пятница, 27 марта 2015 г.

Karkhana ‎– Live At Metro Al-Madina (2015)

Karkhana ‎– Live At Metro Al-Madina (Sagittarius A-Star, 2015)

Umut Çağlar: Flute, Violin, Percussion
Mazen Kerbaj: Trumpet, Trombone [plastic], Synth [crackle]
Sam Shalabi: Oud, Electric Guitar
Maurice Louca: Organ
Özün Usta: Double Bass
Sharif Sehnaoui: Drums

01 - Under The Red Light, Part I
02 -
Under The Red Light, Part II

This is one of the most powerful releases in the combined Qbico and Sagittarius A-Star catalogues. Imagine a cross between Kluster and Taj Mahal Travellers with a Middle Eastern feel (the musicians are from Egypt, Turkey and Lebanon). Their first record was recorded live in Beirut on February 25th, 2014. The musicians are Mazer Kerbat (trumpet, plastic trombone, crackle-synth), Umut Çağlar (flutes, violin, kalimba), Sam Shalabi (electric guitar, oud), Maurice Louca (synth, electronics), Özün Usta (double bass, cura) and Sharif Sehnaoui on drums. The sound that you hear at the end of the second clip it's not a monster's breath. The ticket to the ride. [Shiny Beast]


Or find it in comments!

четверг, 26 марта 2015 г.

Faruq Z. Bey with Northwoods Improvisers - Rwanda (2005)

Faruq Z. Bey with Northwoods Improvisers - Rwanda (Qbico, 2005)
Faruq Z. Bey: tenor sax, alto sax, Zola Phone
Mike Carey: flute, bass clarinet
Skeeter Shelton: tenor sax
Mike Gilmore: vibes, marimba, dhumbeks, bone guitar
Mike Johnston: bass, shenai, percussion
Nick Ashton: drums

1. Rwanda (Johnston)
2. Mamaka II (Bey)
3. Himalayan Footpath (Gilmore)
4. Gogisci [Smoke] (Johnston, Mateen)*
*in CD-version

"There are lions and oribi roaming through the savannah during the opening mystery of this song. Dark birds of prey follow their movements. Mike Gilmore, Nick Ashton and Mike Johnston create a percussive landscape filled with shadow and flashes of light. The flutes of Faruq Z. Bey and Mike Carey begin the journey like winds over the tall grasses and rolling hills, heading toward the volatile waters of Lake Kivu. When the bass of Johnston thunders into being, you are moving across the surface of the lake, feeling each crest and trough of the blue-black waves of Kivu. The flutes are now calling the barefoot fishermen to dance, dreaming of barbel, catfish and tilapia. The Tenor Sax of Bey first, and then Skeeter Shelton, pull you into two worlds: you’re still on that deep and dangerous African lake, but at the same time, you are now viewing the streets of Detroit from the backseat of a slow-moving Buick. It’s late summer and the windows are rolled down. The tires hiss and the streetlights flash across your face. Gilmore’s marimba solo brings you back to that Rwandan plain. Though now you are the lion, stalking the oribi. The saxes come back in, this time with Carey joining the drive and leading the expedition. Finally, your are returned to the opening mystery. The bass and percussion dissolve the water and land into ethereal winds, and those dark raptors rise in widening circles until they disappear into the silence".

"Gorgeous, earthy, unhurried Mother Africa jazz here, deep and dark, mysterious yet reassuring. Sax/flute master Bey leads a superb group of like-minded story-tellers; together they bring forth a kind of ancient knowledge I can’t begin to understand. Long journeys unfold before us… our guides are bass, drums, saxes, flutes, bass clarinet, and vibraphone/marimba. Along the way we meet shenhai, zola phone, and bone guitar. Night comes in and spirits visit and we are at peace" Max Level (KFJC Radio)

"enter Faruq... through my old friend Mike Johnston who used to bid and win in my old jazz auctions... another pillar of qbico records and a unique voice. love their music (such a warm and African sound), their compositions (never get tired of hearing them), their artworks (Mike ltd hand-made covers are among the best on qbico). i finally met Faruq (and of course Mike and the rest of the band) in Detroit for the unite, no words, just shake hands AND looks... Mike told me some deep stories about him from the 60's... a kind of legendary figure, especially in the Detroit area.. in fact they played mostly there for a long time, but fortunatly recently they played Issue Project Room in NYC, thanks to an invitation from my friend Lawrence. Faruq got some health problems, that's why they can't move much... anyway, i did three rockets by Faruq (plus one-sided by the Northwoods), so i really hope the message'll be spread loud and clear, beyond Det." [qbico]

Poll Winners of 2005 honorable mention WEMU Radio.

Out of print!!!

Find link in comments!

вторник, 24 марта 2015 г.

Don Cherry - Modern Art (Live in Stockholm, 1977) (2014)

Don Cherry - Modern Art (Live in Stockholm, 1977) (Mellotronen, 2014)
Don Cherry: Trumpet [Pocket Trumpet], Flute, Conch [Conch Shell], Piano, Vocals, Xalam [Doussn' Gouni] 
Bronisław Suchanek: Bass [String Bass]  
Torbjörn Hultkrantz: Bass [String Bass]  
Georg Wadenius: Electric Guitar, Acoustic Guitar, Voice  
Tommy Koverhult: Flute  
Peter Ek: Rattle [Calabash], Tabla, Zither [Drone Zitther], Claves 
Moki Cherry: Tambura  
Lena Ahlman: Tambura
Per Tjernberg: Drums [Hand-Drums], Percussion

01 -
Love Train
02 - Awareness
03 - Meditation
04 - Universal Mother
05 - Que Faser
06 - Eagle Eye
07 - Karmapa Chenno
08 - Mahakali (Excerpt)
09 - Ornettunes
10 - California
11 - Desireless
12 - Marimba, Goddess Of Music
13 - Chenrezig

This limited-edition CD and LP, recorded at Stockholm’s Museum of Modern Art in 1977, includes selections from trumpeter Don Cherry’s 1977 Hear & Now, a fusion-tinged outing that generated some controversy when it was released. Although it doesn’t quite live up to its billing as “Hear & Now unplugged” (only five of the 13 songs—“Universal Mother,” “Eagle Eyes,” “Karmapa Chenno,” “Mahakali” and “California”—are from that LP), Modern Art provides a rare opportunity to hear Cherry reinterpret that material in a primarily acoustic setting.

Despite its pervasive spirituality, this is no exercise in New Age navel-gazing. Cherry ascends and soars, firing off multi-note fusillades with spitfire ferocity and blatting out tongue-stop-toughened extended phrases. As he did on Hear & Now, though, he also lays out frequently, letting flutist Tommy Koverhult and guitarist Georg “Jojje” Wadenius take the spotlight. According to percussionist Per Tjernberg’s liner notes, Koverhult arrived at the gig late, unfamiliar with most of the material, but he was a longtime Cherry compatriot and fit in seamlessly. Brilliant, full-toned and as improvisationally fearless as Cherry himself, he also summons a powerful rhythmic thrust alongside Tjernberg and fellow percussionists Peter Ek, Moki Cherry (Don’s wife) and Lena Ahlman. Wadenius alternates feathery leads with resonant chording, and he contributes chants, prayers and wordless imprecations throughout the set, seemingly having mastered not just the vocabulary but the rhythmic syntax and vocal timbre of traditional Indian devotional singing.

As is now widely acknowledged, Don Cherry was playing “world music” long before it was called that; even aside from the historical significance of the five Hear & Now offerings, this set gives us an essential glimpse of this facet of his legacy. [Jazz Times]

Or find in commnts!