A best selling less-than-articulate author once said:

"I never liked jazz music because jazz doesn't resolve. But sometimes you have to watch somebody love something before you can love it yourself ...I used to not like God because God didn't resolve..."

As a jazz musician, I don't really know what he's talking about. Resolution is not a requirement of jazz, but it certainly is permitted. Just because we don't understand something, doesn't mean it doesn't have order or resolution. In fact, I think disliking jazz has very little to do with resolution. Its actually much bigger, much broader than that. What people don't like about jazz is that it doesn't adequately meet their preconceived musical expectations.

As kids around Christmas time, we truly learned how place our contentment on expectations. We made lists, vicariously shopped through the JC Penny catalog, wrote letters to Santa and perhaps did nothing short of campaign to our parents (that was if they were lucky). Me, I was the type of kid that had great expectations, but rarely spoke of them. This was my way of "hedging" my own disappointment.

On the morning of December 25th we anxiously awoke to see. Upon opening the various gifts, we knew that most surprises are bad surprises. That pair of baby blue argyle socks from grandma. The flannel pjs that I really needed. A coat... No, we didn't wanted to be surprised on Christmas. That was a myth! We wanted to open those packages and see that what was in them was exactly what we expected to be in them. The very things that, we as children, were entitled too. What ultimately determined whether or not we really liked Christmas was the degree to which our expectations were met.

That leads me to my point. Jazz is like God, Donald. Whether we admit it or not, we Christians heap tremendous expectations on what God is doing in us, through us, for us. (not unlike the expectations we had for Santa Claus... strangely enough, this idea is logically consistent with Arminian theology... hence it's overwhelming popularity in our culture) When Gods plans don't meet our expectations for our lives, we dislike Him.

We dislike God when He brings dissonant suffering into our lives. We don't expect suffering. We expect pleasure and room for self reliance from God. The unique thing about Christianity as a world view is that it offers us resolution. Only Christians can actually celebrate discomfort. Why should we be excited by dissonance? Why does the bible tell us to rejoice in suffering? Because, it points us to the resolution. It points us to the "not yet". Robert Johnson is singing a song that started with Adam. John Coltrane is playing notes from Job. Blues is music for the Covenant. Jazz is music for the Eschaton.

Note: Tonal blues elements actually resonate naturally in physics as they are an extension of the overtone series. One could argue that its presence in worship liturgy is as appropriate (or more) than the western "tempered based" classics.

Maybe Christianity should come with a disclaimer: "what you don't know God (or jazz) may hurt you".

Well, Gordon Goodwin's new audio dvd just came in yesterday. And, what can I say that the stuff that got knocked off my TV by the sheer power of the music can't? Listening to this music in this format is the most intense (listening) experience I've ever had. It's like sitting in the middle of all the sections.

Gordon's writing is nothing short of superb. He uses such a wide range of musical inventions from various sources (baroque, bebop, orchestral, opera as well as borrowing ideas from many of the great big band composers). Is GG as harmonically diverse as the likes of Duke Ellington, Billy Strayhorn, Thad Jones, Bill Holman, Hank Levy, Stan Kenton, Rob McConnell or Bob Florence? Generally no. But, he's so hip I just can't stand it!


To date, this has to be best recording of a big band in the genres history. The unison lines sound like one horn, yet you can hear every instrument in the harmonies. Listening to this made my brain grow and the extras and commentary on the DVD really taught me a lot about how to write and develop the chart.

Can I fit all 18 guys in my living room?: I can't really convey what kind of power this thing blows out in 6 channel/650 watts, but I realized very quickly that I needed to drop it way down from regular DTS movie levels if I wanted to keep my drivers. LOTR DTS usually plays at vol = 50 on my receiver. I had to drop phat pack down to 44ish to get it at about that level!

In an era of artistic decadence and television based talent shows so clearly absent of what they advertise to contain (any talent at all), one such young talent has largely gone unnoticed. The fact is, that most people in this country cannot deal with the breadth of artistry and facility that Eldar Djangirov is showing at the ripe age of 19!

Ok, I'll be fair, Eldar does lack the polished touch of pianists such as Teddy Wilson or Tommy Flanagan, but that is nearly all that stands between him and the greatest ever! Let's face it, it doesn't make us feel good about our own abilities and accomplishments to compare ourselves to Eldar right? But that's not the point. It's time for America to deal with freaks like Eldar, and the God given talent that trumps our own pragmatic accomplishments. The truth is Americans live for this dream that "we can do anything we put our minds to". That is just not so. There is almost a hint of blasphemy in that statement. No, the truth is, almost no one could do what Eldar is doing, even if they devoted their first 18yrs of life to the task. It takes more than just willpower alone. It takes a gift, that is unique to the individual.

CLICK HERE to hear what I mean (18 yr old Eldar Djangirov).

Last night, thanks to Greater Houston Interfaith Ministries, $15 got myself a ticket to see The Branford Marsalis Quintet. Or:

• Branford Marsalis (saxes)
• Joey Calderazzo (piano)
• Eric Revis (bass)
• Jeff "Tain" Watts (drums)

The event was Interfaiths annual fundraising gala. The BMQ only played one set, so I would say that $15 was "just OK" price. The set list as I remember was as follows:

• Citizen Tain
• The Ruby and The Pearl
• It Don't Mean A Thing
• Bullworth
  
• Do You Know What it Means to Miss New Orleans?
• Blue Tain
• When the Saints...

(It's weird that I remember that off the top of my head.) All in all, not a bad week for music listening. Brice Winston last weekend and Bran last night. I think I like Brices playing a little better than Brans as far as creativity goes. Bran is still one of the most stylistically diverse musicians on the planet.


As far as the BMQ performance goes, it was pretty much what you expect with Jeff "Tain" Watts playing drums. It was the Jeff "Tain" Watts quintet. And the funny thing is, it doesn't seem to bother Bran at all.

Friday I found out that Brice Winston (one of my top five tenor players) was playing a restaurant gig out on the west side of town. It was thus that I re-prioritized my entire weekend. Thank goodness I am single. (I did fudge a little after my a friend gave me 4 club level seats at Saturday's Astros game.)

Anyway, back to Brice. Friday night featured Brice, my friend Clyde Adams (who in my mind has recently made himself to be the best drummer in Houston) and New Orleanian transplants Matt Lemler (piano) and Kimberley Longstreth (vcl). The arrangements and set were mostly Matt's. He has some of the hippest arrangements for standards. I am going to have to make the 20 mile drive more often so that I can study his chord substitutions. Kimberley is well trained, but I realized later on that this mix was making her sound a little bright (winey). Brice was the perfect combination of lyricism, risk and facility. He reminds me of a kind of cross between Branford Marsalis and (60s) Joe Henderson. He and Bran had a few of the same teachers. You just can't detail this level of artistry from a record. Brice played chorus after chorus and painted new idea after new idea. This guy is a titan! It looked like a tenor saxophone, but was really a weapon of mass destruction! Why half of Houston wasn't in there studying this guys stuff is beyond me. ...which gets me to my rant.

{rant lock on}
Here's a tip: If great musicians are playing a gig (any gig), SHUT THE HELL UP! I didn't know the loud party from Adam, but it clearly annoyed the musicians. The fact is, I was sitting maybe 10 ft from Brice and there were times I couldn't hear him! Ironically, I have noticed that Christians are particularly bad about this (that is why I don't often ask them to go to jazz clubs with me). I have Christian friends who literally brag about how their band affords people the ability to sit 5 feet away and carry on a conversation. (In their defense, I realize they're being critical of those awful, dynamically inarticulate, garage cover bands.) But, the thing is, that is not music! That is just background noise (ambient). There are a million places in Houston that you could chose to have a conversation besides 25 ft away from Brice Winston. Get a clue, what Brice has to say is way more important that what you have to say. It's called art. This hidden, mysterious thing. It is not merely some blob of relative, subjectivity. God reveals himself through living creation.
{rant lock off}

Just so you don't think I'm all talk... here's a live recording of Brice (and Nick Payton).

Without Your Love by Billie Holiday and Lester Young. This is from the A Fine Romance set that was recorded back when she was in her prime. Unfortunately, the best quality recordings of Billie were after she began to lose her voice. This has led to the misconception that Billie didn't have a great voice. This recording disproves that conception. I get this track stuck in my head from time to time and it is truely a wonderful experience. Billie is a storytelling genius. Listen for Lester's playing behind Billie at the end of the track.

I just heard some of the new Joey DeFrancesco CD, Organic Vibes, that came out yesterday on WBGO NYC. For those unfamiliar with Joey D. he's the slamin'est Hammond B3 player in the world! Bobby Hutcherson is on Vibes and George Coleman on tenor. That is some sick stuff! This one looks like a keeper.

So you want to start listening to classic jazz. Where do you start? What is good and what isn't? Well, hopefully the following list will give you something to start a collection by. These albums are timeless. They never get old, but get better with age and every listen.

#5 (tie) Mingus Ah Hum - Charles Mingus

This album is everything a great album should be. Great cover. Great line-up (although Horace Parlan gets on my nerves). Great writing. Great engineering. "Open Letter to Duke" is one of my favorite tracks. It just smokes! Charles Mingus is one of the great musical composers in American history (albeit one of the most underrated). This is his best overall large group album!



#5 (tie) Ready For Freddie - Freddie Hubbard

This is Freddie Hubbard's best album! Every single tune kills it! ...and these tunes are among the most difficult to play! Arietis, Marie Antoinette, Crisis, Birdlike... all amazing! Wayne Shorter makes one of his earlier appearances. He actually sounds a lot like Trane on this record. Freddie's solos are trumpet genius highlighted by his work on Birdlike. Again, great line up and excellent engineering on this album. Many do not know it exists, yet it is a must have (especially for the trumpet technician). Simply put Freddie will hurt you with his hard swing and bebop articulation, as well as endless creative ideas!

#4 Soul Station - Hank Mobley

Along with Sonny Stitt and Dexter Gordon, Hank Mobley was surely one of the most underrated tenor saxophonist of his era. He rarely failed to make a great record. His sound is right out of the Lester Young discipleship. Round sound, beautifully rich tone. This is his best record of a bunch of good ones. This would be largely due to the fact that he had Wynton Kelly, Art Blakey and Paul Chambers on the session. Wynton Kelly offers up some of the best comping ever recorded! Art stays deep in the pocket the whole record and P.C.'s puts one a walking clinic. The use of 2 to 4 beats on this record is addictive. Hank's playing never ceases to be slick, creative and soulful all at the same time. He's simply everything a hard-bopper should be. This is a must own. A lot of people don't realize what a phenomenal record this is.

#3 Saxophone Colossus - Sonny Rollins

Sonny Rollins used to say "records are just advertisements to get people to come to the concerts". Well Sonny, I guess that makes you one good ad executive because Saxophone Colossus is one great album. Tommy Flanagan, Doug Watkins and Max Roach provide support. St Thomas is perhaps the most recognized part of the album, but Moritat (Mack the Knife) and You Don't Know What Love Is are also fantastic. In fact, like all the albums listed here, there really aren't any weak spots on this album. Sonny is inspired and you hear it through the vinyl. He is truly an improviser improviser. You get the sense that every idea he plays on this record is a new one. All are lyrical, creative, consistent, communative and inside. Yes, you can be creative and play inside. Listen for Sonny's second entrance in St. Thomas. The energy is off the charts. It's like witnessing a shuttle launch. Sonny explodes! (my favorite part of the record)


#2 Kind of Blue - Miles Davis

From the stand point of influence, this is probably the most important jazz (or any genre) album ever recorded. From the first note of Mile's solo in So What you get the sense that everything about jazz from that point forward is about to change. Born during the modern environment of Bebop, Miles introduces the idea back to jazz that what you don't play is every bit as powerful and significant as what you do play.
Two unique things stand out about the production of this record. First, the personal is outstanding: Jimmy Cobb, Paul Chambers, Julian "Cannonball" Adderley, John Coltrane and a young pianist named Bill Evans. Second, the session was said to have taken place in such a way that, although the compositions were very simple, the guys hadn't played or seen any of them before. To top that off, all (except for flaminco sketches) are first takes and every solo is fresh and perfect.
Should everyone own this album? Absolutely. Is it the coolest record ever made? Probably.

#1 A Love Supreme - John Coltrane

There is simply not a whole lot to say about this album that has not already been said. I listened. I hated it. I listened to it more. I liked it. I kept listening, and fell in love with it. This record, to me, is simply the greatest work ever recorded. I can listen this album for the rest of my life and it will always get more interesting. How is that possible in this world? I don't know.
It begins with the sound. John Coltrane has the most sincere sound in the world. He conveys passion and sensitivity in a seamless manner. You can hear the cries of the helpless in his playing. ...the voice of a comforter in a broken world reaching out to help. This album is about the physical world affecting the spiritual universe in a meaningful way. Both aspects of the person intertwined. I cannot stop listening to this record. Three notes describe it all... A Love Supreme.