I like how this week's show turned out. The hype was about that evening's Robert Glasper Experiment show on campus, though his Everything's Beautiful is a total vibe. The newness of this whole hour is the vibe.
The Line-Up for 20 May 2016
Follow guitarist Horace Bray on Instagram and one often sees little sketches of ideas. Follow him for a while and one can see these little sketches come together. Bray is a technician, a recent graduate from the University of North Texas music school, and saying such thing about music school grads is pretty common these days in the jazz era. However, Bray has constantly managed to steadily grow his chops, gig about, and maintain a sense of soul in his accompaniment and particularly in his compositions. Dreamstate, Bray's long time coming debut album, best encapsulates this.
Brian Eno's 1978 album Ambient 1: Music for Airports is Capital "I" Important. It's a landmark album for what was at the time a fledgling genre, ambient. It's an album open to contemplation. It settles on the ear and has done so for almost forty years, so it's understandable that it's an album apt for reinterpretation by a certain brand of musical weirdo. Chris Schlarb is that weirdo.
Okay, let's just be real. I have to ask. Is Bobby Avey tone-deaf? Is the young pianist, praised in certain jazz circles as an innovator and a sharp voice, just so brilliant that he doesn't actually hear melody? Does he know what it is? Does he care? Over his body of work, I have asked this question time and again why Avey constantly makes what I consider unlikeable music. We know unlikeable music. Those tonally off, minor all around, completely unnatural sounding hodgepodge of notes that just must be too smart for the rest of us. I have quite a few snobbish tendencies, no doubt. Bobby Avey still makes unlikeable music. However, perhaps he does care, to a degree, what a melody sounds like, maybe in a mathematical sense, throughout his latest album, Inhuman Wilderness, out June 24 on Innervoice Jazz.