We’re excited to announce and share with you new Linda Oh music. “Sun Pictures” is her second for Greenleaf after last year’s “Initial Here“. Linda has been busy since that release playing in Dave’s Quintet, the Sound Prints Quintet with Dave and Joe Lovano, and a boatload of other projects. And it’s from those travels and experiences that “Sun Pictures” came into focus — Linda calls the album “a set of musical postcards.”
We have the CDs printing at the plant — a beautiful package with great photos, liner notes by Linda, all printed on recycled paper (you know how we roll) — and we expect them in any day now. Preorder in advance of the August 27th street date coming very soon. In the meantime, watch this great band (Ben Wendel of Kneebody, James Muller, Linda Oh, and Ted Poor) recording the album live at WKCR Studios at Columbia University.
“This is music of brisk intelligence and an almost off-putting abundance of composure… with frictionless access to great chunks of classical postminimalism, atmospheric indie-rock and harmonically astute post-bop.” -NY Times http://bit.ly/18SC4or
“…an abundantly atmospheric work built on exotic scales, muted instrumental colors and darkly moody expression… revels in unhurried but circuitous melody lines & lush instrumental colors.” -Chicago Tribune http://bit.ly/13V86Ow
“…fiery improvisational chops with a measured cool that complements the cinematic, thoroughly composed elements in Ulery’s music. Ulery is already making music unlike anyone else.” -Chicago Reader http://bit.ly/12muJoF
“Wake An Echo brims with gorgeous melodies and voluptuous arrangements. Ulery has placed his almost other-worldly compositions into another perfect setting; it hints at a larger orchestra while maintaining a more intimate transparency.” -ChicagoMusic.org http://bit.ly/136m8ek
With his 2012 release By A Little Light, Chicago bassist and composer Matt Ulery presented profoundly rich compositions for a large ensemble. The sprawling two-disc collection, lush with strings, winds, and vocals—care of the iconoclastic contemporary classical ensemble eighth blackbird, and Polish singer Grazyna Auguscik—was called “one of the most hauntingly beautiful recordings of ” by Chicago Tribune, received ★★★★ ½ in Downbeat, and appeared on NPR’s Top 50 Albums of the Year across all genres. For his follow-up—his second for the Greenleaf Music label—Ulery sets aside the grandeur of the large ensemble without sacrificing the beauty inherent in his compositions, reimagining his long-standing Loom Quintet on Wake An Echo.
Got a chance to chat with one of my longest term supporters and biggest champions of jazz in the UK, Tony Dudley-Evans. We spoke about this weekend’s Cheltenham Festival in the lounge of the Royal Academy.
Recorded & mixed by Joe Ferla at Avatar Studios, April 2012 at the same sessions that yielded the album Be Still  which Stereophile called “one of the best sounding records we’ve heard by any one in quite awhile.” This all-instrumental album features Dave’s new Quintet with Jon Irabagon on tenor saxophone, Matt Mitchell on piano, Linda Oh on bass, and Rudy Royston on drums.
Very happy to make the new book available. It has lyrics as well as clearly detailed voicings and arrangements. It’s a nice complement to the other sheet music in the shop, which you can find here.
I had a few questions for Dave as we proofed the Be Still Book. A brief discussion ensued. Warning: this gets really muso nerdy.
JT: Such a cool chord sequence on Be Still My Soul. Love reading through these charts with my axe.
DD: Thanks! Felt like I hit on something there. Originally there was no repeat around the bar of Ab7. Adding it made the whole chart come together.
JT: Yeah, a nice little breath. That bassline just sounds so weird on it’s own. Speaking of, first bar you note a Cmaj7#5 but the middle voice of that chord goes to an A natural. Typo? Or just over my head? Sounds cool on guitar anyway.
DD: Aha! Love it.
OK so the natural 6 on a maj7#5 chord creates a half step (between the raised fifth and the natural sixth). But it sounds ambiguous and bittersweet (in my opinion) because it can remind you of an Aminmaj7 chord. But yes, the natural sixth on that chord is kosher in my opinion.
Also the fact that the tonic chord of the tune is E major adds to the ambiguity, Cmaj toggling between the function of #5 and b6 in the key of E.
I like the movement from the G#7 — you think it’s going to go to C#min. But it goes to C#min with an E in the bass. So you get a triple confusion because of the tonal function: Not only are you deceived into a false resolution, you also tricked your ear into hearing the tonic note (E) as an inversion of the natural 6th degree minor chord. Also, you have been hearing up until now the flatted 6th degree of the scale (as in Cmaj7#5) so you’re basically hearing a triple deception by suddenly getting the natural sixth. Also that at the same moment the melody goes back towards E major, the bass finally hits an open low E, and the progression from that point moves back up to the b6. That’s why I cry right there. Don’t know about you. Dig?
Hey I wrote all that while Finley was trying to get me to play with her new toy squirrel. Anyway. Enjoy it. Thanks for asking.
While that wasn’t completely over my head, I had to reread that paragraph a few times in front of the piano. Pick up a copy of the digital or printed book and play the chart to find your own sequence to nerd out with.