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jasapaal
 Into the Rhythm
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1963: Grachan Moncur iii - Evolution |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Grachan Moncur III Album: Evolution Label: Blue Note Year: 1963 Format, bitrate: M4A, 256 kbps (VBR) Time: 41,2 min Size: 84.45 Mb AMG Rating:  One of the New Thing's extremely few trombonists and a greatly underappreciated composer of tremendous evocative power, Grachan Moncur III got his first major exposure on Jackie McLean's groundbreaking 1963 masterpiece, One Step Beyond. Toward the end of the year, most of the same musicians reconvened for Moncur's debut as a leader, Evolution; McLean, vibist Bobby Hutcherson, and drummer Tony Williams are all back, with Bob Cranshaw on bass and an extra voice in trumpeter Lee Morgan, moonlighting from his usual groovy hard bop style. While Moncur takes a little more solo space here, the main emphasis is on his talent as a composer. The four originals are all extended, multi-sectioned works (the shortest is around eight minutes), all quite ambitious, and all terrifically moody; much of the album sounds sinister and foreboding, and even the brighter material has a twisted, surreal fun-house undercurrent. Part of that is due to the accuracy with which the musicians interpret Moncur's vision. Hutcherson provides his trademark floating chordal accompaniment, which is crucial to the overall texture; what's more, the album features some of McLean's weirdest playing ever, and some of Morgan's most impressively advanced, as he makes the most of a situation he longed to be in more often. Of the pieces, "Monk in Wonderland" is the most memorable; its whimsical, angular theme is offset by Hutcherson's mysterious vibes, which create a trippy effect in keeping with the title. "Air Raid" is alternately ominous and terrifyingly frantic, and the funereal title track keeps time only in the pulse of the horns and the backing, which is based entirely on whole notes. With such an inventive debut, it's a shame Moncur didn't record more as a leader, which makes Evolution an even more important item for fans of Blue Note's avant-garde to track down. ~ Steve Huey, All Music Guide |
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2011: David Binney - Barefooted Town |
Music, Jazz, Contemporary Jazz, Modern Jazz |
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 Artist: David Binney Album: Barefooted Town Label: Criss Cross Jazz Year: 2011 Format: FLAC (tracks) Time: 55:28 Size: 326 mb David Binney’s ambitious release on his own label earlier this year, Graylen Epicenter, drew even more praise than usual from critics and fellow musicians. And this new one from Criss Cross is another winner for the much admired but largely unsung alto saxophonist and composer.
The top-flight, mostly younger players Binney has assembled for Barefooted Town—Ambrose Akinmusire on trumpet, Mark Turner on tenor saxophone, David Virelles on piano, Eivind Opsvik on bass and Dan Weiss on drums—seem happy to keep the emphasis on Binney’s complex compositions rather than their own soloing prowess. There is impressive blowing throughout the disc, especially on the high-energy opening pieces “Dignity” and “Seven Sixty.” Akinmusire and the saxes cut loose on “Secret Miracle,” and Weiss maintains a protean brilliance throughout. But the focus stays remarkably centered on ensemble work and Binney’s music. Virelles takes a strong solo on “The Edge of the Seasons” and adds luster to the quieter, more balladic “A Night Every Day,” for example, but dutifully repeats a chord throughout the title cut for hypnotic effect. And Akinmusire has no problem allowing his trumpet to be employed simply for color elsewhere.
Binney’s compositions, meanwhile, are serious without being off-putting. He supplies his own wordless vocals on three of the tracks, weaves melodic patterns with his three horns and supplies them with complicated unison lines, and shifts among tricky meters at will. For all the complexity and experimentation, however, his work maintains both passion and an engaging lyricism. This isn’t casual listening, by any means. But it is a reminder that forward-looking writing can be palatable. ~ Bill Beuttler, JazzTimes |
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2011: Colin Stetson - New History Warfare Vol.2: Judges |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Colin Stetson Album: New History Warfare Vol.2: Judges Label: Constellation Year: 2011 Format: MP3; VBR Size: 66, 44mb (with covers) Colin Stetson's 2008 album New History Warfare, Vol. 1 showcased the saxophonist/multi-reedist's phenomenal multiphonic improvisation style and circular breathing technique. Released in 2011, New History Warfare, Vol. 2: Judges features a similar exploratory solo saxophone approach that is nothing short of mind-blowing. Stetson uses the circular breathing style, recorded in single takes and occasionally with overdubs, to create atmospheric and hypnotic loops that sound like layered analog keyboards more than saxophones. In that sense, the tracks here often bring to mind something along the lines of Jean Michel Jarre crossed with Roscoe Mitchell. These tracks allow Stetson to skronk and pulse, wheeze and then soar with white jet-engine noise that is never purposeless and always controlled. Also featured here are a few spoken word sections with avant-garde icon Laurie Anderson -- including the poetic "A Dream of Water" -- that lend a cinematic quality to the proceedings. Elsewhere, vocalist Shara Worden delivers a haunting lead on the spiritual "Lord I Just Can't Keep from Crying Sometimes." Primarily, however, it is Stetson's transcendent and muscular ability to layer sound, breath, and rhythm in a meditative compositional style that sticks with you long after Judges is over. ~ Matt Collar, All Music Guide |
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2001: Dominic Duval Quintet - Cries and Whispers |
Freejazz, Avantgarde |
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 Artist: Dominic Duval Quintet Album: Cries and Whispers Label: Candance Jazz Records Year: 1999; release: 2001 Format, bitrate: mp3, 320 Size: 146 mb AMG Rating:  This high-fidelity live concert recording captures bassist Dominic Duval's quintet at the height of its powers. Each of the fully improvised tracks is simply entitled "Cries & Whispers," and numbered chronologically. To be sure, three strings and two reeds are unusual instrumentation, and in lesser hands the results might have been less focused. What is so exciting about this album is the stellar beauty of the chamber-like soft sections (whispers?) and the occasional ecstatic shouts of the saxes (cries?), but the kind of nuanced blowing found throughout encompasses a multitude of emotions with innumerable permutations. The highly compatible members of the group fit like a glove, with Joe McPhee's mournful trumpet and glorious sax a key though not necessarily dominant part. The other horn player, Mark Whitecage, is a superb foil for McPhee, applying a hard bop intensity that meshes with the birdlike chirps of the strings. Longtime companions Jason Hwang, Tomas Ulrich, and Duval seem to enjoy stirring up the pot with devilish, inebriated gusts of energy. Even when the sounds swirl with mesmerizing cacophony there is a surprising quietude, a cosmological orderliness that reminds the listener of John Coltrane's late spiritual works. With its consummate musicianship, range of emotion, and melodiousness, this is one of the finest examples of free jazz at the turn of the century as you are likely to find, performed by five respected practitioners of the genre.~ Steve Loewy, All Music Guide |
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2011: Marcelo Monteiro - Marcelo Monteiro |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Marcelo Monteiro Album: Marcelo Monteiro Label: Independent Year: 2011 Format, bitrate: Mp3 320kbps Time: 45:17 Size: 112,3 MB The saxophonist Marcelo Monteiro from São Paulo – Brazil, has just released his first album. The base of his work is a trio (tenor sax, double bass and drum), this trio is playing in the new jazz scene from São Paulo.
The trio is composed by Marcelo Monteiro – sax, Daniel Amorin – double bass and Maurício Caetano on drums. There are special guests, Amílcar Rodrigues on the trumpet, Didi Machado on the trombone and Lucas Vargas on the keyboard in only one song that has a harmonic intrument.
Arrangements, compositions and production by Marcelo Monteiro. His songs can be classified as modern jazz, a little influence of brazilian rhythms and groovy, but with a unique sound. |
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2011: The Thirteenth Assembly - Station Direct |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: The Thirteenth Assembly Album: Station Direct Label: Important Records Year: 2011 Format, bitrate: Mp3, 320 Kbps Time: 44:43 Size: 108 Mb "Cornetist Taylor Ho Bynum, guitarist Mary Halvorson, violist Jessica Pavone and drummer Tomas Fujiwara are among the most exciting new jazz musicians to emerge on the New York scene, and it is hard to talk about any one of these players without mentioning the others." ~ Wall Street Journal |
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2007: Paul Brody's Sadawi - For the Moment |
Fusion, Modern Jazz, Avantgarde |
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 Artist: Paul Brody's Sadawi Album: For the Moment Label: Tzadik Records Year: 2007 Format, bitrate: mp3, 320 Size: 117 mb AMG Rating:   Composer and ace trumpeter Paul Brody and his fine group Sadawi have established their wonderfully eclectic trademark sound with two previous outings on Tzadik -- 2002's Kabbalah Dream and 2004's Beyond Babylon. In the interim he's released a pair of wild avant klezmer platters (South Klezmer Suite and Klezmer Stories) on Laika and one (Sadawi, Minsker, Kapelye) on Ferment. The last three were all issued in 2006! This new set is even more adventurous than anything the band has issued previously. While using klezmer as a base, Brody is strident in his aims to create a new place for klezmer in the pantheon of music, both popular and otherwise. Previously employing everything from digital and analog dub to Appalachian mountain music in his approaches to reestablish the music's integral harmonic, lyric, and improvisational palette, Brody digs deeper into jazz, classical, and rock this time out. Beginning with the mournful intro to "Warsaw," which passes for a Yiddish folk tune, he and guitarist Brandon Seabrook waste no time getting to the call-and-response notions of klezmer. Here, Yiddish party music and heavy metal guitar are arranged inside a Sephardic theme, with breakbeats by Eric Rosenthal, who adds a slightly funky edge to his pulse. The solo by Brody is strictly on the composition's theme, but Seabrook goes off into Slayer territory. Meanwhile, bassist Martin Lillich and clarinetist Christian Dawid blend the stew -- in the latter case in the twinned front-line melody with Brody, and in the former holding the drummer and guitarist in check. The bassline keeps a reggae touch throughout "Too Low," but there are skittering double breaks by Rosenthal -- and the gorgeous contrapuntal harmonic theme is straight from the tradition, as the three front-line players assert themselves immediately. There are some dubby sound effects as Seabrook engages Lillich, but they never hold sway over the composition's unique, mournful call-and-response playing between brass and woodwind -- even when the feedback and electronic sounds threaten to overcome the mix. Killer!
"Bartoki" begins as -- you guessed it -- an exercise in counterpoint between brass and woodwind, gradually swung out from the drum kit to charge full-on into a jazzed-out reading of a couple of familiar Bartók themes dressed in power chords and riffs from Seabrook, distorted basslines, and Brody getting near the edge of free jazz in the chorus (and even some Don Ellis in the bridge). This is how it goes throughout: back and forth, integrating klezmer (itself over 100 years old) with popular musics -- and not so popular ones -- past and present, firmly planted in the future while extending the tradition and not only keeping it lively, but alive and growing. "Serendipity" begins with a gorgeous clarinet solo but eventually becomes, as the band enters (with Seabrook on banjo), the root thematic ground for the dubbed-up sound shards and electric guitar-striated rockist jam "Sit Down." Here, jazz from the early '30s, klez, and modal swing are interpolated and communicated back and forth. The lines Brody writes are gorgeous. His sense of harmony and time and the tight dimensions he employs actually result in pushing his compositions out into the world so they can be appreciated by virtually anyone. There are some guest appearances on this set: label boss John Zorn and his alto make the scene on the title cut, as does new klezmer kingpin Frank London. It's a boiler and a finger-popper, done to a double-timed drumbeat and breaking out into a wild celebration of klez that Dave Tarras and his teacher Naftule Brandwein would celebrate -- especially those rhythms, which are jaunty, tough, and in your face. Zorn solos to the outside eventually, but never entirely leaves the melodic framework of the tune. The force and harmonic ferocity of this music rein him in. This cut is the orgiastic celebration on the album -- though all of it is fun while being wonderfully complex music compositionally. Ultimately, as an album, For the Moment takes you for a wild and adventurous ride, always bringing you back to the root of the historical origin while enveloping you in its trans-modern integration not only of styles, but of sounds, nuances, colors, and textures.~ Thom Jurek, All Music Guide |
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2004: Paul Brody's Sadawi - Beyond Babylon |
Fusion, Modern Jazz, Avantgarde |
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 Artist: Paul Brody's Sadawi Album: Beyond Babylon Label: Tzadik Records Year: 2004 Format, bitrate: mp3, 320 Time: 54:34 Size: 123 mb AMG Rating: On his second album fronting his band Sadawi, trumpeter and composer Paul Brody continues his work in the avant-klezmer trenches, helping to drag that hundred-year-old music kicking and screaming into the 21st century. On Beyond Babylon he shows his unwillingness to be constrained by any ghetto boundaries, opening the album with an extended deconstruction of the Shaker hymn "Simple Gifts" (which features a hair-raisingly skronky banjo solo by Brandon Seabrook), and making use of elements of both dub (on the contemplative and lovely "Timepeace"), and rock (note the guitar parts on "Fragment of Kafka's Friend") as well as lots and lots of modern jazz. Most of the album is thrilling; Brody's take on the David Krakauer composition "Klezmer à la Bechet" is a joyful romp in five/four meter, "Glass Dance" is a masterful chamber jazz excursion featuring guest Alan Bern on melodica; Brody's own "An Eye for a You" struts out like a brazen shtetl girl daring someone to dance with her. Only the scattershot and static "Masks and Faces" fails to impress. Highly recommended overall.~ Rick Anderson, All Music Guide Paul Brody's Beyond Babylon (Tzadik), the follow-up to 2002's Kabbalah Dream, features the same sparse and effective lineup known as Sadawi: the leader on trumpet, Jan Hermerschmidt on clarinets, Brandon Seabrook on banjo and guitar, Martin Lillich on bass and Eric Rosenthal on drums. Based in Berlin, Brody has an alt-klezmer worldview not unlike Frank London's or David Krakauer's, so it's not surprising to find smart adaptations of London's "Golem Khosidl" and Krakauer's "Klezmer a la Bechet" on this album. Ben Goldberg's "Masks and Faces," done in a snaky 5/4, features Alan Bern on accordion. "A Fragment of Kafka's Friend," loosely based on a piece by Naftule's Dream, showcases the group at its most abstract. The remaining originals are animated by a Krakauer-esque melding of shtetl music, hard rock and electro-tweaking. Some of the writing is too kitschy, but the banjo is a fun and unusual touch.~ David R. Adler, Jazztimes |
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1977: Keith Tippett/Julie Tippett/Trevor Watts/Colin McKenzie - Warm Spirits - Cool Spirits |
Freejazz, Avantgarde |
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 Artists: Keith Tippett/ JulieTippett / Trevor Watts/ Colin McKenzie Album: Warm Spirits - Cool Spirits Label: Vinyl Records Year: 1977 Format, bitrate: FLAC Time: 46,57 Size: 189,18 mb LP recorded on 15th December 1976 as a selection of free jazz improvisations. |
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2002: Paul Brody's Sadawi - Kabbalah Dream |
Fusion, Modern Jazz, Avantgarde |
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 Artist: Paul Brody's Sadawi Album: Kabbalah Dream Label: Tzadik Records Year: 2002 Format, bitrate: mp3, 320 Time: 49:30 Size: 118 mb The title track and opening song "Kabalah Dreams" opens with a harsh funk, that periodically devolves into a frantic klezmer-derived progression, then opens out into a Miles Davis-style space before returning to its klezmer roots. The piece nicely showcases trumpeter Paul Brody's latest ensemble as a delightful, hard-edged fusion of klezmer and jazz. Later, on the composer's reworking of the traditional "Sadawi" the band shows an entirely different side to intensity, but never losing its tightness or edge or drive.
The inventiveness and scope of the opening number foreshadow the fun yet to come. This is a very exciting jazz album that incorporates a wide variety of Ashkenazic Jewish elements. As I wrote elsewhere, recently, this is a rare Tzadik album that actually seems to have something to propose in terms of fusing Jewish and Jazz and coming up with something new, something approaching the edges of what we know musically. It's also impossible not to enjoy an album with song titles as delightful as "Holy Man's Hum" or "Buber's Big Boat." The latter especially seems to embody the spaciousness and even I-Thou connectedness of such a name. Other lighter moments include "Sleeping on a Rock" which gives room for everyone in the band short solos before Brody's own lyric trumpet returns to tie things together.
This is also the sort of album that breaks a bit away from the Tzadik sound. There is the usual clarity, but the music feels far more original than most. If it resemble's anyone's work it is that of the other band that doesn't fit Tzadik's categories well, Naftule's Dream. That may come as much as having Eric Rosenthal, that band's long-time drummer, along with Boston regular (and I believe, new Naftule's Dream member) Brandon Seabrook on banjo, guitar, and electronics. The relaxed energy and nice integration with the rest of Berlin-based Brody's ensemble is wonderful.
I have to say, as I did on the first album, how much I enjoy what Brody is doing, and how inventive I feel his music is. From that opening funk klezmer, to the closer bells of "(Born) Smaller than a Banana," this album is worth listening to, and a pleasure to listen to. Brody has fused a variety of Jewish musics with jazz in a way that is both approachable (albeit, not excessively so) and yet retains edginess and progressive elements. It's a pleasure.~ Ari Davidow, Klezmer Shack |
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1979: Keith Tippett - The Unlonely Raindancer |
Freejazz, Avantgarde |
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 Artist: Keith Tippett Album: The Unlonely Raindancer Label: Universe Productions 2 LS 48 Year: 1979 Format: FLAC (LP-rip) Time: 80:16 Size: 175 + 167 MB Superb early double disc live solo improv (best selections from a Scandinavian tour) never on CD. This is a professionally assembled CDR package sent to me as a gift. I was utterly gobsmacked when it arrived as the album is such a rare title. Possibly the rarest of all official Tippett releases. Contains in “Tortworth Oak” the roots of what would become Tapestry’s “First Weaving”… 20 years later! |
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2008: The Drift - Memory Drawings |
Progressive Jazz, Avantgarde |
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 Artist: The Drift Album: Memory Drawings Label: Temporary Resident Year: 2008 Format, bitrate: Mp3, 192 kbps Time: 55:32 min. Size: 78.83 mb In the nearly three-year gap between their debut album, Noumena, and this follow-up, The Drift have toured extensively throughout North America and Japan. All that tripping did wonders for their songwriting process, inspiring an efficiency with their structures while maintaining the intoxicating song lengths they are known for. Though the music on Memory Drawings is familiar, there is a depth to both the performance and production that feels new all over again. Recorded directly to analog tape with longtime producer Jay Pellicci at Tiny Telephone in San Francisco, the mix is used as another instrument to help shape each song, channeling the mythos of late 60s jazz and late 70s dub classics. As The Drift have narrowed their focus, they have expanded their influences. Nowhere is this more obvious than "Uncanny Valley," with its shades of Afro-beat and disco-soul; or the dramatic, deserted ballad "Lands End." With Memory Drawings, they have truly found their groove - and the deeper they dig, the more curious we become. ~ temporaryresidence.com |
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2010: Jef Neve Trio - Imaginary Road |
Music » Jazz » Modern Jazz |
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 Artist: Jef Neve Trio Album: Imaginary Road Label: Emarcy Year: 2010 Format, bitrate: mp3, 320kb/s / Flac Time: 58 min. Size: 122 MB / 304 mb with all covers, autographs, self taken concertpictures Repost with Flac links from peer57 Young pianist/composer Jef Neve has become a prominent figure in his homeland Belgium and his reputation is rapidly spreading to the rest of the world.
The new album of the Jef Neve Trio «Imaginary Road » has been released in September 2010 on Universal Music and international releases the following months. Together with his long time companion Teun Verbruggen on drums, and a new fabulous bassplayer, Ruben Samama, from Dutch origin but currently living in New York. ~ www.jefneve.be |
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1977: Harry Miller´s Isipingo - Family Affair |
Freejazz, Avantgarde |
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 Artist: Harry Miller' Isipingo Album: Family Affair Label: Ogun OG 310 Year: 1977 Format, bitrate: MP3, 192 Kbps Time: 42:28 Size: 60,13 MB Continuous performance composed by the leader with all elements in perfect harmony with terrific solos and tremdous interplay with a dynamic propelled by the *great* Louis Moholo at the kit - the organic feel of the band during numerous climaxes are so striking in large part due to Moholo's ability to lift the band with his combination of his snarling snare drum and his legendary cymbol playing.
And with Mike Osbourne playing the alto saxophone like no one who ever touched the instrument - not to say better - but his fire is lit at a very high heat - in combination with Keith Tippetts' accompaniment, this recording reaches a level of power and beaty that surpasses most anything from the time from other bands with this sort of instrumentation.
Keith Tippett is simply a marvel - when he is playing like this, there isn't a more exciting and scintillating pianist in jazz. Some of you are in agreement with me here - and there are many tremendous pianists in jazz (obviously) but Tippett is simply the wildest and most colorfull in this type of setting - which now is pretty rare for him. Probably the recording that mirrors his playing most closely here (from what I have heard) is his playing on Dennis Gonzalez's Catechism. And as many of you know, Louis Moholo is also on that great record. Well Moholo is even better here than on the Dennis Gonzalez recording - as hard as it is to believe as we know that many here have now heard the great recording - maybe it is how he is recorded - as the *sound* of his drums are just so crisp.
And the tunes - my my lordy lordy - for tunes - each one more striking than the previous one - or it seems so - seriously the opening title track and the third track - "Jumping" are both what would be well known classic jazz compositions in a sane musical world.
5 stars - crown - just a flat-out masterwork of the highest order ~ Steve Reynolds, Jazzcorner.com |
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1991: Peter Brötzmann, Rashied Ali, Fred Hopkins - Songlines |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artists: Peter Brötzmann, Rashied Ali, Fred Hopkins Album: Songlines Label: FMP Year: 1991; Release: 1994 Format, bitrate: MP3 320 kbps CBR Time: 1:10:52 Size: 161 MB AMG Rating: In perhaps the most understated performance of his entire career, German saxophone giant Peter Brötzmann played in a trio with American free jazz legends Fred Hopkins and Rashied Ali back in 1991 at the now mythical Total Music Meeting. This "meeting" was designed to level the playing field between musicians on both sides of the Atlantic who regarded each other warily at best. The Europeans, who had had terminal jazz envy for decades had decided that no music from America, institutional or free, was worth crap. Hilarious to think of now that people like Evan Parker, Tony Oxley, Franz Koglmann, and Fritz Hauser were among them. Well, the festival brought the groups together -- three saxophonists, three drummers, three bassists -- from both sides of the ocean and had them play together in every kind of permutation possible. Which brings us to the record at hand. Brötzmann appears to have been in awe on this date so great is his restraint. There are literally no passages in the entire concert where he attempts to push his way through the rhythm section to get to the other side. No mean feat when you consider the man's powerful personality both on and off the stage. But Hopkins was a founding member of Air with Henry Threadgill, and Ali, of course, played with John Coltrane. Given these proceedings with their haunted, hunted, beauty, it would be fair to say that -- even on his own compositions -- the mighty Brötzmann was humbled in the presence of these great musicians. Does that mean he was humbled by them? Hardly. Brötzmann's playing here is so fiery and lyrical, so completely focused on his rhythm section that he turns harmonies on their heads and finds intervals in places where the only thing that should be happening is free blowing. He is the band's leader by the force of that lyricism and restraint. He makes room for the other players to move through and around him rather than behind him. His sheer "musicality" is wondrous. Hopkins and Ali are no strangers to each other -- there is telepathic communication; the shift from one modality to the next is seamless and grounded, each player by the other. There are six compositions on this record; it comes off as a very intense, extremely quiet kind of blowing gig, where this trio were looking to discover things about each other and the music they were making. As a result, it is one of the finest performances issued from that festival, and a landmark in Brötzmann's career in particular. ~All Music Guide - Thom Jurek |
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1968 - 1970: Peter Brötzmann - Fuck de Boere |
Music » Jazz » Modern Jazz » Freejazz |
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 Artist: Peter Brötzmann Album: Fuck de Boere: Dedicated to Johnny Dyani Label: Atavistic Worldwide Years: 1968 - 1970; release: 2001 Format, bitrate : MP3; 320 kbps CBR Time: 54:07 Size: 124 mb AMG Rating: Not much has set the jazz community more on its collective ear as when Peter Brotzmann and the rest of his European free jazz associates recorded Machine Gun in May of 1968. Finally released by Atavistic, Fuck de Boere includes two live cuts from that seminal early group at the Frankfurt Jazz Festival. Opening with "Machine Gun," recorded in March of 1968, Peter Brotzmann and his group blast away at what was to become the landmark recording a few months later in the studio. At this time, the group included an additional saxophone player, Gerd Dudek. This version finds itself a bit more playful than Machine Gun's version, not quite as menacing or brooding; the structure is the same, here favoring the longer take, but the interplay and overlap between the instruments is not as urgent. What it lacks in attack, however, it makes up for in improvisation, enthusiasm, and sheer genius of the composition. The second cut, "Fuck De Boere," is itself an audio tornado, buzzing around relentlessly until it breaks down a bit around five minutes in. This was recorded live in 1970 and included the use of four trombonists and the perfectly experimental Derek Bailey on electric guitar. Complete with shouting and animal calls, this number ranges from ambient-like textures to bombastic, split-second punches and involves every possible combination of instrumentation. Every player is on board this amazing journey of a piece, from Fred van Hove's organ-pounding to Han Bennick's cathartic, relentless percussive impulses. "Fuck de Boere" winds to a swirling, sea-sickening ending among triumphant squelches and scattered helpless melodies, only to succumb to a final yelp of Brotzmann's horn. Just under 55 minutes for the entire album, and it's certainly nothing short of stunning. ~ Ian Trumbull, All Music Guide |
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2007: The Nu Band - The Dope and The Ghost: Live in Vienna |
Post-bop, Freejazz, Avantgarde |
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 Artist: The Nu Band Album: The Dope and The Ghost: Live in Vienna Label: Not Two Records Year: 2005; release: 2007 Format, bitrate: mp3, 320 Size: 166 mb "Not easily pigeonholed, the music of The Nu Band negotiates the boundaries of free-bop, improvisation, chamber, and traditional jazz with bias toward none" - Mark Corroto, All About Jazz The Nu Band is something special. Free free bop with a political message. On their last album they ended with it, on this one they start with it : a long blues-based romp called "Bushwacked", with Roy Campbell "reciting" a newspaper article on President Bush's administration and doubtful policies, and even if this kind of message tends to be tedious in musical settings, this one works well, because the four musicians change this blues into a high energy free jazz piece. The four are Roy Campbell on trumpet, Mark Whitecage on alto sax and clarinet, Joe Fonda on bass, Lou Grassi on drums. Marco Eneidi joins on alto on one - twenty minute long - track. And what can I say? These guys ARE free jazz. Each of them has played a major role in shaping what the genre is today, in showing new ways of expressing emotions and of jointly creating a superb listening experience by ... well by listening to the other band members in the first place and then adding to it, enhancing it, pushing it further, creating new dialogues and phrases. This is music that is adventurous, emotional, but at times so tight, so interlocked, so on the same level, that it's getting uncanny. But the greatest thing : it's real fun too. The intensity! The interplay! The melodies! The emotions! The music! And indeed, something which can only work in front of a live audience. ( 4,5 stars out of 5) ~ Stef Gijssels, Free Jazz Blog |
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1981: Charles "Bobo" Shaw & Human Arts Ensemble - P'NKJ'ZZ |
Music » Jazz » Modern Jazz » Freejazz |
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 Artists: Charles "Bobo" Shaw & Human Arts Ensemble Album: P'NKJ'ZZ Label: Muse Records (Catalog#: MR 5232) Format, Bitrate:FLAC-8 (LP-Rip) Year:1981 Size: 150MB Time: 35:08 This album was recorded sometime in 1977 and released in 1981. All tracks other than Conceré Ntasiah, written by Abdul Wadud, are penned by Charles "Bobo" Shaw. In terms of jazz it leans more towards a mix of Jazz-Rock-Fusion. The first track sets in motion a driving bass offset with a blending of jazz guitar and reeds held together by Shaw's incessant drumming. Following next is a bit of a Latin groover with some great trombone playing from Joseph Bowie inclusive with Julius Hemphill soprano ventures. The second side gets down to more of a free jazz exploration with Bowie making his mark alongside an anchoring and at times soloing guitar and rhythm section beat; inter-mingled with Hemphill's soprano. The final composition sees further exploration jazz reminiscent of late 60's free jazz groupings. Abdul Wadud presents some innovative cello similar to what we would expect from the likes of Leroy Jenkins and the Revolutionary Ensemble. Overall this album is quite an allusive merging of styles whether it can be termed ‘Punk Jazz’ that warrants further listens to decipher; each time an enjoyable exercise. |
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2004: Wadada Leo Smith - Lake Biwa |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Wadada Leo Smith Album: Lake Biwa Label: Tzadik Records Year: 2004 Format, bitrate: MP3 320 kbps CBR Time: 1:09:36 Size: 159 mb AMG rating The four pieces that make up Wadada Leo Smith's Lake Biwa were composed between 2000 and 2004. They appear here for the first time. The musicians who perform these pieces include John Zorn; drummers Susie Ibarra, Gerald Cleaver, and Kwaku Kwaakye Obeng; pianists Craig Taborn, Jamie Saft, Anthony Coleman, and Yuko Fujiama; bassists John Lindberg and Wes Brown; violinist Jennifer Choi; cellist Erik Friedlander; guitarist Marc Ribot; and tuba player Marcus Rojas. This is quite a lineup, to say the least. Smith has been composing with his originally conceived and developed Ankhrasmation system of notation since the early '70s. The subdued title track is ethereal in places, yet utterly grounded by its sense of time and color. Smith's trumpet enters at midpoint and begins to stir the players to improvisation without ever losing sight of the melody and harmony in the piece. The longest work here is "Sanai's Enclosed Garden of the Truth." Smith uses spacious intervals to meticulously enter the theme, breaking it down a bit at a time as improvisers enter the fray. Zorn's solo here is exceptional; he rides along Friedlander's cello as the piano anchors the piece harmonically until it's time to solo, and then the burden of structure is laid at the feet of the strong players. Choi's violin and Friedlander's cello carry it out in counterpoint against the drums and piano. "Diamondback Serpent in a House Full of Water and Still Rising" is introduced by the piano. A theme is played, considered, and recounted with fewer notes, and then disintegrates as the ensemble enters and creates tension that eventually explodes. The final work here, "Africana World," employs long tonal drones and skittering movement on the part of the strings, and Smith carries the motion of the piece forward when the rest of the ensemble enters, introduced by the staccato repetitive movement of Cleaver's drums. In sum, Lake Biwa is a delight, and is full of invention. The players here perform the work's written and improvised sections with a determined sense of attack that also includes warmth, humor, and the desire for collective discovery. Smith has been on a tear for the past 15 years. Let's hope it continues. ~All Music Guide - Thom Jurek |
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2001: Esbjörn Svensson Trio - Strange Place For Snow |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Esbjörn Svensson Trio Album: Strange Place For Snow Label: ACT Year: 2001; release: 2003 Quality: mp3@320 kb/s Size: 163 mb (with covers) E.S.T.'s second U.S. outing offers palatable, often lively acoustic jazz with tantalizing electronic flourishes. It's similar in thrust to the trio's 2001 U.S. debut, Somewhere Else Before, but not as strong melodically. Still, leader/pianist Esbjörn Svensson, bassist Daniel Berglund, and drummer Magnus Öström deliver some heated improvisational exchanges, particularly later in the program on the speedy, almost Mehldau-esque "When God Created the Coffee Break" and the post-bop boogaloo blues "Spunky Sprawl." The trio loses their focus at times, like on the overly long "Behind the Yashmak" and the strangely inert "Serenade for the Renegade." But at their best, E.S.T. displays an alluring lyricism and a subtle, creative use of processed sounds. Öström's drum parts, too, are well-crafted and contemporary. (There's a hidden track at the end, and like the one on Somewhere Else Before, it's a bit out of character.) ~ David R. Adler, All Music Guide |
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