Tuesday, May 19, 2009
So in Love - Fred Hersch
Thanks to Tyshawn Sorey for posting this on the Facebook. I've treasured the CD version of this found on Songs Without Words for a long time. It's captivating to watch this live version.
Tyshawn also linked to an excellent interview with Fred done by Ted Panken that can be found here.
Wednesday, May 13, 2009
Infernal Machines on New Amsterdam Records
![](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYdk5tZbOoW9HGUCApqpcKWR8BqrNtecBwLWSx7iEAapeAqWLobi72lLL3XWZWGf8PJWgL7PfeWh3Kix_Dej1bXQs-JcWC0qdWTf-8ASphTcqdVH4DUMryhjp071F43u4cRMxlKEjZXww/s400/6a00d8341e689653ef01157080a3e2970b-800wi.jpg)
Out yesterday on New Amsterdam Records... I'm really thrilled to be a part of this record and it's been a thrill seeing it get so much well-deserved attention and doing a great CD release at Galapagos last week. Thanks to Suzi Beyerstein for sponsoring my participation on the record.
Check out the amazing press this record has been getting:
"[A] fresh jolt of discovery [...] a potent debut [...] the weight of its achievement feels properly definitive."
— Nate Chinen, New York Times
"For a wholly original take on big band's past, present and future, look to Darcy James Argue."
— Seth Colter Walls, Newsweek
"It's maximalist music of impressive complexity and immense entertainment value, in your face and then in your head."
— Richard Gehr, Village Voice
"[A] seven-track marvel of imagination."
— David Adler, Time Out New York
"Infernal Machines stands defiant, updating the big band tradition for the new millennium while presenting exciting possibilities for the future."
— Troy Collins, All About Jazz
"[A] wonderful combination of sounds, styles, moods and messages"
— Richard Kamins, Hartford Courant
"[T]his is a seriously great record, one of the finest examples of new jazz I’ve heard in the past decade, one of the finest big band records ever made, one of the finest jazz records I’ve truly ever heard."
— George Grella, The Big City
"Among the young turks, Darcy James Argue has the most heat."
— Trevor Hunter, NewMusicBox
"An exciting stylist with an abundance of ideas, Argue deserves his place alongside Schneider, Hollenbeck and other contemporary big band arrangers who are looking beyond traditional notions of what a large jazz orchestra should, and can, sound like."
— James Hale, Jazz Chronicles
Tuesday, May 5, 2009
Darn that Dream
Only Ahmad Jamal can make a ballad sound like it was made to swing. His influence as a pianist, arranger, and bandleader can't be underestimated.
This made my rainy day.
This made my rainy day.
giving them the fix
These excerpts are from an interview with Brooklyn writer (aren't they all?) John Wray on Gothamist, who just published a new book called Lowboy.
I wanted my third [novel] to be as different as possible from my second. Mainly because— not because of ambition— I just didn't like the idea of always writing the same novel. There are authors I love who always write the same novel, like Ernest Hemingway or Cormac McCarthy. I mean they might not feel that way, Hemingway might have been like, what are you talking about? But from an aesthetic point of view, he was writing the same book over and over. It would drive me insane. It would be like an obsessive person at an asylum darning the same sock.
There's a tradition in film, and there's this thing that's kind of a curse on fiction in the 20th century, I don't know who it was in what writer's workshop who first thought of this "finding your voice" notion. I think it's destructive. I mean I think it's fine for certain writers who are finding a voice they're interested in— but they're choosing a voice, a particular role to inhabit. People with the archetypal voice: Gertrude Stein or James Ellroy or Raymond Chandler. I mean you hear it and you immediately know it's them, it's consistent from book to book. They chose that voice. Kids in creative writing programs are told that there's a single, genuine voice inside them, only one, and that they have to find it. And I think you can really give a kid a complex with that. The truth is you are starting out your career and you have this whole spectrum. You can choose what you want and it'll be your book no matter what. And you can do that again with your next book or you can do something totally fucking different if you want.
I once interviewed Haruki Murakami, which ended up being a great interview, one of the best things I've been involved in. It was a long Paris Review interview, which meant we could spend a long time talking. I'm a huge fan, and the interview process revealed a lot about what goes on behind the screen, and demystified it. One of the interesting things Haruki said was that while he had been interviewing John Irving, of all people— it's like this endless chain of writers interviewing writers— Irving said to Haruki that when you have your readers you want to hook them on your writing. You want to hook your readers on it like a drug. And you want to get them hooked on that particular feeling like you're writing it for them and you want to come back for every one of your books, like a fix. And if anyone was interested in taking on the whole Irving oeuvre, they'd probably see that.... I think there's a certain understanding of supply and demand that pertains to the microcosm of the literary world. With movies, traditionally, a lot of people going to the movies don't know who the director is, which is probably freeing. Authors are innately identified with their books.
I wanted my third [novel] to be as different as possible from my second. Mainly because— not because of ambition— I just didn't like the idea of always writing the same novel. There are authors I love who always write the same novel, like Ernest Hemingway or Cormac McCarthy. I mean they might not feel that way, Hemingway might have been like, what are you talking about? But from an aesthetic point of view, he was writing the same book over and over. It would drive me insane. It would be like an obsessive person at an asylum darning the same sock.
There's a tradition in film, and there's this thing that's kind of a curse on fiction in the 20th century, I don't know who it was in what writer's workshop who first thought of this "finding your voice" notion. I think it's destructive. I mean I think it's fine for certain writers who are finding a voice they're interested in— but they're choosing a voice, a particular role to inhabit. People with the archetypal voice: Gertrude Stein or James Ellroy or Raymond Chandler. I mean you hear it and you immediately know it's them, it's consistent from book to book. They chose that voice. Kids in creative writing programs are told that there's a single, genuine voice inside them, only one, and that they have to find it. And I think you can really give a kid a complex with that. The truth is you are starting out your career and you have this whole spectrum. You can choose what you want and it'll be your book no matter what. And you can do that again with your next book or you can do something totally fucking different if you want.
I once interviewed Haruki Murakami, which ended up being a great interview, one of the best things I've been involved in. It was a long Paris Review interview, which meant we could spend a long time talking. I'm a huge fan, and the interview process revealed a lot about what goes on behind the screen, and demystified it. One of the interesting things Haruki said was that while he had been interviewing John Irving, of all people— it's like this endless chain of writers interviewing writers— Irving said to Haruki that when you have your readers you want to hook them on your writing. You want to hook your readers on it like a drug. And you want to get them hooked on that particular feeling like you're writing it for them and you want to come back for every one of your books, like a fix. And if anyone was interested in taking on the whole Irving oeuvre, they'd probably see that.... I think there's a certain understanding of supply and demand that pertains to the microcosm of the literary world. With movies, traditionally, a lot of people going to the movies don't know who the director is, which is probably freeing. Authors are innately identified with their books.
Saturday, May 2, 2009
Loser's Music
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