Month: June 2021

Just four albums this month, but there’s enough here to help you cool off for the rest of the summer. Our June deep dive concentrated on the vocal stylings and compositions of Meredith Monk, and the first two TNB picks are fascinating singers as well! Jeanne Lee’s 1975 classic Conspiracy was reissued this month as a digital download, with a vinyl issue to come, and following in Lee’s footsteps we have an out performance from vocalist Elaine Mitchener. Then, in case you are not tired yet, we have two colossal double albums of mesmerizing instrumental music. Compelling music for the dog days.

TNB Pick!
Jeanne Lee – Conspiracy
(Digital Re-issue June 1, 2021; Vinyl issue July 2021; Originally released in 1975 on “Seeds records” and Jeanne Lee’s own “Earth-forms records”)

Jeanne Lee – vocals
Gunter Hampel – flute, piano, vibraphone, alto clarinet, bass clarinet Sam Rivers – soprano saxophone, tenor saxophone, flute
Steve McCall – drums
Alan Praskin – clarinet
Perry Robinson – clarinet
Jack Gregg – Bass
Mark Whitecage – alto clarinet
Marty Cook -trombone

“No words, only a feeling. . . ” sings Jeanne Lee at the start of “Sundance”, the first song on the newly reissued 1975 recording Conspiracy. Following this opening manifesto, Lee’s performance is a wordless reimagining of what a “jazz singer” does. The variety that follows is striking – “Yeah Come t’be” has Lee creates layers of environmental sound and instrumental effects, produced with overdubs of her own voice. “The Miracle” is a recitation of a poem about discovery. On “Jamaica” Lee paints a poetic picture of a simple domestic chore – frying Dasheen late at night. On “Angel Chile” Lee extends the range of vocal techniques (see Some Good News below for an example of Lee’s influence on the new generation). The supporting musicians are stellar too, but it’s Lee who’s the star – she dominates each track. 46 years after its first release, Lee still teaches us what a singer can be.

TNB Pick!
Black Top Presents – Some Good News
(Released Feb. 26, 2021 – recorded live at Cafe OTO on Sunday 28th July 2019)

Play a sample of “Some Good News”

Hamid Drake – Drums and percussion
William Parker – Bass, Shehnai
Orphy Robinson – electronics, theremin, marimba
Pat Thomas – Piano
Elaine Mitchener – Voice

These two live sets are a journey. “Put the Brakes On” starts with atmospheric chords from Thomas’ piano, but with a strange ping-pong sound which suggests something is different here. As the music gains strength, it turns out there’s no ping-pong table on the stage, that’s Elaine Mitchener’s wildly unconventional vocals. The rhythms from the classic Parker/Drake team are immense, and you can hear the strength of the music in the reaction from the audience at London’s Cafe Oto. Cafe Oto is the place to be! The second set, “Some Good News”, is even more unconventional and surprising. The transitions from one color and setting to the next through both of these tracks with keep me coming back. You can find the full track for “Some Good News” here. If you’re was intrigued as I am, you can get the full sets from Cafe Oto here.

TNB Pick!
Anna Webber – Idiom
(released May 28, 2021)

Disc 1 – Simple Trio
Anna Webber – tenor saxophone, flute
Matt Mitchell – piano
John Hollenbeck – drums

Disc 2 – Large Ensemble
Anna Webber – tenor saxophone, flute, bass flute
Nathaniel Morgan – alto saxophone
Yuma Uesaka – tenor saxophone, clarinet, contra-alto clarinet
Adam O’Farrill – trumpet
David Byrd-Marrow – horn
Jacob Garchik – trombone
Erica Dicker – violin
Joanna Mattrey – viola
Mariel Roberts – cello
Liz Kosack – synthesizer
Nick Dunston – bass
Satoshi Takeishi – drums
Eric Wubbels – conductor

A monumental release. Webber has composed a set of etudes for flute and saxophone, compositions that imply extended techniques and gestures from her playing. These ideas have been brilliantly implemented, with a disc of compositions for her long time trio, and a smashing second disc for large ensemble. The music is at crossroads between jazz improvisation and modern classical composition. It’s amazing that a player’s technique has been expanded out to such a grand concept. Certainly one of the year’s best.

TNB Pick!
Nate Wooley – Mutual Aid Music IV-I
(released April 16, 2021)

Nate Wooley – Trumpet
Ingrid Laubrock – Sax
Joshua Modney – Violin
Mariel Roberts – Cello
Sylvie Courvoisier – Piano
Cory Smythe – Piano
Matt Moran – Vibraphone
Russell Greenberg – Vibraphone and Percussion

What is Mutual Aid Music? According to Wooley’s Bandcamp page: it’s “the primary ethic of an anarchistic utopia in which each knows what they have, is honest about what they need, and is prepared to give and receive accordingly. Every human want is met by a commensurate surplus and all are lifted equally above suffering. The music on this disc is, to a degree, about this political conception of mutual aid history but, rather than celebrating its primary act of what to give, it concentrates on the decision of how to give it.” Heady stuff! Of course the proof’s in the pudding – the music on this significant two disc collection revels in collective listening, group dialogue and a patient service to the music! Like the Anna Weber disc profiled above, an epic presentation, but also a very different concept. Here the composer uses a light hand, creating open settings that create possibilities that are filled in by conversational playing from the talented players.

Sorry, no Spotify playlist this month! These conceptually heavy albums are best enjoyed unexcerpted, so dig into the links above.

Music Featured:
Meredith Monk
Turtle Dreams (Video)
1983, WGBH
Performers:
Robert Een
Meredith Monk
Paul Langland
Andrea Goodman

Meredith Monk
Key
(1971, Increase Records)
Meredith Monk, voice, organ, jews harp
Daniel Ira Sverdlik, Dick Higgins, Collin Walcott, Lanny Harrison, Mark Monstermaker, voices

Meredith Monk & Vocal Ensemble
On Behalf Of Nature
(2016, ECM)
Sidney Chen, Ellen Fisher, Katie Geissinger, Meredith Monk, Bruce Rameker, Allison Sniffin, voices
Bohdan Hilash, woodwinds
John Hollenbeck, percussion
Allison Sniffin, piano, keyboard, violin, French horn
Laura Sherman, harp

How does the audience approach art that shatters boundaries? Breaking the rules can be thrilling, but also can be disconcerting. What of the artist whose innovation is so influential that it has changed artistic expression itself, and who as a result has gone from being an outsider artist to part of the firmament? Is that artist’s work better appreciated by bracing yourself for the intense genre-busting entries, or for the more mature works which land closer to the tradition? What entrance points will inspire, intrigue or enthrall the new listener?

These considerations are at the fore if you’re new to Meredith Monk. Monk changed music forever by employing vocal sounds and techniques from outside western art – or maybe her vocal stylings are simply sui generis, it’s hard to untangle what’s from where. Like all revolutionaries, the first documents of this breakthrough are a demonstration of the new. You’ll be excused if you think that “Insect ” from Songs from the Hill, or “Low Ring” from Lady of the Late, are simply provocations. Some will be enthralled, others might want to flee! But as Monk’s music has gained a following, she has shifted from confronting the tradition to assimilating and changing it. So where should the newbie start?

Part of Monk’s genius is the interdisciplinary nature of her work – her voice, composition, keyboard work, performance and dance are all related. To get a flavor of that package you can start with the 1983 video produced by WGBH of Meredith Monk performing Turtle Dreams:

I would swear that I saw this at an some odd hour in the mid 1980’s on PBS, and just had no idea what I was watching! This video is like nothing else, and exists buried somewhere deep in my subconsciousness next to 1970’s videos on Mummenschanz. Who knew 25 minutes of four people stepping back and forth while singing could be so mesmerizing? It’s wild and fun; while Monk’s music is not a joke, you can really appreciate the whimsy here. A classic.

Where is go next? For the adventurous, try Monk’s first album Key from 1971:

Key features Monk’s solo voice with minimal accompaniment, and is the most clear demonstration of Monk’s innovative expansion of vocal technique. The first track is a type of cappella chant that seems inspired by vocals from an ancient ritual, but away from that context seems strange and new. Later tracks are propelled by spare but effective instrumental accompaniment and showcase Monk’s always arresting and unique vocals. This album will always be fresh. By the way, at the beginning of the linked video, check out Monk getting the 2014 National Medal of Arts from President Obama! You can also get Key in a recent vinyl reissue here.

If the frankly avant garde character of the Key and Turtle Dreams is too much, but you don’t want to miss out on one of the unique voices in modern music, try Monk’s more recent work. While giving up none of it’s idiosyncrasies, Monk’s recent music has incorporated traditional elements. For example, Monk recorded an opera, ATLAS, in 1993. While the largely wordless opera sounds like nothing else, it initially eschews the extreme tonalities of Monk’s earlier work and the music is largely buoyant and infectious. “Future Quest (The Call)” is one of the most purely beautiful things I’ve ever heard.

Also don’t sleep on Monk’s instrumental writing, the best documented being for keyboard. Check out the dual piano album by Ursula Oppens and Bruce Brubaker Piano Songs. The writing here is very approachable and at times quite rousing.

One of the best places to start with Monk’s recent work is her 2016 masterpiece On Behalf of Nature. Here Monk shows as much imagination with the instrumental writing as the voices, and weaves it all into a cohesive vision. Monk avoids a polemic about destruction of the environment by uses her wordless vocals to suggest or mimmic motifs from the natural world. Monk’s concept is that humans use words to categorize and control, and so she creates art that fulfills the title’s promise by depicting nature through singing wordlessly. A serendipitous meeting of subject and artist.

Most importantly have fun! At least for this listener, Monk’s music does not take itself seriously – this music is unique and entertaining, and often really, really funny. I don’t say that to imply the music’s intent and sincerity are not there (anything but!) – I mean Monk’s music is adventurous and fun if you come to it with that spirit. This is important music, but which is light and not pretentious. Whatever path you choose make sure you appreciate the humor here and have a good time.

(Photo from www.meredithmonk.org)