Showing posts with label Thelonious Monk. Show all posts
Showing posts with label Thelonious Monk. Show all posts

Wednesday, August 28, 2019

Trad Goes Bop!: The Anachronic Jazz Band Cooks Up Some Not-So-Moldy Figs


By 1976, the whole late 1940s conflict between traditional jazz enthusiasts (“moldy figs”) and modern jazz proponents (boppers) had pretty much run its unproductive course, replaced by equally sterile arguments about the avant-garde, jazz rock, and fusion. Maybe it was time to take a look at a middle ground, or at least that was the feeling. At a traditional jazz festival in Paris, the Anachronic Jazz Band began playing bop tunes in traditional style (quelle horreur!). A couple of albums, along with some extensive European touring, provide the only aural documentation of this interesting experiment but relatively short-lived experiment.

Anthropology, a two-CD compilation of those albums and a cross-section of live recordings, says a couple of things about figs and boppers. First, if traditional bands had stopped followed the Anachronic way and stopped playing some of the old croakers in favor of some challenging new material, a lot of great music could have resulted. Second, playing modern jazz compositions in an earlier style shows that the gap between the two schools wasn’t as wide as was assumed. As far as I know, though, the Anachronics haven’t had any successors, but their legacy is pretty darn great.

I was really impressed at how easily tunes like Denzil Best’s Move and Clifford Brown’s Joy Spring. Even the title tune makes a lot of sense within the older idiom. Of course, it’s not surprising that Ask me Now and Blue Monk work well; Thelonious Monk’s music has deep roots in the tradition, and even Salt Peanuts and Giant Steps aren’t that alien to the New Orleans tradition. Also, the soloists, like trumpeter Patrick Artero, are consistently excellent throughout.

Happily, the Anachronic Jazz Band has reunited in recent years, with some of the original players like Marc Richard (sax and clarinet) and Philippe Baudoin (piano) still on hand. 

Here are two live performances: a Seventies version of Yardbird Suite (a couple of different versions are on the CD) with a spectacular solo by Goran Ericksson on recorder; and a more recent take on Charlie Parker's’s Confirmation (not on the CD―could we hope for a new anachronic jazz recording?).

Yardbird Suite:


Confirmation:


Saturday, August 6, 2011

Back at It

It’s been quite a while since I’ve done anything with this blog – press of time, other obligations, blah, blah, blah. I have been thinking about it, though. Up to now, I haven’t articulated a theme or governing principle to guide me (and you) as to exactly what I’m trying to do. I think I’ve zeroed in on that. I’m interested in keeping the memory of unsung musicians, authors, and events alive in a time where the overwhelming glut of information via the Internet, the concomitant apparent dumbing down of the media, and an accompanying publicity barrage for the worst (whose PR people are full of passionate, lucre-driven intensity). Okay, I do have a fondness for the obscure over the mainstream, but the mainstream seems pretty capable of taking care of itself, so why not? “Obscure” doesn’t mean untalented, unimportant, or ridiculous – anyway, it’s my blog and I’ll cry if I want to.

A relaunch demands a new name, so I’ve selected Lift the Bandstand! When Steve Lacy, the great soprano saxophonist, was gigging with Thelonious Monk, he jotted down Monk’s various utterances about music and life. “Lift the bandstand!” was his advice to Lacy and other musicians, and it seems to work for all kinds of other human efforts, so Lift the Bandstand! it is. I've also added a new look to go along with the new name.
To kick things off, here’s part of a performance by Lacy that really takes Monk’s advice to heart. The music is exciting and passionate, stemming from the jazz tradition and building from it. Lacy’s music is free but structured – he never abandons the music’s roots, even at his most abstract. Note: A lot of people don’t care for Irene Aebi’s vocals, but this one, at least, fits in seamlessly.

If you like where I’m going with the blog, or even if you don’t, please comment!