{"id":2902,"date":"2013-11-20T19:05:13","date_gmt":"2013-11-20T19:05:13","guid":{"rendered":"http:\/\/blogs.artinfo.com\/blunotes\/?p=2902"},"modified":"2013-11-20T19:05:13","modified_gmt":"2013-11-20T19:05:13","slug":"now-playing-18","status":"publish","type":"post","link":"http:\/\/larryblumenfeld.com\/index.php\/2013\/11\/20\/now-playing-18\/","title":{"rendered":"Now Playing…."},"content":{"rendered":"

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\nWherein I’m hearing Keith Jarrett, messing around in his home studio in 1986, Ran Blake, alone at the piano, as recorded in 1965, and more:
\nKeith Jarrett<\/strong> No End<\/em> (ECM, Nov. 26): ECM has been revealing many facets of Jarrett\u2019s musicality during the past year: 2013 brought us \u201cHymns\/Spheres,\u201d a reissue of Jarrett\u2019s organ work; \u201cSomewhere,\u201d a delightful and recent concert recording from Jarrett\u2019s trio with bassist Gary Peacock and drummer Jack DeJohnette; and \u201cJ.S. Bach\u2019s Six Sonatas for Violin and Piano,\u201d with Michelle Makarski. Soon to come, I\u2019m told is a 3-CD edition of Jarrett\u2019s 1981 improvised concerts in Austria and Germany. All that music arrives with context. But \u201cNo End,\u201d which will be released next week, is a pure curiosity. Here\u2019s how the press release describes it: \u201cilluminating hitherto undocumented aspects of Keith Jarrett\u2019s music, recorded at his home in 1986. Piano plays but a cameo role, and instead he is heard on electric guitars, electric bass, drums and percussion, overdubbing tribal dances of his own devising.\u201d Really<\/em>. And 2 CDs of it. On first listen, it’s hard not to be struck by just how much Jarrett’s approach to electric guitar seems to reflect Jerry Garcia’s. And yet there’s an interesting rhythmic dynamic, at once meditative and insistent, that is pure Keith. I’ll keep listening. <\/strong>
\nRan Blake <\/strong>Plays <\/em>Solo Piano<\/em> (ESP Disk): ESP\u2019s 50th<\/sup> anniversary reissue program of remastered classics brings many buried treasures, perhaps none better so far than this long out-of-print 1965 solo recording by Blake, whose singular approach is best experienced in a solo setting. Here, along with four original compositions, Blake interprets, among other pieces, Ornette Coleman\u2019s \u201cLonely Woman\u201d (the pianist claims that he was the fourth musicians to play \u201cLonely Woman\u201d on recording, after Ornette, Chris Connor and the Modern Jazz Quartet) and \u201cGood Mornin\u2019 Heartache,\u201d a tune indelibly associated with Billie Holiday.
\nMarty Ehrlich Large Ensemble<\/strong> A Trumpet in the Morning<\/em> (New World):\u00a0Here Ehlrich, a fascinating and idisyncratic reeds player, focuses solely on composing and conducting. He was impacted as a teen by St. Louis\u2019 Black Artists Group (BAG), a multidisciplinary collective much like Chicago\u2019s AACM. One of the two extended suites that dominate this CD sets a poem by BAG-affiliated writer Arthur Brown to music; on it, Ehrlich\u2019s longtime collaborator, J.D. Parran, serving as narrator and primary improvisor on soprano and bass saxophones.
\nBrian Lynch <\/strong>Unsung Heroes, Vol. 2<\/em> (Hollistic Music Works): Lynch has had good success with concept albums, which can be tricky things. On this follow-up to 2011\u2019s intriguing Vol. 1, the trumpeter mines the legacies and songbooks of largely unheralded trumpeters that he reveres, including Howard McGhee, Tommy Turrentine and Idrees Sulieman. In his notes to the CD, Lynch mentions that he drew from scores for music that wasn\u2019t recorded, which afforded \u201cthe possibility of new and unheard music for these sessions, in contrast to either a rote recitation of a previously recorded version or a \u201creimagining\u201d remote from the composer\u2019s intention.\u201d
\nGreg Lewis Organ Monk<\/strong> American Standard<\/em> (Greg Lewis Music, Jan. 7): With this third CD from his Organ Monk band, Lewis has pretty much cornered the market on channeling the spirit of the great pianist and composer Thelonious Monk through a Hammond B-3. He\u2019s already proven that he has facility, nerve and sense of humor enough to pull it off. Here Lewis focuses on Tin Pan Alley songs that Monk favored whenever he wasn\u2019t working over his own compositions\u2014\u201cNice Work if You Can Get It,\u201d for instance, and \u201cDinah.\u201d
\nHelen Sung<\/strong> Anthem<\/em> (Concord, Jan. 28): Sung is a classically trained pianist who took up jazz in her 20s, and dove in full force. On this, her Concord debut, she appears to be expanding her horizons yet further and loosening up even more: she plays Fender Rhodes as well as piano and her band is augmented on a couple of tracks by violinist Regina Carter and clarinetist Paquito D\u2019Rivera.
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Wherein I’m hearing Keith Jarrett, messing around in his home studio in 1986, Ran Blake, alone at the piano, as recorded in 1965, and more: Keith Jarrett No End (ECM, Nov. 26): ECM has been revealing many facets of Jarrett\u2019s musicality during the past year: 2013 brought us \u201cHymns\/Spheres,\u201d a reissue of Jarrett\u2019s organ work; … <\/p>\n

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