Podcast Archives - The Jazz Session

Music writer and musician Hank Shteamer talks about Mosaic’s new Henry Threadgill boxed set, The Complete Novus & Columbia Recordings of Henry Threadgill & Air, for which Shteamer wrote the liner notes. In this interview, Shteamer talks about the two-decade period covered by the set; the amazing variety of Threadgill’s bands and compositions; Threadgill’s infectious humor; and how Threadgill differs from other musical iconoclasts. Get the boxed set at Mosaic’s site, and read more of Hank Shteamer’s writing at his excellent blog, Dark Forces Swing Blind Punches.

Tracks used in this episode: Card Five: Open Air Suit; Come Carry The Day; Salute To The Enema Bandit; Paille Street; Noisy Flowers; Sweet Holy Rag.

NOTE: Listen to Henry Threadgill on The Jazz Session talking about his Zooid project.

NOTE 2: A poem inspired by one of the tracks on the Mosaic boxed set: “Threadgill’s birds”

The post The Jazz Session #241: Hank Shteamer on Henry Threadgill appeared first on The Jazz Session.

Saxophonist Jerome Sabbagh teams with guitarist Ben Monder and drummer Daniel Humair on I Will Follow You (Bee Jazz, 2010). In this interview, Sabbagh talks about the formation of this trio; his varying approaches to composition; and how his diverse musical choices make him difficult to label but more content as a player. Learn more at jeromesabbagh.com.

Tracks used in this episode: I Will Follow You; Monolith; The Clown; Comptine; Rahan; Come With Me; More; La Fee Morgane; Saloon.

The post The Jazz Session #239: Jerome Sabbagh appeared first on The Jazz Session.

Trombonist Brian Drye leads a band of first-call New York players on the album Bizingas (NCM East, 2010). In this interview, Drye talks about the mischievous origins of the band’s name; his free-form approach to structuring the music on the album; and why he gravitates toward non-standard instrumentation. Learn more at bizingas.com.

Tracks used in this episode: Tagger; Money Market; Sifting; TMT; Iluminum; Untitled Moog Anthem.

The post The Jazz Session #238: Bizingas (Brian Drye) appeared first on The Jazz Session.

Portuguese saxophonist Rodrigo Amado’s new album, Searching For Adam (Not Two, 2010), features Taylor Ho Bynum, John Hebert and Gerald Cleaver. In this interview, Amado describes how he chose his bandmates without having played with them before; talks about his decision to record freely improvised music; and tells the story of the amazing transformation of the jazz scene in Lisbon and Portugal. Learn more at www.rodrigoamado.com.

Tracks used in this episode: Newman’s Informer; Waiting For Andy; Renee, Lost In Music; Sunday Break.

The post The Jazz Session #237: Rodrigo Amado appeared first on The Jazz Session.

Trombonist Ray Anderson teams up with longtime friend Marty Ehrlich for the new live record, Hear You Say (Challenge Records, 2010). In this interview, Anderson talks about his friendship with Ehrlich, which goes back to their days with Anthony Braxton; how he came to have such an open musical mind; and some breaking news regarding another new CD coming out this spring. Learn more at www.rayanderson.org.

Tunes in this episode: Portrait of Leroy Jenkins; Hot Crab Pot; My Wish; The Lion’s Tanz; Alligatory Rhumba.

The post The Jazz Session #236: Ray Anderson appeared first on The Jazz Session.

Saxophonist David Binney is one of the most prolific composers on the jazz scene today. His most recent album is Graylen Epicenter (Mythology, 2011). In this interview, Binney talks about the origin of the band on this record; the interesting story behind the CD’s unusual title; and his opinion on the grant process for jazz composers. Learn more at www.davidbinney.com.

Tracks used in this episode: All Of Time; Graylen Epicenter; Home; Equality At Low Levels; Everglow; Waking To Waves.

The post The Jazz Session #235: David Binney appeared first on The Jazz Session.

Bassist Robert Hurst has been a first-call musician since his early days with Wynton and Branford Marsalis. He’s just released two new albums, Bob Ya Head (Bebob Records, 2011) and Unrehurst, Vol. 2 (Bebob Records, 2011). In this interview, recorded at Jazz Standard in New York, Hurst talks about the politics and rhythms underlying Bob Ya Head; how his Detroit upbringing impacted his musical life; and why school is great but it’s no substitute for putting in time on the bandstand. Learn more at www.roberthurst.com.

Tracks used in this episode: (from Bob Ya Head) Optimism; Unintelectual Property; Comes You Comes Love; (from Unrehurst Vol. 2) I Love You; Bob’s 5/4 Tune; Monk’s Dream.

The post The Jazz Session #234: Robert Hurst appeared first on The Jazz Session.

Pianist Lynne Arriale’s new CD, Convergence (Motema, 2011), is her second album to feature a horn player, this time saxophonist Bill McHenry. In this interview, Arriale talks about her decision to expand her band; how she searches within herself as part of her compositional process; and why she enjoys teaching as a means of human connection. Learn more at lynnearriale.com. NOTE: Convergence will be available on Feb. 8, 2011.

Tracks used in this episode: Elements; Here and Now; Paint It Black; The Simple Things; Dance of the Rain.

The post The Jazz Session #233: Lynne Arriale appeared first on The Jazz Session.

Gerald Cleaver’s new album, Be It As I See It (Fresh Sound New Talent, 2011), is a musical exploration of the Great Migration and its relation to his own family’s history. In this interview, Cleaver discusses the musical and historical mission behind the formation of his band Uncle June; his use of spoken word and sound collages as additional layers in his compositions; and how he made careful decisions to arrive at his current place as a musician. Learn more at myspace.com/geraldcleavermusic.

Tracks used in this interview: To Love; Charles Street Sunrise; Fence & Post: Alluvia; Fence & Post: Ruby Ritchie/Well; He Said; Grammy; From A Life Of The Same Name.

The post The Jazz Session #232: Gerald Cleaver appeared first on The Jazz Session.

Soprano saxophonist Jane Ira Bloom delivers yet another excellent record with Wingwalker (Outline, 2011). In this interview, Bloom talks about her use of movement in performance; why she doesn’t feel the need to “script” much of the recording process; and how some solos can only be played amidst great silence. Learn more at http://janeirabloom.com.

Tracks used in this interview: Her Exacting Light; Life on Cloud 8; Ending Red Songs; I Could Have Danced All Night; Freud’s Convertible.

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