Some long time ago, I downloaded somewhere a free song titled “Circle Dance,” by a group called Conference Call. The album is Live at the Outpost Performance Space. This is great stuff, a little on the edgy, free jazz side that I tend to like.
But not too edgy, as I say in my profile.
I wanted to hear and maybe buy more, but I could never locate it. If I searched “Conference Call” at places like Amazon, I got a lot of telephone accessories. I couldn’t get any hits by artist, album or song on Napster or any of the other download sites I hang around at.
I finally connected by going to http://www.allaboutjazz.com/, where I found that the album title should be Live at the Outpost, and now I’ve ordered it from Amazon. The tenor player I like so well is one Gebhard Ullmann, a German musician who’s been around a long time. You can read his bio at www.gebhard-ullmann.com/frame.htm.
All of this interest in jazz is rekindled in part by the current Portland Jazz Festival, which I’m missing because I decided I couldn’t afford it, not even just a weekend of the ten-day affair. Also, I’m working two days a week, and I can’t just take off. Also, my repaired hernias still hurt, and I’m not thinking a lot about getting out of town yet. Also, I don’t know anybody to go with.
So I was wondering, do I really want to cram in say three days of intensive jazz concerts and then sit around trying to digest all that and not have anybody to talk it through with?
Well, yes.
What a lineup! It’s an ambitious and risk-taking series of concerts set in a mix of venues ranging from smallish clubs to the 2700-seat Schnitzer auditorium. Most performers have to be considered big names in jazz circles, but we’re talking small circles here. Gary Burton has been around forever and is always accessible if not easy-listening. I’d book him in the Schnitz. And jazz aficionados know that Branford is the right Marsalis to invite.
But one of my favorite pianists, Geri Allen, isn’t that big a name, and Don Byron and Dave Douglas may have a very high critical regard, but how big a draw could they count on? These guys fill clubs, not auditoriums. Their music can be difficult, though both Allen and Byron are about as exciting and creative as anybody who’s come along in the last few decades. Douglas for me, not so much.
For truly new voices, I’ll track down tenor saxophonist Sophie Faught, 19, who reportedly held her own with the likes of some of the above.
My friend Broschat will be interested to know that singer Gretta Matassa led a late-night jam. As I recall, he was trying to get people to pay attention to her some years ago when she was playing the Seattle club scene but hadn’t made a name yet. He gifted me a CD by her which I’ll have to sift out from my ramble of a collection.
Next year I’m going. Cross my heart.
But not too edgy, as I say in my profile.
I wanted to hear and maybe buy more, but I could never locate it. If I searched “Conference Call” at places like Amazon, I got a lot of telephone accessories. I couldn’t get any hits by artist, album or song on Napster or any of the other download sites I hang around at.
I finally connected by going to http://www.allaboutjazz.com/, where I found that the album title should be Live at the Outpost, and now I’ve ordered it from Amazon. The tenor player I like so well is one Gebhard Ullmann, a German musician who’s been around a long time. You can read his bio at www.gebhard-ullmann.com/frame.htm.
All of this interest in jazz is rekindled in part by the current Portland Jazz Festival, which I’m missing because I decided I couldn’t afford it, not even just a weekend of the ten-day affair. Also, I’m working two days a week, and I can’t just take off. Also, my repaired hernias still hurt, and I’m not thinking a lot about getting out of town yet. Also, I don’t know anybody to go with.
So I was wondering, do I really want to cram in say three days of intensive jazz concerts and then sit around trying to digest all that and not have anybody to talk it through with?
Well, yes.
What a lineup! It’s an ambitious and risk-taking series of concerts set in a mix of venues ranging from smallish clubs to the 2700-seat Schnitzer auditorium. Most performers have to be considered big names in jazz circles, but we’re talking small circles here. Gary Burton has been around forever and is always accessible if not easy-listening. I’d book him in the Schnitz. And jazz aficionados know that Branford is the right Marsalis to invite.
But one of my favorite pianists, Geri Allen, isn’t that big a name, and Don Byron and Dave Douglas may have a very high critical regard, but how big a draw could they count on? These guys fill clubs, not auditoriums. Their music can be difficult, though both Allen and Byron are about as exciting and creative as anybody who’s come along in the last few decades. Douglas for me, not so much.
For truly new voices, I’ll track down tenor saxophonist Sophie Faught, 19, who reportedly held her own with the likes of some of the above.
My friend Broschat will be interested to know that singer Gretta Matassa led a late-night jam. As I recall, he was trying to get people to pay attention to her some years ago when she was playing the Seattle club scene but hadn’t made a name yet. He gifted me a CD by her which I’ll have to sift out from my ramble of a collection.
Next year I’m going. Cross my heart.
