Vanished Gardens is the second album by Charles Lloyd & The Marvels. I play their first album, I Long To See Youoften having witnessed this nucleus live at Jazz at Lincoln Center in early 2016.
The Marvels consist of Bill Frisell on guitar, Reuben Rodgers, bass, Greg Leisz, pedal steel guitar and Eric Harland, drums.
Struck by the natural co-operation of Charles Lloyd and Lucinda Williams + The Marvels, reveling in their cohesiveness. Smiling further as each track was more eclectic than the previous. Vanished Gardens totally breaks new ground.
As Charles Lloyd says in his video conversation with Lucinda and Don Was,
Ken Burns is the leading documentarian of American history and culture. The film catalog he and his team have produced in partnership with PBS is America’s cultural repository.
Ken Burns and company are working on Country Music, a series scheduled for PBS viewing in 2019.
Country Music will chronicle the history of a uniquely American art form, rising from the experiences of remarkable people in distinctive regions of our nation. From southern Appalachia’s songs of struggle, heartbreak and faith to the rollicking western swing of Texas, from California honky tonks to Nashville’s Grand Ole Opry, we will follow the evolution of country music over the course of the twentieth century, as it eventually emerged to become America’s music.
It will be directed and produced by Ken Burns; written and produced by Dayton Duncan; and produced by Julie Dunfey—Emmy-award winning creators of PBS’s most-acclaimed and most-watched documentaries for more than a quarter century, including The Civil War, Lewis & Clark: The Journey of the Corps of Discovery, The National Parks: America’s Best Idea, The Dust Bowl, and many more.
Country Music will be a sweeping, multi-episode series, exploring the questions, “What is country music?” “Where did it come from?” while focusing on the biographies of the fascinating characters who created it—from the Carter family, Jimmie Rodgers and Bob Wills, to Hank Williams, Johnny Cash, Loretta Lynn, Charley Pride, Willie Nelson, Dolly Parton, Emmylou Harris, Garth Brooks and many more—as well as the times in which they lived. And like the music itself, Country Musicwill tell unforgettable stories—stories of the hardships and joys shared by everyday people.
We will trace its origins in minstrel music, ballads, hymns, and the blues, and its early years when it was called hillbilly music played across the airwaves on radio station barn dances. We will see how Hollywood B movies instituted the fad of singing cowboys like Gene Autry and Roy Rogers, and watch how the rise of juke joints after World War II changed the musical style by bringing electric guitars and pedal steel guitars to the forefront. We will follow the rise of bluegrass music with Bill Monroe and we will note how one of country music’s offspring—rockabilly—mutated into rock and roll in Memphis. And we’ll see how Nashville slowly became not just the mecca of country music, but “Music City USA.” All the while, we will note the constant tug of war between the desire to make country music as mainstream as possible and the periodic reflexes to bring it back to its roots.
A tie-in collaboration event designed to celebrate the PBS première of Ken Burn’s Country Music is scheduled for the Jazz at Lincoln Center 2018-2019 Concert Series.
APR 25–27, 8PM • ROSE THEATER
WYNTON MARSALIS AND KEN BURNS: COUNTRY MUSIC
Iconic documentarian Ken Burns and the Jazz at Lincoln Center Orchestra with Wynton Marsalis explore the shared roots found throughout American music. With never-before-seen clips from Burns’ upcoming Country Music series, audiences will learn the fascinating and often intertwined histories of songs made famous by artists such as Ray Charles, Johnny Cash, Willie Nelson, Merle Haggard, Dolly Parton, and others. Then hear brand new arrangements of those songs written and performed by the JLCO.
We’ve been involved with Jazz at Lincoln Center NYC and have attended a black-tie gala. I believe strongly in this organizational cause and take comfort witnessing JALC’s musical achievements.
Recorded between 2003 and 2007, United We Swing finds an unparalleled array of musical talent that collectively boasts 94 Grammy Awards joining Jazz at Lincoln Center Managing and Artistic Director Wynton Marsalis (a nine-time Grammy Award winner himself) and his Septet. Together, they perform blues-inflected versions of iconic American repertoire and celebrate the red, white, and Blues.
These one-night-only, live performances have never been released before. They include Lenny Kravitz performing Marsalis’s hypnotizing, New Orleans-inflected arrangement of Kravitz’s own song, “Are You Gonna Go My Way”; Susan Tedeschi and Derek Trucks uniting for a stirring, infectious take on Civil Rights anthem “I Wish I Knew How It Would Feel to Be Free”; Bob Dylan adding harmonica licks to a deeply felt, in-the-pocket rendition of “It Takes a Lot to Laugh, It Takes a Train to Cry”; and Ray Charles taking the stage for one of his final performances to play “I’m Gonna Move to the Outskirts of Town.”
Together these artists raise their voices to highlight jazz’s importance to America’s cultural heritage and to remind us that, even in divided times, music can unite us all. All proceeds from the album will go toward Jazz at Lincoln Center’s education programs, which introduce thousands of children to jazz each year.
The Last Time feat. Blind Boys of Alabama
It Takes a Lot to Laugh, It Takes a Train to Cry feat. Bob Dylan
I’m Gonna Move to the Outskirts of Town feat. Ray Charles
I’m Not Rough feat. Eric Clapton
Creole Love Call feat. Audra McDonald
Milk Cow Blues feat. Willie Nelson
I’m Gonna Find Another You feat. John Mayer
My Baby Don’t Tolerate feat. Lyle Lovett
The Worst Thing feat. Natalie Merchant
Please, Baby, Don’t feat. John Legend
Mean Old Man feat. James Taylor
Are You Gonna Go My Way feat. Lenny Kravitz
Fool’s Paradise feat. Jimmy Buffett
Empty Bed Blues feat. Carrie Smith
I Wish I Knew How It Would Feel To Be Free feat. Susan Tedeschi and Derek Trucks
Jazz at Lincoln Center takes a profound step in the evolution of their brand. Today marks the beginning of Blue Engine Records, the JALC record label. This will be an exclusive arrangement with Sony Music Entertainment. Jazz at Lincoln Center will release recordings as CDs and digital downloads and to streaming music services, with a few titles in vinyl format, through an agreement with RED Distribution, a division of Sony Music, for distribution in the United States and overseas. RED’s ’stache media, a marketing company, will offer publicity, branding and social media support.
The first release from Blue Engine Records is, “Live in Cuba,” featuring Mr. Marsalis and the Jazz at Lincoln Center Orchestra, to be released on Aug. 21 (available for pre-order online). Recorded over three nights at the Mella Theater in Havana in October 2010, “Live in Cuba” explores the connections between American jazz and Afro-Cuban music, from bebop to bolero.
I was browsing Chick Corea‘s Web site earlier. What a perpetual fountain of music composition he contributes to the world of jazz. I must try to devote some listening time to better assimilate his vital body of work (which is 50+ years strong).
The Chick Corea muse is morphing and it brings us an exciting collaborative, Chick Corea & The Vigil. Featuring the bass phenom, Christian McBride. Creative force Marcus Gilmore on drums (carrying on the lineage of jazz from his grandfather, Roy Haynes). Saxes, flute, bass clarinet and innovation from Tim Garland. And a rising-sun (although from the west coast), guitarist Charles Altura.
Thursday night my wife and I will attend our 30th concert of the year. We continue to happily do our part as loyal patrons of the arts. The concert features the double bill of Tower of Power with special guests Average White Band. An event that James Taylor would call a “churning urn of burning funk.”
The Klein Memorial Auditorium in Bridgeport, CT is the location for this event. This will be our third show at the Klein this season. It is also our sixth event with The Fairfield Theatre Company as member participants. FTC continues to offer engaging live music options for its patrons, which we are thankful to enjoy. 🙂
Tower of Power is another great product of the San Francisco Bay area from the late 60’s. Bands like The Grateful Dead, Jefferson Airplane, Santana, Big Brother, Journey and others all helped to define the “San Francisco Sound.” Tower of Power has been a band I have wanted to see to complete that list (having seen all the others mentioned…).
I was deeply saddened to learn of Phoebe Snow‘s death today. I was moved beyond measure by her devotion to her daughter, Valerie Rose, who was born with severe brain damage. Snow decided to care for her at home and not place her in an institution.
“She was the only thing that was holding me together,” she told the San Francisco Chronicle in 2008. “My life was her, completely about her, from the moment I woke up to the moment I went to bed at night.”
The last time I saw Phoebe Snow was live at Jazz at Lincoln Center on December 12, 2007 where she sang “Lonely Ol’ Night” for John Mellencamp as part of his ASCAP Champion Awards event. She was so eloquent that evening in The Allen Room as she sang against the tapestry of the Columbus Circle panorama.
I see her holding Valerie Rose in heaven now as I wipe away tears in celebration of their blessed reunion.
These are my selections for the 10 best recordings of 2010. I used the following criteria to establish the field of artists.
1) I had to purchase the recording. None of these recordings are samples from the record companies or the artists or the music distributors. Each one of the Top 10 recordings was an out of pocket expense.
2) My emphasis this past year has to become more of a student and benefactor of jazz music, its derivatives, nuances, etc. I split the Top 10 between five top jazz recordings and five other "genre" recordings.
3) The recording had to produce repeated plays and create a memorable impression.
4) There was a live performance or tour associated with the recording, in other words I was compelled to see the music performed live. In some instances the recording was the impetus to see the artist live. Live performances are denoted by an asterisk *. You’ll notice that 7 of the 10 Top 10 recordings had live associated events. This speaks to the integrity of these recordings and the artists chosen.
Pat Metheny has accomplished an amazing feat with his Orchestrion. He makes a powerful statement with the use of robotics, pneumatic devices and the syncopation of all these entities. I bought the recording on the first day on the strength of Pat’s innovative creativity and was not disappointed one iota.
Herbie Hancock continues his mastery of collaboration with a recording that took place around the world. Herbie has a tremendous ear for musical harmonies and exchanges. The collection of artist friends on this recording is striking and a testament to how many people want to work with Herbie Hancock and company. Herbie’s core band, which consists of Lionel Loueke on guitar, Vincent Colaiuta on drums, and Tal Wilkenfeld on bass is quite the nucleus.
My favorite tracks on the recording are "The Song Goes On" Featuring K.S. Chithra, Chaka Khan, Anoushka Shankar, & Wayne Shorter, anIndian based raga composition complemented by sitar, tablas and the soothing sound of Wayne Shorter on soprano saxophone.
“Tamatant Tilay/Exodus” Featuring Tinariwen, K’Naan and Los Lobos was recorded worlds apart but sounds like they all gathered in the next room.
I really like Space Captain which brings Herbie and his group to Derek Truck’s studio in the Florida Everglades. Susan Tedeschi sings with such a soulful touch on this number. The interplay between Herbie and Derek is a marvel to witness.
Here is the video of that collaborative effort, which I know you will watch more than once
I have been a long time fan of John McLaughlin’s and he continues to reinvent himself in his tireless efforts to make music that challenge the senses and stretch the boundaries. To the One is a tight set of tracks that blasts off in lots of intriguing directions. Pay special attention to the drumming and keyboarding of Gary Husband on this recording. This recording works its way into your soul and consciousness in inviting ways.
Ted Nash has designed, composed and developed a visual/aural treat for the senses with Portrait in Seven Shades. Each composition is a tribute to a famous painter on display at the Museum of Modern Art., giving you a new appreciation for textures and sound.
My best advice is to look at the MoMA Web site, read about Ted Nash and MoMA and then listen to this recording to fully appreciate what Ted has accomplished. I was very inspired by Ted’s work and developed some Web pages on my Web site, LearningEdje in honor of his stellar thinking and arrangements.
The track that will impress you on a new and exciting level is Nessun Dorma the aria from the opera by Puccini.
2. Ryan Montbleau Band – Heavy on the Vine*
Ryan Montbleau Band have put together a very listenable recording. It plays effortlessly from track to track. I like Ryan’s voice and the fun his lyrics provide. The CD can be set on repeat play and you just want to hear it again and again.
We have seen the Ryan Montbleau Band three times now in concert and they really are a joy to hear perform live.
My favorite song is More and More and More about all the choices we are overwhelmed with in this life.
3. Sharon Jones and the Dap Kings – I Learned The Hard Way
Raw, soulful energy. Sharon Jones and Dap Kings show us why Brooklyn epitomizes R&B, Soul and makes you want to kick up your heels. You can’t help but love this recording and smile in awe of this get down with it group. Ms. Jones has a thing going on, trust me
Tom Petty and the Heartbreakers nailed it on this recording. Reaching back into their Southern roots, placing the accent on the blues and rock and roll, this CD has many listenable and playable tracks.
They were giving this recording away for free, which told me how much Tom Petty believed in this musical effort. Turned out he was so right about that belief.