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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