Jazz, jazz, jazz, jazz, jazz, jazz, jazz, jazz

Sunny Murray/Albert Ayler

Jazz music's been coming to me from many angles. From the "No Wave" facebook group, spending time with my best friend—and jazz aficionado—in Holland, to my own not too shabby jazz collection on vinyl. I became acquainted with a host of musicians from the past I had never listened to before and I re-listened to lot a familiar ones as well. All of the numerous jazz tunes in the Top 100 2022 are free jazz (or New wave in jazz, avant-garde, fusion, etc.) The double portrait format, moreover, results in many portraits of jazz musicians I never painted before. Sunny Murray, drummer with Albert Ayler is one of those musicians. Albert Ayler, and the song Ghosts, had been listed multiple times in the past, but never did I paint Sunny Murray, or bass player Gary Peacock before. Ghosts was recorded a week before I was born in New York City. It comes from the LP Spiritual Unity on the ESP (Esperanto) label. I bought the LP The ESP Sampler earlier this year that includes abridged versions of numerous outstanding jazz recordings, introducing me to a whole new clique of jazz men (they're all men, all 50 of them,save for Patty Waters.) Spiritual Unity is one of a handful of discs I already had in my collection from ESP (I own Spiritual Unity on CD rather than on vinyl.) 

Cecil Taylor/Jimmy Lyons

The Cecil Taylor track in the list is called Mirror and Water Gazing from the LP For Olim. [Soul Note 1987] The LP, that I've had for a long time but never featured in the Top 100, is a solo piano concert recorded 1986 in Berlin. The recording took place while Jimmy Lyons, his long-term collaborator, was on his dying bed due to cancer. The LP is dedicated to the "living spirit of Jimmy Lyons."

Miles Davis/Teo Macero

The remaining two new jazz paintings concern tracks that were also listed in 2021. Rated X by Miles Davis and Anthropology by Jon Ibragon are again both high in the Top 100. Last year I paired the Miles Davis portrait with that of the percussionist James Mtume. Mtume passed away in January this year. Teo Macero is a componist and sax player but is best known for his production work at Columbia Records. He worked extensively with Miles Davis and contributed greatly to the groundbreaking early 1970s records such as Bitches Brew and On the Corner. Rated X comes from Get Up With It that contains unreleased recordings from both Bitches Brew and On the Corner.

Jon Ibragon/Charlie Parker

Like last year I coupled Jon Ibragon with Charlie Parker as the LP Bird With Streams [Irabbagast, 2021] contains solo improvisations by the saxophonist Jon Ibragon on themes by Charlie Parker. Click here to read more on last year's painting. The Charlie Parker portrait comes from the LP The Happy "Bird" [1951, Charlie Parker Records] one of a handful LP's I have of his and that I all played while in my studio painting the portraits. Charlie Parker almost single-handedly started modern jazz in the 1940s.

The Top 100 2022

100 Faces from the Top 100 2022, oil on canvas, 24x36" 

The above painting is still in progress. The process of it is establishing the concept for the series of a 100 paintings for the Top 100 2022. The series, like last year, will be double portraits, but the focus will not be on difference but on equality, or similarity, or familiarity. Different too will be that the 100 paintings will not follow the list by the letter. While the list is a ranking of 100 songs, the paintings will not be depending on the rankings. This will give me greater flexibility in my choices of who to paint. The one aspect of following the list I grew tired of last year was that I had to paint certain individuals over and over again. Last year I painted six portraits of Hugo Zemp for example. Even though there are already several duplicate performers in this year's list (that is not even half way compiled), the above painting has no duplicates, yet every song is represented and there are already more than 60 people portrayed (out of a list of 40 songs). The following 10 details are likely to be repeated in the series that will become The Top 100 2022.

Austin Grasmere and Brian Elliot of Cromagnon

The two members of Cromagnon were painted side by side. The song Caledonia is nothing short of spectacular. Experimental garage rock featuring a bagpipe. It has it all. I had never heard of the band but was introduced to them via the No Wave Facebook group. Their record Orgasm (later reissued as Cave Rock) was produced for the New York based ESP records. The 'E' in ESP stands for 'Esperanto'. The label was founded with the intention of releasing recording with lyrics in Esperanto.

Rundi women performing Ubuhuha

One of my favorite tracks from the treasured LP Burundi:Musique Traditionelles is back in the list this year. For earlier paintings (and written commentaries) click on this link.

Klaudia Schiff and Marlene Marder of LiLiPUT

A return after about 15 years to the list for the Swiss post-punk band LiLiPUT. This time not with their high scoring Eisiger Wind, but with the equally exciting single Split. LiLiPUT used to be called Kleenex but had to change their band's name because of the threat of legal action by the company who used Kleenex as a brand name.

Swedish music anthropologists Ake Egevad and Cajsa Lund

The record Musica Sveciae: Fornnordiska Klanger means a lot to me as I'm interested in prehistoric art and the origin of music. Professor Cajsa Lund, who produced the record, and her collaborator Äke Egevad are professionals who research bot interests and use archaeological evidence to reconstruct sounds from the prehistoric era. Two tracks from the album are listed in the top 100: the sound of a bull-roarer and a performance on the Kantflöjter (flute).

Albert Ayler and Sunny Murray

Sunny Murray is the percussionist on Spiritual Unity, an album by Albert Ayler from 1965. Gary Peacock (not depicted) is the third member of the trio. Ghosts, First Variation is the opening track that also features in my continued top 100, which records and adds points for a recording going all the way back to 1983, the year I started the Top 100.




 

Jazz in the Top 100

Albert Ayler
oil on wood, 2009

The Top 100 2012 contained very little music that one one would label as jazz. It's a bit surprising as I consider myself a jazz aficionado. Surprising too because jazz, unlike blues for example, is not a rigid style at all, it evolves along with changes in the world's music, and the world's cultures. (I do seriously question if this is still the case though—did jazz stop evolving somewhere in the 1980s, has jazz become a vestige of a once thriving culture?) The Top 100 2012 exhibition takes place in a jazz venue and I would like to cater to my audience a little bit beyond the two Rahsaan Roland Kirk paintings that are in the exhibition. To do this I'm referring to my archives. Looking at the 100 Greatest Recordings Ever that I compiled last summer, I see, for starters, a few candidates to be framed up and claim a spot in the WDNA 88.9 Serious Jazz Gallery come May 25. The 100 Greatest series contained 11 jazz paintings, all of them have appeared on these pages here, but most have not been exhibited yet. The Top 100 of 2009, the year before I started the Top 100 blog, contained 13 jazz paintings: John Zorn (2), Roland Kirk (3), John Coltrane, Albert Ayler, Art Ensemble of Chicago (2), Milford Graves, Billie Holiday, Walter Roland, and Machito. Reproductions of all these paintings, together with their accompanying texts, appeared in the book Top 100 2009, published in an edition of 100 by Iconoclast Editions, 2010. The small paragraph illustrating #23: Albert Ayler – Change Has Come reads: "My Name is Albert Ayler is the name of a film (2008) by the Swedish director Kaspar Collin. I saw it in an art theatre on a big screen in 2009. The audience became eerily silent when, in the film, things went wrong with Al. Albert Ayler (1936-1970) was from Cleveland, Ohio. The film made quite an impact on me. The tune Change Has Come was not featured in the film but comes from the LP Albert Ayler in Greenwich Village that I recently bought. The album was Ayler's first release on Impulse!, it was recorded live in 1966. I played this record, together with the other two Ayler albums I have, directly after coming home from the theater that night."

The 100 Greatest Recordings Ever: 33, Albert Ayler