With an emphasis on electronics, non-conventional time signatures and improvisation, there are more than a few fans who consider his Orchestra to have been one of the most advanced in modern jazz. The 1971 live album Tears of Joy is worth checking out to hear what this band was all about.

Ellis himself died in 1978, cutting short his remarkable career, and his music fell back into relative obscurity in the neo-conservativism of 1980s jazz. Very little film footage of the band seems to have survived: this VHS copy of the Ellis composition “Indian Lady” at a concert at Tanglewood in 1968 is one of the few films of the Don Ellis band on YouTube.

Is she the greatest jazz singer ever, or a warbling charlatan who destroyed every song she touched? 

With Betty, there seems to be no middle ground. Either you love her, or you hate her.

This is Betty Carter and her trio, playing one of her own songs, “Dropping Things“… with a nice nod to Art Blakey at the end…

Betty Carter (vocal)
Marc Carey (piano)
Dwayne Burno (bass)
Gregory Hutchinson (drums)

Lisbon, Portgual – October 1990, at the Galp Jazz Festival

Cuong Vu – trumpet
Stomu Takeishi – bass
Ted Poor – drums

Live at Berklee College of Music (date unknown)

They were accompanied by the shop’s pipe organ (only in America), which is apparently the largest pipe organ in the world (also, only in America).

It’d be great to do something like this in Paris… perhaps in Printemps or the Les Halles shopping centre?

Bilal Oliver does a fine job shadowing the original vocal style of Mr Hathaway on this song. He will have his own album Air Tight’s Revenge out in September… could be worth checking out.

What’s even better is that the mp3 of this performance is available as a free download!

Here’s a taste: D’Angelo (a middle-management drug-pusher with half a conscience) is teaching his underlings how to play chess – and the pertinence of the metaphor is lost on nobody…

And if anyone – ANYONE - tells me what happens for the next five seasons, I call the Five-Oh on their ass, OK?

This week I got one such nice message from Paper Swords, an folk-rock quintet from Southern California, which has been quick off the mark into the studio – according to their biography they only formed this year! Here’s a little taste…

The band consists of Ryan Myers (vocals, guitar, banjo, harmonium, piano), his brother TJ Myers (drums), Patrick Grant (bass), Russell Fletcher (trumpet, banjo, guitar, harmonium, vocals), and Teresa Ramallo (vocals, piano/keys, guitar).

If you like rich orchestrations and interesting songs, they’re worth checking out.  They do a particularly nice job of meshing TJ’s angular drumming with more traditional “folk” instrumentation – in this way they remind me a little of Laura Veir‘s erstwhile backing band Saltbreakers.

Regular readers of this blog will know I’m a sucker for time signatures, so I have to recommend their song Bethseda, which is written in 21/8: but you’ll have to buy their EP “Wax Moon, Wane” to hear it! As a statement of intent, the EP is very impressive – hopefully there’ll be more music forthcoming soon!

A couple of sample tracks are available via their website, otherwise go to iTunes to pick it up.

Paper Swords – Wax Moon, Wane [Buy on iTunes]

For a still-young musician (25 years old) Esperanza shows remarkable maturity in performance and composition. She reminds me a lot of a young Tania Maria, both in the fact she is a vocalist/composer/instrumentalist and because of her taste for rapid-flight scat melodies spread over latin grooves:

But Esperanza is also all about subtle and complex songwriting, both in terms of the lyrics and their harmonic structure. I wish Betty Carter were still alive, because she would understand exactly where Esperanza is going with songs like She Got To You. Esperanza is the real deal:

Photo: Johann Sauty

Now I’ve got nothing against Justin Bieber in particular or teenage pop sensations in general. As music critic Graham Reid expressed on his blog today, the kids are going to scream at whatever they want to scream at. too. (Although this footage reaffirms why 13 year-old girls are still the scariest thing on the planet).

No, my point is about Auto-Tune. It’s clear that Mr Bieber can actually sing quite nicely in a radio-friendly monochrome fashion, and even plays the guitar – you can check out all the original YouTube videos if you want, but here’s JB on ITV in the UK back in January:

So why-oh-why do they channel his voice (and all of his right-on offsiders like Ludacris and Usher) through a freaking Auto-Tune on all his songs?

Auto-Tune’s been around for a while now. I wonder if in ten years’ time we’ll regard it as a hopelessly outmoded sonic token of the current decade. Just like all song titles at the moment must include the letters “ft.”, (as if artists are afraid to be heard performing without at least one celebrity friend), singers must warble through Auto-Tune’s digital downpipe in order to satisfy 2010′s well-tempered-robot aesthetic.

“Auto-Tune”, with its Bryl-Creem hyphen and teen-snaring smoothness, is like fins on a Studebaker: the fins serves no practical purpose, but made the car look cooler. Similarly Auto-Tune has become the indispensable appendage to modern pop.

In many ways, not a lot has changed since that shiny atomic age when asbestos was futuristic. In the first 8 bars of Baby compulsorily ft. Ludacris, Justin’s Ooooh-Aaaah resembles the same shoo-wop-doo-widdy nonsense as Da Doo Ron Ron in 1963.

And the rest of the song is based around the same I-VI-IV-V progression that has served so many chart-toppers well – 1964′s Leader of the Pack by the Shangri-Las, and 1961′s Stand By Me by Ben E. King…

I hope Justin Bieber survives the screaming hordes and that he grows up to be happy and fulfilled in whatever he does. Time will tell if his musical career will be durable and interesting.

Maybe one day Justin’ll make an album without Auto-Tune.

And maybe one day I’ll write that follow-up post about Joseph Stiglitz.