воскресенье, 13 ноября 2016 г.

Florentijn - Lapbop (2004)

Florentijn - Lapbop (This Is Not A Dub Recording, 2004)

Florentijn Boddendijk: laptop

9 unnamed compositions

"Lapbop" is 9 classical jazz compositions from Duke Ellington to Miles Davis microscopically smeared by laptop. Crazy and wildly funny glitch that often mix standards into something new, sometimes even more powerful that we now.

"Amazing release by Floretijn Boddendijk. Who's that? He is a classical composer from The Hague who writes music pieces for orchestras but also is experimenting with electronica and jazz. He played us some old experiments he made years and years ago and we where stunned! He remixed /re-edited some old jazz tracks (like Dizzy Gillespie's 'A Night in Tunesia', Miles Davis's 'Milestones', Paul Desmond's 'Take Five', Wayne Shorter's 'Nefertiti' and others) in a way only Laptop producers edit their music... he did record all these mixes on tape and made the edits with cutting and looping tape and the result is even more crazy then Otto von Schirach's Laptop experiments (especially if you consider they are more then 10 years old!!). Florintintin (as he named himself for this project) made an additional couple of tracks on his Laptop..but we can not tell the difference between the new tracks and the older ones. This is a mini album with 9 pieces of music which probably sound familiar...but then you notice the twist." [Forced Exposure]

This record is an exception, without which you would never actually never will.

Very special expirience!

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понедельник, 31 октября 2016 г.

Pika, Yuji Katsui & Otomo Yoshihide - SUN・RA・NEW (2016)

Pika, Yuji Katsui & Otomo Yoshihide - SUN・RA・NEW (Telegraph Records, 2016)

Otomo Yoshihide: guitar, drums
Yuji Katsui: violin
Pika: vocals, drums, guitar

01 - Beat Around The Bush 
02 - Dayspring 
03 - Gate Way To The 6 World 
04 - Eclipse Field 
05 - Soldiers Get Up Before Dawn 
06 - Utauhito 
07 - Motosumiyoshi Powers 2

Live & Studio Recording
Album Tracks 3,6,7 Live Recorded at Motosumiyoshi Powers 2 /2014.4.21
Tracks 1,2,4,5 Recorded at Hattyoubori Nanahari /2014.7.30


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вторник, 25 октября 2016 г.

Hannibal Marvin Peterson - The Tribe (1979, released in 2013)

Hannibal Marvin Peterson - The Tribe (1979, released in 2013 at Kindred Spirits)

Hannibal Lokumbe
: trumpet, backing vocals
Paula Washington: flute
Art Webb: flute [alto]
Michael Cochrane: piano
T.M. Stevens: electric bass
Branice McKenzie: lead vocals, backing vocals
Pat Peterson: lead vocals, backing vocals
Diedre Murray: cello, arranged by [vocals], producer
Mensa Wali: percussion [african], trumpet [african]
The Drum Song Society: percussion
Billy Jabali Hart: drums

01 - Now Stand (6:25) - 128kbps, sorry!
02 - A Sacred Multitude (8:05)
03 - Returning To The Ways (5:49)
04 - Of Live And Love And God (9:23)
05 - The Tribe (14:30)

Long-treasured among jazz fans and record collectors, Hannibal Marvin Peterson’s unreleased album The Tribe is a sacred collection of blistering jazz assaults and deep reflective spirituals from Hannibal’s ten-piece group. The unreleased album is something of a holy grail among collectors, with only a handful of test presses ever made. Now 36 years later, it is ready to be officially released for the first time, and fans of Black Jazz and Strata East won’t have to shell out the $2000+ asking price for what is considered by many to be a lost treasure and one of Hannibal’s best works.

Originally recorded in a bid for John Hammond to hook them up with a major record deal, The Tribe session wasn’t picked up in the end. Unfazed, Hannibal had all but forgotten about it until a friend pointed out that copies were exchanging hands for big bucks on the Internet a few years ago. The towering Texan’s primary concern is to always get the music out to the people, and any label should facilitate that. His uncompromising view has lead to a few clashes, notably when his Children Of The Fire album was turned down because of the title, leading him to start his own label Sunrise Records. However, these disagreements also imbue his music with a certain strength, a purity, and a genuine artistic vision. “Once you change one thing, you’re changing things your whole life,” Hannibal says. “It’s like a lie: once you tell one, you have to tell a million more. I’m always looking to make sure that what I play is worthy of the people, and can help them through times of great tribulation.”

The five tracks on The Tribe fluctuate from propulsive ensemble stampedes supporting Hannibal’s wild solos, to peaceful dreamy hymns. ‘Now Stand’ opens the album, the rest of the group playing catch-up to Hannibal and Billy Hart’s trumpet and drum intro. ‘A Sacred Multitude’ and ‘Of Life And Love And God’ both tap into the deeper, contemplative side of things, Branice McKenzie’s sanctified vocal and Diedre Murray’s cello coming to the fore. ‘Returning To The Ways’ powers along with an uptempo charge not unlike Carlos Garnett’s ‘Mother Of The Future’, but it’s The Tribe’s title track that steals the show and closes the record. Kicking off in exuberant spirit, the track blends heavy riffs and chants with the kind of bluesy changes that characterize Harry Whitaker’s ‘Black Renaissance’, before ending in a foreboding metallic conclusion.

Hannibal’s formative years on his grandparents’ farm on the banks of the Colorado are partly responsible for his spiritual, humanistic attitude to music. When describing the Tribe sessions, he says “The Tribe is really like a wild river, like untamed stallions that haven’t been roped off. It’s one of the qualities that I love about it. When you think of stallions running, they build up this high blood. The leader of the stallions stands out alone and looks out on the valley, with a very quiet, stoic look… I love it. I have these images and qualities that I look for when I write a song, that make you feel this instinctive freedom that’s in us, that we have to always fight to maintain. That’s what the search of the inner world is about, that’s an endless search.”

The music on ‘The Tribe’ is a direct descendant of Hannibal’s grandparents singing in the cotton fields. “They didn’t sing to impress a critic or to make a hit record,” Hannibal concludes. “They sang to aspire and to stay alive. That’s why that music is timeless, and it’s as healing today as it was then.” Now that The Tribe is finally out in the wider world, it will surely be here to stay.


Simply the best!

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воскресенье, 23 октября 2016 г.

The Ägg - The Ägg (2013)

The Ägg - The Ägg (Found You Recordings, 2013)

David Stackenäs: electric guitar
Anton Toorell: electric guitar
John Lindblom: electric guitar
Patric Thorman: electric bass
Joe Wiliamson: electric bass
Vilhelm Bromander: electric bass
Raymond Strid: drums
Erik Carlsson: drums
Ola Hultgren: drums
Christopher Cantillo: drums

01 - Version Of An Event
02 - Teledeportation
03 - Lapse

Put three electric guitarists, three electric bassists and four drummers in one room all coming from the vibrant Stockholm scene of free improvisation, free jazz and art rock. Let them jam freely, lock in hypnotic grooves that loosely sound like Fela Kuti's Afro-beat bands or worse, like North Korean marching bands on acid, sketch noisy textures that brings to mind Captain Beefheart in its wildest psychedelic moments or the voluminous symphonies of Glenn Branca in its poetic passages and you begin to get an idea how The Ägg sound.

This conglomerate of sound is comprised of guitarists David Stackenäs, member of the experimental group The New Songs and Seval song-based outfits and close collaborator of sax titan Mats Gustafsson; Anton Toorell, member of the alternative, "tuba-techno/radio-pop" Invader Ace and John Lindblom, leader of the now defunct Swedish quintet Firehouse; bassists Patric Thorman, member of Seval, and collaborator of pianist Sten Sandell and saxophonist Fredrik Ljungkvist; Joe Williamson, close collaborator of Stackenä and Dutch saxophonist Tobias Delius; and Vilhelm Bromander; and drummers Raymond Strid, close collaborator of Gustafsson, bass master Barry Guy and many others; Erik Carlsson, member of Swedish Azz, with Gustafsson, Ola Hultgren, member of Thus:Owls and of vocalists Ane Brun and Torun Eriksen bands and Christopher Cantillo, member of vocalist Anna von Hausswolff band.

The three pieces feature The Ägg playing with chaotic abandon but also with commanding control. The massive sound erupts immediately, collide violently with intense, urgent noises and moves forward in huge, nervous waves then backwards with walls of dense, metallic sounds and a loose consistency and with no attempt to develop a a clear narrative of progression. Thety then disperse in space and soon begin to accumulate again till the next sonic climax. Slowly this complex, restless and mulch-dimensional sonic universe becomes clearer and more nuanced and attaches detailed colors and rhythms as it reaches the third and more reserved piece, "Lapse."

The Ägg offers a unique listening experience, deeply physical, often irritating but always captivating. [AllAboutJazz]


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воскресенье, 10 июля 2016 г.

Anton Kolosov & Konstantin Sukhan - Koko (2016)

Anton Kolosov & Konstantin Sukhan - "Koko" (ТОПОТ, 2016)

Anton Kolosov - bass-guitar 
Konstantin Sukhan - trumpet

01 - Koko
02 - Soko

“Koko” is the result of a thorough research carried out by Anton Kolosov (electric bass) and Konstantin Sukhan (trumpet).

One short set of two pieces, “Koko” and “Soko”, is constructed from wide range of materials, including definite noise, post-academic improvisation, faint breaths or sniffs by Sukhan and an almost ritual drone by Kolosov.

“Koko” is firmly grounded on a post-jazz tension: musicians play simultaneously, but not together, and after a burst of emotions we hear silence, and chaotic roaming in one musician's thoughts is followed by a heated argument by two. This music is tangible and real, it's repulsive and beautiful.

“Koko” means “here” in Japanese, while “Soko” means “there”. Both pieces recorded at the Ground Khodynka Gallery are indeed the whole set with a short break for an applause. Two-hundred pages' novel about a bird (according the cover) with a gloomy storyline, long prelude here and an open end there.

Live at Ground Khodynka Gallery, Moscow.


четверг, 24 марта 2016 г.

Weasel Walter Large Ensemble - Igneity: After The Fall Of Civilization (2016)

Weasel Walter Large Ensemble - Igneity: After The Fall Of Civilization (Self-released, 2016)

Weasel Walter: drums
Henry Kaiser: guitar
Alan Licht: guitar
Chris Welcome: guitar
Peter Evans: trumpet
Steve Swell: trombone
Dan Peck: tuba
Jim Sauter: saxophone
Michael Foster: saxophones
Chris Pitsiokos: saxophone
Matt Nelson: saxophone
Tim Dahl: double bass
Brandon Lopez: double bass

01 - Igneity (Theme)
02 - Igneity (Variations)

‘Igneity’ was composed in response to Henry Kaiser asking me if I would assemble a big band, rather than a small group, for us to play a concert with in New York. I had previously included him in the large ensembles I had led when I lived in Oakland, California. However, I had not yet tackled the format in New York City. There is certainly no shortage of excellent players around here, but unlike the Bay Area, logistics tend to be somewhat more complicated, especially when it comes to rehearsal. As such, I set about devising an hour long structure which would allow me to control the general momentum and the various densities inherent in the orchestration while granting the individuals maximum freedom.

Recorded at JACK, Brooklyn, NY on April 22, 2015 by Weasel Walter.
Mastered by Henry Kaiser.


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четверг, 3 марта 2016 г.

Roswell Rudd, Jamie Saft, Trevor Dunn, Balázs Pándi - Strength & Power (2016)

Roswell Rudd, Jamie Saft, Trevor Dunn, Balázs Pándi - Strength & Power (RareNoise, 2016)

Roswell Rudd: trombone
Jamie Saft: piano
Trevor Dunn: acoustic bass
Balázs Pándi: drums

01 - Strength & Power
02 - Cobalt Is Divine
03 - The Bedroom
04 - Luminescent
05 - Dunn's Falls
06 - Struttin' For Jah Jah

Buckle up. This is one wild ride that cares not for your apprehension, concerns, expectations, or fears. Pianist Jamie Saft and two of his regular collaborators — bassist Trevor Dunn and drummer Balazs Pandi — got together with trombone icon Roswell Rudd to get down to the art of music making with nothing but their senses to guide them. It was an improvised session in its purest form — no charts, no sketches, and no preconceived notions about where things should or shouldn't go. These men simply used intuition, receptiveness, attentiveness, and a willingness to let go as the key to open the doors to the outer limits of possibility.

Anybody familiar with these names shouldn't be surprised by the fact that there's brazen blowing, jabbing bass, slamming drums, and pummeled piano a plenty here. These four don't dance around an idea or wax hesitantly with their instruments. They take the plunge, head first, with no regrets. But that's not to say there's no thought in their actions. These musicians have far too much experience to simply turn up and tune out. You can hear that in they way they gently build and explore a radiant world ("Luminescent"), you can spot it when they flip focus to Dunn during a lengthy journey ("Cobalt Is Divine"), and, believe it or not, you can even get a glimpse of it when they chip away at cacophony at the conclusion of a shambolic and heady boxing match ("The Bedroom"). It's everything you could expect from a set of musicians known to be open to dialogue and new thought(s) yet strong-willed in their actions.

For some, Rudd will be the main draw here. He breathes a lifetime of experience through his horn, evident in his tribal chatter ("Dunn's Falls"), his beautiful peculiarities ("Luminescent"), his explorations in an avant-NOLA atmosphere ("Struttin' For Jah Jah"), and his unrestrained use of force. For others, the brash trio of Saft, Dunn, and Pandi will make the sale. And for a third group — the truly curious — the inter-generational action may be the attraction. All of that is well and good, but the selling point is of less concern than the art itself—a powerful blend of untethered and unbelievably exciting music. Strength and power indeed. [Allaboutjazz]


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