“Infernal Machines (New Amsterdam Records, 2009), the debut CD from composer Darcy James Argue’s Secret Society, is one of the most talked-about records of the year. In this interview, Argue reveals why he chose to write modern music using a big band as his musical vehicle; how he turned a simple blog into a social media juggernaut; and why the last thing he wants to be is nostalgic about music.”
We’re incredibly pleased to report that The Jazz Session‘s Jason Crane has chosen three of our clients’ releases for his Top 10 list for 2009.
The popular interviewer/podcast host, and columnist for PopDose.com, selected the Fay Victor Ensemble’s The FreeSong Suite (Greene Avenue Music) as his top pick for the year, followed by the Darius Jones Trio’s Man’ish Boy (AUM Fidelity) and The Fully Celebrated’s Drunk on the Blood of the Holy Ones (AUM Fidelity) at numbers 3 and 4, respectively.
Crane, who published his list in the format of his ballot for the Village Voice‘s Jazz Critics Poll, also chose Ms. Victor’s record as Best Vocal Album and Jones’ record as Best Debut CD.
Described by Jones as “a sonic tone poem about me and my life growing up in the South,” the record draws on such early influences as his Jamaican father’s love of reggae, the revelatory vocal music of the church and countless hours of listening to everything from classical to rock on the radio.
Heralded as “a new voice poised to receive widespread acclaim” (Troy Collins, AllAboutJazz.com), Jones brings this diverse and passionate music to life with his mentors, the eminent master musicians Cooper-Moore (piano and diddley-bo) and Rakalam Bob Moses (drums).
“On Man’ish Boy,” writes PointofDeparture.org’s Ed Hazell, “alto saxophonist Darius Jones delivers one of the most impressive debuts in recent memory, displaying a remarkably well-developed concept and individual sound. Jones has a big, fleshy, lived-in tone, with a vibrato that owes as much to Johnny Hodges as it does to Albert Ayler. It’s defiant, vulnerable, proud, and weary; there is laughter and sobbing in it.”
Jason Crane, host of The Jazz Session and columnist at PopDose.com, adds, “For his debut statement, 31-year-old Jones wanted to tell his story. To talk about what it means to be poor and black and struggling and intelligent in this day and age. Jones has fit all that and more into an incredible recording that will make you sing, make you weep and make you marvel.”
It’s Joe Morris‘ world and we’re just working in it. Or at least that’s what you might think given the guitarist/bassist’s prolific output these days, which includes appearances on nearly two dozen recordings since the beginning of 2008.
We’re pleased to say that his recent efforts as a leader-co-leader, not to mention his sideman work on David S. Ware’s latest recording, Shakti, for AUM Fidelity have been among his most well-received of the bunch.
Three new interviews with Morris were posted this week exploring his career, and the latest Joe Morris Quartet recording, Today On Earth, from different angles. Please check them out at le son du grisli, The Jazz Session and Spinner.com
This week, vocalist/composer Fay Victor, guitarist/composer Joe Morris and alto saxophonist Darius Jones will each be the focus of their own episodes of the popular interview podcast The Jazz Session hosted by Jason Crane.
They’ll each be talking about their newest recordings—Ms. Victor’s The FreeSong Suite (Greene Avenue Music), Mr. Morris’ Today On Earth (AUM Fidelity) and Mr. Jones’ Man’ish Boy (AUM Fidelity)—as well as other aspects of their music and careers.
We’re pleased to report this series of free downloads, which will be posted today, Wednesday and Friday respectively, has been informally dubbed “Improvised Communications Week” by the host.
A second CD release show will follow at The Rotunda in Philadelphia on Sunday.
Critical praise for the disc, and Ms. Victor’s innovative approach to creative improvised music, continues to roll in.
“Fay Victor’s second recording of original material, The FreeSong Suite, peers into the NYC-based vocalist’s challenging and rewarding world of captivating vocal work and stirring spontaneity,” explains PopMatters.com’s Andrew Zender, “further augmenting [her] status as a musician and composer who is rewriting the rules of vocal jazz.”
“Each piece on The FreeSong Suite gradually unfolds, emerging from a tapestry of improvisation to reveal precisely executed transitions, grooves and ensemble passages,” writes AllAboutJazz-New York‘s Wilbur MacKenzie. “Victor scats, vocalizes, chips, mumbles and sings bluesy chromatics or angular displays of dexterity, delivering the unexpected with beauty, depth and innovation.”
The Jazz Session‘s Jason Crane adds, “Vocalist Fay Victor will amaze you. Her voice is strong and expressive, and her musical conception is unlike anything I’ve heard recently. Or maybe ever. From free improv to the blues to alt-rock and back again, The FreeSong Suite is easily one of my top 10 records of 2009.”
Learn more at http://fayvictor.wordpress.com