Abrams Lets The Audience Decide
“I never talk about the music before people hear it,” declared pianist/composer Muhal Richard Abrams in answer to a request for a phone interview. Abrams, who performs at the Contemporary Arts Center on December 4, nonetheless graciously chatted for a brief time and explained: “I just leave it for them [the audience] to hear.”
Abrams, who was born in Chicago in 1930 and now resides in New York, continues to be most associated as a founding member and first president of the hugely influential Association of Advancement of Creative Musicians (AACM) of which, some 40 years later, he remains a member. The pianist’s early career flourished as a sideman with such noted leaders as saxophonist Dexter Gordon and drummer Max Roach and in 1967 he began his long association with Delmark records, making his debut on the Chicago-based label. A listen to a sprinkling of Abrams’ output as leader through the decades displays his philosophical view of music without boundaries. In his two-cut release Young at Heart/Wise in Time, recorded for the label in 1969, Abrams reveals his elegance and a taste of his classical leanings followed by a furious selection teamed with the mighty alto of Henry Threadgill. In 1978 he’s heard with like-minded freewheelers including saxophonist Joseph Jarman playing hard on the Arista label’s Lifea Blinec. Abrams moves seamlessly between settings and styles. He’s a classical composer whose work has been performed by the renowned Kronos Quartet. He’s an avant-garde jazz musician whose most recent duo was alongside Roscoe Mitchell.
“I’m a musician across the board,” stated Abrams, who presents a multi-faceted program at the CAC. He’ll perform solo piano as well as duets with violinist Mark Feldman, who is currently a member of guitarist John Abercrombie’s Quartet and has worked with such outstanding leaders as saxophonist Pharoah Sanders and guitarist Bill Frisell (both of whom happened to have recently performed in New Orleans). Members of the Louisiana Philharmonic Orchestra will also join the pianist and violinist as well as performing one of Abrams’ compositions.
“I play improvised piano,” Abrams declared. “I function as a musician. You work all the time to keep pace with yourself in order to maintain a certain level of proficiency.”
Muhal Richard Abrams performs one show at the CAC on December 4 at 8 p.m. Tickets are $20 for general admission and $15 for students and CAC members.
JAMES BLACK—DRUM MONSTER
Every time Ellis Marsalis sits at the piano and plays “Magnolia Triangle,” the music of drummer James Black lives on. When students from the University of New Orleans jazz studies program delve into Black’s “Monkey Puzzle,” the drumming and composing genius is again realized. As Johnny Vidacovich applies his sticks to his drum kit, the lessons once learned from the late drum master ascend.
But who was James Black and why does he seemingly continue to dwell in our presence? The one-hour radio documentary, Guardian of the Groove: New Orleans Drummer and Composer James Black, which airs on WWOZ three times in December, helps answer those questions and tells of the drummer’s influence on the New Orleans music scene.
It’s doubtful that producer David Kunian, who also brought us fine and similarly constructed documentaries on artists such as Earl King and Guitar Slim, found it difficult to collect a host of those in the musical community to contribute their thoughts on the genius of Black. The highly respected drummer, who died in 1988 at the age of 48, didn’t tread lightly in this world, leaving big footprints as a musician, mentor and person. From childhood friends, schoolmates, bandmates, students, associates and friends we hear of his musical mastery and perfectionism, mercurial attitude, mischievous personality and mental brilliance as well his debilitating addiction to drugs. Black’s music provides the backdrop to the musical and personal remembrances from Marsalis, trumpeter Porgy Jones, bassist Reggie Workman, saxophonist Harold Battiste, producer Kalamu ya Salaam and many others.
“His songs were hard as hell to play,” declares saxophonist Branford Marsalis of Black’s compositions adding, “What do you mean hard to play? That’s like 210 pounds is hard to lift.”
“He taught me that the drum set was as big as an orchestra,” says Vidacovich who calls Black a “sorcerer of power and time.”
The producer turned to drummer Herlin Riley to explain the technical side of Black’s unique approach to the drums while saxophonist Charles Neville describes Black when they both served time in Angola for drugs.
There’s information to learn even for those privileged to have experienced Black’s brilliance. For instance, it was fascinating to hear theories behind the source of the name of the drummer’s composition, “Monkey Puzzle.”
The documentary, scheduled for airing on WWOZ on December 17, 19 and 23 (10:30 p.m., 4:30 p.m. and noon, respectively), will also be distributed to public, jazz and community radio stations across the country and find a home at Tulane’s Hogan Jazz Archives. The Ogden Museum of Southern Art will host a premiere listening party for the Guardian of the Groove on December 16 at 6 p.m. followed by pianist David Torkanowsky leading the James Black Tribute Band. Tork and company will also perform at a benefit at Lounge Lizards on December 19 at 9 p.m. Proceeds will go towards a headstone for Black’s place of internment at Resthaven Memorial Park on Old Gentilly Road. The Big Top hosts another listening evening on December 21 at 7 p.m.
SOME OF THE BEST
Live music abounded in 2004 with the arrival of Prince at Essence Festival taking center stage. In no particular order here’s my short list of some of the year’s most invigorating shows:
Snug Harbor: Randy Brecker with Ed Petersen group, Davell Crawford, Maurice Brown with Curtis Fuller, Aaron Neville with the Adonis Rose group, Sonny Fortune with David Torkanowsky group, Frank Morgan.
House of Blues: Fats Domino, the Neville Brothers, Willie Nelson, George Clinton, David Byrne.
Sweet Lorraine’s: Pharoah Sanders, Deacon John, Gato Barbieri.
Tipitina’s: Olu Dara, Ozomatli, ReBirth Brass Band.
Donna’s: Donna and Charlie’s tenth wedding anniversary/eleventh club anniversary party with the Tremé Brass Band, Shannon Powell.
Howlin’ Wolf: Bonerama and Ivan Neville’s Dumpsta Funk double bill.
TwiRoPa Mills: Fire into Music.
Contemporary Arts Center: Roy Haynes, Ahmad Jamal, Archie Shepp/Roswell Rudd.
