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And if you sincerely want to hip people to Kind of Blue, why not pay your PR firm to promote THE ORIGINAL, instead of spending all that money recording and promoting your creepily soulless imitation?
The reason I find this record so disturbing is that it contains (and brings to their logical conclusion) all the qualities that are most rewarded in our culture today: imitation, gimmickry, and artifice.
No more sneaking oversize instruments past the airlines! No more cramped economy seats! No more European trains where you jump up in a panic every time the conductor makes an announcement in a language you don’t understand! No more gas guzzling tour buses that smell like a bathroom! The Mintz Quartet announces a glorious five-day tour where the band can literally walk from one gig to the next (or at least to the nearest subway stop)!
Drummer/composer and band leader Billy Mintz commented thoughtfully, “traveling is such a drag…you know? So, man, I just thought, “hey, why not book a tour where we don’t actually have to, like, tour?”
The tour features the original quartet from Billy’s 2013 leader debut, Mintz Quartet:John Gross: tenor saxophone; Roberta Piket: piano, organ; Putter Smith: bass; Billy Mintz: drums, percussion, compositions.
Below is a list of all the performances. For more info please email email@example.com.
Billy Mintz was born in Queens, New York. During his formative years in New York City, he played and recorded with the Lee Konitz Nonet, Kundalini with Perry Robinson and Badal Roy, the Eddie Daniels Quartet, Gloria Gaynor, and the Harold Danko Quartet.
In 1981 Mr. Mintz relocated to Los Angeles where he was a member of the Mike Garson Trio with Stanley Clarke, the Kim Richmond Sextet, the Bobby Shew Quintet, the Joey Sellers’ Jazz Aggregation, the Alan Broadbent Trio and the Vinny Golia Quartet. He also performed several times with the Mose Allison Trio and did a stint with the Merv Griffin Show band. In 1988 he toured Europe with saxophonist Charles Lloyd.
Since 2003 Mr. Mintz has lived in New York where he has recorded and performed with the Hal Galper Trio, the Russ Lossing Trio, the Mark Feldman-Sylvie Courvoisier Quartet and others. He also leads a ten-piece ensemble (the Two Bass Band) and has performed numerous solo drum set concerts worldwide.
Link for More Details
|05/24/2014||7:30 pm||Smalls Jazz Club||183 W. 10th St., New York||More Details|
|05/23/2014||8:00 pm||Ibeam||168 7th Street, Brooklyn||More Details|
|05/21/2014||8:00 pm||Barbes||376 9th St., Brooklyn||More Details|
|05/19/2014||8:30 pm||Greenwich House||46 Barrow St., New York||More Details|
|05/18/2014||9:30 pm||The Firehouse Space||246 Frost St., Williamsburg, Brooklyn||More Details|
I’ve been looking at those new Gap ads around town – some skinny people (most of whom I’ve never heard of) labelled “actor or musician”. They look cool, but I don’t see any instruments and I’m wondering exactly who they are and what they do. Usually when our culture discusses a musician they’re referring to a rock star. Obviously there are many trained musicians who take up pop music. But is there a standard for calling someone a “musician”? Is Rod Stewart, who once acknowledged in an interview that he literally knows three chords on the guitar, a musician? What about a rapper who does not and cannot engage melody or rhythm? Is anyone who makes music a musician, or does being musician require a certain skill set, whether technical, intellectual or aural?
In your opinion, what is a musician? Please comment!
I wrote liner notes for saxophonist Lena Bloch’s debut CD. Check out this great album featuring tenor saxophonist Lena Bloch with guitarist Dave Miller, and long-time compadres bassist Cameron Brown and drummer Billy Mintz. (Did I really say “compadres”?)
“In jazz”, muses Lena Bloch, “many opposites come together: mind and feeling, responsibility and abandonment, looseness and precision, improvisation and composition. I just love that.”
What a perfect way to describe Lena’s long-overdue debut CD. Lena, Dave, Cameron and Billy are masters of technique and capable of great musical intellect; but they understand that those qualities exist only to serve the greater goals of feeling and spontaneity. Through the delicate balance of opposites, they create art that is in the moment, yet timeless: a perfect tribute to Lena’s musical forebears, Lee Konitz, Warne Marsh and Lennie Tristano.
Born in Moscow, Russia, Lena immigrated to Israel in 1989, attending the Rubin Academy of Music and Dance. At the start of the Golf War she fled to Holland. “In Holland, I practiced constantly and ate up the great Utrecht Library collection of recorded jazz.”
In 1991, she moved to Germany, where she was accepted by the prestigious Cologne Conservatory. There she found two mentors: drummer Keith Copeland and trumpeter John Marshall. She began gigging with them, as well as with the drummers Alvin Queen and Steve Reid. She also toured with the German ethno-rock pioneer band “Embryo”, playing Arabic and Turkish classical music, and started her first quartet.
Around this time Lena met Lee Konitz. His impact would be deep and everlasting. “He introduced me to the music of Warne Marsh…. What Lee had, and what I heard in Warne’s playing, was this unity of profound knowledge and profound feeling. It was the ultimate sound for me.”
In 1994, Lena received a full scholarship to attend a summer jazz program in North America, where she studied with Yusef Lateef. She was offered an academic scholarship to attend full time, but for personal reasons she returned to Germany. “I had a hard time living, although I kept playing.”
Lena returned to North America in 1999 on a full scholarship to the prestigious Banff Workshop in Canada where she played sessions with Dave Douglas, Joe Lovano, Ari Hoenig, and Kenny Werner.
Back in Cologne, she graduated from the Cologne Conservatory. Over the next several years she continued to compose, as well as play and record with her quartet, winning several accolades and awards.
In 2003 Lena attended U. Mass, Amherst as a graduate student, receiving a teaching assistantship. She moved to New York in 2008 and began playing with several Tristano disciples: Ted Brown, Connie Crothers, and Joe Solomon. She now lives in Brooklyn, NY, where she has widened her circle and become an active participant in one of the most fertile and interesting jazz scenes of recent memory.
Feathery begins, appropriately, with Hi Lee, Lena’s tribute to her mentor and good friend. The huge bass sound and swinging, melodic phrases that open the program are instantly recognizable as those of Cameron Brown. Listen, next, to Lena and guitarist Dave Miller as their improvised phrases intertwine, creating a spontaneous counterpoint that sounds composed. (Just one example of those opposites Lena spoke of.) Billy Mintz’s responsive drumming rises and falls with the intensity of Lena and Dave’s interaction. It’s almost impossible to imagine any other drummer “allowing” this piece to develop so organically and completely.
Rubato, by Dave Miller, is a vehicle for collective free improvisation of the sort Tristano pioneered. “Dave’s has extraordinary empathy and intuition,” Lena says. “He has exciting melodic ideas and can improvise harmonically, which is a rare quality.”
Cameron Brown contributes Baby Suite, in which an intriguing melodic line is interspersed with solos approached in a fascinating variety of ways: Cameron’s virtuosic solo bass improvisation; Billy’s masterful brush solo; Dave’s ideas of bell-like clarity that build with the rhythm section; and finally Lena’s thoughtful and assured linear explorations, during which the entire band modulates as one into a medium tempo groove with no set changes.
Of Cameron, Lena comments: “His sound and approach have always fascinated me. He has such translucent beauty in his tone, this lightness, precision, projection out of the deep, and – oh, how he swings!”
Lena effectively reharmonizes Gene de Paul’s Star Eyes as Starry Eyed. “I was intensely thinking of Warne Marsh when I wrote it,” she notes.
Marshmallow, a rarely played composition by Marsh himself, follows. It’s easy to hear why this great tune is underplayed, with its challenging rhythmic displacements and angular lines. Dave’s compelling solo avoids the inherent traps of a tune based on a classic standard such as Cherokee. Instead he probes for new ways through these very common harmonic changes.
Lena explains the pensive and dark Farewell to Arms: “The title relates to a certain point in life when you no longer care about protecting your own ‘self.’ You give up all your ‘arms’ and go unprotected, only giving what you have to give.”
After this lovely introspection, Ted Brown’s Featherbed is a delightful release, beginning with Billy’s melodic drum solo. Following their relaxed yet precise unison statement of the head (there are those opposites again) Lena and Dave solo in turn, supported by the telepathic team of Cameron and Billy, whose forty-year friendship is audible in every beat. Cameron’s walking solo is a lesson in how it’s done.
There are no solos on the lovely ballad, Beautiful You, composed by Billy Mintz. Instead, the melody is etched and ornamented in many different ways by one or more of the musicians.
Lena says, “Billy Mintz had done only a couple of gigs with my quartet before this date. It feels as if playing with him goes beyond conventional time and space… an incredible continuity. Billy is a spontaneous orchestrator.”
Feathery closes with a brief reprise of Hi Lee, a reminder that, while she is dedicated to musical growth and exploration, Lena’s roots in the jazz tradition are strong and deep.
“Our recording was done all in one room, no headphones, in one or two takes. There was such mutual trust, intuition, and interaction. We hope to keep this ‘organic’ quartet together.”
Indeed, we the listeners should be so fortunate. Getting to know Lena has been a pleasure and a privilege for me, as I’m sure getting to know her music will be for you. I, for one, am glad she finally made it to Brooklyn, from Russia, with love.
This is an excerpt from All the Things You Are, which I played at last month’s gig in Houston with David Craig on bass and Keith Karnaky on drums. I have a lot of “outside” music posted on my youtube channel, and I wanted to posted something a little more swinging. I love playing standards.
The piano a little out of tune and it was recorded with my iPhone, but you can hear all the instruments pretty clearly. And how about these Houston musicians? Love Keith’s Zen Bebop solo.
In a previous post, I started thinking about what makes music “accessible”. This is a dirty word in some quarters, but I think it’s the highest compliment. If we could take the billions of promotional dollars spent pushing garbage out of the equation, I suggest we would see that accessibility in music has nothing to do with harmonic simplicity, tune length or “dumbing down” the music.
A few years ago, I played a concert of completely improvised (“free”) music at a venue in Red Hook, Brooklyn. I had thought the drummer Klaus Kugel was going to be in town so I asked a couple of his colleagues to play – the bassist Hilliard Greene and the tenor saxophonist Louie Belogenis. (It turned out Klaus couldn’t make the gig due to visa issues but I’m so glad we did the gig anyway, with Billy Mintz on drums, because it was the first time, but not the last, that I got to play with Louie. I had played with Hill several times in the distant past, but always in a straight-ahead situation, mostly backing up a very good standards singer named Francina Connors. This Brooklyn gig was the first time we played free together and I suspect it had something to do with Hill asking me to play in his free-playing-on-standards In and Out trio which is always a complete blast.)
But I digresss. I wanted to talk about accessibility. So for reasons I can’t recall now, my brother and my mother came to this gig of “avant garde” music with no pre-ordained structures. They both loved it. Now, my brother is himself a very good musician with amazing ears, albeit with more of a taste for straight-ahead jazz. so you might have expected that he would at least have some appreciation for the abilities of these musicians. But it was deeper than that. Talking to him right after the concert, I could see that his mind had actually been a bit blown, in a good way.
If you’re reading this you probably don’t know my 87-year-old mother, at least not well. So you will have to take my word for it that she is not that kind of mother who thinks everything her kids do is wonderful, the kind who freely heaps praise; quite the opposite in fact. And, while as a young woman she was an amateur singer of the American Popular Songbook, she had no idea that completely improvised music was a “thing” until I explained it to her immediately before the concert. And yet my mother, too, loved this concert. Not in her typical “that was very nice” sort of way of tolerating the fact that her only daughter (who “would have made a good lawyer”) had spent most of her adult life up to that point doing an excellent imitation of a starving artist, but in a delighted, even transformed, way.
So I have seen first-hand that accessibility has nothing to do with genre, structure, level of complexity or anything else but the sincerity, focus and depth of the musicians themselves.
By the way, I will be performing standards (played freely, but accessibly) with Hill Greene and drummer Newman Taylor Baker at the Paterson Public Library in New Jersey on November 2nd, soon after which I embark on a European tour with the amazing saxophonist Roby Glod and his quartet featuring Christian Raymond on bass and the afore-mentioned Klaus Kugel on drums.