Hey calling all cats.. has anyone heard this cat from New Orleans Abram Wilson?
He’s living in the UK right now and is playing with Soweto Kinch’s band. he’s just released a really hip debut album for the UK label Dune Records.. Check it!
Yeah, I was his teacher for a year in college, prior to his singing, and he has always been BAAAAD, he can really play, however, I am not a big fan of his newer stuff….
what newer stuff have you heard?
Abram’s new Dune CD “Jazz Warrior” was just released in the US on 11 January.
Where did/do you teach?
I spent a year at a small Methodist school in central Ohio teaching for a buddy of mine on sabbatical, Abram was . I think, a sophomore then, he could play…..I just personally don’t enjoy the whole fusion-hip-hop-pseudo-pop-commercial thing, I like jazz…...
Hi iIheard abram in my home city of lancaster uk some 12 months ago playing at our smalljazz festival he was with soweto kinch and they played in one of our venues which was very small and only seated about 30 people which was great,much more personal than a big venue.I had’nt heard of him before this so went along on chance but glad i did.
Yeah, I know what Juanmustard is talking about as far as the pseudo-hip hop jazz sound is concerned. However, I think Wilson has hit on a bit more unique sound than what I’ve heard in the past ten years. Also, I think it is a fairly smart move in that he can probably grab a larger audience making somewhat more funk/pop oriented music. And he is still essentially playing jazz on the album, just not straight-ahead jazz. I guess I would call it jazz-influenced. I’ve heard worse stuff. You can at least tell he can really play the horn. It would be nice to hear him put out a standards record though, just for fun.
hey Poshy Posh
I recognise that tone! the “demographically” speaking was a dead giveaway!!
Onwards and upwards!!
After further listening—- Wilson actually does play a number of straight-ahead jazz tracks on the album. More power to him.
“This can only be a good thing for jazz - an ability to hold on to the ‘traditional’ (demographically speaking), older audience AND build new, younger audiences at the same time! ” Unfortunately your premise is all wrong…..it was the same premise that defenders of the electronic Miles used….“bringing younger audiences” to the table…it doesn’t work that way, or else all of the smooth jazz guys would be creating audiences interested in “real ” jazz….there is a fine line between pandering to a pre-determined audience and whatever else there is…..I have heard Abrams take on this…..nothing is “new”....combining a fine art (jazz) with pop art (r & B, rap) doesn’t create something new…just like in the 1970’s, cats are still trying to get by….
And….I might add, I know Abram can play…his straight ahead stuff is killing…but, like Roy Hargrove, Nicholas P, and a slew of others, the proclivities of the marketplace may be dictating their musical directions….
“proclivities of the marketplace” can someone offer their view on my thoughts please.
I agree that many musicians have the idea that to give their music a more hip-hop or RnB flavour etc.. is going to sell and may provide an access point to young people to Jazz. Examples of this should be judged on merit of the work and how natural the music is in either genre.
We can obviously get into this in much more detail, which i won’t for now, but i would like to see evidence that funked-up work by artists such as Roy Hargrove, Nicholas, Courtney Pine and others actually sell any more than their acoustic jazz records! i’m not passing any judgement but I don’t reckon they sell any where near as much as Branford or Wynton or Dave Douglas. Neither will the majority of simplistic,narrow minded fan of moronic, degrading bull… whixch makes up most of what is most popular/best selling ever consider buying any thing like whar Roy is playing.. to them it would sound like Albert Ayler!!
the best an artist can expect is to keep his regular jazz audience whilst maybe reaching an audience not dissimilar to that of recent Philly artists such as the Roots, Kindred etc.. you know people who are a little more so-called “conscious”(or at the least like the idea of being considered such!!!)
Also, in regards to Miles electronic works “pandering to the market place”
it entered my head that non of even his 80’s stuff like You’re Under Arrest is remotley as accessible musically, nor was anywhere near as commercially successful as Pops’ Hello Dolly period stuff… its just that he wore a crap weave and silly clothes!!
Anyway, what i’m saying is heurative and i’m just trying to reconcile some of this myself.
I love the tradition and want it to stand for something of more depth and human value than the @!#$ that saturates our media and grotesquely characatures.. however if someone has genuinely grown up influenced by other stuff and it can be assimilated into the music without compromising integrity, then so be it..
Oh I don’t know.. im getting lost to listen to Crescent!!!
I can think of loads of less intellectual acivities but I reckon you have to think about spelling you half wit
you spell intillektual rong mate!! anyways not to worry, do you like cookin? I like the Miles davis album of the same name, it’s so good!!
If nothing else, and of course there is much else..the electric jazz of the seventies produced Joco Pastorius..that alone is noteworthy.