Eurojazzist Randomizer #8: Flea’s Market

Jazz, in its essence, is inclusive rather than exclusive, and it’s not a bad idea to keep reminding ourselves of that

My cat Micha facing Flea on the laptop screen

A few days ago, I saw that Flea had landed on the cover of the new issue of DownBeat. I hadn’t planned at all to write any piece about his new album “Honora”, but I thought it would be OK to publish a Substack note in which I would initiate a debate about placing his project on the cover of a traditional jazz magazine. I suggested the dilemma of whether this was a great editorial move that increases broader public interest in jazz, or perhaps an injustice toward musicians from the jazz field, who already struggle to achieve that level of visibility—even without Flea “jumping into” their niche.

The very first comment made me regret it, because it came across as if I were that conservative traditionalist bothered by Flea being on a jazz cover. That wasn’t my idea at all, nor is it my position. But no matter how much I tried to frame the dilemma “neutrally”, I realized that the questions themselves already contain an “interpretation.” Maybe they even verge on rage bait. I responded politely to the Substacker who left the comment, trying to explain my position and what I meant. But after a short reflection, I deleted the entire post. Something just didn’t feel right in the way I had set the tone.

In the meantime, the album was released and became available on streaming platforms; I gave it a listen—it’s OK. The jazz crew playing on it (Jeff Parker, Anna Butterss, etc.) is legit. Thom Yorke is also there, always a welcome presence for me, as one of the guests. Flea is a a great musician, regardless of genre. And a cool guy. I recently enjoyed his presence in an episode of the excellent docu-fiction TV program Painting with John, in which musician-actor-painter John Lurie paints and contemplates life. Flea was his guest in a staged episode that functions as a kind of homage to the film Down by Law (Flea and Lurie end up in a prison cell for vaguely Kafkaesque reasons, where they reminisce about their adventures).

All in all, I’m generally very sympathetic to the influx of pop and rock culture into jazz, especially when it involves figures with strong artistic credibility. A new album by Laurie Anderson with Sexmob is also coming soon—a fantastic collaboration between a legendary artist and an iconic jazz band. Both albums are released by Nonesuch Records, which already has an excellent ear for contemporary jazz. The very fact that they included Mary Halvorson in their catalog speaks volumes about their bold vision, outstanding curatorial team, and overall concept. Jazz, in its essence, is inclusive rather than exclusive, and it’s not a bad idea to keep reminding ourselves of that. That’s where I stand when it comes to Flea’s place in the jazz landscape.

New Listens

WeJazz Records recently sent over a great album to be released in May: the group is Kiri Ra! and the album nen. The lineup includes Lau Nau, Linda Fredriksson, and Matti Bye. Linda Fredriksson recorded a fantastic album Juniper a few years ago, so I was eager to hear what she would do next. I’ve heard Lau Nau on an album with Jonah Parzen-Johnson, so I’m somewhat familiar with her work—in a positive way.

This album is minimalist, unpretentious, and ambient—there will be time for a proper review as the release date approaches. For now, just a heads up.

Ben Wendel has released an intriguing edition for Edition Records: BaRcoDe – electroacoustic album for saxophone and mallets (vibraphone and percussion). The music is very accessible at its core and highlights all of Wendel’s playing qualities, while the unusual instrumentation brings a fresh arranging perspective. For now, I’m really enjoying it while driving!

Pianist Marilyn Crispell and double bassist Anders Jormin have a new duo release Memento for ECM Records, which I’ve only just started listening to, but it’s promising so far. Ideal for a home setting.

International Anthem is a label I follow regularly—they now have a very compelling new album by Gregory Uhlmann – Extra Stars. It’s a very interesting crossover between jazz elements and the broader field of contemporary instrumental music.

I’ve only just scratched the surface of all these albums and don’t yet know how I’ll rank them after more listening. But I can say that, for now, they are worth attention and dedicated time.

Jazz Across Europe

I really want to see Vega Trails live. I loved their debut Tremors in the Static, and I also grew fond of its successor Sierra Tracks. The core chamber-jazz lineup consists of double bassist Milo Fitzpatrick and saxophonist Jordan Smart, with occasional expansions. I also enjoy their other bands, such as Portico Quartet, Mammal Hands, and Sunda Arc.

While checking where they’re touring this year, I came across the Vilnius Mama Jazz festival in Lithuania. As a jazz listener from Serbia, when I travel abroad I usually look toward Western Europe or the nearest neighboring countries. The fact is, the Baltic region has never really been on my radar, primarily for logistical reasons.

Be that as it may, I looked up the program of this year’s Vilnius Mama Jazz festival because I saw that Vega Trails are playing there. And there was plenty to see—Mammal Hands are also on the lineup, along with Mary Halvorson (with her new band Canis Major), Tom Skinner, Nils Petter Molvær, Vladimir Tarasov, and Cécile McLorin Salvant. A very focused program across three days, from May 22 to 24. Whether I go or not, I wholeheartedly recommend this program. I’m putting Vilnius Mama Jazz on my radar as a destination worth visiting in the coming years.

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