What are you listening to? September 2023

Joe Henderson - Inner Urge (1966)

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Half of the John Coltrane Quartet (i.e. McCoy Tyner and Elvin Jones) give Joe Henderson the perfect setting. Not sure why Blue Note sat on this November 1964 session for two years. Musta been ahead of its time. :confused:
 
Jaimie Branch - Fly or Die Fly or Die Fly or Die ((World War)) (2023)



This is without hesitation recommended to @axolotl and @JazzyRandy!
Listening now.

Thanks be to Unsom.

She passed away about a year ago.

www.npr.org/2022/08/24/1119174908/jaimie-branch-trumpet-obituary#:~:text=jaimie%20branch%2C%20a%20trumpeter%20who,Hook%20section%20of%20Brooklyn%2C%20N.Y

Those inspirations covered a spectrum, from the murmuring warmth of Chet Baker to the mischievous blare of Lester Bowie. Like Bowie and Miles Davis, another key influence, branch knew how to place her sound within the tumult of an assertive band, sometimes cutting through and sometimes burrowing in. A version of "Theme 002" recorded in Switzerland early in 2020, and later included on FLY or DIE LIVE, finds her bobbing and weaving against a springy variation on dub rhythm before the beat dissolves into freeform static. It's a neat distillation of branch's style as an improviser, though it's also just one discrete piece.
 
Hayden Pedigo ~ The Happiest Times I Ever Ignored (2023)


Inspired by the tragicomedic legacy of National Lampoon co-founder Doug Kenney (in whose notes the line ‘These last few days are amongst the happiest I’ve ever ignored’ was found following his mysterious and untimely death), Pedigo embarked upon The Happiest Times with a no-shit aim: to create “the best instrumental acoustic guitar album of the past twenty years.” Though canonical works of comedy and music show their influence—the mournful beauty of Nick Drake, the puckish abandon of John Fahey—Pedigo by no means places their creators on pedestals; if anything pulling them from their plinths, smashing the alabasters, pocketing some pieces, gluing others back together upside down, or leaving them floating free.

How might Fahey have played in a Midwest emo band? Pedigo posits on “Nearer, Nearer,” while the specters of Bert Jansch and John Renbourn float somewhere above “Signal of Hope” – “the most British-sounding thing I’ve ever written;” an echo in an empty church. Pedigo flits through the cycle of songs, coiling and uncoiling like the mechanism of a clockwork bird on “When It’s Clear;” rambling, a tiny speck in the landscape, on “Elsewhere.” “Then It’s Gone” stands as stark as a leafless tree, guitar spilling a somber tale in its truest voice – and nowhere more than on the title track is Pedigo’s playing more affecting: regret and optimism balanced on intimate, intricate arrangement, as carefully poised as raindrops on guitar strings.
 
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