#same jones

[wack-ashimself]

Watching an interview with Robert Downey Jr...

and it had the most real moment.

‘You are not your accomplishments.’

*Robby boy (as I call him) laughs whole heartedly and goes ‘Unfortunately.’

[thefankid]

sam gets the urge to call Eight uncle im-

[dustedmagazine]

Charles McPherson – Beautiful! (Xanadu)

Charles McPherson cast equivocation to the wind in the titling of his 1975 studio effort for Xanadu. Beautiful! echoes the adjective of its appellation in presenting the altoist’s quartet as it delves into a collection of standards that might’ve been considered de rigueur in a different era, but were certainly out of the step with the commercial trajectories of jazz at the time. McPherson’s stalwart preference for bop made him something of a stylistic throwback. While his immediate peers were plugging in or searching for creative solace in the expressive freedoms of the avant garde, his efforts remained preoccupied with preserving and propagating the idiom pioneered by his forbearers. The same holds true today as McPherson enters his seventy-seventh year on the planet. He’s still a be-bopper through and through.

Souls of similar mind were essential for the venture and McPherson didn’t shirk in his selection Duke Jordan, erstwhile favorite of Charlie Parker and several years away from his expatriation to Denmark, holds down the piano chair. Bassist Sam Jones and drummer Leroy Williams, both Xanadu regulars, fill out the rhythm section. McPherson leaps into an opening arrangement of Irving Berlin’s “They Say It’s Wonderful”, his tone airy, but focused. Jones’ amplification gives the bottom end a rubberized elasticity endemic to the custom of the era and while Williams is a bit recessed in the mix, the click of his high hat comes through as a counter of time. “But Beautiful” begins with a brief, but lush statement from Jordan on which McPherson launches another supple sortie through the theme. Jones and Williams are once again sources of spare, but steadfast support.

“Lover” and “Body and Soul” are both archetypal ballads. McPherson brings an abiding sensitivity of expression to each, but recasts the former as an up-tempo vessel for swing borne on the brisk pacing of Williams’ sticks and Jordan’s jaunty fills. After a fleet solo by the pianist the drummer engages in a tumbling press roll-driven break that primes the leader for a swaggering, soulful exit. A venerable staple for tenor saxophonists since its 1930 musical debut, the latter tune proves just as felicitous for interpretation by alto. McPherson’s ingress into the melody exudes ample and tender pathos. Framed by lush chords from Jordan and steady throb by Jones, the winding horn line blooms into his most poignant improvisation of the session. Rather than compete directly with the emotional import expressed prior, the pianist folds inward for a delicate discourse built from the fundamentals of the theme.

“This Can’t Be Love” flips the script by handing Jordan the lead after a canny opening sans his presence. Originally written by tunesmiths Rogers and Hart, the arrangement here would have likely turned their heads as Jordan’s falls away to a bop-tinged McPherson creation nearly on par with his sortie on “Body and Soul” in its merging of forward momentum and colorful tonal smears. Jones and Williams also get some action in a quick series of adroit exchanges near the end. The band closes the date with a lissome if comparatively straightforward reading of “It Had to Be You” bolstered by rhythm section breaks and a nine-minute excursion through “All God’s Children Got Rhythm” sans saxophonist is appended as bonus track. Still a standout in McPherson’s ample discography, Beautiful! makes good on the meaning behind the title. Sometimes the successful search for beauty is as simple as celebrating what one already knows.

Derek Taylor

[ricagudelo]

@SamJones @MumfordandSons @Dawestheband @MyMorningJacket #tboneburnett @ElvisCostello @RhiannonGiddens, etc did a phenomenal job producing the #newbasementtapes.  

If you're a musician or just a fan of music you need to watch this excellently made documentary.  Not only from just a cool check out the music.  But the way #SamJones captures the delicate insecurity that lives in every creative.  

From the elder statesman of Elvis Costello who has come to terms with and understands his limitations, the calm nurturing and guiding father figure of T-Bone Burnett, to young artist like Marcus and Rhiannon battling with the pressure, of if their good enough to be part of such a historic moment.  Pretty awesome statement from Marcus Mumford that I essentially live by, and I paraphrase "You always have to live a little on the edge of creativity or your work may be shit."

[nikolaicherny]

Morning jam