the bad plus talk equals good

it has to be good whenever anyone talks about jazz these days. especially, when people are talking about jazz artists that are making a name for themselves in a post-fusion world. one of the bands that seems to garner a lion's share of the conversation is the bad plus, an unconventional piano trio who has been making waves ever since their first major label record "these are the vistas" (2003 - columbia records). the very element of their music that makes them so compelling, is the same element that makes them a lightening rod for controversy.

the bad plus in many ways are a rock band. that is not to say that they are not a jazz combo, because they are, with shades of coltrane and ornette, but it is to say that they are as much a rock band as they are a jazz band. but here's the catch: they are not a rock influenced jazz band, they are an indie-rock influenced jazz band. their last three records were all produced by tchad blake (notable producer of tom waits, elvis costello, los lobos, and the pearl jam among others). blake has pulled out the most essential, punk rock aesthetic from the bad plus' instrumentation, leading what may be one of the most giant leaps in jazz-kind since "bitches brew."

a lot of what is said about the bad plus is confirmation of their talent, their direction, and their importance. but it is almost impossible to speak of them without mentioning the jazz purists who feel that their sound is "unnatural" or somehow "not valid" as "true jazz." i would contend that those of said opinion, are simply not relevant. if somebody is not able to recognize a paradigm shift in music as it is happening, they relegate themselves to the role of historians, confined to see the world through the restrictions of their own generational lens.

the bad plus, reid anderson on bass, ethan iverson on piano, and david king on drums, may not be relevant to those who are still trying to come to grips with coltrane, ornette, and miles, but i am certain that they will still be relevant when my children choose to explore jazz music. keep it up. keep talking. keep mentioning jazz.

the bad plus website

the sony bravia ad (bouncy balls)

it is hard not to be thankful for artists.
directed by nicolai fuglsig
music is "heartbeats" by jose gonzalez from his record "veneer"

kelly joe phelps concert - 4/24/06

in case you haven't heard by now, kelly joe phelps is good. he's real good. it's a shame that more people don't know about this relevant but somehow not traditional blues artist. musicians know about phelps. steve earle certainly knows about him. bill frisell and tim o'brien know about him too. and monday night, a roomful (75) of kansas city musicians either knew about him, or were introduced to him at a 90 minute, 12 song, acoustic performance in the "parlor" of a local music store (mountain music shoppe).

phelps, accompanied by his guitar, a faulty capo, an electric tuner, and his unceasing percussion section (his left foot), played a selection of his own material, and a couple of his blues-folk-jazz-classical-singer/songwriter-country takes on some covers. maybe it is hard for him to gain a wider audience because he does not fit neatly into a category. his songs develop rich characters like those in a traditional singer/songwriter sense, they have angles similar to those found in folk music, they experiment with traditional blues themes and structures, and explore undeveloped scales like some of the greater jazz guitarists. somehow, his style maintains it's focus and allows the listener to just appreciate his eclectic voice without being overwhelmed by his influences. his voice is quiet yet forceful, and effortlessly slides the scales as fluidly as his fingers glide on the fret.

monday night, towards the end of his set, he was having an equipment malfunction with his capo. after toiling for a moment or two, one of the guys in the front row pulled a capo out of his pocket and handed it to him. phelps was grateful and used the borrowed tool. he tuned up his guitar, and then stopped. "i guess i'm a little surprised that you just had this with you," he said. hey kelly, don't be surprised. that's the kind of audience you should expect.

kelly joe phelps website

mountain music shoppe link

regarding the drive-by truckers

it has been said, that only a southerner can truly appreciate the transcendent power of redemption. within the bounds of american culture, it is the south that bears the burden of having been on the wrong side of the slavery issue. within the bounds of american history, it is the south that bears the burden of having drug it's collective feet into a racially tolerant society. and within the bounds of american mythology, it is the south that bears the burden of living with the dark secrets and social ills it's culture and past has brought upon it. there is a humility inherent in any southerners sense of pride. a deep seeded recognition that if you peel back the layers to the ego and bravado of a proud southerner, you will find contrition and regret. the drive-by truckers, a power packing, ax slinging, whiskey drinking band from alabama, might argue that all of that is bull shit.

the dbts sing a lot about sin. they sing a lot about murder, racism, bigotry, homophobia, hard times, desperation, and sex, and drugs, and rock and roll, and i mean to say they sing a lot about rock and roll. they also sing a lot about the tension created between owning up to the past, and distancing themselves from the wrongs committed. take for instance the first verse of their blazing song "ronnie and neil" off their record "southern rock opera."

church blew up in birmingham / four little black girls killed for no goddamn good reason / all this hate and violence can't come to no good end / a stain on the good name. / a whole lot of good people dragged threw the blood and glass / blood stains on their good names and all of us take the blame

paterson hood, one of three frontmen and songwriters for the dbts, penned those lyrics which offer a counterpoint. there is an acknowledgement of the crimes of the past, and an understanding that no matter what, the south will have to live with the consequences of a few bastards, but they also give a voice to the southerner who hates what has happened, and will transcend the past. the dbts are able to take the slogan, "the south will rise again," and turn it from a threat, into a hope.



the dbts concede that there is an element in the south that continues to stain the good name. jason isbell creates a character in the song "never gonna change" off the record "the dirty south" who embodies the evil they hope to expose.

you can throw me in the colbert county jailhouse / you can throw me off the wilson dam / but there ain't much difference in the man i wanna be and the man i really am / we ain't never gonna change

mike cooley, in "sounds better in the song" off the record "decoration day" offers this reality:

well the drifter, he holds on to his youth just like it was money in the bank / and "lord knows, i can't change" sounds better in the song / than it does with hell to pay

the truth the dbts expose transcend the south. we all live with a universal shame. years ago, robert pinsky (at the time, the u.s. poet laureate) said at a reading, "we are all descendents of royalty, and we are all descendents of rape." it's not simply the south's responsibility to own up, and it's not simply the south's burden to distance themselves from the unexamined. but then again, the understanding of true redemption is not simply the south's to know.

the dbts website

junebug - directed by phil morrison

junebug (2005) - directed by phil morrison
this is a tight, subtle, story about a family reunion of sorts, between the simple folks back home and the worldly brother with his new wife. the characters in this story walk the fine line between stereotypes and paradox. it is refreshing to see simple characters developed without relegating them to simpletons. this is a beautifully shot movie as well. the film is filled with empty frames and quiet moments. very reminiscent of jim jarmusch. some real nice turns in front of the camera too. amy adams as the pregnant, small town sister, is a show stealer, allesandro nivola is very promising as the prodigal (of sorts) brother/son, and bonnie "prince" billy fans can look for a will oldham cameo.

junebug imdb listing

sun kil moon - "ghosts of the great highway"

sun kil moon - "ghosts of the great highway" (2003) jetset records
mark kozelek of red house painters, fronts this record, which is haunting. everything from the name of the band, the name of the record, the album art, and the music, conjure up ethereal images and characters as disperate as glenn tipton (guitar player for judas priest) and salvador sanchez (a boxer who died an early death). the instrumentation is unique. the band uses two drummers, a bass player, and kozelek on vocals and guitars. it's a driving and passive record all at the same time. listen to the song "salvador sanchez' - a crazy horse like effort, and then listen to the acoustic version at the end of the record, "pancho villa." ugly beauty.

sun kil moon website

photograph - grill

taken in oklahoma in april of '06