of the 1979 and ’82 duo concerts on Tandem, their super-tight blend was utterly distinctive. By then Carter played only clarinet, with an electrifying squealy sound, and Bradford had gone back to the mellower cornet. He made the switch in 1973 during a long English residency, working with drummer John Stevens and altoist Trevor Watts, his first European contacts. (He’d already recorded with them two years earlier.)

Back in California Bradford led and recorded with his own bands, featuring his own compositions. His writing got wider exposure in 1994, when onetime student David Murray recorded his suite Death of a Sideman dedicated to Carter, with Bradford on cornet.

John Stevens had put him together with Frode Gjerstad in a 1986 quartet, and they’d hit it off. The American and the Norwegian started working together occasionally, in small groups and Gjerstad’s Circulasione Totale Orchestra. Which brings us back to where the story started.

What we didn’t mention: The first night of that spring tour, Bradford had slipped getting out of bed in the wee hours, and suffered killing back pain the whole time he was entertaining the band. After he got home he found out he had a compression fracture of a spinal vertebra: “The doctor says I’ll make a complete recovery but it won’t be quick.” (His recovery was well along by late June.)

He wrote in an email soon after that diagnosis, “In retrospect, I don’t know how I managed to make the tour. But it will make a great story ’round the campfire.”


OFOB for 9/1/15

Here’s the playlist for last night’s radio program. It looks a little short, but that’s because there are several longer works in there. I was listening to the new Not Two release by Steve Swell (“Kanreki…” celebrates his 60th birthday) yesterday afternoon and it totally got to me, so much I had to listen to it again, right away. A 22 minute piece with Darius Jones on alto sax, Steve Swell- trombone, Omar Tamez- guitar, Jonathan Golove- cello and James ilgenfritz- bass, the piece was recorded live in December of 2012 at the Roulette in Brooklyn, has full dynamics and basically tells a wonderful story. I did the unusual thing of planning practically the whole show ahead of time, plus doing it by working backwards [from “Composite #8” as the virtual finale]. There were several other things I really wanted to get to, including new acquisitions of Garrison Fewell’s third and final Variable Density Sound Orchestra recording, and a great new septet date from Hungarian viola player/composer Szilard Mezei! Coupled with this I was determined to reprise last week’s first plays from the new Bradford/Gjerstad Quartet + Nu Band dates. As often happens with the show, things magically fell into place and this week’s program gathered together great creative music from varied new music sources as this week’s offering began to breathe.

Long story short, I (again) dug the show, think you will find it worthy, and strongly encourage you to give it a listen on through to the end. My apologies to Larry Och’s for using an excerpt from the wonderful Och’s/Robinson Duo date to wrap things up (in a bow) at the end.

Dig in and those ears growing!!

Larry Blood – Host of Out Front, Outback
Presenting jazz and extensions as a living art form, with tradition a byword for music moving into the future. A KUSP-FM featured program serving California’s Central Coast since 1983, airing Tuesdays from 9:30pm to midnight PST.
contact = larryb@cruzio.com
Listen to the most recent show via the box at the upper right
OFOB for 9/1/15

  • Tim Daisy’s Vox Arcana (w/James Falzone, Fred Lonberg Holm)- Silver Light- Caro’s Song- Relay recordings
  • *The Nu Band (Roy Campbell, Mark Whitecage, Joe Fonda, Lou Grassi)- Camel Caravan- Relentlessness: Live at the Sunset- Marge
  • *Szilard Mezei Septet- Wandering / By Then- Polar- Not Two
  • Garrison Fewell’s Variable Density Sound Orchestra (w/Roy Campbell, John Tchicai, Steve Swell…)- Voyage from Ra- Evolving Strategies- Not Two
  • *Variable Density Sound Orchestra- Heart is Only a Part- Evolving Strategies- Not Two
  • Gebhard Ullmann Basement Research (w/Julian Arguelles, Steve Swell, Pascal Niggenkemper + Gerald Cleaver)- Five- Hat and Shoes- Between the Lines
  • Roy Campbell Pyramid Trio (w/William Parker + Reggie Nicholson)- Chant For Don Cherry- Communion- Silkheart
  • *Frode Gjerstad Quartet (w/Bobby Bradford, Wilber Morris, Newman Baker)- Frodiodi- Through the Woods- Creative Improvised Music Projects
  • Bobby Bradford/Frode Gjerstad Quartet (w/Ingebrigt Haker Flaten and Frank Rosaly)- A Story About You- Nessa
  • Steve Swell (w/Darius Jones)- Composite #8- Kanreki: Reflection & Renewal- Not Two
  • Ochs/Robinson Duo- Failure- Throne- Not Two

Into Poetry
Spring bursts suddenly with the bloom of awareness
Warming my facae and back with petals of sound
falling gently onto my lap
I am filled to the brim with hope and music
caressing the back of my neck
Turning winter’s onslaught of nothingness
into poetry
-Steve Swell-

OFOB playlist for 5/25/15


On this week’s show, though you may notice a few threads we’ve been following recently, the show pretty much directed itself. The second set was as full hour without mic breaks, because the flow took over, so I wanted to make sure you got this list with timings so you can better follow who you are listening to. Some good dynamics, musical plot lines, and a good tension established between texture/coloration and melody. Plenty of good music, so I expect you should have as good a time listening as I had presenting it.

Cheers + keep those ears growing!!

Larry Blood – Host of Out Front, Outback
Presenting jazz and extensions as a living art form, with tradition a byword for music moving into the future. A KUSP-FM featured program serving California’s Central Coast since 1983, airing Tuesdays from 9:30pm to midnight PST.
contact = larryb@cruzio.com
Listen to the most recent show via the box at the upper right
OFOB for 8/25/15

  • Jeanne Lee & Mal Waldron- Goodbye Porkpie Hat- After Hours- Owl
  • 4:51 *Jeanne Lee, Mal Waldron & Toru Tenda- The Seagulls of Kristiansund- Travellin’ in Soul Time- BvHaast
  • 15:38 Mingus Big Band- Black Saint and the Sinner Lady- Tonight at Noon- Dreyfus Jazz
  • 36:36 *J.D. Allen- Third Eye- Grafitti- Savant
  • 44:17 Darius Jones- Universal Translator- Le bébé de Brigitte (Lost in Translation)- Aum Fidelity
  • 52:40 Frank Lacy & Mingus Big Band- Eclipse- Mingus Sings- Sunnyside
  • 58:05 William Parker/In Order to Survive- Three Clay Pots- The Peach Orchard- Aum Fidelity
  • 73:29 Satoko Fujii Ma-Do- Set the Clock Back- Time Stands Still- Not Two records
  • 78:46 Bobby Bradford, Tom Heasley & Ken Rosser- Crooked March- Varistar- Full Bleed Music
  • 82:05 Brassum (Mark Weaver, Dan Clucas, Michael Vlatkovich & Harris Eisenstadt)- Selvage- Live- pfMentum
  • 97:12 *Ken Vandermark’s Audio One- The Floor (for Julius Hemphill)- An International Report- Audiographic
  • 110:29 IPA (Atle Nymo, Magnus Broo, Mattias Stahl, Ingebrigt Haker Flaten, Hakon Mjaset Johansen)- If a Waltz- Bubble- moserobie music productions
  • 124:29 *The Nu Band (Roy Campbell, Mark Whitecate, Joe Fondaz, Lou Grassi)- Little Piece- Relentlessness: Live at the Sunset- Marge
  • 135:04 Roscoe Mitchell- Scrunch- Duets with Tyshawn Sorey and Special Guest Hugh Ragin- Wide Hive records
  • 143:43 Bobby Bradford/Frode Gjerstad Quartet- and me, me and you- Silver Cornet- Nessa records

And in the video department….

OFOB for 8/18/15

Hey Gang,

This is a really fun show! Lots of vocals, segues that work, and some serious musicality. Lots of timely and timeless music, but it only exists in this weave for a week, so don’t miss it!

Keep those ears growing!

Larry Blood – Host of Out Front, Outback
Presenting jazz and extensions as a living art form, with tradition a byword for music moving into the future. A KUSP-FM featured program serving California’s Central Coast since 1983, airing Tuesdays from 9:30pm to midnight PST.
contact = larryb@cruzio.com
Listen to the most recent show via the box at the upper right
OFOB for 8/18/15:   [with start times]

  • Charles Mingus Octet- Eclipse- Debut Rarities, Vol. 1- Fantasy/OJC
  • 4:59 *Charles Mingus- Orange Was the Color of Her Dress, Then Silk Blues- Mingus Plays Piano- Impulse
  • 9:15 Jesse Stacken & Kirk Knuffke- Duke Ellington’s Sound of Love- Orange was the Color- SteepleChase
  • 16:00 Frank Lacy & Mingus Big Band- Weird Nightmare- Mingus Sings- Sunnyside
  • 21:03 Grachan Moncur III- A for Pops (for Louis Armstrong)- Inner City Blues- Lunar Module records
  • 35:41 *Bobby Kapp with Gabriel Hernandez & his Orchestra- Cascada- Cilla Sin Embargo- Bobby Kapp production
  • 44:42 Charles Mingus- Ysabel’s Table Dance- Tijuana Moods- RCA Victor
  • 55:06 Delfeayo Marsalis- The Secret Love Affair- The Last Southern Gentlemen- Troubadour Jass
  • 65:02 *Frank Lacy & Mingus Big Band- Dizzy Profile- Mingus Sings- Sunnyside
  • 69:37 Don Alias, Don Byron, etc.- Reincarnation of a Lovebird/Hatian Fight Song Montage- Hal Wilner Presents Weird Nightmare: Meditations on Mingus- Columbia
  • 74:24 The Rent- The Mad Yak- Musique de Steve Lacy- ambiences magnetiques
  • 79:48 David Boykin Expanse- Some Slick 8 Bar Blues- Love Power Magic- Sonic Healing Ministries
  • 98:39 *Fiorenzo Bodrato- The Unending Gift- Travelling Without Moving- CMC records
  • 103:26 Jayne Cortez- Drying Spit Blues- Everywhere Drums- Bola Press
  • 105:24 Darius Jones Quartet featuring Emilie Lesbros- Chanteuse in Blue- Le Bebe de Brigitte (Lost in Translation)- Aum Fidelity
  • 116:16 *Ornette Coleman- What Reason Could I Give- The Complete Science Fiction Sessions- Columbia
  • 121:03 *William Parker- For Fannie Lou Hamer- For Those Who Are, Still- Aum Fidelity

OFOB for 8/11/15


This week’s show includes several new releases + newly aired releases, some dates which I should have played more over the years due to their worthiness, plus a few solid hits I haven’t had a chance to hit in a while. Overall, aside from one corrected false start, I think a pretty nice flow got set up. We start with a very traditional feel with a brand new gem from trombonist Delfeayo Marsalis, and while maintaining a mood, we quickly move things into more modern approaches to the music.

I hope you get a chance to listen. As always, I welcome your feedback + keep those ears growing!!

Larry Blood – Host of Out Front, Outback
Presenting jazz and extensions as a living art form, with tradition a byword for music moving into the future. A KUSP-FM featured program serving California’s Central Coast since 1983, airing Tuesdays from 9:30pm to midnight PST.
contact = larryb@cruzio.com
Listen to the most recent show via the box at the upper right
OFOB for 8/11/15:

  • Delfeayo Marsalis- Nancy (with the Laughing Face)- The Last Southern Gentlemen- Troubadour Jass (brand new w/Ellis Marsalis on piano)
  • *Mark Dresser Quintet- Nourishments- Nourishments- Clean Feed (from 2013 with Mark on bass, Rudresh Mahanthappa on alto sax, Michael Dessen- trombone, Denman Maroney- piano, and Michael Sarin- drums)
  • Frank Gratkowski Quartet- Facio part 2: moving shades- Facio- Leo records (his quartet is my favorite vehicle for Frank’s music, and I haven’t played this 2003 quartet date quite as much as the others. Frank plays a wide range of reeds and is joined by Wolter Wierbos- trombone, Dieter Manderscheid- bass and Gerry Hemingway- drums)
  • Garrison Fewell- Invisible Resonance- Invisible Resonance Trio- Creative Nation Music (A brand new posthumous release for guitarist Garrison, also featuring the late Roy Campbell. As per usual, Roy mostly plays trumpet on the date, but for this tune he plays flute. Luther Gray is on drums.)
  • (false start) *The Nu Band (Roy Campbell, Mark Whitcage, Joe Fonda, Lou Grassi)- In a Whitecage/The Path- Lower East Side Blues- Porter Records (from 2008, a solid working quartet before Roy’s death, though the Nu Band does have newer releases w/different trumpet players. Mark Whitecage- alto sax, Joe Fonda- bass, Lou Grassi- drums. This is Joe Fonda’s compostion.)
  • (Ed Wilkerson’s) 8 Bold Souls- A Little Encouragement- Ant Farm- Arabesque (A solid ensemble from Chicago which successfully worked reedman Ed Wilkerson’s compositions and arrangements through a mere 4 recording dates between 1987 and 2000. This is their third recording, from ’94, and alongside Chicago’s Art Ensemble would have to be considered Great Black Music.)
  • Michael Bisio- AM- Accortet- Relative Pitch records (bassist Michael Bisio’s latest project is an unusual project with Kirk Knuffke- trumpet… what makes it unusual is that an accordion player Art Bailey is also in there… makes us rethink some of our preconceptions, and that’s a good thing.)
  • *Rob Blakeslee Quartet w/Michael Vlatkovich- Moss People- Last Minute Gifts- Louie Records (Rob on trumpet, Michael on trombone, Clyde Reed- bass and Dave Storrs- drums. From 2000, a wonderful date! Unfortunately, Rob is no longer making recordings.)
  • Bobby Bradford, Mark Dresser & Glen Ferris- Comin’ On- Live in LA- Clean Feed (3 great players –trumpet/bass/trombone- from L.A. recorded in a trombonist Bruce Fowler’s house making for a fully relaxed and stimulating session. Here they rework a tune of Bobby’s first recorded in ’73 with Paris w/London players Trevor Watts, Kent Carter & John Stevens, and later as the title tune w/a quintet co-led by John Carter.)
  • *Louie Belogenis- Diamond Vehicle- Blue Buddha- Tzadik (I first got hipped to Louie through his tenor sax work w/Prima Materia. This a new date w/Dave Douglas- trumpet, Tyshawn Sorey- drums, and the big electric bass of Bill Laswell.)
  • Exuberance (Louie Belogenis, Roy Campbell, Jr., Hilliard Greene + Michael Wimberly)- Terpsichore- The Other Shore- Boxholder records (from 2002, another collaborative date w/Roy Campbell –above + below- )
  • Roy Campbell, Joe McPhee, William Parker & Warren Smith- Prophet John- Tribute to Albert Ayler: Live at the Dynamo- Marge (As a live recording, this powerful date can be harder to play on the air… pieces segue from one to another + tunes may start over applause. We get the live applause book-ending this piece making it sound like Terpsichore was also live. Covering Donald Ayler’s composition, this should really grab you! FYI- Joe McPhee is one of those rare individuals who play reeds and horns: tenor, alto and soprano saxes + trumpet, flugelhorn and valve trombone. This pretty much a dream quartet for deep creative players.)
  • *Ochs/Robinson Duo- Push Hands (for Lester Bowie)- The Throne- Not Two records (With many years of collaborative play together, this 2011 sax/drums venture by SF bay area natives Larry and Donald is a beaut.)
  • What We Live: Larry Ochs, Lisle Ellis & Donald Robinson- Strength in Numbers- Never Was- Black Saint (1996 + plenty of strength in the number 3.)

And how ’bout some videos?