среда, 16 декабря 2009 г.

The Dead Kenny G's - Bewildered Herd (2009)


The Dead Kenny G's - Bewildered Herd (2009)

Personnel:
Skerik: tenor saxophone, boxxx, rhodes electric piano, micromoog synthesizer, efx.
Mike Dillon: drums, vibraphone, percussion, tabla
Brad Houser: bass, baritone saxophone

Tracklisting:
01 - Birther Blues
02 - I'm Your Manager, I'm Your Pimp
03 - Death Panel
04 - Bewildered Herd
05 - Black Goldman Sax
06 - Yeah, Cat
07 - Jake Brakin'
08 - Purgatory
09 - Hairy Bulgaria
10 - Byater Bhangra (improv #1)
11 - Shantiniketan (improv #2)

The Dead Kenny Gs is a duo started by Skerik and Mike Dillon in 2004. In 2005 they started adding Brian Haas, keyboard genius, for special shows, and a tour in 2006. Brad Houser, bass god from Critters Buggin, is currently the third member. Rotating members join the duo for necessary outings. The priority is for the name, The Dead Kenny Gs, to continue fighting injustice, cheese, and dishonesty in music, and society.

Just fucking incredible band!

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The New Mellow Edwards - Big Choantza (2009)

The New Mellow Edwards - Big Choantza (2009)

Personnel:
Curtis Hasslebring: trombone
Chris Speed: clarinet, tenor saxophone
Trevor Dunn: acoustic bass
John Hollenbeck: drums and percussion

Tracklisting:
01 - Big Choantza
02 - First Loser
03 - Helkakelka, Helkakelka
04 - Sacks on the Beach
05 - Large Detective
06 - Annoying Guy
07 - Youth Against Fascism
08 - Good Job
09 - Backfat Vs. Fumi

The New Mellow Edwards, an eclectic ensemble signed to artist-run, Brooklyn-based Skirl Records, is led by trombonist Curtis Hasslebring, who draws upon a variety of influences for his unorthodox jazz compositions, including neo-classical formalism, elastic funk and tuneful indie rock.

One of Hasselbring's numerous side-projects, The New Mellow Edwards' impressive pedigree features clarinetist/tenor saxophonist Chris Speed (Human Feel, yeah NO), bassist Trevor Dunn (Fantomas, John Zorn) and drummer/percussionist John Hollenbeck (Claudia Quintet, Meredith Monk). Big Choantza, their second recording, finds the foursome exploring variations on the expansive vistas of their self-titled debut, The New Mellow Edwards (Skirl, 2006).

Embracing multiple genres and subtle electro-acoustic textures, the album veers from ebullient to austere. "Helkakelka, Helkakelka" is a riot of bristling, stop-start carnival rhythms and thorny unison themes, interrupted by a string of spasmodic solos from Hasselbring's blustery trombone and Speed's coarse tenor. "Annoying Guy" is the inverse, a droning minimalist tone poem awash in moody atmospherics.

Hasselbring's passion for indie rock is revealed on the punning "Sacks on the Beach," an anthemic rave-up driven by a steady eighth-note bass line that recalls early nineties indie rock legends The Pixies, whose "Ana" was covered on the quartet's previous session. Delving further into the genre, they invest a crackling instrumental cover of Sonic Youth's punky diatribe "Youth Against Fascism" with ecstatic brio.

Thriving on contrasting dynamics, Hasselbring's experiences in Either/Orchestra and Ken Schaphorst's Big Band can be heard in his cantilevered arrangements and contrapuntal charts. Following the brisk fanfare of the title track, "First Loser" builds gracefully, demonstrating the band's rhythmic acuity. Book-ended by languid funk vamps, the tune spotlights Speed's circuitous clarinet cadences, climaxing with the leader's effusive horn soaring over a buoyant Afro-Latin groove. The episodic "Good Job" threads staggered pointillist discourse into lush harmonies while "Backfat Vs. Fumi" encapsulates Hasselbring's multifarious talents. Modulating from cinematic introspection to syncopated cop show funk, the tune eventually deconstructs, with Dunn and Hollenbeck's oblique, fractured meters impelling Speed's cathartic tenor volleys.

Elevated by the stellar interpretations of his all-star band, Hasselbring's idiosyncratic compositions find accord in a set brimming with congenial interplay. Diverse, but not dilettantish, Hasselbring's mercurial writing is the real star of Big Choantza—a splendid sophomore effort from an under-sung composer. [allaboutjazz.com]

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вторник, 15 декабря 2009 г.

Stefano Senni Saul Bass - Psychocandy (2007)

Stefano Senni Saul Bass - Psychocandy (2007)

Personnel:
Stefano Senni: double bass
Enrico Terragnoli: guitar, podophono
Dario Volpi: guitar
Walter Paoli: drums

Tracklisting:
01 - Railway Junction
02 - Frantic Romantic
03 - Ida Y Venta
04 - The American Astronaut
05 - To S.
06 - Vimini

Psychocandy: a soft acid trip with the unusual guitar brotherhood Volpi/Terragnoli: two worlds meeting through their extreme differences. Rather than emerge, the two guitars help crafting the plot of the bassist's quartet. A work without apparent leadership (actually it's firmly held in Senni's hands). Sound spots and sheets of sound which intersect each other, under the banner of a sinister half-light. [by Giovanni Natoli]

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понедельник, 7 декабря 2009 г.

Zeno de Rossi Shtik - Me'or 'Einayim (2007)

Zeno de Rossi Shtik - Me'or 'Einayim (2007)

Personnel:

Zeno De Rossi: drums
Francesco Bigoni: tenor sax (2-3-5-7-8-9)
Piero Bittolo Bon: alto sax (2-4)
Danilo Gallo: bass (1-2-4-5-8-9-10-11)
J Kyle Gregory: trumpet (2-3-5-7-8-9)
Danilele D'Aagaro: clarinet (6), tenor sax (11)
Eenrico Terragnoli: guitar (2-5-7-9-11)
Pasquale Mirrapasquale Mirra: vibes (2-5-8-9)
Alfonso Santimone: piano (1-2-3-5-6-7-8-9-10)
Stefano Senni: bass (3-4-6-7)
Alessanro "Asso" Stefana: national steel guitar (7)
Achille Succi: bass clarinet (1-3-6), alto sax (4)
Nicola Fazzini: alto sax (2-3-7-8-9)
Giorgio Pacorig: piano (11)

Tracklisting:

01 - Unused Theme From 'C'era Una Volta In America' (Ennio Morricone)
02 - Tradition (Harnick / Bock)
03 - Chavalah (Harnick / Bock)
04 - I Heard It Over The Radio (Ornette Coleman)
05 - My Yiddishe Momme (Yellen / Pollack)
06 - Little Lees (Louise) (Cecil Taylor)
07 - Sabbath Prayer (Harnick / Bock)
08 - Hava Nagila (Come Let's Be Happy) (Traditional)
09 - Bei Mir Bist Du Schoen (Jacobs / Secunda)
10 - I'll Always Be Yours (Mir Zol Zain Fai Dir) (Rumshinsky / Picon)
11 - My Heart Belongs To Daddy (Cole Porter)

Me'or 'Einayim is a precious collection of songs coming from the heart of contemporary Jewish culture. It is the clear definition of a common ground, skipping through time and space yet maintaining a sense ofshining, desperate vitality: from the themes of Fiddler on the roof to “Jewish standards” re-discovered and re-invented in a hard bop or latin perspective by Shelly Manne or Irving Fields. With the wholly coherent addition of some “minor” yet wondrous masterpieces by Cecil Taylor and Ornette Coleman.

Me'or 'Einayim is a voyage of “knowledge” and “re-knowledge”: learning and gratitude. For this occasion, Zeno de Rossi has put together “Shtik”, a terrific collective made up of some of Italy's contemporary jazz scene most inspiring improvisers. A perfect ensemble, in which everybody finds the space to express his own poetic voice and creativity. [by Giorgio Signoretti]

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Zeno de Rossi Sultry - Plunge (2006)

Zeno de Rossi Sultry - Plunge (2006)

Personnel:
Zeno De Rossi: drums and percussion
Chris Speed: tenor sax and clarinet
Stefano Senni: bass
Featuring:
Anthony Coleman: hammond A-100 organ, wurlitzer, fender rhodes and vox organ
Enrico Terragnoli: guitar

Tracklisting:
01 - Plunge (Chris Speed)
02 - Tina (Zeno De Rossi)
03 - The Daniel Quinn Theme (Zeno De Rossi)
04 - Audio Bongo (Monty Norman)
05 - Zakaz (Zeno De Rossi)
06 - Freezy (Chris Speed)
07 - Fujiyama (Dave Brubeck)
08 - Petunia (Zeno De Rossi)
09 - Singer (Zeno De Rossi)
10 - Ida Y Vuelta (Stefano Senni)
11 - Abracadabra (Zeno De Rossi)
12 - Cristo Redentor (Duke Pearson)

Instantaneous references to creative intuitions above a solid floor of composition. An exchange of suggestions between Europe and New York, branded by an authentic creative necessity and the need to redistribute the weights of the various languages within, and collateral to, jazz.

A 'perfect' trio, which turns around the urban colours of Chris Speed's reeds, Stefano Senni's bass and Zeno De Rossi's percussion, it moves with total lucidity between original compositions and re-readings of hidden treasures by Dave Brubeck and Duke Pearson. Embellishing the textures are Anthony Coleman's keyboards (Marc Ribot y Los Cubanos Postizos, John Zorn) and the guitars of Enrico Terragnoli. [by Giorgio Signoretti]

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понедельник, 23 ноября 2009 г.

Soft Mountain - Soft Mountain (2007)

Soft Mountain - Soft Mountain (2007)

Personnel:
Hugh Hopper - bass
Yoshida Tatsuya - drums
Hoppy Kamiyama - keyboards
Elton Dean - saxophone

Tracklisting:
01 - Soft Mountain Suite Pt. 1 (30:40)
02 - Soft Mountain Suite Pt. 2 (27:55)

As the both the name and title of this release indicate, Soft Mountain were intimately connected with Soft Machine, albeit long after the latter group had dissolved in the '70s. In August 2003, ex-Soft Machiners Elton Dean and Hugh Hopper teamed up with two Japanese musicians, keyboardist Hoppy Kamiyama and drummer Tatsuya Yoshida, to record the hour of improvised fusion that comprises this album. And it certainly is improvisation; there's just one "song" here, "Soft Mountain Suite," divided into two parts of roughly half-an-hour length each. Though improvised in the studio, the music itself won't be too surprising to longtime Soft Machine followers, being energetic, instrumental jazz-rock fusion that's more jazz than rock, blending a frenetic rhythm section with free jazz sax and electric keyboard textures. Things do get especially wild halfway through the second part of the suite, with some careening electronic effects (presumably created by the keyboardist) and wild blowing by Dean, who died just a couple years or so after this session. It's more an extension of what Soft Machine were known for than a radical departure, though as Hopper notes in his brief liner note, he and Dean welcomed the chance to be spontaneous as the group they were touring Japan with at the time (Soft Works) played a set that didn't vary much from gig to gig.
[allmusic.com]

Recorded 10th August 2003 in Tokyo, Japan.

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Gnu - Suro (2003)

Gnu - Suro (2003)
  1. Peacemaker
  2. Human Oil
  3. Boneless Part 1
  4. Boneless Part 2
  5. Round 2
  6. Eonta
  7. Meteora

All music by Masahiko Okura

Gnu
Masahiko Okura: alto sax, bass clarinet, bass tube, electronics
Shin-ichi Tsukamoto: electric piano, organ
Yukiya Taneishi: electric bass
Tadashi Kumada: drums
Itoken: drums

with Takumi Itoh: tenor sax (on track 5)

Recorded by Ken and a/sk at Laser Boy
Additional material recorded by Itoucha at Tanker and Mechanics Studio
Edited and mixed by Itoucha and Masahiko Okura at Tanker
Mastered by Keiichi Sugimoto
Design by Keiichi Sugimoto

Released in October 2003

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Please share if you have "Gnuman" and "Midnight Breakfast"!

вторник, 27 октября 2009 г.

Tulululus - Thankful to Goethe (2000)

Tulululus - Thankful to Goethe (2000)

Tracklisting:
01 - Virgin Blues (14:24)
02 - Komatsu To Watashi No Ambient (14:11)
03 - African Sauna (07:00)

Another great release from Comma Records.

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пятница, 16 октября 2009 г.

The Thing with Otomo Yoshihide - Shinjuku Crawl (2009)

The Thing with Otomo Yoshihide - Shinjuku Crawl (2009)

Mats Gustafsson - Sax (Alto), Sax (Tenor), Producer
Ingebrigt Håker Flaten - Bass
Paal Nilssen-Love - Drums
Otomo Yoshihide - Guitar

Tracklisting:

01 - shinjuku crawl, first attempt
02 - shinjuku crawl, second attempt
03 - shinjuku crawl, third attempt
04 - uramado (thank you mr. fukuoka)
05 - dori dugout, part 1
06 - dori dugout, part 2

smalltown superjazz, 2009

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пятница, 2 октября 2009 г.

Ben and Frank Perowsky with Sam Yahel - Bop On Pop (2002)

Ben and Frank Perowsky with Sam Yahel - Bop On Pop (2002)

Personnel:
Ben Perowsky: drums
Frank Perowsky: tenor saxophone, clarinet
Sam Yahel: organ .

Tracklisting:
1. Vierd Blues (5:26)
2. The Jitterbug Waltz (6:56)
3. Quicksilver (5:44)
4. All of You (6:45)
5. My Foolish Heart (5:26)
6. Star Eyes (6:44)
7. Confirmation (4:59)
8. Donna Lee (3:38)
9. Four (4:52)

Bop On Pop is a trio session that explores the bebop and hard bop roots of jazz from the ‘40s and ‘50s. The disc features Ben Perowsky on drums; Frank Perowsky, his father, on tenor saxophone and clarinet; and Sam Yahel on organ. The chosen songs are mainly standards associated with a few of the "founding fathers": Miles Davis, Charlie Parker, Horace Silver - as well as a grateful nod to "pre-bopper" Fats Waller. The trio performed most of these songs during a gig last month at the Cornelia Street Café, where pianist Kevin Hays was a last-minute replacement for Yahel.

The disc opens with Davis' "Vierd Blues," which begins with Frank Perowsky stating the theme alone on sax as Yahel and Ben Perowsky fall in behind him. Ben keeps a solid, steady, cymbal-dominant groove going throughout. After they run through the theme twice more, Frank launches into a languid, bluesy solo, initially spare but increasingly more inventive as he warms to the task, after which the notes and ideas come out in spurts and brief flurries. Yahel ably complements the sax solo, then takes a slick turn of his own as Ben maintains a solid, cymbal-laden groove.

Frank switches to clarinet for Fats Waller's "The Jitterbug Waltz." His swinging solo after the opening theme is exploratory and deft. Yahel shadows the clarinet during the statement of the theme, percolates beneath Frank's solo, then takes his own sparkling turn at the helm before they take the song out. The song is a patient brew, building to a quiet intensity.

After Ben leads in on the drums, Frank and Yahel share some spirited byplay on the head of Horace Silver's burner "Quicksilver," racing along like neck-and-neck sprinters. Frank and Yahel take solos, then trade fours before restating the theme. The intro to "All Of You" is slow almost to the point of being melancholy, but it's quickly upgraded to its standard midtempo pace. The drummer begins with brushes but then switches to sticks as the groove expands, deepens and picks up. On the ballad "My Foolish Heart" the interplay among the trio is pitch-perfect.

Standouts on the disc include the fine arrangement of "Star Eyes," a song made popular by Charlie Parker; and "Donna Lee," written by Miles Davis and recorded by Bird when Miles was part of his band. Yahel lays out on this tune while the Perowskys - with pére on the clarinet - happily race through it. The disc ends with another father-son duet on another Davis composition, "Four," where Frank goes back to tenor sax.

Frank Perowsky plays both the tenor sax and clarinet with great fluency and confidence, sometimes approaching songs from unexpected angles and perspectives. Ben Perowsky is solid on drums, and Yahel brings out all of the colors in the organ, turning his left hand into a fourth member of the band by providing a consistent bass line. Bop On Pop is a well-executed tribute to the musicians who laid the cornerstones of the foundation of jazz today.

This review originally appeared in All About Jazz-New York June 2003.

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вторник, 29 сентября 2009 г.

Simon Jermyn - Simon Jermyn's Trot a Mouse (2008)


Simon Jermyn - Simon Jermyn's Trot a Mouse (2008)

Simon Jermyn: electric bass & barione guitar
Chris Speed: tenor sax & clarinet
Loren Stillman: alto sax & clarinet
Sean Carpio: drums
Joachim Badenhorst: bass clarinet & tenor sax

Recorded at Stats Studio, Brooklyn NYC
in January 2007 by Reuben Radding
Mixed and mastered by Rune Borup and Mikkel Ploug at Fishcorp, Copenhagen in April and July 2007
Cover artwork and layout by Annika Koski

All music by Simon Jermyn except
"Conduit" by Jermyn/Speed and "Middle Place" by Jermyn/Speed/Stillman/Carpio/Badenhorst

Produced by Simon Jermyn
Executive Producer: Jordi Pujol

Tracklisting:

01 - conduit
02 - no, no, no
03 - becomming
04 - otabur
05 - narly
06 - middle place
07 - kaboose
08 - flaw
09 - silven cathedral
10 - stevie
11 - trot a mouse

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суббота, 19 сентября 2009 г.

Emergency! - Loveman Prays For Psychical Sing (2003)

Emergency! - Loveman Prays For Psychical Sing (2003)

(Studio Wee, SW305) (Japan) (CD)
  1. Sing Sing Sing (Prima) (13:16)
  2. Better Git Hit in Your Soul (Mingus) (8:36)
  3. I Say a Little Prayer (Bacharach) (10:10)
  4. The Fireworks in Toshimaen (Yoshigaki) (6:50)
  5. Run and Run (Yoshigaki) (7:31)
  6. Fables of Faubus (Mingus) (13:19)
  7. Good Night (Lennon/McCartney) (5:20)

Emergency!
Yasuhiro Yoshigaki: drums, percussion, trumpet, vocal
Otomo Yoshihide (left): guitar, vocal
Ryoichi Saito (right): guitar, vocal
Hiroaki Mizutani: bass, vocal

Produced by Yasuhiro Yoshigaki and Hiroaki Wakiya
Recorded at GOK Sound Studio, Tokyo, September 27, 2003
Mixed at GOK Sound Studio on September 29 and October 5, 2003
Engineered by Toshiaki Kondo
Mastered by Hiroshi Shiota
Cover illustration by Kazuo Miwa
Design by Tomoo Maruono
Includes liner notes in Japanese and English by Yasuhiro Yoshigaki (English translation by Corene Cook)

Released in November 2003

Thanks to quinteroax for share!

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вторник, 8 сентября 2009 г.

Emergency! - Loveman Plays Psychedelic Swing (2002)

Emergency! - Loveman Plays Psychedelic Swing (2002)

(Studio Wee, SW208) (Japan) (CD)


  1. Re-boptism (8;14)
  2. Creole Love Call (13:21)
  3. Canon (7:03)
  4. Emergency! Walkin' (10:55)
  5. (a) Don't Say It (3:43) / (b) The Inflated Tear (11:25)
  6. Jelly Roll (3:59)
  7. The Look of Love (9:26)

Music by Yasuhiro Yoshigaki (1, 4), Duke Ellington (2), Charles Mingus (3, 6), Emergency! (5a), Rahsaan Roland Kirk (5b), and Burt Bacharach (7)

Emergency!
Yasuhiro Yoshigaki: drums, percussion
Yoshihide Otomo: guitar
Ryoichi Saito: guitar
Hiroaki Mizutani: bass

Recorded live at Buddy in Tokyo on March 20, 2002
Mixed at Real Time Sound in Tokyo on April 22 and 26, 2002
Engineered by Atsushi Tanaka
Mastered by Hiroshi Shiota
Illustration by Kazuo Miwa
Design and photography by Tomoo Maruono
Produced by Yasuhiro Yoshigaki and Hiroaki Wakiya
Includes liner notes by Yasuhiro Yoshigaki in Japanese and English (translation by Toshio Moriya and John Bryan)

Released July 2002

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суббота, 5 сентября 2009 г.

The Khan Jamal Creative Arts Ensemble - Drum Dance To The Motherland (1973)


The Khan Jamal Creative Arts Ensemble - Drum Dance To The Motherland (1973)

Personnel:
Khan Jamal – vibraphone, marimba, clarinet
Alex Ellison – drums, percussion
Dwight James – drums, glockenspiel, clarinet
Billy Mills – fender bass, double bass
Monnette Sudler – guitar, percussion

Probable recording date 6 or 7 October, 1972 at The Catacombs, Philadelphia, PA
Original recording produced by Khan Jamal, issued on Dogtown Records
Original recording by Mario Falana

Tracklisting:
A1 - Cosmic Echoes (7:47)
A2 - Drum Dance To The Motherland (12:35)
B1 - Inner Peace (15:46)
B2 - Breath Of Life (6:43)

A special treat for the vinyl hounds! The long-awaited first vinyl reissue of the Khan Jamal Creative Arts Ensemble's almost-impossible-to-find 1972 "Drum Dance To The Motherland". Newly remastered and sounding great, this is a unique, uncategorizable (but here we go, nevertheless...) expression of Afrocentric America, freely improvised (but not necessarily "free jazz"), pulsing, moving, restless yet restful. Recorded in the group's hometown of Philadelphia, the players masterfully combine all the currents of Afro-American music - jazz, r'n'b, blues, funk and more - in a manner not imitative of but somehow informed by the spiritually Afro-Astral work of Sun Ra. Drums, percussion, bass, guitar, clarinets and the balaphon-influenced marimba and vibes of bandleader Khan Jamal are all wondrously integrated, and propelled into other dimensions by the heavy, dub-like use of live echo and reverb by "sixth member" sound engineer Mario Falana (Lola's brother). There is an abundance of fine playing in these grooves: tasty guitar, propulsive bass lines, layers of percussion, wailing clarinets, Jamal's vibes and marimba, all periodically carried farther out on waves of echo, and farther in via cavernous reverb.
[Rush Hour Store]

And you can read an intersting track-by-track review by sonicasimmetry here.

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понедельник, 31 августа 2009 г.

Marvin 'Hannibal' Peterson - Hannibal In Antibes (1978)


Marvin 'Hannibal' Peterson - Hannibal In Antibes (1978)

Marvin "Hannibal" Peterson - Trumpet
George Adams - Flute/Tenor Saxophone
Diedre Murray - Cello
Steve Neil - Bass
Makaya Ntshoko - Drums

Tracklisting:
01 - Ro (19:16)
02 - Swing Low Sweet Chariot (20:25)

record date: July 20th, 1977

Hannibal In Antibes starts off really very badly, so much so that you’re almost tempted to give up on the thing. The problem is it starts with about a three minute drum solo. I mean drum solos are bad enough anywhere on a record, but to start an album with one is just madness. I suppose at least they have started the album with the lowest point on there, so in theory it should only get better from that point on, unless of course you love drum solos. When the other instruments initially kick-in you’re like thank god for that, but then it all starts going a bit pear-shaped and all Tom & Jerry ish. But after about four and a half minutes the bass kicks in, then a cello reveals itself, Hannibal starts blowing the most intense horn work you could ask for, and from that point on you are blessed with a full-on aural pleasure fest for the rest of the album.

This album is two very long tunes that seem to be dominated by solos throughout. Luckily the drum solo is the only bad one here, and as I already pointed out, they got rid of it at the start. All the rest of the solos respectfully work with the rhythm section and never over reach or go too far out. The rhythm section, which also consists of a cello on here, really seems to control the main instruments of trumpet, tenor sax and flute, and make sure they behave themselves. At one point the sax goes a little over the top, but the rhythm section is like calm down will you you’re spoiling the flow, and brings it back into line. The musicians on here are Marvin “Hannibal” Peterson on trumpet, George Adams on flute and tenor sax, Diedre Murray on cello, Steve Neil on Bass and Makaya Ntshoko on drums, and man can this guy can play those drums.

The overall feel of the music is very much in that Impulse spiritual and haunting approach, but with a bit more rock element in there. Imagine the latter Pharoah Sanders recordings for Impulse, like Village Of The Pahroahs and Live At The East, but with a trumpet thrown in, and you’ll kind of get the picture. I also like the use of a string instrument, this is where the rock feel comes from; it kind of adds a slight early Velvet Underground (when John Cale was a member) feel to the thing. In addition to that there’s a kind of eastern feel, but not like Middle Eastern, more sort of eastern European feel. Basically it's a real fusion of styles that all work perfectly, so if you imagine a Russian Velvet Underground without guitars covering a Pharoah Sanders' album, you're almost there.

Both tracks are winners, but side two is a total killer, it’s a twenty plus minute version of “Swing Low Sweet Chariot” that literally abducts you for its entire duration. The drum/bass/cello combination on here is like an all consuming driving riff that just never lets up. I was so taken by this record that I spent the whole twenty minutes just not wanting it to end. I love those times when you've just got an album, but you know absolutely nothing about it and it ends up being one of the best things you've ever heard. If you love all that hypnotic stuff, and strong rhythm sections, then I cannot recommend this album to you enough. Just be warned, it is seriously addictive. The only thing that stops this getting top whack is the drum solo, and that’s just a personal thing, I hate drum solos.
>>by MH1000 from rateyourmusic.com

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понедельник, 24 августа 2009 г.

Nutron - Spectra (2002)

Nutron - Spectra (2002)

Nutron is one of brilliant japan guitarist Yoshitake Expe's projects. "Spectra" released on Comma Records in 2002.

Tracklisting:
01 - bird 7
02 - atur
03 - aquam
04 - raem
05 - nooon
06 - flower of funk
07 - porteisco
08 - peach fish
09 - all silicon sea system
10 - secret flower

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Strobo - Chaos Addiction (2006)

Strobo - Chaos Addiction (2006)

Tracklisting:
01 - thousands of blue
02 - deep field
03 - chaos addiction
04 - buzzy sunshine
05 - mayan
06 - mameshiba

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Strobo - Zero (2003)


Strobo - Zero (2003)

Tracklisting:
01 - Breathe
02 - You are Not Alone
03 - Zero
04 - Mahi-Mahi
05 - Solar

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воскресенье, 23 августа 2009 г.

Strobo - Insight (2002)

Strobo - Insight (2002)

Tracklisting:
01 - you're always free to change your mind
02 - insight
03 - dancin' in the streets
04 - fortune teller
05 - put your hands in the air

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Strobo - Primitive Future (2001)


Strobo - Primitive Future (2001)

Tracklisting:

01 - Division
02 - 2002
03 - Primitive Future
04 - One Step
05 - BIRD
06 - Cell

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воскресенье, 2 августа 2009 г.

Various Artists - Comma Records Anthology (2004)

Various Artists - Comma Records Anthology (2004)

Tracklisting:

CD 1:
01 - NXS - Zebra (Monka{Kinka&Moochy}/'Wind' Mix) (8:22)
02 - NXS - Fall (Saidrum/North Down Mix) (6:48)
03 - Nutron - Flower of Funk (7:17)
04 - Mana - Natural Sequence Part.2 (7:06)
05 - NXS - Dice (3:41)
06 - Soft - Echoooner (8:24)
07 - NXS - Sleeper (EyE/Micro Forest Remix) (7:51)
08 - Soft - Art Farmer (Kaoru Inoue Remix) (8:08)
09 - AOA - Dolphin Rider (6:47)

CD 2:
01 - AOA - El Dragon (6:52)
02 - Tribal Circus - Boronco (5:19)
03 - Tulululus - African Sauna (5:25)
04 - Soft - Art Farmer (Space Ocean Dub) (13:10)
05 - AOA - Surfin' Alright(Cosmo Pacifica) (8:15)
06 - Soft - Tokyo Afro Hair (10:52)
07 - AOA - Usaoa (7:39)
08 - AOA - Open (1:46)

This is rather rare compilation from japanese label Comma Records. Started in July 1998, Comma appeared at a time when underground Japanese musicians with their personal, regional histories under one arm and the sound and approach of foreign electronic music under the other, really started crawling out of the woodwork. Seeking to pervert the course of modern music, Comma searched for the results of these potentially bizarre blends, mismatches, coincidences and distortions, and findings to date are documented in current releases.

Jazz, nu-jazz, future jazz, dub, techno.

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суббота, 25 июля 2009 г.

Yamatsuka Eye - Re...Remix? (2008)

Yamatsuka Eye - Re...Remix? (2008)

Remix compilation of Yamatsuka Eye from Boredoms.

01 - Walrus - Moth (Remixed By EYE) (3:31)
02 - DJ Pica Pica Pica - Spa (5:00)
03 - Makoto Kawamoto - Gimme Shelter (Remixed By EYE) (6:39)
04 - Boat - Monmi (African Dawn Remix) (4:28)
05 - Flare - Turbinates (Yamataka Eye Mix) (8:28)
06 - NXS - Sleeper (Micro Forest Mix 2000) (8:00)
07 - Zeebra - Smokin' At The Lobby (Your Turn) (Magic Mushroom Mix) (7:21)
08 - Gong - Master Builder (EYE Mix) (4:31)
09 - Wrench - Cosmic Hierarchy (EYE Remix) (6:26)
10 - OOIOO - Asozan (EYE Remix) (3:15)
11 - Atami - Nightingale (X-mas Mix) (6:15)
12 - Back Drop Bomb - When The Man Have Realized The Sound-Flow (It's Like That) (Bobobo-bo Bo-bobo Mix) (5:01)

End said:
Eye, eh? Sun-sculpting deity, bringer of noise and peace in equal, purposely contradictory amounts. Club igniter and destroyer, most likely; the man you would hire instantly if you required someone to scare your kids into raving. None of this means anything, though. Fuck it. Kill it. Remix it and release it on CDs I cannot find.


Re...

Re...

Re...

art3infinity said:
Who cares if no one hears this album.
Likely, the best remix album I have ever heard, and yet I didn't even put it on my top 23 of the year list.
Yamataka makes his music for the Ocean and Thunder of Nature anyway, not me.

c_deep said:
An amazing collection of Yamataka Eye's remixes. If you know the DJ Pica Pica Pica mix cd or the Vision Recreation album you know you're in for some serious sensual bombardment and the mood of this collection is heavier, more rocking. The remix of Gong's Master Builder is a good example, this time stripping it down of all the hippie elements and letting the fuzz bass dominate and letting the drums put the track into overdrive. An essential listening for every Boredoms fan.

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воскресенье, 7 июня 2009 г.

Date Course Pentagon Royal Garden - Franz Kafka's Amerika (2007)

Date Course Pentagon Royal Garden - Franz Kafka's Amerika (2007)

(P-Vine Records, PCD-18514/5) (Japan) (2-CD set)


Disc 1

  1. Perfect Days for Jungle Cruise (21:50)
  2. (It's a Small) World Music's World (6:54)
  3. The Crying of Lot 49 (15:11)

Disc 2

  1. Washington D.C. (8:20)
  2. 1865 Richmond, VA (24:08)
  3. Fox Trot (12:22)
  4. Hoa-ky (13:26)

All music composed and arranged by Naruyoshi Kikuchi

Date Course Pentagon Royal Garden:
Naruyoshi Kikuchi: conductor, CD-J, keyboard
Jason Shalton: guitar
Koki Takai: guitar
Yasuhiro Yoshigaki: drums
Nobuo Fujii: drums
Masaki Kurihara: bass
Kenta Tsugami: soprano saxophone
Gosekky: tenor saxophone
Masayasu Tzuboguchi: keyboard, synthesizer
Gen Ogimi: percussion
Masaki Yoshimi: tabla
Takero Sekijima: tuba
Taisei Aoki: trombone
Shiro Sasaki: trumpet

Produced by Naruyoshi Kikuchi
Recorded by Kenji Konishi at Sound Inn and aLive Recording Studio
Edited by Shigeki Nakamura at Andy's Studio
Mixed by Shigeki Nakamura (disc 1, track 1; disc 2, tracks 3 and 4) and Kenji Konishi (disc 1, tracks 2 and 3; disc 2, tracks 1 and 2)
Mastered by Osamu Shimojyu at On Air Mastering
Artwork by Sun An

Released in April 2007

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David Wertman - Kara Suite (1976)


David Wertman - Kara Suite (1976) (with Weasel Walter re-release 2005)

David Wertman - bass
Charles Tyler - alto saxophone
Ken Simon - tenor and soprano saxophones
Steve Reid - drums
with
Weasel Walter - drums

1. Kara
2. Sunshine
3. Sharataar
4. Devotion

Weasel Walter drum overdub recorded on dec 15, 2005

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*You can find original 79'version in comments.


New Life Trio - Visions Of The Third Eye (1979)



New Life Trio - Visions Of The Third Eye (1979)

Label: Mustevic Sound
Catalog#: MS 6001
Format: Vinyl, LP
Country: US
Released: 1979
Genre: Jazz
Credits: Bass - David Wertman
Drums - Steve Reid
Guitar - Brandon Ross
Notes: Music of the people, by the people, for the people.

Tracklisting:
A1 - Empty Streets
A2 - Egypt Rock
A3 - Sculpture
B1 - Chinese Rock
B2 - Prelude To Grace
B3 - Love Cipher


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суббота, 16 мая 2009 г.

Melvin Jackson - Funky Skull (1969)

Melvin Jackson - Funky Skull (1969)

Bassist Melvin Jackson has exactly one album in his catalog as a leader (he spent most of his time playing with Eddie Harris). But man, that's all he needed. Pumping his upright through a Maestro G-2 filter box, a Boomerang, an Echoplex, and an Am peg amp, he made that thing sound like something from outer space while keeping it firmly in the groove of the corner bar on Front Street. Gimmicky? That's what they once said about Roland Kirk playing multiple horns at once, too. As for the naysayers who think of this as a novelty, consider the heavies in his band: Roscoe Mitchell, Leo Smith, Lester Bowie, Phil Upchurch, Pete Cosey, Morris Jennings, Jodie Christian, Billy Hart, Byron Bowie, Steve Galloway, and a whole lot of others. All of these cats were heavyweights in their own right. What does Funky Skull sound like? Psychedelic, funky soul-jazz and a whole lot more. Jackson bowed his bass a well as plucked it depending on what the tune needed. Produced in Chicago by Robin McBride and originally released on the Limelight label, it marked an era of exploration and Jackson was on the ground floor of the space station. There was only one requirement: the groove had to be in the pocket and the beat had to be on the one. There are nine tunes here; Jackson wrote or co-wrote four, including the two-part title cut. He took pages from both Harris' serious soul-jazz book and James Brown's funky one. There are vocals on these tracks, but they amount to little more than accents on the repetitive rhythmic lines being laid down. It's all backbone-slipping, hard, electric jazz funk from the pre-fusion era. "Funky Skull, Pts 1 & 2" and Eddie Harris' "Cold Duck Time, Pts. 1 & 2" were actually spun on jukeboxes throughout the Midwest and in New York in beer gardens, at lunch counters, in bowling alleys, etc. In other words, these jams got heard and grooved to by ordinary folks, not just jazz heads. The nickels got pumped for a reason. Some cuts here, such as "Dance of the Dervish," have pretty sophisticated arrangements and fell more firmly in the jazz camp, but were outside it, too -- especially the Echoplexed bass solo. Elsewhere, "Everybody Loves My Baby," which is a workout for hand percussion, hi hat, and bowed electronically affected bass, was out there on the launching pad in terms of classification. It gets brought back in from the cold by Jackson's "Say What," with the horns playing as a section with striated harmony and a subtle B-3 played by some uncredited genius who kept the funk lines clipped and tight; it was Jackson's cue for wrapping himself all over the groove while never leaving the pocket entirely. The bleating saxophone solo tells you that something else is being aspired to and delivered: it pushes the melody line way out the window, but the rhythm section never loses it for a second. "Funky Doo," written by Jackson and producer Robin McBride, rocks it up while being a dance tune for a sweaty after-hours party. The set ends with "Silver Cycles," written by Jackson and Harris. Clocking in at over nine minutes, it begins with a small piano vamp and Jackson playing glissando bowed bass before flutes, a trap kit, and other horns wind their way in. Jackson's bass gets double-tracked, finding the expansive groove being laid down and extrapolated into harmonic wonderland. Textures by the horn section, and the lower edges of the bass and piano registers are expounded upon, with the horn playing in high, tinny fashion, creating a huge space in the middle for anything to happen. But it stays on the subtle side with all sorts of interaction going on between the instruments crisscrossing channels and parts before fading into the night. Funky Skull is a one of a kind listening experience. It's fun, wildly inventive, freewheeling and complex all at the same time. This is one of those records that one has to hear to believe, and once heard, has to have as a permanent part in your collection. [Luckily for us, the fine folks over at Dusty Groove in Chicago reissued this Limelight classic on CD in 2007.]
[allmusic.com]

tracklisting:

A1. Funky Skull–Parts 1 & 2
A2. Ma, She's Makin' Eyes At Me
A3. Bold And Black
A4. Dance Of The Dervish
A5. Everybody Loves My Baby

B1. Cold Duck Time–Parts 1 & 2
B2. Say What
B3. Funky Doo
B4. Silver Cycles

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вторник, 12 мая 2009 г.

Date Course Pentagon Royal Garden - Report From Iron Mountain (2001)


Date Course Pentagon Royal Garden - Report From Iron Mountain (2001)

1
Catch 22 (10:00)
2
Play Mate At Hanoi (12:29)
3
S (10:51)
4
Circle/Line ~ Hard Core Peace (16:02)
5
Hey Joe (12:00)
6
Mirror Balls (08:16)

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Rovo\Date Course Pentagon Royal Garden - s.t. split (2001)

Rovo\Date Course Pentagon Royal Garden - s.t. split (2001)

01 - Rovo - Sino
02 - Date Course Pentagon Royal Garden - Pan-American Beef Stake Art Federations

(P-Vine Records, PCD-18501) (Japan) (CD)


01 - Rovo - Sino (30:35)

Yuji Katsui: violin
Seiichi Yamamoto: guitar
Tatsuki Masuko: DX-7, SH-101
Koji Nakanishi: Juno-106, SH-101
Jin Harada: bass
Yoichi Okabe: drums, percussion
Yasuhiro Yoshigaki: drums, percussion
Composed by Rovo
Conception: Seiichi Yamamoto
Produced by Rovo
Recorded by Yoshiaki Kondo at GOK Sound
Mixed by Seiichi Yamamoto at Cooper Studio
Mastered by Mitsukazu Tanaka


02 - Date Course Pentagon Royal Garden - Pan-American Beef Stake Art Federations (32:19)

Naruyoshi Kikuchi: VOX-Jagar, CD-J, keyboard
Yoshihide Otomo: guitar
Kohki Takai: guitar, filter
Yasuhiro Yoshigaki: drums, tambourin
Nobuo Fujii: drums
Masaki Kurihara: bass
Kenta Tsugami: soprano sax
Yoshihiro Goseki: tenor sax
Masayasu Tzuboguchi: synthesizers, electric piano, clavinett
Gen Ohgimi: percussion
Masaki Yoshimi: tabla
guest Itoken: drums, tambourin
Composed by Naruyoshi Kikuchi and Date Course Pentagon Royal Garden
Produced by Naruyoshi Kikuchi and Kohki Takai
Recorded at Shibaura Studio, On Air Azabu, Sound Arts, and FarEastIsland Studio
Engineered by Kenji Konishi
Mixed by Shigeki Nakamura at FarEastIsland Studio
Mastered by Mitsukazu Tanaka


Design: Takeshi Matsumoto
Includes liner notes in Japanese by Rovo and Naruyoshi Kikuchi

Released July 2001

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Date Course Pentagon Royal Garden - Structure et Force (2003)


Date Course Pentagon Royal Garden - Structure et Force (2003)

Naruyoshi Kikuchi: VOX-Jagar, CD-J, keyboard
Yoshihide Otomo: guitar
Kohki Takai: guitar, filter
Yasuhiro Yoshigaki: drums, tambourin
Nobuo Fujii: drums
Masaki Kurihara: bass
Kenta Tsugami: soprano sax
Yoshihiro Goseki: tenor sax
Masayasu Tzuboguchi: synthesizers, electric piano, clavinett
Gen Ohgimi: percussion
Masaki Yoshimi: tabla
guest Itoken: drums, tambourin

01 - Structure I - La structure de la magie moderne
02 - Structure II - La structure del'Amerique medievale
03 - Structure III - La structure du solide rotaroire et de la prostitution
04 - Structure IV - La structure du temple et du paradis
05 - Structure V - La structure du port et des lieux de plaisir
06 - Structure VI - La structure de l'extraction de la bouteille de Champagne

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суббота, 28 марта 2009 г.

Chris Speed - Emit (2000)


Chris Speed - Emit (2000)

With his fourth solo CD, saxophonist/clarinetist Chris Speed continues his distinct assault on modern jazz as Emit may in fact represent the artist’s finest achievement as a leader thus far. Along with three of his longtime band mates from the peppery Balkan based band, “Pachora”, Speed and trumpeter Cuong Vu make for an auspicious front line horn section in concert with the all world rhythmic pairing of bassist Skuli Sverrisson and drummer Jim Black.
Basically there’s not one track to be found that might hint at anything resembling filler material. The band cross pollinates Middle Eastern themes with a Caribbean vibe on the fervent opener, titled “Constance and Georgia” where Speed and Vu render perky lines and sweet melodies amid fluctuating rhythms, flirtatious call and response dialogue and jovial deconstruction of the primary motif. Black and Sverrisson surge onward with the intensity of a freight train on “Suggestible” as the soloist’s combine ballsy improv with intriguing melodies while Speed, performing on clarinet, rides atop the often maniacal pulse and Sverrisson’s limber lines. Whereas, on “Tangents”, Jim Black demonstrates yet again why he is one of the finest drummers in jazz, evidenced by his polyrhythmic onslaughts and ability to maintain the tempo without losing a beat. On this piece, the band provides polychromatic vistas, as the lead soloists
render airy yet complex unison choruses in conjunction with a rhythm section who seem hell bent on ripping the walls apart. Here, raw power attains a fruitful coexistence with innocence and beauty! All About Jazz


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Other Chris Speed's releases:
Criss Speed - 2000 - Iffy Trio

понедельник, 23 марта 2009 г.

Bobby Previte & The Horce - Play Miles Davis (live, 1998)


Bobby Previte & The Horce - Play Miles Davis (live, 1998)

Other Bobby Previte's releases:
Previte / Petrella / Salis - Big Guns (2008)

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суббота, 21 марта 2009 г.

Previte / Petrella / Salis - Big Guns (2008)

Previte / Petrella / Salis - Big Guns (2008)

Label: AUAND
Catalog#: AU9015
Format: CD, Album, Digipak
Country: Italy
Released: 2008
Genre: Jazz
Style: Contemporary Jazz
Credits: Artwork By [Design] - Segni & Disegni
Drums - Bobby Previte
Engineer [Assistant] - Davide Palmiotto
Executive Producer - Giovanna Mascetti , Marco Valente
Mastered By - Scott Hull
Mixed By - Scott Harding
Photography [Cover] - Luca Buti
Piano, Organ [Hammond], Electric Piano [Fender Rhodes] - Antonello Salis
Producer - Bobby Previte
Recorded By - Fabio Patrignani
Trombone, Effects, Melodica - Gianluca Petrella
Notes: Recorded at Forum Music Village (Rome, Italy) on November 27-28, 2007.
Mixed and mastered in New York on April 2008.

As with many all-improvised sessions, this project between U.S. drummmer Bobby Previte, Italian trombonist Gianluca Petrella and Italian keyboardist Antonello Salis is a mixed bag. The program is nicely varied from track to track. But Salis, who alternates between piano, Hammond and Fender Rhodes, is the only one who sounds at ease, finding fresh and provocative gambits on every piece. Previte comes off as the least inspired participant. He plays with loads of power and sometimes drives the music from the pocket (as on “Blues For Gio”), but much of the time he sounds like he’s firing off a row of cannons.
Petrella is a monster on his instrument, and previous work has revealed his sharp grasp of electronic enhancements, but he overdoes it a little here. Reverby effects pedals sometimes reduce his razor-sharp phrasing and full-bodied tone into an oil slick of dubby low-end. When he plays clean lines, he and Salis usually lock into some gripping interactions, from slinking, guttural growls against the splattery piano figures on the title track or fat post-bop riffing againstgreasy and spooky Hammond trills on “The Battle Of Zama”. Some actual tunes would have helped.

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More Info and preplay here

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Chris Speed - Iffy Trio (2000)

This Chris Speed-led date finds him in a jazz trio setting with drummer Ben Perowsky (who has recorded most with Dave Douglas and Mike Stern) and organist Jamie Saft (of Jerry Granelli and Bobby Previte groups). The three form an equally balanced trio; it would be hard to pick out the leader just by listening. Iffy is opened by Perowsky and Saft who set the pace for a few measures before Speed comes in with his clarinet. The first surprise is that Saft is on Hammond B-3 (the credits list simply "organ & synthesizers") and for a quick moment, Wayne Horvitz' Zony Mash comes to mind, but the trio then moves wholeheartedly in an organ jazz direction. As "A Little Odd" approaches the four-minute mark, it ends abruptly and in rushes the high-energy, whirlwind number "Graphic Ridiculous," which flies, in its calmer moments, and rocks out through reckless solos. After this fast ride, the trio only calms down a little for the synchronized duet between Saft and Speed -- who's on tenor this time -- with Perowsky soon joining in. With "FMU" (named, perhaps, for the NYC radio station) the boys bring back the jazz and include a bit of entertaining melodrama toward the end, as well. The groovy "Gina" is based around a klezmer melody and finds Saft's left hand steadily riding the low end, Perowsky cutting it up with a mid-tempo funk and Speed exercising his clarinet chops. "Part III" signals the mid-point of the album and offers a half and half of fast action and slow motion. The second half of this well-done, up-tempo album continues with as much energy, interest, and variety as the first, with the only real wind-down number, "Slippers," coming in at the close.
all music guide


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