Lately: Herbie Hancock, the Art Ensemble of Chicago, Paul Motian and more

'Head Hunters' rising, a classic of Great Black Music and a survey of one of the most unusual arcs in jazz

Greetings, and thanks so much to anyone tuning here, especially those who have signed up recently. Two few things up front:

1. The frequency and scope of this Substack are very much a work in progress. Much like with blogging back in the day, I’ve learned in real time that finding a sane/steady rhythm with extracurricular writing outside regular paid/deadline-oriented work is a serious challenge. (This is the main reason why I haven’t activated a paid tier here yet, though I’m extremely grateful to anyone who has pledged funds up front!) I hope to be able to increase the pace and scope of posting here over time, and in the meantime, again, for now, your intermittent attention is greatly appreciated.

2. My hats off to so many friends, colleagues and fellow music-world folks who are making a serious go of it on here, posting regularly and offering an inspiring alternative to traditional media. If you don’t already, I highly recommend subscribing to the fine publications listed* at the end of this post, just a few of the many that I enjoy reading on the regular.

Today I mainly want to spotlight three new pieces that I hope you’ll check out:

-A New York Times feature on Herbie Hancock’s immortal Head Hunters, featuring interviews with Mr. Hancock and all the surviving musicians from the original record, who will reunite for a 50th anniversary concert this coming Wednesday (August 14) at the Hollywood Bowl. If you’re going, I’m jealous!

PS: I have a lot of interesting material left over from this one (especially when it comes to the enlightening conversations I had with Bill Summers, Harvey Mason, Marcus Miller et al.), some of which I hope to be able to post when time permits.

-A Pitchfork Sunday Review on the Art Ensemble of Chicago’s 1979 masterpiece Nice Guys. The AEOC’s ECM period has become an obsession of mine in recent years, so I was thrilled to be able to zero in on the album that kicked off that run for this piece.

-A survey of the world of Paul Motian on record for the Shfl, a fascinating recommendation-based site that’s unlike any other music outlet on the internet. PS: I also wrote up a few classic Don Caballero titles!

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*Just a few of the many, many Substacks I dig, listed alphabetically by author name:

-Norman Brannon’s anti-matter (amazing hardcore-punk-related interviews)
-Nate Chinen’s The Gig (the undisputed authority on contemporary jazz happenings)
-Jeff Conklin’s Ambient Audiophile (regular dives into all manner of heady sounds)
-Pierre Crepon’s Acoustical Swing (fascinating jazz-related ephemera and press clippings)
-Wendy Eisenberg’s Wendy’s Substack (candid, thought-provoking updates from the trailblazing guitarist and songwriter)
-Dan Epstein’s Jagged Time Lapse (music and memory from a deep, widely listened head)
-Phil Freeman’s Burning Ambulance (persuasive, passionate takes from across many musical spectrums, by the prolific journalist and label owner, and new Cecil Taylor biographer!)
-Will Hermes’ New Music + Old Music (essays and article addendums from a major music-writing luminary)
-Harmony Holiday’s Black Music and Black Muses (essays and dispatches from an illuminating and incisive poet and critic)
-Ethan Iverson’s Transitional Technology (trusted and essential outlet for jazz criticism, news and interviews)
-Joshua Minsoo Kim’s Tone Glow (maybe the single greatest music Substack — marathon interviews with experimental and cult-favorite legends)
-Jake Malooley’s Expanding Dan (pure gold for the Steely Dan–obsessed)
-Howard Mandel’s Mandel’s Media Diet (Chicago-centric updates from a giant in the jazz-writing field)
-Michelle Mercer’s Call & Response (thought-provoking essays from across musical spectrums by the esteemed journalist and author )
-Bill Milkowski’s Musings on Music by the Milkman (the latest from a jazz journalist, critic and author with decades in the game)
-Tom Moon’s EchoLocator (eclectic musings from a brilliant veteran critic)
-Marissa Moss and Natalie Weiner’s Don’t Rock the Inbox (essential country-music interviews, reviews and more from two leading music writers)
-Piotr Orlov’s Dada Strain (crucial dispatches from cutting-edge NYC from the indefatigable journalist, DJ and curator)
-Ray Padgett’s Flagging Down the Double E’s (Dylanology beyond any superfan’s wildest dreams)
-Lewis Porter’s Playback (the gold standard in historical jazz dives)
-Tony Rettman’s No Idols (smart and self-deprecating updates from one of hardcore’s foremost historians)
-Mark Richardson’s Beauty Blew a Fuse (heartfelt, deeply engaged dives from an expert writer/editor)
-Matthew Schnipper’s Deep Voices (mind-expanding playlists, essays and interviews from another seasoned veteran of the music-writing/-editing field)
-Steve Smith’s Night After Night (release and gig news from the tireless NYC music chronicler and one of the deepest, most widely listened heads I know)
-Vinnie Sperrazza’s Chronicles (profoundly insightful jazz- and drumming-related surveys from a renowned working musician)