It's another week and another excellent new album streaming at WBGO's Radar. This time, they've got pianist Orrin Evans' Liberation Blues, out on Smoke Sessions records (and recorded live at the Smoke Jazz Club). Evans has with him on the record Sean Jones on trumpet, JD Allen on sax, Luques Curtis on bass, and Bill Stewart on drums. Orrin Evans is a busy musician lately: he appeared on Sean Jones' recently released im.pro.vise - never before seen album along with Luques Curtis, and just a few months ago released Mother's Touch with the Captain Black Big Band that Evans leads from the piano (and that also features Luques Curtis' bass).
In a music industry where folks are constantly trying something new, saxophonist Nick Hempton is trying something different with his next collection of songs-- he's doing away with the collection. For his Catch and Release project, Hempton alongside pianist Jeremy Manasia, bassist Dave Baron, and drummer Dan Aran are releasing each song from their sessions recorded at New York's Small's Jazz Club one at a time each six weeks for a year. Check out video of Hempton's quartet playing the very straight-ahead first song, available now for download on iTunes, after the jump and keep an eye out for other songs from Catch and Release throughout the rest of the year.
Eric Harland has gotten the Voyager band back together to record their follow-up to 2010's Voyager: Live By Night (and an excellent live set at 92Y Tribeca in 2011 that was recorded by NPR), and that follow-up makes up much of the new release, Vipassana. The rest of the new album is rounded out by some other things that we'll get to in due time.
I wasn't quite sure what to play this week. There were a few songs I had that jostled my attention recently and others that seemed to fill in the cracks in between. I think the show came together alright this week.
The Line-Up for 1 August 2014
I've spent quite a bit of time mulling over whether or not to write this post. In the years in which I've edited Nextbop, I've learned how to present the work of talented musicians to the public around the world and have had to contend with those who have not necessarily learned the skills necessary of dealing with the press, establishing a good web presence, and most importantly the fundamental notion of presenting one's work to another human being in a way that is appealing. I recognize that this is all part of the job-- I'm an editor, self-made at that, of a website that deals with artistic types with various skillsets, artists young and old of different experiences and different perspectives. Not everyone is going to know everything. Making music is a different skill set than promoting music, than writing about music for journalists to write about it, than writing about music for fans to get intrigued, than discussing it in an entertaining fashion over the air. Working as an editor continually gives me insight into the ever-spreading and ever-morphing tendrils of the music industry; it's also driven me slowly insane explaining to the yet-initiated how best to send music. I considered writing a column like this to be too inside baseball-- a general readership may not find this particular subject helpful. It may have been too negative-- the Nextbop mission of positivity runs directly against the idea of writing a rant about the appropriate way to send information while I'm boiling over inside and not revealing every invective I'm spewing at my computer's & smartphone's screens. However, with every spammy tweet and every two lined, info-less email I receive, the more I realize for my own peace of mind, I had to spread the word. Musicians, journalists, and random fan alike, these suggestions for submitting work may not be universal, they may not always work, they may not always even work for submitting to Nextbop, but they'll certainly give whoever you're sending things to a hell of a lot fewer headaches.