Brad Mehldau in Sonoma, CA

been thinking back to this particular concert recently . . .

the bassline

Saturday, on a fine, warm California evening, I went with my mother to hear Brad Mehldau solo at the Green Center in Sonoma. If you’ve never been inside this concert hall you don’t know true beauty. The whole building (seats included) is pale pine which produces a fantastic reverberation throughout the hall. Behind and around the stage is more pine interlaced with deep red sound wall. The aesthetic is poetic, and the design is utilitarian for the acoustics. That is a lot of beauty already, and I haven’t even mentioned how the hall is situated on a beautiful green California hill in wine country overlooking farms and vineyards and mountains. A magical magical place to hear music (I’d seen the alpine symphony performed there and my parents saw the Buena Vista Social Club there which is insanely cool).

Mehldau (as stated) was taking the stage solo to play an exciting combination of Bach, original…

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Julian Lage and Fred Hersch at SFJAZZ

Last week I saw Fred Hersch and Julian Lage at the Herbst performing for San Francisco Jazz Fest. The duo delighted a crowd of eager jazz festival goers all of whom were missing an important Golden State Warrior’s game to be there. While I do love Fred Hersch, it was Julian’s name on the bill that brought me to the Herbst that evening.

Julian is a markedly prodigious talent (he started playing guitar around 4, played on the Grammy’s stage at the tender age of 8, and also starred in a documentary about himself titled Jules at Eight), but what is really special about this young guitarist is the range of styles he works within. Although often called a jazz guitarist, Julian has never been constrained to any particular genre. He’s had training from jazz legends like Jim Hall, but he has also learned from well known Spanish and bluegrass guitarists.

Julian’s past projects actually show very little particular allegiance to jazz or any genre at all. On his 2015 solo acoustic album, World’s Fair, Julian plays beautiful original pieces that bring to mind the playing of Al Di Meola and Paco de Lucía as well as Joe Pass on certain tracks. One of my favorite tracks on that album, “Ryland,” Julian’s tribute to the legend Ry Cooder, also shows up on Arclight. 

Julian has also released two albums with Chris Eldridge, the bluegrass guitar player of the Punch Brothers, and has toured extensively with Eldridge. Julian also collaborated with Nels Cline on a jaw-dropingly, beautiful album, Room. Room’s starkness highlights both guitarists’ ability to listen as well as Nels Cline’s creativity as a composer. The album is aptly named for the well timed rests and eery pauses that show listeners that great musicians know exactly when to create silence together and when to fill it in.

Within his own music, Julian happily lets elements of multiple genres sink into his guitar playing. This is what makes Julian’s jazz guitar sound different. This is perhaps most notable on Arclight, Julian’s 2016 album from Mack Avenue Records. Arclight is an exciting mix of original pieces and new takes on lesser known Great American Songbook standards from the pre-bebop era. Arclight presents itself as a jazz album with classic jazz instrumentation: Julian on a full body telecaster style electric guitar (the guitar is not so classic jazz), Scott Colley on bass, and Kenny Wollesen on drums. The trio delves into standards like Spike Hughes’ “Nocturne” with beautiful clarity, highlighting the unique minor note the song starts on by continuing it throughout. This was actually the principal idea that led Julian to chose the standards he covers on the album: an interest in pre-bebop tunes that start on a minor note. Such tunes were not exactly common during the era because most jazz tunes were meant to be dance music. While the trio undeniably pulls off a beautiful jazz album, Julian’s guitar often takes risks stylistically bringing the album into twang-ier, rock and roll territory (he is on the tele after all). He does this to great success (I think) on tracks like “Fortune Teller” and “Supera” and “Activate.”

So, yes, I was going to see Julian play guitar, and play guitar he did! Fred Hersch and Julian actually released an album together in 2015 called Free Flying. Julian plays a Linda Manzer Blue Note on the album. I’ve listened to the album a few times, and I enjoy it; however, Julian’s guitar playing doesn’t always come through very strong on it. I’m not sure if it has to do with how the album was recorded or if it was the intention of the musicians at the time. I think Fred Hersch is an astonishing piano player, so melodic, but often times his playing is a little too classical and straight laced for me. I was hoping that live Julian’s twangin’ and creative guitar playing would come through and maybe even liven up Hersch’s playing. This seemed to be exactly what occurred. Julian and Fred Hersch played an absolutely gorgeous, rocking, creative, cool set. Always in perfect time with one another, it was abundantly clear to all that the duo had been playing together for a long time. Sam Rivers’ “Beatrice” which is on Free Flying was a highlight. It sounded wilder and cooler live, with a few incredible guitar solos on the Blue Note.

Fred Hersch closed the show by himself with a heartbreaking rendition of “For No One” that nearly brought me to tears.

Chris Potter at SFJAZZ

This evening I went with my two jazz-loving parents to see Chris Potter at SFJAZZ. Often times my mother will take me and my father to see jazz, but tonight I was taking them. I’ve been interested in seeing Chris Potter for a while. I think I first became aware of him through Snarky Puppy’s social media account which reposted a video of him playing. I was captivated by the power of his tenor sax.

I began to listen to Potter’s recorded work and was blown away by his 2002 album “Traveling Mercies.” The album is at once mystical, wild and free while also refined in its melodic beauty. I loved each track on its own, but it especially blew me away as an album. I felt like I had been waiting for that jazz record to lift me up and take me away for a long time. “Traveling Mercies” features Potter not only on tenor and soprano sax but also on alto flute and bass clarinet. Often you’ll even hear Potter overdub himself signing and playing multiple different instruments. The record also features pianist Kevin Hays, bassist Scott Colley and drummer Bill Stewart. John Scofield contributes cool and tight solos on three tracks and Adam Rogers adds nylon-string and slide on two other tracks. The album sounds undeniably modern and often quite strange with unique meters, but it is kept grounded by the power of Potter’s tenor sax which is weaved throughout. It is a remarkably beautiful and thought provoking record.

Next I listened to Potter’s 2001 album “Gratitude.” Different from “Traveling Mercies,” each track on “Gratitude” literally shows its gratitude for a different jazz legend in its title: “The Source (for John Coltrane),” “Shadow (for Joe Henderson),” “Sun King (for Sonny Rollins),” and so on and so forth. Potter honors Coltrane, Henderson, Rollins, Eddie Harris, Wayne Shorter, Michael Becker, Joe Lovano, Lester Young, Coleman Hawkins, Charlie Parker, Ornette Coleman, and “The Current Generation” in each of his song titles. After listening to “Traveling Mercies” the album felt a bit timid. I guess it was not fair of me to listen to the newer record first. However, what is undeniable on the record is Potter’s virtuosity on the tenor sax. The record features Hayes on keys and Colley on bass again and also Brian Blade on drums (!!! I love Brian Blade !!!).

Chris Potter did not disappoint. He played all new music from his freshly released album, “The Dreamer is the Dream,” with pianist David Virelles, drummer Marcus Gilmore, and bassist Ben Street (Joe Martin plays bass on the album). Every member of the quartet shined and the music was exquisite. It was exactly what I was hoping for: a step even further from “Traveling Mercies,” with wild free solos, adventurous melodies, and crazy meters.

Potter is an extraordinarily creative composer using a synth to start a few of the songs with mystical chimes and the beautiful sounds of rain and the earth. This type of experimentation with electronic sounds isn’t exactly common in the particular jazz world Potter inhabits, and I could see skepticism on the faces of some around me. However, Potter uses the synth to make a genius point.

The mystical electronic earth sounds are soon overtaken, slowly, by a rapturous and powerful piano and a primitive drum. Soon a wild bassline comes in. Before you know it the synth has gone completely silent, and it has been overtaken by piano, drums and bass. And then you start to realize that those electronic sounds never sounded entirely different from the live sounds of the instruments. And then the huge sound of Potter’s sax blows into your ears and through your body, waking you up and making you remember what life is about.

Pinegrove and Half Waif at Music Hall of Williamsburg

Last month I saw Pinegrove with Half Waif and Hovvdy at Music Hall of Williamsburg.

Half Waif’s music pulsates and soars with strength and complexity. Half Waif is Nandi Rose-Plunkett’s ongoing project and features Nandi on synth/keys, Zack Levine on drums, and Adan Carlo on bass. All three musicians are also in Pinegrove.

This was my first time seeing Half Waif, and I was unsure how some of her recorded music would sound or even be performed live. Half Waif’s recorded music is undeniably complex with beautiful Celtic harmonies and deep thunderous electronic sounds. How could such a minimalist live setup pull it off?

Nandi herself gave a slight disclaimer before performing “Night Heat” live, telling the audience that it took them a while to figure out how to do the song live. A combination of impressive pedal work by Adan, creative drumming (on an electronic pad and regular set) by Zack, and Nandi’s beautiful synth work pulled it off magically.  Zack used a Roland SPD-SX pad to recreate the many vocal layers Half Waif’s recorded music has. Programmed into the Roland was Nandi’s voice singing a high harmony note, and so for “Night Heat” and other tracks off of form / Nandi’s voice rang out percussively over the parts she sang live. (A not completely musically related side note: I really like birds and bird calls, and I want that Roland so I can put different bird calls into it and drum with them)

The music sounded absolutely beautiful live. It retained its complexity (EG: my explanation of “Night Heat”) but also become more simple in certain parts, perhaps to its betterment. During “Turn Me Around,” for example, Nandi embraces a stripped down intro with less reverb on the vocals than on the recorded version. In my opinion this version is even more beautiful because the contrast between Nandi’s slow, high and vibrato filled “turn me around again” into the fun upbeat bassline and beats sounds so stark and raw and emotional. If you listen to the very end of the recorded version you’ll hear that she ends the song with less reverb, the way she starts the song live.

Half Waif is wonderful. See them live. Listen to their recorded music. Celebrate musical complexity and beautiful melodies and super cool electronic sounds. Also, I was once fortunate enough to interview Nandi for Rare Candy! Check that out if you’re at all curious.

– – –

Pinegrove was on next. I have a history of loving Pinegrove. I have written about them before. And here. And if you really go way back into my blog you will find more. I love Pinegrove. Evan writes some of the most beautiful lyrics I’ve ever encountered: “Needles shaking outlines in a compass,” “But if I just say what it is, it tends to sublimate away,” “After the drugs have worn off, and we’re brittle in the light,” “If nothing else it’s an idle curiosity,” “You came and sent me out unfurling in the street.”

The reality is a few lines won’t give one the full picture. Evan’s lyrics are so interesting because they have a very conversational and casual tone while being very intriguing and quirky in their diction. From those few lines you can see the unique diction. How many songs use the word brittle? What you don’t see (hear) is the back and forth. Evan’s lyrics bounce back and forth and sometimes feel like your own inner dialogue. Line to line Evan’s songs tell a story, but the story is internal not external. The feelings themselves, the questions you ask yourself late at night or while driving along a beautiful road alone, are relatable. “If I did what I wanted then why do I feel so bad?” Or: “What if I waste my life up? / And all my problems / It’s so stupid / They’re not even problems.” The questioning of oneself, followed by an answer, followed by uncertainty with the answer given is brutally honest and introspective. This is how we think. We wonder, we answer, we doubt ourselves. It is not merely the content of the thoughts that is relatable but also the way these thoughts are expressed verse to verse.

I’d seen Pinegrove twice before. It is always a wonderful beautiful soul affirming experience. Fundamental to the sound of Pinegrove is the twisting and turning interplay between two, often now three, guitars. Live this interplay is even more fun with Evan and Sam Skinner (a wonderful guitarist who makes wonderful music of his own) working off of each other and exploring different spaces in the songs. This show in particular showcased the guitar playing of Sam and Evan as well.

I was very happy because Pinegrove played the longest set I’d ever seen them do. They also did a few older songs I really love (The Metronome and V) that I had not seen live before. And they played a new song!!! It was really good, and I am looking forward to its release.

Margaret Glaspy

So Emotions and Math is one of my favorite albums from 2016. Ironically my other favorite album from 2016 is probably guitarist and former child prodigy Julian Lage’s Arclight. I recently learned that Glaspy and Lage are together. After I became aware of this fact I felt unintelligent for not already knowing it because Lage and Glaspy have performed together on numerous occasions and the videos are all over the internet. But alas following music need not mean following which musicians are dating.

Back to the music. Glaspy has a commanding voice. Deep and a little raspy, to me she embodies modern blues vocal performance. Glaspy is an intriguing blend of country, alt rock and blues-y vocals. All together her voice is deeply emotional and is heard deep in your gut and heart. With influences from a crowd as diverse as Joni Mitchell to Janis Joplin to Patti Smith to Bonnie Raitt to Amy Winehouse I hardly even know what to think about Glaspy other than that I love it.

And then there is her guitar playing. Tight and delicate but beautiful and forceful, Glaspy knows exactly when to leave notes hanging and when to fill them in. I am so glad that she is her own guitarist because I wouldn’t want anyone else to be responsible for when to leave that crazy commanding voice alone and when to accompany it. Listen to her guitar come in at 2:16 on the track below, “Anthony.”

And then there is her songwriting. Personal and raw and often crude her lyrics add an interesting element to her music. Her commanding vocals in many ways require commanding and attention grabbing lyrics, but her guitar playing and her band are often much more delicate and measured. I guess this is what works so well about Glaspy and makes her so unique. The instrumentals are tight, spare jazz sequences but her vocals and lyrics are emotional indie rock. It all comes together in a hybrid, bluesy masterpiece.

Back to Lage. I’m bringing up Julian this time to make a musical point not a romantic one (although those two things aren’t so different). Listen to the link below. They sound incredibly good together which is in some ways surprising! Glaspy’s voice seems to shine most on her albums with more minimalist accompaniment. However, interestingly, with Lage’s complex fancy finger work Glaspy still shines.

Half Waif Interview

Check out the interview I did with Half Waif for Rare Candy:

Half+Waif+BandHalf Waif is the ongoing project of Nandi Rose Plunkett who is also a member of the New Jersey band Pinegrove. Her ethereal and complex songs bring to mind an underwater impressionist painting, and her often haunting melodies pierce in their emotional intensity. Zach Levine and Adan Carlo, both also members of Pinegrove, play drums and bass respectively in Half Waif. Recently, Rare Candy had the opportunity to ask Nandi some questions about songwriting, identity, and the place of music in times of political struggle. 

RARE CANDY: Your music is fascinating to me. I’ve learned about music mostly informally—going to shows, listening to my parents’ favorite albums, hours on Bandcamp, etc. —but I’ve also studied a bit of music history, and your music as Half Waif seems to draw from many different canons. Just listening to “Severed Logic” I hear multiple cultures and generations at play. What do you feel like you’re consciously drawing on? Going back and listening to your finished work, what do you feel unconsciously also slipped in?

HALF WAIF: I feel like whenever I try to consciously weave something into my music, I never really stick to it. Like, I’ll say to myself, “I love how open James Blake’s arrangements are, how he uses such minimal sounds to such great effect.” And then when I start arranging with that in mind I’ll end up filling in all the spaces anyway. So I think consciously, the only thing I know how to do is follow this sort of thread of myself, wherever it takes me. But I’m glad to hear that you experience different cultures and historical references in the music – I wonder if because I’ve steeped myself in different genres throughout my life, from musical theater in high school to the works of impressionist composers in college, those familiar elements trickle into the cracks or perhaps fuse together to create a kind of mosaic. At the end of the day, I’m constantly hunting for new music and new sounds and don’t really look back too much. So I think the influences, whatever they might be, flutter and shift quickly throughout the music.

RC: On your website you talk about identity and home. If you feel comfortable, I’d love to know a little more about this.

HALF WAIF: I was just writing about this in my journal today: the way we create our identity and how it seems to be comprised of many selves that take shape through experience. These selves start out as soft parts of us, then become hard and solid as we confront new situations that define us. Visually, I imagine that we all start out as lumps that continue to gain hard angles as we grow, until we acquire the form we’re in now. The idea of giving concrete form to ephemeral ideas/notions is something I explore a lot in my new EP, form/a. I realized recently that this search of identity and home that consumes me is a passed down to me through the women in my family. My grandmother lived through the British Partition and had to leave her home in Lahore when it became Pakistan, and then years later, my grandmother and mother and their family were forced to leave their home in Uganda when Idi Amin took power and expelled all the Indians. So my granny was a refugee twice and my mother became one too. Lahore, my granny’s home, suddenly took on a new form when it became Pakistan, yet it was still the same physical space, still the same landscape. This transmutability of homes fascinates me – how we ascribe meaning to places and make homes of things, when we are, by design, transient beings and nothing belongs to us.

RC: Within the context of our current political climate in the US, do you feel like these questions of identity and place have been made political?

HALF WAIF: Absolutely. The aggressively nationalist agenda of the new administration is terrifying and seems to address and benefit only a tiny fraction of our population. We’re suddenly being told that to be an American is to be one certain way; primarily, white. This isn’t new, of course, but now the folks in the highest levels of government are enacting policies that are trying to shape the country based around that one identity. Building a wall to keep out Mexicans. Encouraging the deportation of immigrants. Prioritizing the agenda of squashing anti-police sentiments without recognizing the very real dangers that are posed to African-Americans every day. And it’s just baffling because obviously so much of this country is made up of intercultural communities! It’s not America without them! And yet millions are being forced to question their identity as American citizens and the rights that have been given to them.

RC: In your opinion, what is the place of politics in music? Do you personally feel that as an artist you have a role to play in our political universe?

HALF WAIF: After Trump was elected, my first thought was, “well, how can I go on doing music now? Nothing matters except our efforts to combat this oppressor and protect those who need protection most.” I was on a Pinegrove tour and felt really confused about what I was doing. But in talking to my bandmates and other artists, it’s become clear that music is an important activity, now especially, because it has such a unique capacity to connect diverse audiences. Music is also something people turn to when they seek to be soothed, inspired, nourished, motivated, quieted. It can be a lifeboat, a receptacle for fears and dreams, a rocket to a faraway place. So I think even without having overtly political lyrics, music can play a role in the political realm by traversing the space beyond words and reaching deep into people, thus becoming a positive force in building and sustaining communities.

RC: You are also a member of Pinegrove, a band all of us at Rare Candy are big fans of. We have some writers from the Montclair area who have followed the band for a long time, and we’ve all been impressed (but of course not surprised) by how much success you all have had recently. What do you think makes Pinegrove’s music so appealing to so many folks?

HALF WAIF: Evan’s songs are remarkable because they are both direct and serpentine. They’re direct in their narration, their self-awareness, but his use of language is beautifully twisted. I think the sentiments resonate with a lot of people, particularly youth because they deal with themes of growing into adulthood and finding your place in the world. And then the way he describes this is so unique and exciting. It’s always exciting to see someone take familiar elements and devise their own language, and that’s what I aim to do too, though more with the sounds and song structures than with the lyrics.

RC: Evan shared a beautiful message about love and caring for one another at the Pinegrove show some Rare Candy folks and I attended at Irving Plaza during the last tour. Do you see venues and music spaces as possible places of resistance/political action? Do you see Half Waif shows as a space for political messages?

HALF WAIF: Without a doubt, music venues are incredibly crucial spaces right now – which is why we really need to fight for DIY spaces that are under attack all across the country. These spaces are typically all-ages, substance-free, and welcoming for people of all genders, races, physicality, religious belief, etc etc. Little slices of utopia, if we allow ourselves to dream that way.

I don’t think musicians need to feel obligated to say something political during their shows, but I do think we have a responsibility to use this platform we’ve been given to connect with people however we can. On the Pinegrove tour, I think Evan did that beautifully. On the ongoing Half Waif tour in Europe, I’m also speaking onstage about the political situation – not in a way that feels forced, but because I am fully enraged and am channeling that into every outlet I possibly can. It’s been amazing to see how much support the resistance movement has all over the world – the way the Women’s March spread to dozens of countries – so there has definitely been a very encouraging vibe. For some people we’re playing for, we’re the only Americans they’re getting to talk to, so I feel a sense of duty in representing our country and explaining the deeply dangerous situation we’re in. “Keep Calm and Carry On!” said one audience member at our show in Manchester last night, after I finished talking, and I shouted back, “No, we can’t keep calm! We have to rise up!”

RC: Do you feel like you’ve learned certain things from Pinegrove that you’ve employed in Half Waif’s music? The music is pretty different, but I’m curious where you may see similarities.

HALF WAIF: I hope that listeners find that at the core of the recordings are songs that could exist in a myriad of different settings. Still, in the recording process I’m really excited by arranging and production. And that’s something that Evan and I definitely share: we’re both songwriters, and we talk to each other a lot about how to be effective storytellers. We may go about that in different ways sometimes, but ultimately we share that common ground of wanting to communicate ideas and emotions through a combination of musical tools.

RC: What do you hope for Half Waif in the next year? How is the European tour going already?

HALF WAIF: Half Waif has been growing since February 2012. It’s been a slow growth, and throughout this time I’ve really had to cultivate patience, which hasn’t always been easy! But it’s given me a chance to refine my songwriting (which is obviously an ongoing process), think a little more critically about what I’m writing, how I want to communicate, and now I feel ready for more people to hear it. We’re blessed to be working with a great team for the first time who are helping us share the music, so I hope that we can continue to tour and reach new people this year. It’s a simple goal, but it’s one I’ve been working at for a long time.

We’re early on in our Europe tour at the moment, but our first few shows have been so fun. I still can’t believe we’re getting to play these songs for audiences overseas! And that people are actually coming to see us! It’s weird to be here with so much going on back home, but we’re seeing this as an opportunity to talk to people and spread a message that we’re out here not just to share our music but also to reaffirm our commitment to being forces for positive change in this world. Every day, we’re trying to flex our political muscles to remind ourselves that even though we may feel small and hopeless, we do have power as individuals, and all of that individual power combines to make a mighty force.



Aaron Diehl presents Jelly & George feat. Adam Birnbaum & Cécile McLorin Salvant at SFJAZZ

Jelly Roll Morton and George Gershwin probably wouldn’t be your first idea for a pairing of two great jazz composers. Both are indeed great, but they never knew each other as Jelly Roll was in New Orleans while Gershwin was in New York City. However, they are contemporaries, born only 8 years apart from one another.

Aaron Diehl in his most recent series of concerts takes on the pairing with a playful and often humorous approach. Diehl’s piano playing along with Adam Birnbaum’s is impressive. Although Diehl is the bandleader the two pianists work together closely, complementing each other and graciously handing off the spotlight often. It was on a beautiful, slow and quiet early Gershwin piece that this became extremely evident. You know a good team of musicians from how quiet they can get together, and wow they got quiet. Diehl and Birnbaum softly and deftly handed off flourishes between each other for quite a long time. The two pianos continued to impress throughout the night.

Diehl’s band is exceedingly lively and virtuosic. I was truly floored by the rhythm section (Paul Sikivie on bass and Lawrence Leathers on drums) and the brass (Corey Wilcox on trombone and Bruce Harris on trumpet) and a single clarinetist (Evan Christopher). The clarinetist, Christopher, showed his chops very early in the night with the craziest clarinet solo I’ve ever heard. Lively and high and low. I’d actually never heard such gorgeous high notes from a jazz clarinet before. Diehl gave Christopher ample opportunities to solo throughout the night, and I was so glad (@@@Glasper). The trombone, Wilcox, only took one solo all night, but I was floored. Mostly by how loud and powerful he was. I’m usually more impressed by how quiet a brass instrument can get, but I have to say Wilcox’s power in his solo took my breath away. All together trombone, trumpet, and clarinet got reeeeeally quiet at times. Most notably during Jelly’s Whiny Boy (more to come on this tune).

I’m not ignoring the rhythm section. They were not the stars of the show and mostly played quietly, setting up their comrades’ solos (each were given only one short solo). A highlight of the whole night though was Leathers’s solo. He played an incredibly free and wild solo that was pretty different from the rest of the program. It was a thrill. At one point he lifted up his snare drum and yelled into it.

Many came to the show for one reason and one reason only: Cecile McLorin Salvant. Salvant was prominently featured on the bill but only ended up singing on probably a third of the tunes Diehl’s band played. Oh did she deliver though. Undoubtedly she’s one of the few who gives Ella Fitzgerald and Billie Holiday a run for their money (not that it’s a competition). Salvant was playful and fun while undoubtedly masterful showing a superhuman command for the lowest notes. Salvant really shined as a performer on Whiny Boy (Jelly Roll), a pretty explicit song. She sang beautifully and conveyed the humor of the thing brilliantly with impeccable timing. It’s cool to see a jazz vocalist consider timing as a device of humor (something you’d of course expect in musical theatre but maybe not at a jazz show today).

What ultimately ended up being so illuminating about the particular program for the night is something quite obvious. New Orleans and New York sound so damn different even though they both got the blues so hard!