[whitetrane]

I was talking to a local sax pro about modern players he likes and was surprised to find out he had not heard Ken Vandermark. So I figure I'll turn him on to some of Vandermark's music.

But where to start? Vandermark is so prolific and his playing is such consistently creative high quality I really can't pick out any "greatest hits". They are all great. And because he records with so many different ensembles it is difficult to find stuff on my iTunes or on my iPod...I've got a whole lot of his recordings scattered around under different names.

So I am turning to SOTW for help. Any suggestions on where to start in introducing someone to Ken Vandermark's music? Your suggestions are appreciated.

 

[littlemanbighorn]

I would say either of the School Days records, either of the Spaceways Inc. records or the Atomic/School Days record. All of those are killer (with the Atomic/School Days being a particular favourite and if he hasn't heard Fred Ljungkvist before he'll be getting an extra saxophonistic bonus.)

 

[whitetrane]

Thanks, littlemanbighorn.

After almost a week and just 55 views and 1 reply, I'm shocked that on this forum with 15,000+ members that Ken Vandermark has such little recognition...he is a killer player on tenor, bari, bass clarinet, clarinet, et. al. I don't know where his fountain of creativity stems from but he is way beyond many of today's virtuoso players in terms of sheer individuality. I really admire the diversity of his projects as well as his playing, and bottom line is, it all sounds good.

What can we do to spread the word to the sax universe?

 

[dirty]

Continue suggesting good places to start with his music!

I'd heard the name a few times before I read this thread, and he always sounded (in descriptions) like somebody I would like, but never knew which albums would make a good introduction to his music. Now I have some ideas. I'll report back sometime after I listen, how about that?

 

[Rackety Sax]

I would suggest starting with some of the Vandermark 5 recordings. As an improviser I think he is more impressive as free player than in chordal situations.

 

[Redwood_Lenny]

umm... how about http://www.kenvandermark.com/discography.php :?:

 

[Swampcabbage]

I think that the Free Jazz Classics Vol 1 and Vol 2 would be a nice reference point. It will give the listener some historical reference in the material as well as introducing him to a new voice.

 

[tinpalaceroach]

Ken and a septet also did a few years ago the entire Sonny Rollins "ALFIE" around the same time David S.Ware and Branford Marsalis both did Sonny Rollins "Freedom Now Suite" and although i liked Ken's version of a classic, David is a scary player who has been on his game for 30 years.

 

[Swampcabbage]

David S. Ware is frighteningly overlooked; a pupil and extension of the Sonny Rollins school. He is an incredibly coherent "free" player.

 

[JackThe7th]

vanderhall, ware, rollins...

I just dont get it. Why do they play with that tone?

just an opinion, but I cant stand it. I dont see the reason to play with such a sound.

Can someone enlighten me?

 

[littlemanbighorn]

Sorry. If you don't get it there's no way explaining it's going to do it.

 

[mlscnr]

Is he still playing a Rico Metalite?

 

[Rackety Sax]

vanderhall, ware, rollins...

I just dont get it. Why do they play with that tone?

just an opinion, but I cant stand it. I dont see the reason to play with such a sound.

Can someone enlighten me?

Vandermark. If you don't like their playing, fine, but I'm surprised you would refer to that tone as these three players sound nothing alike to me.

 

[JackThe7th]

I guess I should have said style of sound...

Why play purposely with a style of sound like that?

thats all I'm saying.

and take vandermark off that list.

so whats up with ware and sonny ;p

 

[Rackety Sax]

Well, why did Paul Desmond play with his style of sound? I assume because he felt it best expressed his musical vision. Any reason to think it would be different with Rollins, Ware, or anyone else?

 

[mlscnr]

Why play purposely with a style of sound like that?

With a sound like what? What exactly is it that you're hearing in their sounds that you don't particularly like?

And I don't ask in order to debate it with you. I'm just curious. I'm familiar with their sounds, and have my thoughts as to how they achieve them (based on setups, etc.). So I'm not asking you to describe their sounds to me. I'd just like to know what it is about it you don't like.

For example, I can understand what it is about Jackie McLean's alto sound that rubs some folks the wrong way. Not that I necessarily agree with them, but I understand it.

 

[Swampcabbage]

I find the Ware and Sonny sound (which is in many ways comes from the Coleman Hawkins lineage) to be an extension of the "force to be reconned with." Gutteral and intent. It's like the difference in style between Magic Johnson and Wilt Chamberlin. When you say Wilt you KNEW he would dominate the court. And with Magic you knew he would be the dominant player but in a very refined way.

If you look at Sonny and Ware you see giants (Wilt) who can seem to blow you away at will. Sheer force of personality. Where as someone like Getz willl capture your imagination in a more subtle fashion (Magic).

Neither is necessarily better than the other. And many of these characteristics are born out of the sheer physicality that they were born with.

 

[mlscnr]

I think you meant "reckoned". "Reconned" is not a word.

Anyway, my question was directed to Jackthe7th.

 

[Swampcabbage]

I think you meant "reckoned". "Reconned" is not a word.

Anyway, my question was directed to Jackthe7th.

You are correct. Thank you.

My comment was also directed toward Jackthe7th. I happen to enjoy Rollins, Ware, and Hawkins very much.

 

[mlscnr]

and I shoulda put a smilie behind that...