Marsyas Flayed

More to come, eventually.  

Lessons With Warne Marsh

"It's been really thirty years since there's been any major development in jazz, I think. Nothing's happened. There's no maturing of the music I heard in 1950. And yet it's opened up a really great potential, bebop did, not to mention Lennie [Tristano]."

Warne Marsh teaches at Troendelag Conservatory in Oslo in 1983: 

Jackie McLean Pizza

Excellent taste! Jackie McLean Pizza & Jazz from "The Simpsons 138th Episode Spectacular," which aired in 1995. 

Noah Preminger, Pivot: Live at the 55 Bar

"…Of course, a musician that’s going to play any part of this music we call ‘jazz’ has to have a good understanding of what the blues is, and play the blues…” Jackie McLean

"As art it is savage and rough, but it lives — it weeps, nay it cries aloud, but it prays." J. K. Huysmans

"[Tradition] cannot be inherited, and if you want it you must obtain it by great labour. It involves, in the first place, the historical sense … the historical sense involves a perception, not only of the pastness of the past, but of its presence…” T. S. Eliot 

"Soul is a complex interaction of feeling and intellect." Robert Musil

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Tenor saxophonist Noah Preminger has released a new record, Pivot: Live at the 55 Bar, featuring Jason Palmer on trumpet, Kim Cass on bass, and Ian Froman on drums. Buy it. 

6 trifles

6 trifles, my lo-fi mini-EP and musical placeholder, is available to stream or download here. 

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"Brasilia" né "Neptune"

I have speculated that, due to its twelve-tone characteristics, the piece recorded by John Coltrane in 1961 and 1965 as “Brasilia” might have been written by or co-written with Eric Dolphy.

After all, “Miles’ Mode,” with its well-known twelve-tone row, was most likely written by Dolphy, who called it “The Red Planet.” 

The meanings of the titles “Miles’ Mode” and “Brasilia” are easy to link to Coltrane — he was famously a member of Miles Davis’ quintet, and he showed an interest in Afro-Brazilian culture and music (see, for example, “Ogunde”). 

Though “Brasilia” was originally issued as “Untitled Original,” Bob Thiele — the producer of the Village Vanguard recordings — referred to it in his logbook as “Neptune.” 

So Dolphy’s title for “Miles’ Mode” was “The Red Planet” (Mars), and Thiele’s logbook for the 1961 Vanguard sessions listed “Brasilia” as “Neptune.” Do these appellative variations indicate anything about authorship? 

We know of course that Coltrane was deeply interested in astrology. The answer to the question above is probably, “No.” 

Probably. 

Steve Lampert, "Zahskl's Jukebox, Volume 1"

At their respective zeniths, the spontaneous utterances in the tradition of American improvised music and the permutations of pitch, rhythm, and timbre available through the techniques of post-tonal composition and electronic music can offer intimations of infinity. Steve Lampert is a rare musician steeped thoroughly in each of these currents. Buy his new record, "Zahskl's Jukebox, Volume 1," in digital or physical format.