tag:blogger.com,1999:blog-15705821648495385152024-03-13T10:29:59.496-07:00listen to me, fool!ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.comBlogger156125tag:blogger.com,1999:blog-1570582164849538515.post-26379007697666814482017-05-14T10:47:00.000-07:002017-05-14T10:53:01.390-07:00Amok Amor – We Know Not What We Do (2017)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEintSySmMkuhWON6r6wh7tg9My2loE3GSBx_3tKD1jRq1g94aWOkWkiWUv31My-sN1TSxCKH2VP2bfu4ihq5k0Iv5XLwzkQmQcru_JcStUwNArciXh69DwD2OS5Bu7_gdLHqZ4apM8sRc8q/s1600/p.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEintSySmMkuhWON6r6wh7tg9My2loE3GSBx_3tKD1jRq1g94aWOkWkiWUv31My-sN1TSxCKH2VP2bfu4ihq5k0Iv5XLwzkQmQcru_JcStUwNArciXh69DwD2OS5Bu7_gdLHqZ4apM8sRc8q/s320/p.jpg" width="320" /></a></div>
<br />
<div style="text-align: center;">
<b>Amok Amor – We Know Not What We Do (Intakt Records, 2017)</b><br />
<b><br /></b></div>
<div style="text-align: left;">
Personnel:<br />
<b>Peter Evans</b>: trumpet<br />
<b>Wanja Slavin</b>: saxophone<br />
<b>Petter Eldh</b>: bass<br />
<b>Christian Lillinger</b>: drums<br />
<br />
Tracklisting:</div>
1. Pulsar (Peter Evans)<br />
<div>
<div>
2. Body Decline (Petter Eldh)</div>
<div>
3. Brandy (Petter Eldh)</div>
<div>
4. Alan Shorter (Peter Evans)</div>
<div>
5. Trio Amok (Christian Lillinger)</div>
<div>
6. Enbert Amok (Christian Lillinger)</div>
<div>
7. The New Portal (Peter Evans)</div>
<div>
8. Jazzfriendship (Wanja Slavin)</div>
<div>
9. A Run Through the Neoliberalism (Christian Lillinger)<br />
<br />
<div>
You are gonna love this quartet", writes American journalist Kevin Whitehead. "This quartet was preceded by the Starlight trio of the Berlin players <b>Christian Lillinger, Petter Eldh </b>and<b> Wanja Slavin</b>, but <b>Peter Evans</b> is obviously a full partner in a new band. He brought some prime material, and shows uncanny range. His improvising is airy and abstract, tuneful, and tinged with the blues. His lines and Slavin's can be disarmingly lovely; the blend is bright and fizzy. </div>
<div>
The rhythm section is earth to their air: the nutty precision of abstract beat music echoes in Eldh's eloquent stutters and way of covering highs and lows in a single line, and in Lillinger's clarity at high speed; his sticks on snare can sound like dried peas poured on a metal sheet, every stroke distinct.</div>
<div>
Yeah, they're all great, but this music is about how they come together, showing creative tradition some crazy love: amour run amok. [<a href="http://www.intaktrec.ch/279-a.htm">Kevin Whitehead</a>]<br />
<br />
[<a href="http://www.jazzmessengers.com/en/73967/amok-amor/we-know-not-what-we-do">PLEASE BUY IT HERE</a>]</div>
</div>
</div>
<div>
<br /></div>
<div>
And find in comments!</div>
</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com4tag:blogger.com,1999:blog-1570582164849538515.post-86374166019905033062017-03-09T01:25:00.003-08:002017-03-09T03:25:31.405-08:00Brom - Lump Sugar (2017)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDiLYDHRUYhHCim0R8n3DBhRD9fc_KgizHxecvf0JVmWt3jRxN8i2FRvyXYR9PpFW0k-75l2m2FAqGHZ5gTDtnI53jRSXPXmgOh6BG2yffDO_YEXOREdVUFKh0WzdmFgggkjgCmbeABKnk/s1600/brom_1400x1400.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDiLYDHRUYhHCim0R8n3DBhRD9fc_KgizHxecvf0JVmWt3jRxN8i2FRvyXYR9PpFW0k-75l2m2FAqGHZ5gTDtnI53jRSXPXmgOh6BG2yffDO_YEXOREdVUFKh0WzdmFgggkjgCmbeABKnk/s320/brom_1400x1400.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<b>Brom - Lump Sugar (TOPOT, 2017)</b></div>
<div style="text-align: left;">
Personnel:<br />
<b>Anton Ponomarev</b>: baritone-saxophone<br />
<b>Dmitry Lapshin</b>: double-bass<br />
<b>Yaroslav Kurilo</b>: drums<br />
<br />
Tracklisting:<br />
01 - Stone<br />
02 - Swamp<br />
03 - Vortex<br />
04 - Finger by Finger<br />
05 - Der Schirm<br />
06 - Omlette<br />
07 - Heartsease<br />
<br />
<div>
The Moscow <a href="https://www.facebook.com/tawpot/?ref=ts&fref=ts">TOPOT</a> (ТОПОТ) label proudly presents no-jazz trio Brom and their fourth album “Lump Sugar” (“Рафинад”). It is not once that the band became softer and louder, twisting and turning from wild jazz-core jams to even faking a “blues” duo. Today Brom exists in a form of classical trio – Dmitri Lapshin (bass), Anton Ponomarev (saxophone) and Yaroslav Kurilo (drums). </div>
<div>
<br /></div>
<div>
“Lump Sugar” was live recorded just like that. Lapshin and Kurilo provided perfect, precise rhythm section. It even seems that these two are brothers of the whole blood. Lapshin’s bass splendidly drowns and sets the vivid pulse again through dashing and neat part of Kurilo. Ponomarev plays violently, in style and tragic – like there ain’t no tomorrow. The album is expertly mastered and blessed by Venezuelan sound-engineer Leonardo Perez – it never sounded that crystal-clear. </div>
<div>
<br /></div>
<div>
In “Lump Sugar” Brom reached the highest point of harmony and clarity in melodies. Therefore, Brom trio shows the best image of Russian experimental jazz: it’s them who blend together wild hard-bop and cock strong North-European improv, creating new Moscow jazz standards.<br />
<br />
<span style="color: red;"><b>Yo! This one is from my own label! Listen up!</b></span></div>
Download it for free, just name your price: <a href="https://tawpot.bandcamp.com/album/lump-sugar">https://tawpot.bandcamp.com/album/lump-sugar </a></div>
</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com0tag:blogger.com,1999:blog-1570582164849538515.post-49436135495394931102016-11-13T16:01:00.000-08:002016-11-14T01:19:19.752-08:00Florentijn - Lapbop (2004)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUQx7przGjGc1zm1hEJtX5nkmpcJcA5wSK1cyyb3ajqALPAwref1kw8shnYpVXqPgqRDcZ9NEQ6tyABrF2NuMqOgOMEr7MFRD0WWpT0Nkpcl35gUiF6sAUOKlzIR0Q9ArZak0UdUasYyc-/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUQx7przGjGc1zm1hEJtX5nkmpcJcA5wSK1cyyb3ajqALPAwref1kw8shnYpVXqPgqRDcZ9NEQ6tyABrF2NuMqOgOMEr7MFRD0WWpT0Nkpcl35gUiF6sAUOKlzIR0Q9ArZak0UdUasYyc-/s320/cover.jpg" width="320" /></a></div>
<div style="text-align: center;">
<b>Florentijn - Lapbop (This Is Not A Dub Recording, 2004)</b><br />
<b><br /></b></div>
<div style="text-align: left;">
<b>Personnel:</b><br />
<b>Florentijn Boddendijk: </b>laptop<br />
<br />
<b>Tracklisting</b>:<br />
9 unnamed compositions<br />
<br />
"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.<br />
<div>
<br /></div>
<div>
"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." [<a href="http://www.forcedexposure.com/Labels/THIS.IS.NOT.A.DUB.RECORDING.NETHERLANDS.html">Forced Exposure</a>]<span id="goog_1408964830"></span><span id="goog_1408964831"></span><a href="https://www.blogger.com/"></a><br />
<br /></div>
This record is an exception, without which you would never actually never will.<br /><br /><b>Very special expirience!</b><br />
<br />
<i>Find it in comments!!!</i></div>
</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com2tag:blogger.com,1999:blog-1570582164849538515.post-53111083125072094432016-10-31T15:00:00.000-07:002016-11-06T03:15:46.108-08:00Pika, Yuji Katsui & Otomo Yoshihide - SUN・RA・NEW (2016)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxf9c_UAI3Cr_7cSDslb3vbJiyVamJJdJkEANm02MLpi4ZstFIqhWn8bySC7foIFvfl3yUNfs59p1kbrLwhDfqv3-ohXDomhhnehVOdLoQDywIYGCFVYbhrbGJnlFJ7v8MGgpYhxBdywsF/s1600/folder.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxf9c_UAI3Cr_7cSDslb3vbJiyVamJJdJkEANm02MLpi4ZstFIqhWn8bySC7foIFvfl3yUNfs59p1kbrLwhDfqv3-ohXDomhhnehVOdLoQDywIYGCFVYbhrbGJnlFJ7v8MGgpYhxBdywsF/s320/folder.jpg" width="320" /></a></div>
<div style="text-align: center;">
<b>Pika, Yuji Katsui & Otomo Yoshihide - SUN・RA・NEW (Telegraph Records, 2016)</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: left;">
<b>Personnel:</b><br />
<b style="text-align: center;">Otomo Yoshihide: </b><span style="text-align: center;">guitar, drums</span><br />
<b style="text-align: center;">Yuji Katsui: </b><span style="text-align: center;">violin</span><span style="text-align: center;"><br /><b>Pika: </b>vocals, drums, guitar<br /><br /><b>Tracklisting:</b><br />01 - Beat Around The Bush </span></div>
<div style="text-align: left;">
<span style="text-align: center;">02 - Dayspring </span></div>
<div style="text-align: left;">
<span style="text-align: center;">03 - Gate Way To The 6 World </span></div>
<div style="text-align: left;">
<span style="text-align: center;">04 - Eclipse Field </span></div>
<div style="text-align: left;">
<span style="text-align: center;">05 - Soldiers Get Up Before Dawn </span></div>
<div style="text-align: left;">
<span style="text-align: center;">06 - Utauhito </span></div>
<div style="text-align: left;">
<span style="text-align: center;">07 - Motosumiyoshi Powers 2<br /><br />Live & Studio Recording <br />Album Tracks 3,6,7 Live Recorded at Motosumiyoshi Powers 2 /2014.4.21 <br />Tracks 1,2,4,5 Recorded at Hattyoubori Nanahari /2014.7.30<br /><br />[<b><a href="https://www.amazon.co.jp/SUN%E3%83%BBRA%E3%83%BBNEW-PIKA-%C3%97-%E5%8B%9D%E4%BA%95%E7%A5%90%E4%BA%8C-%E5%A4%A7%E5%8F%8B%E8%89%AF%E8%8B%B1/dp/B019YJTFLW">PLEASE BUY IT HERE</a></b>]<br /><br />And find in comments.</span></div>
</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com1tag:blogger.com,1999:blog-1570582164849538515.post-18968747612378740522016-10-25T17:04:00.000-07:002016-10-25T17:04:46.104-07:00Hannibal Marvin Peterson - The Tribe (1979, released in 2013)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVSgfxN6qw680KBSZD_NCEPQtEXz5C7SZgaC3LkJwsMDaivWBxMTo87gcg7x_84d0hRFmWVTAvlmXt3Nccmw417go8rx7N99FV9VgTn4GTJpbrLylo9MdBcW7eob5NRgOAfPLsbvXkr-2p/s1600/67839_300-675x675.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVSgfxN6qw680KBSZD_NCEPQtEXz5C7SZgaC3LkJwsMDaivWBxMTo87gcg7x_84d0hRFmWVTAvlmXt3Nccmw417go8rx7N99FV9VgTn4GTJpbrLylo9MdBcW7eob5NRgOAfPLsbvXkr-2p/s320/67839_300-675x675.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<b>Hannibal Marvin Peterson - The Tribe (1979, released in 2013 at Kindred Spirits)</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: left;">
<b>Personnel:<br />Hannibal Lokumbe</b>: trumpet, backing vocals</div>
<b>Paula Washington</b>: flute<br />
<b>Art Webb</b>: flute [alto]<br />
<b>Michael Cochrane</b>: piano<br />
<b>T.M. Stevens:</b> electric bass<br />
<b>Branice McKenzie</b>: lead vocals, backing vocals<br />
<b>Pat Peterson</b>: lead vocals, backing vocals<br />
<b>Diedre Murray</b>: cello, arranged by [vocals], producer<br />
<b>Mensa Wali</b>: percussion [african], trumpet [african]<br />
<b>The Drum Song Society</b>: percussion<br />
<b>Billy Jabali Hart</b>: drums<br />
<br />
<b>Tracklisting:</b><br />
01 - Now Stand (6:25) - <i>128kbps, sorry!</i><br />
02 - A Sacred Multitude<span class="Apple-tab-span" style="white-space: pre;"> </span>(8:05)<br />
03 - Returning To The Ways (5:49)<br />
04 - Of Live And Love And God (9:23)<br />
05 - The Tribe (14:30)<br />
<br />
Long-treasured among jazz fans and record collectors, <b>Hannibal Marvin Peterson</b>’s <i>unreleased album</i> 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.<br />
<br />
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.”<br />
<br />
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 <b>Billy Hart</b>’s trumpet and drum intro. ‘A Sacred Multitude’ and ‘Of Life And Love And God’ both tap into the deeper, contemplative side of things, <b>Branice McKenzie’</b>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.<br />
<br />
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.”<br />
<br />
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.<br />
<br />
<b>SOLD OUT!</b><br />
<br />
<span style="color: red; font-weight: bold;">Simply the best!</span><br />
<br />
In comments!<br />
<br />
<br />
<br /></div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com4tag:blogger.com,1999:blog-1570582164849538515.post-48246071174628640252016-10-23T15:41:00.000-07:002016-10-23T15:41:48.948-07:00The Ägg - The Ägg (2013)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvDMX3Fkherxj34ufSom6HQ7yYWSnc5llijB-c0k2Z8-xVtkllwrJ2oZfIezPyDy0zbJYNBqxGkK0jDOkkL6EXGLTg2Oc_mW9JMJj4zXdfEkG0tK0GstPB7rvYb3lI0kfZ0urQIUoFz7nT/s1600/fyr026lp-is07.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvDMX3Fkherxj34ufSom6HQ7yYWSnc5llijB-c0k2Z8-xVtkllwrJ2oZfIezPyDy0zbJYNBqxGkK0jDOkkL6EXGLTg2Oc_mW9JMJj4zXdfEkG0tK0GstPB7rvYb3lI0kfZ0urQIUoFz7nT/s320/fyr026lp-is07.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<b>The Ägg - The Ägg (Found You Recordings, 2013)</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: left;">
<b>Personnel:</b><br /><b>David Stackenäs</b>: electric guitar</div>
<div style="text-align: left;">
<b>Anton Toorell</b>: electric guitar</div>
<div style="text-align: left;">
<b>John Lindblom</b>: electric guitar</div>
<div style="text-align: left;">
<b>Patric Thorman</b>: electric bass</div>
<div style="text-align: left;">
<b>Joe Wiliamson</b>: electric bass</div>
<div style="text-align: left;">
<b>Vilhelm Bromander</b>: electric bass</div>
<div style="text-align: left;">
<b>Raymond Strid</b>: drums</div>
<div style="text-align: left;">
<b>Erik Carlsson</b>: drums</div>
<div style="text-align: left;">
<b>Ola Hultgren</b>: drums</div>
<div style="text-align: left;">
<b>Christopher Cantillo</b>: drums</div>
<div style="text-align: left;">
<br /></div>
<b>Tracklisting:</b><br />01 - Version Of An Event<br />02 - Teledeportation<br />03 - Lapse<br /><br />
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 <b>Fela Kuti</b>'s Afro-beat bands or worse, like North Korean marching bands on acid, sketch noisy textures that brings to mind <b>Captain Beefheart</b> in its wildest psychedelic moments or the voluminous symphonies of <b>Glenn Branca</b> in its poetic passages and you begin to get an idea how The Ägg sound.<br />
<br />
This conglomerate of sound is comprised of guitarists David Stackenäs<b>,</b> member of the experimental group <b>The New Songs </b>and<b> Seval</b> song-based outfits and close collaborator of sax titan <b>Mats Gustafsson</b>; Anton Toorell, member of the alternative, "tuba-techno/radio-pop" <b>Invader Ace</b> and John Lindblom, leader of the now defunct Swedish quintet <b>Firehouse</b>; bassists Patric Thorman, member of <b>Seval</b>, and collaborator of pianist <b>Sten Sandell</b> and saxophonist <b>Fredrik Ljungkvist</b>; Joe Williamson, close collaborator of Stackenä and Dutch saxophonist <b>Tobias Delius</b>; and Vilhelm Bromander; and drummers Raymond Strid, close collaborator of <b>Gustafsson</b>, bass master <b>Barry Guy</b> and many others; Erik Carlsson, member of <b>Swedish Azz</b>, with <b>Gustafsson</b>, Ola Hultgren, member of <b>Thus:Owls</b> and of vocalists <b>Ane Brun</b> and <b>Torun Eriksen</b> bands and Christopher Cantillo, member of vocalist <b>Anna von Hausswolff</b> band.<br />
<br />
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."<br />
<br />
The Ägg offers a unique listening experience, deeply physical, often irritating but always captivating. [<b><a href="https://www.allaboutjazz.com/the-agg-the-agg-found-you-recordings-review-by-eyal-hareuveni.php">AllAboutJazz</a></b>]<br /><br />{<b><a href="http://www.foundyourecordings.net/?pg=FYR026LP-IS07">PLEASE BUY IT HERE</a></b>}<br /><br />And try it in comments!</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com1tag:blogger.com,1999:blog-1570582164849538515.post-84135653660994980552016-07-10T00:45:00.003-07:002016-11-13T16:38:24.062-08:00Anton Kolosov & Konstantin Sukhan - Koko (2016)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmYSygbyn5oiWe90q5V04U7O7duSRsV9gYAZQwDImO5-JY1NXNoQpqXcWOs82D1U_l8Zb886kPJbDB6fZeIg6Xq8Tfj33PzFUTMr5KofeYC_acRjkhthIEOePkKz0s6dvSCAM5MUVtuXan/s1600/web2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmYSygbyn5oiWe90q5V04U7O7duSRsV9gYAZQwDImO5-JY1NXNoQpqXcWOs82D1U_l8Zb886kPJbDB6fZeIg6Xq8Tfj33PzFUTMr5KofeYC_acRjkhthIEOePkKz0s6dvSCAM5MUVtuXan/s320/web2.jpg" width="320" /></a></div>
<div style="text-align: center;">
<b>Anton Kolosov & Konstantin Sukhan - "Koko" (ТОПОТ, 2016)</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: left;">
Personnel:<br />
<b>Anton Kolosov</b> - bass-guitar </div>
<div style="text-align: left;">
<b>Konstantin Sukhan</b> - trumpet<br />
<br />
<b>Tracklisting</b>:<br />
01 - Koko</div>
<div style="text-align: left;">
02 - Soko<br />
<br /></div>
“Koko” is the result of a thorough research carried out by <b>Anton Kolosov</b> (electric bass) and <b>Konstantin Sukhan</b> (trumpet).<br />
<br />
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.<br />
<br />
“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.<br />
<br />
“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.<br />
<br />
Live at Ground Khodynka Gallery, Moscow.<br />
21/02/2016<br />
<br />
PLEASE LISTEN AND DOWNLOAD IT HERE:<br />
<a href="https://tawpot.bandcamp.com/album/koko" style="font-weight: bold;">LINK</a></div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com1tag:blogger.com,1999:blog-1570582164849538515.post-68762578816820776642016-03-24T07:23:00.001-07:002016-03-24T07:23:41.151-07:00Weasel Walter Large Ensemble - Igneity: After The Fall Of Civilization (2016)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJTQ0Ogig9cl0ZV3Kq4hJSBAgLJe_I-hkM8dAQwbRdb6j6VKn7iT3H5RcR1CJvVtfvmbszxBrM9VjGYUux-YGo077mWxKAUjUnqpY4smQ-G6vTHusVXvVBJbH9Ahw1ZTUFP2fKIoF8Xptq/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJTQ0Ogig9cl0ZV3Kq4hJSBAgLJe_I-hkM8dAQwbRdb6j6VKn7iT3H5RcR1CJvVtfvmbszxBrM9VjGYUux-YGo077mWxKAUjUnqpY4smQ-G6vTHusVXvVBJbH9Ahw1ZTUFP2fKIoF8Xptq/s320/cover.jpg" width="320" /></a></div>
<div style="text-align: center;">
<b>Weasel Walter Large Ensemble - Igneity: After The Fall Of Civilization (Self-released, 2016)</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: left;">
Personnel:</div>
<b>Weasel Walter</b>: drums<br />
<b>Henry Kaiser</b>: guitar<br />
<b>Alan Licht</b>: guitar<br />
<b>Chris Welcome</b>: guitar<br />
<b>Peter Evans</b>: trumpet<br />
<b>Steve Swell</b>: trombone<br />
<b>Dan Peck</b>: tuba<br />
<b>Jim Sauter</b>: saxophone<br />
<b>Michael Foster</b>: saxophones<br />
<b>Chris Pitsiokos</b>: saxophone<br />
<b>Matt Nelson</b>: saxophone<br />
<b>Tim Dahl</b>: double bass<br />
<b>Brandon Lopez</b>: double bass<br />
<br />
Tracklisting:<br />
01 - Igneity (Theme)<br />
02 - Igneity (Variations)<br />
<br />
‘Igneity’ was composed in response to <b>Henry Kaiser</b> 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.<br /><br />
Recorded at JACK, Brooklyn, NY on April 22, 2015 by Weasel Walter.<br />
Mastered by Henry Kaiser.<br />
<br />
[<b><a href="http://weaselwalter.bandcamp.com/album/igneity-after-the-fall-of-civilization">PLEASE BUY IT HERE</a></b>]<br /><br />Or find in comments.</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com5tag:blogger.com,1999:blog-1570582164849538515.post-52124348641570521742016-03-03T08:47:00.000-08:002016-03-03T08:48:35.796-08:00Roswell Rudd, Jamie Saft, Trevor Dunn, Balázs Pándi - Strength & Power (2016)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYSTsRy0gJTXzhWfziYmO8U9ZWq0zuewLGufUEuVijk7-04r4KmXMkNJzHGyh3GghZKQ5ySKY6Eg4DL4qcw_1niQq_quXTOkAdYrm0EynjPZxrs4D8PjMSxTJU2GuRDTMZiGwZrzzo_yrd/s1600/p.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYSTsRy0gJTXzhWfziYmO8U9ZWq0zuewLGufUEuVijk7-04r4KmXMkNJzHGyh3GghZKQ5ySKY6Eg4DL4qcw_1niQq_quXTOkAdYrm0EynjPZxrs4D8PjMSxTJU2GuRDTMZiGwZrzzo_yrd/s320/p.jpg" width="320" /></a></div>
<div style="text-align: center;">
<b>Roswell Rudd, Jamie Saft, Trevor Dunn, Balázs Pándi - Strength & Power (RareNoise, 2016)</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: left;">
Personnel:<br />
<b>Roswell Rudd</b>: trombone</div>
<div style="text-align: left;">
<b>Jamie Saft</b>: piano</div>
<div style="text-align: left;">
<b>Trevor Dunn</b>: acoustic bass</div>
<div style="text-align: left;">
<b style="text-align: center;">Balázs Pándi</b>: drums<br />
<br />
Tracklisting:<br />
01 - Strength & Power<br />
02 - Cobalt Is Divine<br />
03 - The Bedroom<br />
04 - Luminescent<br />
05 - Dunn's Falls<br />
06 - Struttin' For Jah Jah<br />
<br /></div>
Buckle up. This is one wild ride that cares not for your apprehension, concerns, expectations, or fears. Pianist <b>Jamie Saft</b> and two of his regular collaborators — bassist <b>Trevor Dunn</b> and drummer <b>Balazs Pandi</b> — got together with trombone icon <b>Roswell Rudd</b> 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.<br />
<br />
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.<br />
<br />
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. [<a href="http://www.allaboutjazz.com/strength-and-power-roswell-rudd-rarenoiserecords-review-by-dan-bilawsky.php">Allaboutjazz</a>]<br />
<br />
[<b><a href="http://www.rarenoiserecords.com/rudd-saft-dunn-pandi">PLEASY BUY IT HERE</a></b>]<br />
<br />
Or find in comments!</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com1tag:blogger.com,1999:blog-1570582164849538515.post-72814918500839780032015-12-26T02:26:00.002-08:002015-12-27T03:10:23.339-08:00Larry Ochs - The Fictive Five (2015)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoSp88nt7PwsGqHTOdvaHFhwKEE7rJTxuMzbwvw73VidQLZ5QfcXJsdSv_Ohxmx-fQERGPwsEq-2Q9GtFJm0yUm758CFS4ti5FPb4U6t1Oy6DHNrRCT_Byl3HEaDnTvTVkb-8zDwjG3mL0/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoSp88nt7PwsGqHTOdvaHFhwKEE7rJTxuMzbwvw73VidQLZ5QfcXJsdSv_Ohxmx-fQERGPwsEq-2Q9GtFJm0yUm758CFS4ti5FPb4U6t1Oy6DHNrRCT_Byl3HEaDnTvTVkb-8zDwjG3mL0/s320/cover.jpg" width="320" /></a></div>
<div style="text-align: center;">
<b>Larry Ochs - The Fictive Five (Tzadik, 2015)</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<b>Personnel</b>:<br />
<b>Larry Ochs</b>: tenor & sopranino saxophones<br />
<b>Nate Wooley</b>: trumpet<br />
<b>Ken Filiano</b>: bass, effects<br />
<b>Pascal Niggenkemper</b>: bass, prepared bass<br />
<b>Harris Eisenstadt</b>: drums<br />
<br />
Tracklisting:<br />
01 - Similitude (for Wim Wenders)<br />
02 - A Marked Refraction<br />
03 - By Any Other Name (for William Kentridge)<br />
04 -Translucent (for Kelly Reichardt)<br />
<br />
I couldn't agree more with <b>Larry Ochs</b>' statement that "if you're looking to understand music, one is approaching it the wrong way", because it is the experience that counts, the total impact of the sound on your own biochemistry, including such bodily reactions as emotion, spiritual delight or goose bumps.<br />
<br />
On this phenomenal album, the saxophonist assembled a New York band consisting of <b>Ken Filiano</b> and <b>Pascal Niggenkemper</b> on bass, <b>Nate Wooley</b> on trumpet and <b>Harris Eisenstadt</b> on drums, at the occasion of Ochs' curatorship at The Stone in New York, and these musicians, under Ochs' leadership create that unique experience that escapes rational disection and analysis.<br />
<br />
The approach taken here is to create musical imagery, scenic moments that are partly composed, and mostly improvised, as if you can see the music in your mind's eye, and these are mostly abstract landscapes with changing and shifting horizons and colors, with a strong horizontal feeling of flux as the unpredictable sounds move the listener forward on this journey.<br />
<br />
The album consists of four tracks, three of which are dedicated to visual artists - <b>Wim Wenders</b>, <b>William Kentridge</b>, <b>Kelly Reichardt</b> - in the same tradition as <b>Steve Lacy</b>, and it are the movies or visual installations by these artists that act as inspiration for the music, even if it is not made to accompany these movies.<br />
<br />
One of the most striking features of the sound are the two basses, who lay a great sonic foundation for the music, not rhythmically, but in terms of the overall color of the pieces, acting in concert, or alternately, challenging each other or reinforcing the sound. Yet the entire band is stellar, five musicians who live in their most natural habitat of free flowing sounds, joining the short themes that pop up once in a while, then take off again on different paths but in the same direction.<br />
<br />
It's the way I like music, beautifully free, sensitive and deep. [<a href="http://www.freejazzblog.org/2015/12/larry-ochs-fictive-five-tzadik-2015.html">FreeJazzBlog</a>]<br />
<br />
[<b><a href="http://tzadik.com/volume.php?VolumeID=795">PLEASE BUY IT HERE</a></b>]<br />
<br />
Or find it in comments!</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com1tag:blogger.com,1999:blog-1570582164849538515.post-47144759746966254632015-12-23T04:27:00.001-08:002015-12-23T04:27:05.309-08:00Hidden Forces Trio - Crows Are Council (2014)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhmHuSPwv-C-OBbCfqtngPIYmyypmJURIieMYCPp1dC2bPmD1ZPKdUAbvB4h27U5uvwUGmswF_XbE9LelHG03ajtumOc3l5UxKQMH4QqFUYN-FpKp9YdriauvCeC31sAyquUI2TTZ4Ck96/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhmHuSPwv-C-OBbCfqtngPIYmyypmJURIieMYCPp1dC2bPmD1ZPKdUAbvB4h27U5uvwUGmswF_XbE9LelHG03ajtumOc3l5UxKQMH4QqFUYN-FpKp9YdriauvCeC31sAyquUI2TTZ4Ck96/s320/cover.jpg" width="308" /></a></div>
<div style="text-align: center;">
<b>Hidden Forces Trio - Crows Are Council (Knockturne Records, 2014)</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: left;">
Personnel:<br /><b>Gustavo Domínguez</b>: bass clarinet, clarinet & didgeridoo </div>
<div style="text-align: left;">
<b>Marco Serrato</b>: double bass </div>
<div style="text-align: left;">
<b>Borja Díaz</b>: drums<br /><br />Tracklisting:<br />01 - Invocation / Crows are council</div>
<div style="text-align: left;">
02 - Chalybs</div>
<div style="text-align: left;">
03 - El ejecutor</div>
<div style="text-align: left;">
04 - Thimble Capp</div>
<div style="text-align: left;">
05 - Gĉod</div>
<div style="text-align: left;">
06 - Tender Fisting Blues<br /><br /><b>Gustavo Domínguez</b> (clarinets), <b>Marco Serrato</b> (double bass) and <b>Borja Díaz</b> (drums) are back. Crows are Council (Knockturne Records / Clamshell Records 2014) is their second record, an album where all their different experiences (from heavy metal to symphonic music, from street standards to free experimentation) collides connecting within themselves for then to start all over again. Because, in order to preserve something, it is necessary to go forward in circles but always looking backwards. Abstract searching (“<i>Gĉod</i>”) or unbridled rage (“<i>Crows are Council</i>”) always go hand in hand with keynotes and the right tempo (“<i>Thimble Capp</i>”, “<i>Chalybs</i>”), even if they are not to be played. A record co-released by Knockturne Records and Clamshell which makes it clear that there is life beyond Orthodox, and where improvisation and structured dark chaos are created mixing elements from free jazz instrumentation with extractions from heavy metal and contemporary music.<br /><br />[<b><a href="https://knockturnerecords.bandcamp.com/album/hidden-forces-trio-crows-are-council">PLEASE BUY IT HERE</a></b>]<br /><br />Or find in comments!</div>
</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com2tag:blogger.com,1999:blog-1570582164849538515.post-44843261981801470992015-12-23T03:48:00.001-08:002015-12-23T03:48:37.164-08:00Hidden Forces Trio - Topus (2013)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnARMBSN_OxRqheIXn6VTjJD_IYsdymSeOMBNzwNAX0deHyv-n9Mn1aUhZVcziQysWfX6Vk2P8G4biw-lAtZRPM3I1JLU5f_oywOL7vOl1iNBi1lZq2fb1FErell9wwTy8Nv945uq8vdaO/s1600/a3861231388_10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnARMBSN_OxRqheIXn6VTjJD_IYsdymSeOMBNzwNAX0deHyv-n9Mn1aUhZVcziQysWfX6Vk2P8G4biw-lAtZRPM3I1JLU5f_oywOL7vOl1iNBi1lZq2fb1FErell9wwTy8Nv945uq8vdaO/s320/a3861231388_10.jpg" width="320" /></a></div>
<div style="text-align: center;">
<b>Hidden Forces Trio - Topus (Bruce's Fingers, 2013)</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: left;">
Personnel:<br /><b>Gustavo Domínguez</b>: clarinet, bass clarinet </div>
<div style="text-align: left;">
<b>Marco Serrato</b>: double bass </div>
<div style="text-align: left;">
<b>Borja Díaz</b>: drums<br /><br />Tracklisting:<br />01 - Custodia de Canaán</div>
<div style="text-align: left;">
02 - Topus</div>
<div style="text-align: left;">
03 - El hijo secreto, no el bastardo</div>
<div style="text-align: left;">
04 - Porque no llueve, los santos peregrinarán de espaldas</div>
<div style="text-align: left;">
05 - Panza de azufre</div>
<div style="text-align: left;">
06 - Las colinas</div>
<div style="text-align: left;">
07 - La novia del chivo</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
I sat down to listen to this disc with some trepidation. The Bruce’s Fingers’ June update had described the musicians, from Seville, Spain, as also having “parallel existences in the world of heavy rock, doom metal, gothcore [or whatever the appropriate term is]”. Matters weren’t helped by the painting on the cover – a dental nightmare – or some of the track titles: El hijo secreto, no el bastardo (the secret son, not the bastard) and Panza de azufre (sulphur belly). I was expecting music full of adolescent angst, but it turned out to be rather different. As the adage has it: never judge a book by its cover. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<b>Gustavo Domínguez</b> (clarinet, bass clarinet), <b>Marco Serrato</b> (double bass) and <b>Borja Díaz</b> (drums), play composed and improvised music. The composed material has a folkish touch, wistful and plangent. After an initial free jazz flurry, the title track is a faintly Moorish melody, over loping bass, which gradually descends into the lower registers, as the bowed bass and bass clarinet explore a darker version of the theme. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
In Porque no llueve, los santos peregrinarán de espaldas (because it doesn’t rain, the saints return to the pilgrimage) an attractive melody is first played gently on bass, repeated on clarinet, and then in outline on drums (but for rather too long). The remainder of the piece is thoughtful – but at times borders on the soporific – and I would have liked to have heard playing with rather more concision, and a touch more gusto. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
On the whole, the improvised material is rather disappointing. El hijo secreto, no el bastardo runs out of steam with an over long and rather aimless drum solo, unreprieved by accompaniment from the bass and later, clarinet. Las colinas (the hills) is somewhat diffuse, and lacking in character. There are some interesting textures, but it sounds a little like improvising by numbers. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
The trio seems to gel in the final track – La novia del chivo (the kid’s girlfriend) – rolling drums and pulsing bass with rather more brio in the clarinet, but it’s short-lived, as the piece comes to a premature close after two minutes. Curious. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Something of a mixed bag, therefore. Over the album, rather too much of Domínguez’s work on clarinet consists of scalar-like runs and arpeggios, but often not a great deal more. I can’t help but feel that the trio simply needs to play together more, and take a more critical view of its material. Maybe some angst would help. [<a href="http://www.freejazzblog.org/2013/08/hidden-forces-trio-topus-bruces-fingers.html">FreeJazzBlog</a>]</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
[<b><a href="https://brucesfingers.bandcamp.com/album/topus">PLEASE BUY IT HERE</a></b>]<br /><br />Or find it comments!</div>
</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com0tag:blogger.com,1999:blog-1570582164849538515.post-45618585487572569872015-12-08T08:54:00.000-08:002015-12-09T14:00:28.523-08:00Svenska Kaputt - Suomi (2015)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhARweqtViRDRHi0uTCUm8bgIGDwxR92zZ83CY59ZfOoSPc2nasdy7Jj_HMSBjCqpVqSHLPxXWPoeM9O1s3Z2HpO_XRPgoNxhm8b0WYMBa0bhcFNwMeSW8oyMswvt4_4DQ_Z_6FrQsQxIIN/s1600/p.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhARweqtViRDRHi0uTCUm8bgIGDwxR92zZ83CY59ZfOoSPc2nasdy7Jj_HMSBjCqpVqSHLPxXWPoeM9O1s3Z2HpO_XRPgoNxhm8b0WYMBa0bhcFNwMeSW8oyMswvt4_4DQ_Z_6FrQsQxIIN/s320/p.jpg" width="319" /></a></div>
<div style="text-align: center;">
<b>Svenska Kaputt - Suomi (Moserobie, 2015)</b></div>
<div style="text-align: left;">
Personnel:<br />
<b>Jonas Kullhammar</b>: saxophones<br />
<b>Reine Fiske</b>: guitar<br />
<b>Torbjörn Zetterberg</b>: bass<br />
<b>Jonas Holmegard</b>: drums</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Tracklisting:<br />
01 - Mellantillstånd</div>
<div style="text-align: left;">
02 - Paroni </div>
<div style="text-align: left;">
03 - Nötskalsmusik #1 </div>
<div style="text-align: left;">
04 - Veesaltonen </div>
<div style="text-align: left;">
05 - Gårdagens Visa\Keijsaren<br />
<br />
A brilliant musical project from the Moserobie jazz underground of Sweden – one that brings together four completely wonderful players, but in ways that are very different than most of their work in other settings! The sound here is very open and spacious – not in a mellow way, or an ECM mode – but instead this really introspective approach to the properties of the musicians' individual instruments – almost as if they're using this project as a way to thoughtfully explore things from different sonic angles, sometimes with a surprisingly sensitive vibe. Yet there's also some nice currents of darkness in the music – things are definitely never too sweet – and surprises include some piano from both <b>Jonas Kullhammar</b> and <b>Torbjorn Zetterberg</b> – alongside Zetterberg's more familiar bass (both electric and acoustic), and Kullhamar's music on tenor, flute, baritone, and oboe. Guitarist <b>Reine Fiske</b> also plays piano on one track – and guitar on the others – and the group also features drums from <b>Johan Holmegard</b>. [<a href="https://www.dustygroove.com/item/769713">Dusty Groove</a>]</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
[<b><a href="http://www.runtrunt.se/product.html/svenska-kaputt---suomi">PLEASE BUY IT HERE</a></b>]</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
And find it in commnts!</div>
</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com3tag:blogger.com,1999:blog-1570582164849538515.post-82194370045142972862015-12-06T05:44:00.001-08:002015-12-06T05:44:42.233-08:00Torbjörn Zetterberg - Och den stora frågan om liv och död (2015)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-N1ww1f7NFrQAbKXHZWgrlf0rhlTA1E6o0jdiN8l8cue5oLuWm3bUhjHCJV2qub4f8ImHz7HURyXejufr-ebOuqI1QInHMohfG7P9ZPDqRcMfI6mXYkHwOgK9RanZljWkIRVH9aD_2zwf/s1600/p.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-N1ww1f7NFrQAbKXHZWgrlf0rhlTA1E6o0jdiN8l8cue5oLuWm3bUhjHCJV2qub4f8ImHz7HURyXejufr-ebOuqI1QInHMohfG7P9ZPDqRcMfI6mXYkHwOgK9RanZljWkIRVH9aD_2zwf/s320/p.jpg" width="320" /></a></div>
<div style="text-align: center;">
<b>Torbjörn Zetterberg - Och den stora frågan om liv och död (Moserobie, 2015)</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: left;">
Personnel:<br /><b>Torbjörn Zetterberg</b>: double bass<br /><b>Susana Santos Silva</b>: trumpet <br /><b>Mats Äleklint</b>: trombone <br /><b>Jonas Kullhammar</b>: tenor sax, flute & braithophone <br /><b>Alberto Pinton</b>: baritone sax, flute & alto flute <br /><b>Jon Fält</b>: drums <br /><b>Everybody</b>: percussion<br /><br />Tracklisting:<br />01 - Knut Utan Slut <br />02 - Vad Är Inte En Metafor <br />03 - Säkra Tvivel <br />04 - Saker Överallt<br />05 - Kontorsmusik <br />06 - Vad Är Det Som Dör <br />07 - Innan och Efter </div>
<div style="text-align: left;">
08 - Springa Runt I Hjul<br /><br />Over much of the past decade, Swedish bassist <b>Torbjörn Zetterberg</b> has pulled me into his world time and time again. He ostensibly works within jazz, but that category feels inadequate to his creative curiosity and artistic empathy. He's a strong player, but to my ears his writing, arranging, and concepts are even more formidable than his instrumental skills. He recently released two albums whose radically different approaches suggest his range. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<i>Om Liv & Död</i> (Moserobie), the second record from his working band <b>Den Stora Frågan</b>, alternates between brawny solo bass vignettes and moody, often turbulent sextet arrangements, both of which evoke the visceral, emotive work of <b>Charles Mingus</b> without sounding like it. Zetterberg's killer band—reedists <b>Jonas Kullhammar</b> and <b>Alberto Pinton</b>, drummer <b>Jon Fält</b>, trombonist <b>Mats Äleklint,</b> and Portuguese trumpeter <b>Susana Santos Silva</b>—brings an appealing looseness to the arrangements, giving the pieces an impressive lived-in feel with strong rapport and interplay. "<i>Vad Är Inte En Metafor</i>" is a slab of hovering tension, with Zetterberg providing hydroplaning arco lines over which the front-line soloists make unhurried, probing excursions; meanwhile the rest of the group drops airy jabs and feints, both composed and improvised. The short, stop-start pulsing riff in the hard-driving "<i>Säker Tvivel</i>" halts for terse solo statements, then finally opens up with a longer improvised section that features scampering, clattering interactions between Zetterberg and Fält, soon joined by a wonderful gutbucket statement by Äleklint, one of Europe's best and most overlooked trombonists. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
The brief "<i>Kontorsmusik</i>" sounds like it was recorded an echoing church, with Pinton and Kullhammar's flutes distant from the mikes for a wonderfully spooky vibe. The album concludes with the brooding "<i>Springa Runt I Hjul</i>", whose dark, fluttering horn utterances alternately cascade down and circle the bassist's throbbing bowed dirge. Below you can check out the ruddy, propulsive full-band track "Innan och Efter," which has a melodic sensibility that borrows a bit from <b>Albert Ayler</b>—though Pinton's baritone saxophone sounds more <b>Big Jay McNeely</b> or a bulldozer.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Zetterberg investigates much different terrain on <i>If Nothing Else</i> (Clean Feed), an all-improvised trio effort with Silva and French organist <b>Hampus Lindwall</b>, who's more an experimental musician than a jazz player; he's also the longtime organist at Parisian church Saint-Esprit, where the album was recorded. The music brings to mind wide-open spaces, with Lindwall producing haunting long tones and Silva blowing parched lines and sour blurts; it's all blunted by the acoustics of the space, which give everything a wonderfully washed-out feel, as though the music is arriving from outdoors, or wending its way through a ravine. From track to track the trio appears to takes advantage of varying microphone placement, which not only alters where each instrument is placed in the mix but also the timbral quality of each. On "<i>Atonality</i>," for example, Silva blows her Harmon-muted lines directly into the mike, while Zetterberg's arco surges sneakily around beneath the brass and the tension-loaded organ drones. "<i>Cinematic</i>" is an overused word in music criticism, but these pieces definitely convey a delicious suspense and romantic languor. Below you can hear one of the album's most turbulent pieces, "<i>Stop Chords</i>." [<a href="http://www.chicagoreader.com/Bleader/archives/2015/12/04/swedish-bassist-torbjorn-zetterberg-covers-radically-different-territories-on-two-recent-albums">Chicago Reader</a>]<br /><br />[<b><a href="http://cdon.se/musik/zetterberg_torbj%c3%b6rn/om_liv_och_d%c3%b6d-34926151">PLEASE BUY IT HERE</a></b>]<br /><br />Of find it in comments!</div>
</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com1tag:blogger.com,1999:blog-1570582164849538515.post-20104169402162267602015-12-03T03:31:00.002-08:002015-12-03T03:32:53.870-08:00Arnold Hammerschlag - No Face, No Name (2015)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDcuslxR5nbdCvNkR4leMhSjQMZfjx5I-ELSXY6IO6Q7mLaXBS6xG1wth2kNBn_kpgtQn_f55RMjOdP-uI82ZDdmJRudmlB38kPqZURTAo2MwXWSn9qqOW48gQItI-YwCuzkuZasq745_T/s1600/skirl030_for_website2_0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDcuslxR5nbdCvNkR4leMhSjQMZfjx5I-ELSXY6IO6Q7mLaXBS6xG1wth2kNBn_kpgtQn_f55RMjOdP-uI82ZDdmJRudmlB38kPqZURTAo2MwXWSn9qqOW48gQItI-YwCuzkuZasq745_T/s320/skirl030_for_website2_0.jpg" width="229" /></a></div>
<div style="text-align: center;">
<b>Arnold Hammerschlag - No Face, No Name (Skirl, 2015)</b><br />
<b><br /></b></div>
<div style="text-align: left;">
Personnel:<br />
<b style="text-align: center;">Arnold Hammerschlag: </b><span style="text-align: center;">trumpet</span></div>
<div style="text-align: left;">
<span style="text-align: center;"><b>Sam Barfeld</b>: violin</span></div>
<div style="text-align: left;">
<span style="text-align: center;"><b>Will Holshouser</b>: accordeon</span></div>
<div style="text-align: left;">
<span style="text-align: center;"><b>Brian Glassman</b>: bass<br /><b>Aaron Alexander</b>: drums<br /><br />Tracklisting:<br />01 - Reflection</span></div>
<div style="text-align: left;">
<span style="text-align: center;">02 - Boat Float</span></div>
<div style="text-align: left;">
<span style="text-align: center;">03 - No Face No Name</span></div>
<div style="text-align: left;">
<span style="text-align: center;">04 - Waiting</span></div>
<div style="text-align: left;">
<span style="text-align: center;">05 - Jo</span></div>
<div style="text-align: left;">
<span style="text-align: center;">06 - Slow Road</span></div>
<div style="text-align: left;">
<span style="text-align: center;">07 - Sailor Song</span></div>
<div style="text-align: left;">
<span style="text-align: center;">08 - Picnic House</span></div>
<div style="text-align: left;">
<span style="text-align: center;">09 - Bert</span></div>
<div style="text-align: left;">
<span style="text-align: center;">10 - The All New Bunny Hop</span></div>
<br />
<div style="text-align: left;">
On his long-awaited second release, No Face, No Name, trumpeter/composer <b>Arnold Hammerschlag</b> blends influences from Eastern Europe, the Middle East, and Latin America with cinematic scope and wide-ranging jazz invention. The album, out now on Skirl Records, features ten original compositions that offer Hammerschlag’s unique twist on a mash-up of folk traditions, performed by an unconventional ensemble: <b>Sam Bardfeld</b> (violin), <b>Will Holshouser</b> (accordion), <b>Brian Glassman</b> (bass), and <b>Aaron Alexander</b> (drums).</div>
<div>
<span style="text-align: center;"></span><br />
<div style="text-align: left;">
<span style="text-align: center;"><br /></span></div>
<span style="text-align: center;">
<div style="text-align: left;">
“The idea behind the album is that each composition is like a painting in a museum,” Hammerschlag says. “All together they make up an exhibition – a whole world.”</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Hammerschlag originally conceived the project under the title “Songs From Sun, Sand and Stone,” an evocative concept that illustrates the way that his music conjures landscapes. These compositions bring to mind at once the actual places where the trumpeter’s inspirations originated and an imaginary terrain where all of them overlap and dissolve into one another: the vivid Klezmer-meets-rock of “Boat Float,” the title track’s summoning a Middle Eastern crossroads cafe, a bridge between <b>Brahms</b> and <b>Piazzolla</b> on “Jo.”</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
The unusual quintet was born from Hammerschlag’s experience playing in a wedding band led by Klezmer- jazz pioneer <b>Greg Wall</b>. “In the space of one wedding we would play several different styles of Jewish, Israeli and Yemenite music, along with sets of jazz and rock and roll and top 40,” the trumpeter recalls. No Face, No Name places those sudden shifts in tone within the space of a single composition, often layering one style atop another to create bold and original juxtapositions.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
The title No Face, No Name is derived from a Zen Buddhist koan relating to the practice of contemplating one’s face before birth, a spiritual grounding for the blank but richly loaded slate from which Hammerschlag approaches his compositions. It’s also a playful nod at the fresh start provided by the twelve-year wait since his debut CD, Sailing Neptune’s Waters. The mesmerizing piece “Slow Road,” with its suggestion of a mysterious caravan wending its way through an unchanging desert landscape, thus becomes something of a mission statement: “It’s an analogy for a journey that unfolds gradually over time,” Hammerschlag explains. “Most of the things I’m interested in – meditation, composition, tai chi – can’t be hurried. You grow with them over a lifetime.”</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Hammerschlag’s journey began in Seattle, where he came of musical age alongside fellow jazz originals like Jim Black, Cuong Vu, Andrew D’Angelo, and Chris Speed. He studied under Jerry Granelli, Julian Priester, Jay Clayton, and Jim Knapp at Cornish College of the Arts, where he co-founded the ahead-of-its-time band Timebone. Hammerschlag arrived in New York City in 1994, where he’s since worked with a host of artists including Greg Wall, Matt Darriau, Michel Gentile, Owen Howard, Pete Epstein, Alex Harding, Tricia Woods, Chris Komer, Brent Arnold, Katie Down and Phil Haynes. [<a href="http://www.arnoldhammerschlag.com/press">Official site</a>]<br />
<br />
[<b><a href="http://arnoldhammerschlag.com/album/293027/no-face-no-name">PLEASE BUY IT HERE</a></b>]<br />
<br />
And find it in comments!</div>
</span></div>
<div style="text-align: center;">
</div>
<div style="text-align: left;">
<span style="text-align: center;"><br /></span></div>
</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com0tag:blogger.com,1999:blog-1570582164849538515.post-78722273097491673012015-11-26T15:08:00.001-08:002015-11-26T15:08:09.473-08:00 Gilbert Holmströms Kvintett – Utan Misstankar (1965, 2010 reissue)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf98Mile4ZSLcDZ-XWo2PmL3FAvRAwi4jOl524zzeznTctYmgHFE3Ypjoo54S9aBJAr_5nthc0ngYFHMJEpQd2RKS_FCDlM-ldaKak4yjxl-cVHC6LEDk_8iA1zP-Ye6lOe5zqEODgMsYQ/s1600/b46210.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf98Mile4ZSLcDZ-XWo2PmL3FAvRAwi4jOl524zzeznTctYmgHFE3Ypjoo54S9aBJAr_5nthc0ngYFHMJEpQd2RKS_FCDlM-ldaKak4yjxl-cVHC6LEDk_8iA1zP-Ye6lOe5zqEODgMsYQ/s320/b46210.jpg" width="320" /></a></div>
<div style="text-align: center;">
<b>Gilbert Holmströms Kvintett – Utan Misstankar (Megafon, 1965; Moserobie, 2010)</b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
Personnel:<br />
<b>Gilbert Holmström</b>: tenor saxophone<br />
<b>Arne Larsson</b>: cornet</div>
<div style="text-align: left;">
<b>Hans Löfman</b>: bass</div>
<div style="text-align: left;">
<b>Clas Fehling</b>: piano</div>
<div style="text-align: left;">
<b>Anders Söderling</b>: drums<br />
<b>Åke Johansson</b>: piano (on "Novotec")</div>
<div style="text-align: left;">
<b>Sven Hessle</b>: bass (on "Novotec") <br />
<br />
Tracklisting:<br />
01 - Kontrast<br />
02 - Ballad för Max<br />
03 - Modul<br />
04 - Resan till Hellas<br />
05 - Ruby my dear<br />
06 - Tryck på alla knappar<br />
07 - Dissapointment<br />
08 - Novotec<br />
<br />
As his first re-release <b>Jonas Kullhammar</b>’s Moserobie choses one of the best Swedish jazz records from the 60s: the Gothenburger <b>Gilbert Holmstrom</b>’s “<i>Utan Misstankar</i>” (“<i>Without Suspicions</i>”), which before cost a pretty penny to lay a hold on and only can be found as an original LP from 1965. It is a fantastic balance of melodic and freer jazz, the latter having just started to form through the work of American musicians such as <b>Albert Ayler</b>, <b>Archie Shepp</b> and <b>John Coltrane</b>.<br />
One of the things I associate best with “Utan Misstankar” is its immense drive. Musicians are so strongly bound and constantly strive forward with an equal amount of curiosity and desire. <b>Holmström</b>’s solo in “<i>Modul</i>” is incredibly forward-looking when he spins up the notes in swirls with one note cutting through the others’ fairly soft sound mass. <b>Arne Larsson</b> fills in with his cornet with a warm glowing sound. Improvising at the same time was generally quite unusual at the time. Only a few years earlier <b>John Tchicai,</b> <b>Archie Shepp</b> and <b>Don Cherry </b>of the New York Contemporary Five had waited obediently for each other to finish.<br />
The aforementioned drive is a lot thanks to drummer <b>Anders Soderling</b>, bass player <b>Hans Löfman</b> and pianist <b>Clas Fehling</b>. They play with honour! [<a href="http://www.soundofmusic.nu/recension/gilbert-holmstr%C3%B6m-kvintett-utan-misstankar">Sound of Music</a>]<br /><br />[<b><a href="https://itunes.apple.com/us/album/utan-misstankar/id406981913">PLEASE BUY IT HERE</a></b>]<br /><br />Or find it in comments.<br />
<b></b></div>
</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com3tag:blogger.com,1999:blog-1570582164849538515.post-13023161336036654812015-11-16T10:09:00.000-08:002015-11-18T11:26:46.528-08:00The Spanish Donkey - Raoul (2015)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx7ylXZdp5-T-XCXCD5d0QaUDHs0Gf2hnDLPOri7igfaGn2yAFjV3aXBJZBwlnPQSuC4w1E1WMIM3GGZ-RjaAe7kv_K42rCjpT5lg_izLl5fVO4VW9QfyG4ahLRRsmAkDLaw6CD0dnHoXS/s1600/p.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx7ylXZdp5-T-XCXCD5d0QaUDHs0Gf2hnDLPOri7igfaGn2yAFjV3aXBJZBwlnPQSuC4w1E1WMIM3GGZ-RjaAe7kv_K42rCjpT5lg_izLl5fVO4VW9QfyG4ahLRRsmAkDLaw6CD0dnHoXS/s320/p.jpg" width="320" /></a></div>
<div style="text-align: center;">
<b>The Spanish Donkey - Raoul (RareRareNoise, 2015)</b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
Personnel: </div>
<div style="text-align: left;">
<b>Joe Morris</b>: guitar </div>
<div style="text-align: left;">
<b>Jamie Saft</b>: Hammond organ, Korg organ, MiniMoog, piano</div>
<div style="text-align: left;">
<b>Mike Pride</b>: drums<br />
<br />
Tracklisting:<br />
01 - Raoul<br />
02 - Behavioral Sink</div>
<div style="text-align: left;">
03 - Dragon fly Jones<br />
<br />
<b></b>The second Spanish Donkey release begins somewhere beyond where the last ended. <b>Joe Morris</b>' seething and scalding guitar is a hot iron pressed again the flesh, and the microtonal keyboard work of Jamie Saft is grinding and eviscerating.<br />
<br />
Direct and relentless, the 33 minute epic <i>'Raoul'</i> begins with Morris' fuzzed-out melody and drummer <b>Mike Pride</b> adding muscle and flair. As Saft creeps in on the organ, the tension rises and Morris begins a wholehearted embrace of the wah-wah pedal. The piece is a tremendous tone poem that could be dedicated to mastodons sinking into tarpits as lava pouring down a volcano ignites the forest around it.<br />
<br />
The album is a less about the individual voices as it is the dark and foreboding movement of sound. It's at once sludgy, defiant, nuanced and textured. The shapes of the sounds are as important as the notes themselves which, like on the track <i>'Behavioral Sink'</i> rises from the slash of Saft's organ and the metallic clang of Morris' guitar.<br />
<br />
A hearty listen to say the least! [<a href="http://www.freejazzblog.org/2015/09/the-spanish-donkey-raoul-rare-noise-2015.html">FreeJazzBlog</a>]<br />
<br />
[<a href="http://www.rarenoiserecords.com/the-spanish-donkey"><b>PLEASE BUY HERE</b></a>]</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Or find it in comments!</div>
</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com2tag:blogger.com,1999:blog-1570582164849538515.post-62919619943475644122015-11-10T05:26:00.000-08:002015-11-10T05:26:40.376-08:00Slobber Pup - Pole Axe (2015)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-C-ifqdr22zNFeWmXD_S3VclMTtpuT7seove4d6cX2EjYytn_KaZz9cHaYml0y0eO94ChcE6TZrIaY0ZsuoqlDJkLz2DOmM-ITcOk4nYAcaQMrEgaXaUySpg9SKOSBtEdJF4P_K6Aiz-E/s1600/KZ7rxFMDgoQ.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-C-ifqdr22zNFeWmXD_S3VclMTtpuT7seove4d6cX2EjYytn_KaZz9cHaYml0y0eO94ChcE6TZrIaY0ZsuoqlDJkLz2DOmM-ITcOk4nYAcaQMrEgaXaUySpg9SKOSBtEdJF4P_K6Aiz-E/s320/KZ7rxFMDgoQ.jpg" width="320" /></a></div>
<div style="text-align: center;">
<b>Slobber Pup - Pole Axe (RareNoiseRecords, 2015)<br /><br /></b></div>
<div style="text-align: left;">
Personnel:<br /><b>Mats Gustafsson</b>: saxophone<br /><b>Jamie Saft</b>: organ, keyboards<br /><b>Joe Morris</b>: guitars</div>
<div style="text-align: left;">
<b>Balazs Pandi</b>: drums<br /><br />Tracklisting:<br />01 - Pole of Combustible Memory<br />02 - Bring Me My Desire and Arrows to Shoot</div>
<div style="text-align: left;">
03 - Incendiary Axe<br /><br /> There is a certain liquidity found in the stables of RareNoise Records keyboardist <b>Jamie Saft</b> is both everywhere and nowhere, a part of <b>Berserk!</b>, <b>Metallic Taste of Blood</b>, <b>Plymouth</b>, and <b>Saft Swallow</b>, & <b>Previte</b>. But perhaps Saft's most interesting project this that of Slobber Pup: a post-apocalyptic tenor + jazz organ trio, shot full of morphine and uranium, giving off neutron vibes laying waste to all in earshot. When the psalmist wrote of "joyful noise" he or she most certainly had Slobber Pup in mind. The band's inaugural recording, Black Aces (RareNoise, 2013) met with positive reviews. Not satisfied with the crime scene that recording left, Saft and company have returned with Pole Axe, an aural metaphor for what the listener may expect.<br /><br />Pole Axe is comprised of a scant three pieces. The opening <i>"Pole of Combustible Memory"</i> is a dense half-hour of electric paroxysm introduced by drummer <b>Balazs Pandi</b>, guitarist <b>Joe Morris</b> and saxophonist <b>Matts Gustafsson</b>, in quick succession. Gustafsson picks ups where <b>Archie Shepp</b> left off at New Thing at Newport (Impulse!, 1965) and where <b>Pharaoh Sanders</b> picked up on Karma (Impulse!, 1969), committing chordal genocide at light speed. Morris gets extended solo space to probe with the speed of Shawn Lane and the aural lovechild of <b>James Blood Ulmer</b> and <b>Link Ray</b>. Saft quiets things down to a slow simmer summoning <b>Jon Lord</b> from "Lazy" (Made in Japan (Warner Bros., 1972)) and <b>Garth Hudson</b>'s "Genetic Method." Anti-peace is restored at 18 minutes as the band begins its descent into the spasmodic coda of the Cthulhu Mythos.<br /><br />"<i>Bring Me My Desire and Arrows to Shoot</i>" begins as introspectively as this band is capable, but an immediate anxiety permeates the sonic landscape. Dripping-water motifs punctuated with low reeds growls provides a foreboding backdrop for the cataclysm sure to be around the corner. "Ambient music for the schizophrenic," "Bring Me My Desire and Arrows to Shoot" illustrates, in music the dangers of recreational drug use among amateurs. Things ramp up at 9:00 with an anguished tenor cry, reaching a death crescendo before falling into a Placydil-induced narcosis.<br /><br />The "straightest" of the three pieces, "<i>Incendiary Axe</i>" recalls the marathon saxophone-drum duets of <b>John Coltrane</b> and <b>Elvin Jones</b>. Critical mass is achieved on this brief, 4-minute piece illustrating that Slobber Pup can command all elements of jazz, rock, and blues since the big band. There is something very appealing about this anarchy of noise that makes this "music" vital. It exists as a wakeup call for all who have been hypnotized into an artificial slumber of safety and contentment, and all the while the wolves are barking to get in... [<a href="http://www.allaboutjazz.com/pole-axe-slobber-pup-rarenoiserecords-review-by-c-michael-bailey.php">Allaboutjazz</a>]</div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
<br />[<a href="http://www.rarenoiserecords.com/slobber-pup"><b>PLEASE BUY IT HERE</b></a>]<br /><br />Or find in commets!<br /></div>
<div style="text-align: center;">
<br /></div>
</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com1tag:blogger.com,1999:blog-1570582164849538515.post-83007747438368197442015-11-04T12:31:00.000-08:002015-11-04T12:31:03.129-08:00Joshua Abrams - Magnetoception (2015)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Hm6iqw_94yV44PVxyjm-YQiPqJibRW3rgSlrsd7kbvT-gTVN4AUWZ9jAP0kxNs-9olS29fgkHukSqkGxMDVj8aoj1NV7DzNQZl2vNDAUXq71oRecu6UfiGgL1TiHKyZq9e5OhZSufp81/s1600/mte-63-64+%25281%2529.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0Hm6iqw_94yV44PVxyjm-YQiPqJibRW3rgSlrsd7kbvT-gTVN4AUWZ9jAP0kxNs-9olS29fgkHukSqkGxMDVj8aoj1NV7DzNQZl2vNDAUXq71oRecu6UfiGgL1TiHKyZq9e5OhZSufp81/s320/mte-63-64+%25281%2529.jpeg" width="320" /></a></div>
<div style="text-align: center;">
<b>Joshua Abrams - Magnetoception (Eremite, 2015)</b></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
Personnel:<br /><b>Joshua Abrams</b>: Guimbri, Bass, Celesta, Clarinet, Harp [Small], Bells<br /><b>Hamid Drake</b>: Frame Drum, Tabla, Congas, Drums [Trap Kit]<br /><b>Emmett Kelly</b>: Electric Guitar<br /><b>Jeff Parker</b>: Electric Guitar<br /> <b>Lisa Alvarado</b>: Harmonium<br /> <b>Ben Boye</b>: Autoharp [Chromatic Electric Autoharp]<br /><br />Tracklisting:<br />01 - By Way Of Odessa<br />02 - Lore<br />03 - Of Night<br />04 - Broom<br />05 - Translucent<br />06 - Of Day<br />07 - Magnetoception<br />08 - Spiral Up<br />09 - The Ladder<br /><br />In a recent Invisible Jukebox interview in The Wire, Chicago bassist <b>Joshua Abrams</b> speaks about “constructing an environment” through his music. “One is creating a space to immerse the listener in sound,” he explains, “and creating room for slowness, for a different rate of attention perhaps.” Magnetoception, Abrams’s third <b>Natural Information Society</b> album for Eremite, demonstrates this concept wonderfully. <br /><br />Fans of 2010’s Natural Information and 2012’s Represencing will find themselves in familiar territory here, marked most notably by Abrams’s guimbri (among his other instruments) but also by <b>Emmett Kelly</b> and <b>Jeff Parker</b>’s electric guitars,<b> Lisa Alvarado</b>’s harmonium, and <b>Ben Boye</b>’s autoharp. (<b>Hamid Drake</b>, a new addition to this particular project, plays a variety of hand percussion as well as drum kit.) But as a double LP Magnetoception gives the group a new opportunity to stretch out, breathe, and craft an immersive sound environment.<br /><br />The album opens with “<i>By Way of Odessa</i>,” a side-long piece whose meditative ambient patience, punctuated by Drake’s frame drum, focuses the listener’s attention not by grabbing it but by creating space for it. Eventually the guimbri picks up, before dying down again. The rise and fall of the track’s energy foreshadows the album’s larger structure, more an organic sinuous movement with multiple climaxes than a simple linear escalation.<br /><br />One climax comes at the beginning of the third side with “<i>Translucent</i>.” The tune’s odd-meter ostinato, carried by the guitars and Abrams on acoustic bass, keeps us entranced but alert, as if we’re burrowing down towards the heart of something, yet not quite there. That heart might come soon enough with the title track. “<i>Magnetoception</i>” finds the album at its densest and perhaps most dramatic, a tightly woven sonic textile of jittery muted guitar, insistent guimbri, and tireless drumming. The group’s natural, protean interplay is in evidence here too, with Drake wrenching the breakneck 6/8 groove into a shuffle for a few glorious bars at one point. Elsewhere brief solo interludes like “<i>Of Night</i>” (Abrams on clarinet) and “<i>Of Day</i>” (autoharp) provide contrast and help contract the scope of the music before opening out again.<br /><br />“<i>The Ladder</i>” brings things to a close with mid-tempo interlocking guimbri and tabla overlaid by shimmering autoharp and carefully measured guitar lines. This final track leaves us neither too high nor too low, but safely in the middle ground of the album’s dynamic energies. And if Abrams is as inspired by the Gnawa tradition of ritual healing as he is by their use of the guimbri, then “<i>The Ladder</i>” can be said to deliver us out of Magnetoception’s restorative environment better than we entered it. [<a href="http://www.freejazzblog.org/2015/08/joshua-abrams-magnetoception-eremite.html">Free Jazz Blog</a>]<br /><br />[<b><a href="http://eremite.com/album/mte-63-64">PLEASE BUY IT HERE</a>]<br /></b>Or find it in comments!</div>
</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com4tag:blogger.com,1999:blog-1570582164849538515.post-61335115265801352212015-08-05T08:24:00.000-07:002015-08-05T08:24:23.435-07:00Curtis Hasselbring - The New Mellow Edwards (2006)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFVuh0ZwnM8F_GJRgl3N7aEs726BBDQxUJMXchLI6C9axlHqF_RnVMWKXvlPkk7oF_fFFSE5oMqQ2OTJ0b9qvChrM-cIxHHMcwkCa3Y3rS959u-5FZOo8siI_XH94kAGC7HmmIWHX08d5Z/s1600/folder.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFVuh0ZwnM8F_GJRgl3N7aEs726BBDQxUJMXchLI6C9axlHqF_RnVMWKXvlPkk7oF_fFFSE5oMqQ2OTJ0b9qvChrM-cIxHHMcwkCa3Y3rS959u-5FZOo8siI_XH94kAGC7HmmIWHX08d5Z/s320/folder.jpg" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-weight: bold;">Curtis Hasselbring - The New Mellow Edwards (Skirl, 2006)</span><br /></div>
<div style="text-align: left;">
Personnel:<br /><span style="font-weight: bold; text-align: center;">Curtis Hasselbring: </span>Keyboards [Casio], Effects, Sounds, Trombone</div>
<div style="text-align: left;">
<b>Chris Speed: </b>Keyboards [Casio], Clarinet, Tenor Saxophone<br /><b>Trevor Dunn: </b>Bass<br /><b>John Hollenbeck:</b> Drums, Melodica, Percussion<br /><br />Tracklisting:<br />01 - White Sauce Hot Sauce Boss?</div>
<div style="text-align: left;">
02 - The Infinite Infiniteness Of Infinity</div>
<div style="text-align: left;">
03 - Abcs Of The Future</div>
<div style="text-align: left;">
04 - Plubis Epilogue<br />05 - Double Negative</div>
<div style="text-align: left;">
06 - (I'm The Annoying Guy Who Always Yells) Freebird</div>
<div style="text-align: left;">
07 - Insaniterrier (The Radio Dog)</div>
<div style="text-align: left;">
08 - Scatology</div>
<div style="text-align: left;">
09 - Ana Black Francis</div>
<div style="text-align: left;">
10 - Far-Away Planet</div>
<div style="text-align: left;">
11 - Mamacita</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<b>Сurtis Hasselbring</b>'s New Mellow Edwards is a group that was originally formed in 1988. Known back then as the Mellow Edwards, the trio of trombone, electric guitar and drums explored a unique combination of free jazz and heavy rock that was very unique for it's time. Continuing through the 90s as a sextet with a similar musical onus, Hasselbring reformed the group as an acoustic quartet in 2002 and has made the New Mellow Edwards the focal point of his composing and band-leading. Curtis's compositions and the New Mellow Edwards' playing defies traditional jazz conventions and favors primal garage rock-derived grooves, textural explorations and classicaly-influenced structures. The repertiore of the group can be humerous, dark, accessible and exciting, often simultaneously.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
The debut album by the ingenius composer\trombonist <b>Сurtis Hasselbring</b>. Сurtis's composing and The New Mellow Edwards' playing defies traditional jazz conventions and and favors primal garage rock-derived groove, textural explorations and classically-influensed structures. Curtis's tweaked version of a modern instrumental supergroup features strong performances from three New York's most innovated musicians, <b>Trevor Dunn</b> (<b>Mr. Brungle</b>, <b>Electric Masada</b>, <b>Melvins</b>), <b>John Hollenbeck (Meredith Monk</b>, <b>Theo Bleckmann, Claudia Quintet)</b>, and <b>Chris Speed</b> (<b>Human Feel, Bloodcount, Pachora).</b></div>
<div style="text-align: left;">
<b><br /></b></div>
<div style="text-align: left;">
[<b><a href="http://www.skirlrecords.com/curtis-hasselbring-new-mellow-edwards">PLEASE BUY IT HERE</a></b>]<br /><br />And find it in comments!</div>
</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com0tag:blogger.com,1999:blog-1570582164849538515.post-22165138486818158542015-08-04T08:48:00.000-07:002015-08-04T08:48:01.843-07:00Devin Gray - Relative Resonance (2015)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7l7-YCRpY-J055Kx4N0_D3tVyeD7XcFBRqv_Yl5Peo9Ijjv2hPUHmvHbLIxKZ6zCmABIVvF8Ta_6ukPFDhmMf6luKRuTPC2eXWHRgZ4EnVp9PCgPdzT0eJ8goDiUEk1N8QP4Np5MB-64o/s1600/gray+relative+resonance+cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7l7-YCRpY-J055Kx4N0_D3tVyeD7XcFBRqv_Yl5Peo9Ijjv2hPUHmvHbLIxKZ6zCmABIVvF8Ta_6ukPFDhmMf6luKRuTPC2eXWHRgZ4EnVp9PCgPdzT0eJ8goDiUEk1N8QP4Np5MB-64o/s320/gray+relative+resonance+cover.jpg" width="235" /></a></div>
<div style="text-align: center;">
<b>Devin Gray - Relative Resonance (Skirl, 2015)</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: left;">
Personnel:<br /><b>Devin Gray</b> - drums</div>
<div style="text-align: left;">
<b>Chris Speed</b> - tenor saxophone and clarinet</div>
<div style="text-align: left;">
<b>Kris Davis</b> - piano</div>
<div style="text-align: left;">
<b>Chris Tordini</b> - double-bass</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Tracklisting:<br />1. City Nothing City </div>
<div style="text-align: left;">
2. In the Cut </div>
<div style="text-align: left;">
3. Notester </div>
<div style="text-align: left;">
4. Jungle Design (for Hannah Shaw) </div>
<div style="text-align: left;">
5. Transatlantic Transitions </div>
<div style="text-align: left;">
6. Undo the Redo </div>
<div style="text-align: left;">
7. RelativE ResonancE (for Tadd Dameron) </div>
<div style="text-align: left;">
8. Search It Up</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
From the outset, this rhythm section can do Henry Threadgill’s Zooid. <b>Devin Gray</b> (drums) and <b>Chris Tordini</b> (bass) have that thing down pat. Reedman <b>Chris Speed</b> and pianist <b>Kris Davis</b> are mixed in (mostly) separate channels and this works well, as they frequently play counterpoint with each other over the top of the amazing structural base. I wish the soloists were completely isolated in separate channels. In the left channel you'd get something wonderful from a Davis trio – and then cut out the left channel and you could hear an amazing Speed-led group. But we'll just have to be satisfied with the brilliant quartet. I’ll confess that I will check out anything with Kris Davis on it. She’s an incredibly well-rounded player with a real understanding of what makes a composition, a group improvisation, and an arrangement work. She is a perfect fit here. Gray has written arrangements for each instrument that present a balance, not only between composition and improvisation, but between each player's contribution to the overall picture. On “Notester” the Zooid groove disappears, making for a more challenging – but no less enjoyable – listening experience. Tordini and Davis lock especially well here to support Speed's flights. Things get appropriately humid on “Jungle Design,” which also has a house-of-mirrors feel about it. It's the first and only time the “balance” ideal becomes a bit claustrophobic. “Transatlantic Transitions” returns to Zooid funk about two minutes in; and Davis and Speed lead the band through abrupt twists and turns. The written bits – on the entire disc – are intricate and fascinating, like studying the insides of a finely crafted timepiece. Delicate precision is key to the execution of this music. Throw in a wild card like free improvisation and... How do they make this work so well? Nowhere is the tight balancing act more evident that on the title track, which compresses everything that is great about this band - and these songs - into 3.5 minutes of brilliance. The interplay between Gray and Tordini leads the group to ecstatic – and briefly, improvisational - heights. Who knew the avant garde could be so perfectly symmetrical? [<a href="http://www.freejazzblog.org/2015/07/devin-gray-relative-resonance-skirl-2015.html">Free Jazz Blog</a>]</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
[<b><a href="http://www.skirlrecords.com/devin-gray-relative-resonance">PLEASE BUY IT HERE</a></b>]<br /><br />Or find it in comments!</div>
</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com1tag:blogger.com,1999:blog-1570582164849538515.post-6156976381255261012015-07-29T04:29:00.002-07:002015-07-29T04:29:45.545-07:00Howard Peach - Howard Peach (2015)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8FG81oKXr7ypRFaTRl7d6wGFl_jzM8Of7qFl4PzsfXHX8xYThLlEWZmKO2jujBrvU14xOq5Uz6_hkXrZCw_vSf-EPhD6M1m2u41EvIilvXLZVtsUWwVLpOThtAmVWA8sIAv8Fz-TzT4GV/s1600/front.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8FG81oKXr7ypRFaTRl7d6wGFl_jzM8Of7qFl4PzsfXHX8xYThLlEWZmKO2jujBrvU14xOq5Uz6_hkXrZCw_vSf-EPhD6M1m2u41EvIilvXLZVtsUWwVLpOThtAmVWA8sIAv8Fz-TzT4GV/s320/front.jpg" width="320" /></a></div>
<div style="text-align: center;">
<b>Howard Peach - Howard Peach (el NEGOCITO Records, 2015)</b></div>
<div style="text-align: center;">
<b><br /></b></div>
<div style="text-align: left;">
Personnel:</div>
<b>Chris Speed</b> - tenor saxophone<br />
<b>Simon Jermyn</b> - electric bass<br />
<b>Lander Gyselinck</b> - drums<br />
<br />
Tracklisting:<br />
1. Lausanne<br />
2. Unfortunate Vivisepulture<br />
3. Hidden Word<br />
4. Chris The Crafty Cockney<br />
5. Sycamore Sea<br />
6. Atlantis 1987<br />
<br />
Lander Gyselinck has transformed from an emerging young talent to an<br />
established and respected name on the Belgian jazz and improvisation scene<br />
in a relatively short space of time. He derives his inspiration, not only<br />
behind the drums but also as a composer for his own bands LABtrio and<br />
STUFF., from contemporary electronic music. His inventive and exploratory<br />
drumming style has accorded him a broad and individual sound palette that<br />
is appreciated by a wide range of musical fields. This means he thrives in<br />
very diverse artistic environments ranging from jazz, contemporary<br />
electronics to experimental improvised music. He is a member of the Kris<br />
Defoort Trio, Jazz Plays Europe 2010 and Network of Stoppages. In 2010 he<br />
won the Toots Thielemans Jazz Award and in 2012 he received the SABAM<br />
Youth and Music Award at the Ghent Jazz Festival. Lander currently lives<br />
in New York.<br />
<br />
[<b><a href="https://elnegocito.bandcamp.com/album/howard-peach">PLEASE BUY IT HERE</a></b>]<br />
<br />
And find it in commentz!</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com1tag:blogger.com,1999:blog-1570582164849538515.post-30823595850774053392015-06-04T07:49:00.002-07:002015-06-04T07:53:33.365-07:00The World Heritage - Travelling Silk Road (2012)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv2llKsU4Ces6ZR8A6SZWAIpkGjTXUZXwxETQjO4cnGn82Udc3-q1o4rEA7UR6qIpWA3W1Pgu_V8QDOydIzsqllukXrC-bVbfpkaF1474vuR8y-Pn0ibmVqo24Xiun4AEcdxVQwzhM4Vjs/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="284" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv2llKsU4Ces6ZR8A6SZWAIpkGjTXUZXwxETQjO4cnGn82Udc3-q1o4rEA7UR6qIpWA3W1Pgu_V8QDOydIzsqllukXrC-bVbfpkaF1474vuR8y-Pn0ibmVqo24Xiun4AEcdxVQwzhM4Vjs/s320/cover.jpg" width="320" /></a></div>
<div style="text-align: center;">
<b>The World Heritage - Travelling Silk Road (Magaibutsu, 2012)</b><br />
<b><br /></b></div>
<div style="text-align: left;">
Personnel:<br />
<b>Katsui Yuji</b>: violin<br />
<b>Yamamoto Seiichi</b>: guitar<br />
<b>Kido Natsuki</b>: guitar<br />
<b>Nasuno Mitsuru</b>: bass<br />
<b>Yoshida Tatsuya</b>: drums<br />
<br />
Tracklisting:<br />
1. Xi-Ang</div>
<div style="text-align: left;">
2. Tongko<br />
3. Theheran</div>
<div style="text-align: left;">
4. Samarkand </div>
<div style="text-align: left;">
5. Rome</div>
<div style="text-align: left;">
6. Istanbul</div>
<div style="text-align: left;">
7. Bagdad<br />
<br />
</div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
Live recordings of drummer <b>Yoshida Tatsuya</b>'s World Heritage band from Koenji HIGH in 2009, condensing and editing the show into one incredible hour of sophisticated rock improvisation. This is the 4th release for World Heritage band, with<b> Nasuno Mitsuru</b> on bass, the dual guitars of <b>Yamamoto Seichi</b> and <b>Kido Natsuki</b>, and violinist <b>Katsui Yuji</b>. [<a href="http://www.squidco.com/miva/merchant.mvc?Screen=PROD&Store_Code=S&Product_Code=15784">Squidco</a>]</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
[<a href="http://www.squidco.com/miva/merchant.mvc?Screen=PROD&Store_Code=S&Product_Code=15784"><b>PLEASE BUY IT HERE</b></a>]<b></b><br />
<b><br /></b>Or find it in comments!<br />
<br />
<span style="color: red;">Extremelly huge and fantastic record!!!</span></div>
</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com1tag:blogger.com,1999:blog-1570582164849538515.post-22966742298545058442015-04-29T04:24:00.000-07:002015-04-29T04:28:00.935-07:00Russell / Beresford / Edwards / Liavik Solberg - Will It Float? (2015)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJXQfH9gU8V8MiCJdLxW-QPAsQ-NNqbz402zr2rPzeb-3nyaxAhMLdbTLZcKYJAXeN49M9p5ZSKrJPSLyUrnoTsC9ykNGke-sCJ6CHxnkTnJ6hVbyQYtXDZ4Qiz5zMtHxrJEOe8uQIcETH/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJXQfH9gU8V8MiCJdLxW-QPAsQ-NNqbz402zr2rPzeb-3nyaxAhMLdbTLZcKYJAXeN49M9p5ZSKrJPSLyUrnoTsC9ykNGke-sCJ6CHxnkTnJ6hVbyQYtXDZ4Qiz5zMtHxrJEOe8uQIcETH/s1600/cover.jpg" height="320" width="320" /></a></div>
<div style="text-align: center;">
<b>Russell / Beresford / Edwards / Liavik Solberg - Will It Float? (Va Fongool, 2015)</b><br />
<br /></div>
<div style="text-align: left;">
Personnel:<br />
<b>John Russell</b>: guitar<br />
<b>Steve Beresford:</b> objects and electronics<br />
<b>John Edwards</b>: double bass<br />
<b>Ståle Liavik Solberg</b>: drums and percussion<br />
<br />
</div>
<div style="text-align: left;">
</div>
<div style="text-align: left;">
Tracklisting:<br />
01 - Will It Float?<br />
02 - Light Impermeable<br />
03 - Buoyant<br />
04 - The Third Time<br />
<br />
The music on "<i>Will It Float?</i>" can best be described as classic British improvisation with an electro-acoustic twist. These are the major elements that run through the recording, creating a soundscape that is both challenging and engaging. The improvisations are freely made, without preparation, and are characterized by an extreme joy in playing and a desire to take chances while maintaining a firm focus on the group's identity. After playing in a successful duo with <b>John Russell </b>for a couple of years, <b>Ståle Liavik Solberg</b> decided to put together a quartet consisting of more musicians from the British improvisation scene. For him it was an easy choice to combine Russell with <b>Steve Beresford</b> and <b>John Edwards</b>, and Liavik Solberg arranged for the quartet to play at St. Mary's Old Church in Stoke Newington, London. Once the idea had taken root for the concert it became obvious they were embarking on something special and the decision was taken to call in renowned recording engineer <b>Dave Hunt</b> to record the music. John Russell, Steve Beresford, and John Edwards have been a part of the free improvisation scene in England and Europe for several decades, and have played together in many different circumstances during this time. <b>Ståle Liavik Solberg</b><b></b> is an active free improviser in Norway and is, among other things, a director of the extensive concert series Blow Out! in Oslo. <b>Fred Lonberg-Holm</b> got the task of mixing and mastering the album and <b>Kjetil Tangen</b> made the great cover art. [<a href="http://www.forcedexposure.com/Artists/RUSSELL.BERESFORD.EDWARDS.LIAVIK.SOLBERG.html">Forced Exposure</a>]<br />
<br />
[<b>PLEASE BUY IT HERE</b>]<br />
<br />
And find it in comments!</div>
</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com1tag:blogger.com,1999:blog-1570582164849538515.post-75678357582113854682015-04-27T09:35:00.000-07:002015-04-27T09:58:21.487-07:00Tim Berne's Snakeoil - You've Been Watching Me (2015)<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgne5oOci_pxyupeOvHzSL2goWjS4Y77cQEyJWnMj1d2gN6s8Fd2m2sBBzzaB8FnAXHtTbygyc763cBvptEuSDyyIXUIZeJ6MWwv0ApWCo-4hM0s48W71rQj7kYnxn-WP0e1eNVZoaU9G9p/s1600/cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgne5oOci_pxyupeOvHzSL2goWjS4Y77cQEyJWnMj1d2gN6s8Fd2m2sBBzzaB8FnAXHtTbygyc763cBvptEuSDyyIXUIZeJ6MWwv0ApWCo-4hM0s48W71rQj7kYnxn-WP0e1eNVZoaU9G9p/s1600/cover.jpg" height="320" width="320" /></a></div>
<div style="text-align: center;">
<b>Tim Berne's Snakeoil - You've Been Watching Me (ECM, 2015)<br /><br /></b></div>
<div style="text-align: left;">
Personnel:<br />
<b>Tim Berne</b>: alto saxophone<br />
<b>Oscar Noriega</b>: bass, clarinets<br />
<b>Ryan Ferreira</b>: guitars<br />
<b>Matt Mitchell</b>: piano, electronics<br />
<b>Ches Smith</b>: drums, vibraphone, percussion, timpan<br />
<br />
Tracklisting:<br />
01 - Lost In Redding<br />
02 - Small World In A Small Town</div>
<div style="text-align: left;">
03 - Embraceable Me</div>
<div style="text-align: left;">
04 - Angles<br />
05 - You've Been Watching Me<br />
06 - Semi-Self Detached<br />
07 - False Impressions<br />
<br />
In the course of his long and prolific career, alto saxophonist/composer <b>Tim Berne</b> has been more of a musical agitator than a mediator. While that's a positive characteristic of Berne's creative process, it is also a demanding one for all concerned. Berne's tenure with ECM, however, has been marked by a more pronounced move toward balancing restorative musical properties to juxtapose very complex structures. The result of Berne's continued growth is <i>You've Been Watching Me</i>, a high point of his compositional achievements to date.<br />
<br />
As on his two previous ECM leader dates with Snakeoil—the self-titled debut (2012) and Shadow Man (2013)—Berne's cohort includes <b>Oscar Noriega</b> on clarinets, <b>Matt Mitchell</b> on piano and <b>Ches Smith</b> on various and sundry percussion. An addition to the original quartet is guitarist<b> Ryan Ferreira</b>. The Eastman School of Music graduate adds an ethereal, liquid quality that belies his early heavy-metal influences.<br />
<br />
<i>"Lost In Redding"</i> opens with all hands on deck, creating a carnival-like atmosphere before abruptly switching gears and turning the proceedings over to Noriega. His bass clarinet solo alternates between single tones and more musical structures, eventually giving way to a series of solos from the rest of the group. Mitchell's keys are augmented by Smith's light but decisive propulsion providing the transition to the reeds retaking the piece, slowly building back to the calamitous level of the opening. <i>"Small World In A Small Town"</i> may be most ambitious composition Berne has created. Beginning as a duet between Berne and Mitchell, the slow pace allows the articulation to stand out clearly. Taking on suite-like qualities, Noriega (at almost ten-minutes in) adds lyrical, classically influenced themes then almost imperceptibly shifts to a subtle Middle-Eastern melody accompanied by a rock beat as the reeds patiently build to a crescendo. The scope of the piece is epic; the music mesmerizing.<br />
<br />
<i>"Embraceable Me"</i> and <i>"Angles"</i> are darker in tone, the former beginning as a deep, rumbly free-for-all that is both cinematic and discordant but taking a haunting turn that carries over to the dark, foreboding "Angles." Ghostly intensity and unbalanced harmonies give an aesthetic tension to the music; Ferreira and Mitchell often conjuring color and texture just out of obvious earshot. The set concludes with <i>"False Impressions"</i> and—like <i>"Small World In A Small Town"</i>—changing themes, tempos and modulation create a labyrinth of movements.<br />
<br />
Produced and mixed by ECM label-mate and past colleague, guitarist <b>David Torn</b>, You've Been Watching Me represents another forward-looking development for Berne and Snakeoil. The quintet works in various breakout formations adding to the variety of textures and sounds. There's an openness in this setting that adds depth and drama to the improvisations that weave through the arrangements. Berne's music has never been anything less than challenging, but here it is broader and more accessible without sacrificing edginess; You've Been Watching Me is a major achievement in Berne's portfolio. [<a href="http://www.allaboutjazz.com/youve-been-watching-me-tim-berne-ecm-records-review-by-karl-ackermann.php">Allaboutjazz</a>]<br />
<br />
[<a href="http://www.amazon.com/Youve-Been-Watching-Bernes-Snakeoil/dp/B00TQESBZC"><b>PLEASE BUY IT HERE</b></a>]</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
And find it in comments!</div>
</div>
ru_galochkinhttp://www.blogger.com/profile/01349709581462932967noreply@blogger.com3