February 27th, 2014
One of our top signings of 2013, the husband-and-wife duo Arborea, continue to tour their butts off. Their 2013 album Fortress of the Sun was a favorite outside the ESP-Disk’ office as well. It was named one of AllMusic.com’s ‘Favorite Folk Albums of 2013′ and ‘Favorite Singer/Songwriter Albums of 2013′, Acoustic Guitar Magazine‘s ‘Best Acoustic Albums of 2013′, textura’s ‘Top Ten Albums of 2013′, and placed in the Best Of Echoes 2013 Listener Poll. Mojo Magazine said of the album, “Buck and Shanti Curran’s fifth LP of spellbinding psych folk feels both stronger and frailer than 2011′s Red Planet, the golden production highlighting the fever-storms and dark sadness in these deep, powerful songs.”
Here is Arborea’s March tour schedule:
1 Schlow Library in State College, PA (w/Daniel Bachman & Alexander Turnquist)
2 Rigby Mansion in Philadelphia, PA (w/Gardner Sheppard duo & Jesse Sparhawk)
3 Hippo Records in Greensboro, NC
4 Nightlight in Chapel Hill, NC (w/Jesse Wooten and Skylar Gudasz)
5 Mothlight in Asheville, NC (w/Halli and Ryan of River Whyless)
7 The Well Coffeehouse in Nashville, TN (w/The Rushings)
9 Standpipe Cafe in Lufkin, TX
10 Mezamiz Coffee House in Abilene, TX (w/Hopeful Heroines)
13 Charm School Vintage at SXSW in Austin, TX (w/New Bums, Wrekmeister Harmonies, Jerry DeCicca, Jess Williamson)
14 St David’s Bethell Hall Official SXSW Showcase in Austin, TX
18 Fifth Dimension in Baltimore, MD (w/Marian McLaughlin & Early Universe)
19 The Dunes in Washington D.C. (w/Marian McLaughlin & Janel and Anthony)
21 Joe’s Pub in New York City (with Cassandra Jenkins & Anders Griffen)
22 AcousticMusic.Org Presents in Guilford, CT
28 One Longfellow Square in Portland, ME (w/Christopher Paul Stelling)
January 10th, 2014
The famous writer and activist Amiri Baraka died today from complications following a recent surgery. He was 79 years old and had been suffering from diabetes and related ailments.
When he was still known as LeRoi Jones, he appeared on one of the first ESP-Disk’ releases, reading his controversial poem “Black Dada Nihilismus” with the New York Art Quartet (ESP1004). (For more background on this poem and Baraka’s work with NYAQ, read this page).
Nor did Baraka mellow over the years; controversy erupted around him again when, while he was the Poet Laureate of New Jersey, he read his poem “Somebody Blew Up America” in the wake of 9/11. New Jersey’s response was to eliminate the office and title of Poet Laureate. Nobody was ever able to silence Mr. Baraka, though. He was an American hero, and he will be sorely missed.
For more about Mr. Baraka, you can read The Los Angeles Times‘ obituary.
January 9th, 2014
ESP-Disk’ 50th Anniversary Tees now on Sale for the rest of January!
Most anniversary years last, well, one year. But ESP-Disk’ doesn’t believe in doing things like everyone else does them. OUR anniversary lasts THREE years. Our first record, the Esperanto one that gave the label its name, came out in 1963. We just finished celebrating that year. Our first JAZZ recordings were done in 1964. That’s what we’re celebrating this year. And our first jazz LPs were issued in 1965. See? Three-year anniversary. So you’ll need one of these nifty T-shirts for awhile. That’s right, I said NEED.
December 19th, 2013
NPR likes us, they really like us!
In their Annual Jazz Critics Poll, ESP-Disk’ did very well in the Reissues category, and also managed to show up in the top half of the 491 new releases that received votes. Considering we only had four new releases this year — our wonderful Oscar Brown Jr. & Maggie Brown concert album, our Fire Music compilation drawn from previous releases (the sort of thing that rarely gets critics’ votes), Arborea (not jazz), and Tiger Hatchery (newcomers, and also released too late in the year to make much impact in polls), we are thrilled by this line:
199. (tie) Oscar Brown Jr. & Maggie Brown, We’re Live 9 points (2 voters)
Voting for the album were Jason Weiss (Improjazz) and Scott Yanow (The Jazz Singers, Jazz on Record 1917-76).
Of course, given our emphasis this year on getting items from our classic catalog back in print, we did even better in Reissues:
15. Ran Blake, Plays Solo Piano 11 (6)
16. Paul Bley, Closer 10 (6)
38. (tie) Byron Allen Trio, s/t 3 (2)
Albert Ayler, Live on the Riviera 3 (2)
54. Giuseppi Logan, More 2 (2)
73. (tie) Patty Waters, College Tour 1 (1)
Thanks to these critics for supporting us!
Larry Birnbaum (Stereophile): Giuseppi Logan, More
Troy Collins (All About Jazz, Point of Departure): Byron Allen Trio, s/t
Mark Corroto (All About Jazz): Paul Bley, Closer ; Albert Ayler, Live on the Riviera
Laurence Donohue-Greene (The New York City Jazz Record): Ran Blake, Plays Solo Piano
James Hale (DownBeat): Paul Bley, Closer
Peter Hum (The Ottawa Citizen, jazzblog.ca): Paul Bley, Closer
Art Lange (Point of Departure, Fanfare): Ran Blake, Plays Solo Piano
Howard Mandel (Jazz Journalists Association, Jazz Beyond Jazz): Paul Bley, Closer
Ken Micallef (DownBeat, eMusic.com): Ran Blake, Plays Solo Piano; Giuseppi Logan, More
Chris Monsen (Klassekampen, Perfect Sounds): Ran Blake, Plays Solo Piano
Michael G. Nastos (Cadence, Hot House): Ran Blake, Plays Solo Piano
Mike Shanley (JazzTimes, shanleyonmusic): Byron Allen Trio, s/t
W. Royal Stokes (wroyalstokes.com, JJA News): Paul Bley, Closer
Ken Waxman (The New York City Jazz Record, Jazz Word): Paul Bley, Closer
Bob Weinberg (Jazziz, Jazz & Blues Florida): Albert Ayler, Live on the Riviera
Jason Weiss (Improjazz): Ran Blake, Plays Solo Piano
Josef Woodard (DownBeat, JazzTimes, Jazziz, Los Angeles Times): Patty Waters, College Tour
November 5th, 2013
Here’s the schedule for our big show on Sunday, November 17 at JACK:
3:00 PM doors open
3:30 PM Tiger Hatchery, ESP’s newest signing
4:15 PM Alan Sondheim reunion with Rafi Zabor
5:00 PM Giuseppi Logan Quartet
5:30 PM Michael D. Anderson (ex-Sun Ra Arkestra)
6:10 PM Elliott Levin (New Ghost)
7:00 PM Kali. Z. Fasteau (ex-Sea Ensemble)
7:45 PM Bruce Eisenbeil with Nels Cline
8:30 PM jam session
(I know the flyer says this goes until 9 PM, but really it’s 10 PM!)
Admission is just $10! ESP’s percentage of the door will ALL be donated to the Sun Ra Music Archives.
You can buy tickets here:
These tickets will be “Will Call” at the venue that day, so there is no shipping charge.
JACK is located at 505-1/2 Waverly Ave, Brooklyn NY 11238 between Fulton St. and Atlantic Ave. in Clinton Hill, Brooklyn. It is easily accessible by taking the C train to the Clinton-Washington stop, one block away from JACK, or the G train to Clinton-Washington, a few blocks away. There is also free street parking available on Waverly Ave.
November 4th, 2013
Brooklyn drummer Kid Millions is well known as the drummer of indie-rock faves Oneida (so famous that The Onion has referenced them, and if that’s not fame I don’t know what is) and Man Forever. Here are his thoughts on one of his ESP faves.
“After reading Always in Trouble – An Oral History of ESP-Disk, you might be excused your trepidation when approaching the amazing recorded legacy of ESP. It seems like there’s a good faith effort now to address payment of royalties and other institutional shortcomings of an organization that despite its administrative problems, always attempted to document the furry fringes of popular music.
“I’ve got a lot of love for the ESP aesthetic, on all fronts — music most of all, but certainly for the album art. One of the many highlights of inspired marriages of jacket art and recording is Sonny Simmons’s incredible debut Staying on the Watch, introduced to me very recently by the gentlemen on Just Music, East Village Radio’s flagship experimental music program. I was stunned by the articulate, aggressive performances by all the musicians on the record especially by the “McCoy Tyner-unhinged” style of pianist John Hicks and the propulsive, devastating pointillist swing of drummer Marvin Pattillo…the captured performances have a hand in post-bop tradition but veer wildly from these moorings with a remarkable and exciting fluency. The tunes are great, the playing is always surprising, and the improvisations are satisfying to the extreme. Sometimes jazz and improvisation records give you the sense that “you had to be there.” Staying on the Watch feels so immediate and timeless that you are there and compelled to return again and again. And to address the amazing starkness of the cover photo of Simmons standing on a rock in Central Park, towering over the buildings in the background, his horn poised as if to bring more life to the fields of the park: You get the sense of a creative force so in tune, representing and transcending a certain environment — it actually enhances the extraordinary contents of the recording. It’s an incredible document and a testament to the artistic vision of ESP.”
November 2nd, 2013
Ran Blake Plays Solo Piano, Blake’s solo debut, has barely been heard since its appearance in ESP-Disk’s first batch of LP releases in 1965. The reissue programs in Europe on ZYX and Calibre did not include it; there was only one very poorly distributed bootleg Italian CD issue in the mid-’90s. Fans and aficionados, including members of the jazz press, have clamored for it to be included in our 50th Anniversary Remaster program, citing its musical and historical importance, so here it is! The slight distortion on a few high notes is a small price to pay to hear this jazz master at the beginning of his illustrious career.
Born in 1935, Blake developed a style of jazz playing unlike anyone else’s by incorporating classical elements (the Impressionists, of course, but Stravinsky, Prokofiev, and Messiaen have also been cited), gospel music (which he experienced first-hand in a Pentecostal church while growing up in Connecticut), Thelonious Monk’s highly personal style (back when Monk was still considered a good composer but an overly eccentric pianist), and an abiding love of film noir that influenced the mood of his playing as much as his purely musical influences. Recording opportunities were sparse at first; by age 40 he had released only three albums: his 1962 debut with vocalist Jeanne Lee, The Newest Sound Around (RCA), Plays Solo Piano, and another solo album, The Blue Potato and Other Outrages (Milestone, 1969, long out of print). Since then, fortunately, he has received many more opportunities to get his music heard and has established himself as one of the reigning American masters of jazz.
We have already had one spectacularly enthusiastic review come in, by Ken Micallef on eMusic.com
A singular talent’s beautiful mind at work
Jazz is often considered the art form of the individual voice — years of study leading to singular improvisations — but it’s usually not the case. You can usually quantify personal style as a number of components adding up to a whole: “Piano player X recalls the darker hues of Bill Evans yet intimates Tristano’s complex maneuvers, all fortuitously merging…” You’ve read it all before. But there’s nothing quite comparable to the work of pianist Ran Blake. He’s a singular talent. His 1965 ESP-Disk solo debut still wows not only as a jazz recording, but as a statement of artistic conviction, beauty, and talent. Blake’s influences only appear as fragments (Monk) or stylistic devices (stride); it’s his beautiful mind at work on Ran Blake Plays Solo Piano.
Whether it’s an innovative “Green Dolphin Street,” the ominous, explosive original “Birmingham, U.S.A.” or the happy dance of “Sister Tee,” Solo Piano is more an expression of that mind than the assembled songs Blake performs. This latest ESP-Disk reissue follows a series of remastered releases from the ’60s New York label, whose catalog — including Giuseppe Logan’s More, Don Cherry and Albert Ayler’s New York Eye & Ear Control, and Paul Bley’s Barrage— is the stuff of free-jazz legend. That Blake recorded his intimate solo set amid ESP-Disk’s turbulent fare is all the more remarkable.
Using a song’s melody as a jumping off point, Blake recomposes (a word often used when describing his approach) the material through wild dynamic shifts, jarring chords, abrupt rests and disruptive rhythms that in lesser hands would simply sound childish or worse, egomaniacal. But Solo Piano reveals fresh details and novel wrinkles with repeated listens. His renditions of Ornette Coleman’s “Lonely Woman” and Billie Holiday’s trademark “Good Morning Heartache” acquire new personalities and give up new ghosts, creating fresh emotional responses to veritable jazz standards. When Blake wanders into 1925 smash hit “Sleepy Time Gal,” he establishes a brief stride cadence, but his stride is less a lark than a nightmare. The song quickly goes akimbo, like Monk falling down an airshaft, before turning twilight and lonely, as if Sinatra is about to sing “One for My Baby…” Ran Blake Plays Solo Piano is like that, a hundred thoughts turning into one sublime sound.
October 30th, 2013
Our friends at Tiny Mix Tapes just premiered a track from the album that’s going to blow your mind next month: Tiger Hatchery’s Sun Worship. Listen here:
October 29th, 2013
Nov. 12 Chicago, IL at The Burlington
Nov. 13 Cleveland, OH at The Happy Dog
Nov. 14 Washington DC at Union Arts
Nov. 15 Philadelphia at Millcreek Tavern
Nov. 16 Baltimore, MD at Coward Shoe
Nov. 17 Brooklyn, NY at JACK – ESP 50th Anniversary concert!
Nov. 18 Boston, MA at Charlie’s Kitchen
Nov. 19 New Haven, CT at Lip Gloss Crisis
Nov. 20 Buffalo, NY at The Facility
Nov. 21 Oberlin/Columbus, OH at Ace of Cups
October 22nd, 2013
Ronald Shannon Jackson died of leukemia on Saturday morning, October 19, in his hometown of Fort Worth, TX. He was 73 years old. The only drummer to record with Albert Ayler, Cecil Taylor, and Ornette Coleman, Jackson was a polyrhythmatist of power and imagination who was also technically excellent to the extent that he could do a sort of one-handed role, albeit briefly. Perhaps more important than his drumming, as dazzling as it could be, was his composing. He developed Coleman’s harmolodic music into his own highly personal style with his group the Decoding Society — and, after nerve damage interrupted his drumming career, composed more classically oriented music, including string quartets. When he was able to make a comeback, it was unfortunately also interrupted, by a heart attack while on tour in 2012.
After an upbringing in a musical family (his father owned a record store and his mother was a church organist) and the sort of solid public school grounding in music’s rudiments that used to be common but seems endangered nowadays, Jackson played with such esteemed Texas locals as James Clay. Moving to New York in the mid-’60s, he became part of the free jazz scene, recording for ESP-Disk’ with Albert Ayler (Live at Slug’s, ESP4025), Charles Tyler (Charles Tyler Ensemble, ESP1029), and Marion Brown (the one track by Brown’s trio that’s on The East Village Other, ESP1034) even as he was also working with more mainstream musicians, including Betty Carter and Charles Mingus. In the following decade he moved more devotedly into the free scene; this was when he worked with Taylor and Coleman.
In the 1980s Jackson began recording as a leader, racking up an impressive discography while also frequently working in collaborative ensembles with the cream of the NYC scene. You can stack his ’80s output up against anyone’s in terms of in both quality and quantity. After returning to Texas in the 1990s, Jackson’s recorded output became less prolific.
Compositionally, Jackson (who also sang and played flute and shalmei) combined the collective voicing/improvisation principles of harmolodics with his complex polyrhythms, a knowledge of African music gained in travel there, and (though somewhat submerged) a feeling for the blues inherent in his Texas upbringing. He preferred higher-pitched instruments, saying that’s where he naturally heard musical lines, which explains his flute playing, his distinctive use of guitars (in particular, his Red Warrior album has three guitars and no horns), and his preference for alto and soprano saxophonists. His music is full of interlocking lines and rhythms and deserves wider dissemination, though its complexity may work against its casual use by other musicians. Jackson’s role as mentor to a generation of young New York musicians should also be noted, with a number of Decoding Society members (Vernon Reid of Living Colour and Melvin Gibbs of Rollins Band, to name just two) as having shaped their outlooks crediting him musically, philosophically, and in terms of business sense.
A more personal note from Steve, who wrote all the above: In 1990, starting out in music journalism, I had the privilege of interviewing Mr. Jackson for a small music magazine. I was armed with a moderate knowledge of his music (I owned all of his LPs as a leader that had been released by then) and practically no experience doing interviews – it was the first one I’d ever done in person. I was invited to his practice studio, where he generously shared his knowledge and his time with me. He was a true gentleman and one of the most astute musical minds it has been my privilege to speak with. And a pretty fair businessman for a musician: he told me that whenever he went in the studio, he made an album for the label and another album for himself that he could sell at a later date. This goes some way toward explaining the veritable flood of RSJ material dating from the 1980s: counting collaborative groups, at least 28 from just that decade! My favorites are Man Dance and Barbecue Dog, both with his band The Decoding Society and both on Antilles.