mike nord

Safe distance sounds

A roundup of recent recommended Oregon jazz for your stay-at-home enjoyment

April is really the cruelest month this year. We haven’t gotten to appreciate jazz during this plague-plagued Jazz Appreciation Month in the way we should: by personally observing the spontaneous creation of the “sound of surprise” in a club or theater. So we indulged in the next best thing: listening to recent releases by Oregon jazz — and jazz-ish — musicians. You can do the same with any of the recommended recordings below by following the links.

Much of the music listed here involves at least some improvisation, making it ideal for this moment where we’re all making it up as we go. If you like what you hear, be sure to tip your servers — by paying for a download, supporting your neighbors who created that beauty, and thereby equipping your digital device with a musical survival kit for the next pandemic.

MAE.SUN
Vol. 2: Into the Flow

Saxophonist, flutist and composer Hailey Niswanger’s wanderings have taken her from her native Portland to New England’s prestigious Berklee School to Brooklyn and, now, Los Angeles. Her artistry has also found new territories, most recently in her electric band MAE.SUN, whose sunny, spacy new album, Vol. 2: Into the Flow, advances its predecessor, Inter-Be’s creative jazz/pop fusion/electronica and 2015’s groovy PDX Soul and joins the other pop-tinged LA-based bands bringing jazz into the 21st century. Still under 30, Niswanger always sounded fine in more straightahead jazz, winning praise from venerable jazz writer Nat Hentoff in the Wall Street Journal among others, but she’s really found an original voice in MAE.SUN.

Make that voices, because some of these tracks feature vocals, Niswanger’s own as well as guest singers Amber Navran (of Los Angeles-based soul trio Moonchild) and Australian-born, Brooklyn-based Kate K-S. The album also showcases vibraphonist Nikara Warren, guitarist Andrew Renfroe, keyboardist Axel Laugart, bassist Aaron Liao, drummer David Frazier Jr, synthist Jake Sherman and producer Drew Ofthe Drew. Fans of synthy fusion like Herbie Hancock and Charles Lloyd’s 1960s-‘70s forays, jazztronica explorations and even Esperanza Spalding’s more recent efforts will find plenty to enjoy in both volumes’ neo-hippie spirit. 

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MusicWatch Weekly: Second summer chills out

Portland cools down with Montavilla Jazz Festival, two-score local bands, orchestral hip-hop, and a bunch of bleached assholes

Happy Indonesian Independence Day! Seventy-four years ago today, Indonesia declared its independence from the Netherlands after three centuries of Dutch colonialism (I’ll bet you thought they were always just about tulips and weed). To celebrate, here’s a little video (if you can’t read Indonesian, skip on down):

So in a minute I’m going to tell you where to hear a zillion local composers rock out this weekend, and Senior Editor Brett Campbell has some things to say about the Montavilla Jazz Festival starting tonight, but the gamelan band I’m in Bali with just played its freshly blessed instruments for the first time this morning, so as soon as I wipe these tears of joy out of my beard I think it’s about time to give you all a little music theory lesson.

Caution: All comparisons to Western phenomena are meant as a starting point, not an accurate description of genuine Balinese music. The present author is no expert, but only an egg. Caveat emptor.

Start at your piano, accordion, Casio, or other Western style keyboard. All those white keys make up the diatonic major scale, and if you shift around the starting pitch you get the seven so-called church modes. Music students learn about all that in first year theory and never use them again.

Start with the note E on your white-note keyboard. Play the next two white keys: F and G. Then skip one, to B, and then to C. Skip up to E and you’re done. In the West we might call that a Phrygian Pentatonic. In Indonesia they call it pelog, and it’s everywhere. Even the ubiquitous roosters crow in pelog.

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