viernes, 1 de agosto de 2014

Alvin Fielder / David Dove / Jason Jackson / Damon Smith - From-To-From (2013)


Source: bandcamp

From-To-From presents a one-of-a-kind meeting of generations and geography. On the face of things, it might seem like a Southern free music super-group and that would be enough to whet the appetite – septuagenarian drummer Alvin Fielder hails from Jackson, Mississippi and trombonist Dave Dove, saxophonist Jason Jackson and bassist Damon Smith from Houston, a recognized hotbed of art and creative music in a state whose political and cultural struggles are by now all too familiar. Fielder (b. 1935) is an institution in and of himself; a student and historian of modern jazz drumming, he was a member of the AACM in Chicago in the late 1960s before returning to his home state in 1969. Since that time he’s co-led the Improvisational Arts Quartet (with saxophonist Kidd Jordan, trumpeter Clyde Kerr, Jr. and bassist London Branch), the Creative Collective (with Jordan, pianist/saxophonist Joel Futterman and bassist William Parker), and worked extensively with Dallas trumpeter Dennis González, Memphis pianist Chris Parker, saxophonists Ike Levin, Andrew Lamb and Mats Gustafsson, and many others.

Max Roach, Kenny Clarke, Ed Blackwell, Billy Higgins, Sunny Murray and Beaver Harris all factor into Fielder’s approach – markedly different, one might assume, from his rhythm section partner Damon Smith. Smith (b. 1972) came up on the West Coast before relocating to Houston in 2010; he studied with Lisle Ellis as well as Bertram Turetzky and Peter Kowald. A student of contemporary classical repertoire and European free improvisation, Smith might seem like the antithesis of modern jazz rhythm, but it is the broad-mindedness of both players and the tension between divergent approaches that creates a pulsing sense of swing underneath the horns. Adding Dave Dove on trombone and Jason Jackson on saxophones might bring to mind such lofty 1960s units as the New York Art Quartet or the Archie Shepp-Roswell Rudd Quartet – the latter group Fielder saw at Chicago’s Plugged Nickel in 1966, and their drummer Beaver Harris was a crucial influence on allowing him to open up his concept.

Dove has certainly done his fair share of listening to Rudd and European brass exponents, but it is in education and community that Dove’s mark is felt in Houston as director of Nameless Sound, which not only presents concerts of improvised music, but also workshops to young Houstonians of varying means. It’s a treat to hear him play in such a loose, swinging and free context as this quartet; his compadre Jason Jackson is a young firebrand (alto, tenor and baritone) who came up in the Nameless Sound Youth Ensemble and now works as part of Norwegian bassist-composer Ingebrigt Håker Flaten’s group The Young Mothers. Across these six pieces, which range from employing bells and little instruments to raging fracases, one gets a distinctness within this ensemble – clearly drawn from ancestral bebop and free streams, their tempestuousness and feeling are utterly contemporary.

1. Ut. Dict. 10:20
2. From-To-From 20:49
3. Which Way is Out? 12:56
4. B,B,B'S 08:54
5. Goodtime FFA 03:11
6. Q.D. 06:44

Alvin Fielder – drums, percussion
David Dove – trombone
Jason Jackson – alto, tenor, and baritone saxophones
Damon Smith – double bass

Recorded on February 28th, 2013 at (h)Humid Recorder by Ryan Edwards
Mixed, Edited & Mastered by Ryan Edwards
Original Cover Art by Randy Twaddle
Liner Notes by William Parker
Tray Photos by Frank Rubolino
Executive Producer: Frank Rubolino
Design by Alan Anzalone

"Hearing is Everything" Peter Watkins


Domi

Yosvany Terry - New Throned King (2014)


Source: cdbaby

“New Throned King” ……“Ye-dé-bgé” is a phrase in the West African language Fon, originally spoken in Dahomey. It means “with the approval of the spirits.” Musician and composer Yosvany Terry seeks through his music to unify the legacy of traditions, musical and spiritual, practiced throughout the Pan-African regions stretching from the African continent to the islands of the Caribbean and parts of North and South America.

In early September 2007 Yosvany Terry traveled from New York City to Matanzas, Cuba, to trace the roots of the Arará musical tradition. This tradition was originally brought to the island by slaves taken from Dahomey, now called Benin, in West Africa. While in Matanzas, famous for its dedication to folkloric music and dance traditions, Terry also commissioned a set of Arará drums. These rare and massive drums were crafted specifically for the composition he calls Ye-dé-bgé & the Afro-Caribbean Legacy that will premiere on September 15, 2007, in Central Park.

On the same trip, Terry studied with Mario Rodriguez Pedroso, or Maño, a great master of the Arará tradition and in fact one of the last living drummers initiated in the tradition. He serves as the director of the "Sabaluno Cabildo" in Matanzas. Cabildos are associations that were organized centuries ago by African slaves as a means of retaining and expressing their cultural heritage though ceremonies and rituals including music and dance, pilgrimages, and celebrations of their deities. "Sabaluno Cabildo" was named after Savalú, a city in Dahomey, present day Benin, where the Arará tradition originated.

In the Ye-dé-bgé Project, Terry consciously communicates his African and Cuban lineage through sounds that originated in Africa and inspired new music in the Caribbean, Brazil, and in the American South. It is a unique opportunity for Terry to express hundreds of years of tradition by re-integrating the obscure rhythms of the Arará into the jazz tradition. Although now a New York resident and a frequent performer in clubs and concert halls, Terry left his native Cuba only eight years ago. Terry grew up in the Camagüey province with his parents who are of both Haitian and Cuban descent and whose ancestors came from Africa and Europe.

During Terry’s recent pilgrimage to study the Arará tradition, he discovered that he was already familiar with many of the melodies and rhythms. Growing up Terry learned and practiced Vodou rituals with his family. His grandmother, Basilia Leon Charles from Haiti, traces her ancestors to Dahomey. She was a devoted practitioner of the religion and raised her children with the songs and fetishes representing the pantheon of deities shared among numerous African traditions. Eladio Terry, Yosvany’s father, is a world-renowned musician and also a devout practitioner. It was within this rich cultural and musical family that Yosvany Terry became a bearer of the ancient traditions. "New Throned King"…enjoy!

Yosvany Terry "Sobo Jain": saxophones, chekere, wewe, coro
Osmany Paredes: piano
Yunior Terry "Afra Jun": bass
Pedro Martinez "Eshu Ni": lead vocalist,apitli
Sandy Perez "Oya Ladde": yonofu, akoto (1,2,3,7,9.10)
Roman Diaz "Asia Ana Bi": wewe, coro
Dominick Kanza: guitar (2, 3, 9, 10)
Justin Brown: drums (2, 3, 5, 6, 8, 9, 10)
Jason Moran: piano: (1)
Val Jeanty: sound design, DJ (1, 8)
Gema Correda: coro (4, 5, 6, 8)
Ishmael Reed: poetry (6)

01. Reuniendo La Nacion
02. New Throned King
03. Walking Over Wave
04. Laroko
05. Ojun Degara
06. Mase Nadodo
07. Thunderous Passage
08. Healing Power
09. Dance Transformation
10. Ilere

"Hearing is Everything" Peter Watkins


Domi

Michael Wollny Trio - Weltentraum (2014)


Source: ACT

Wollny‘s new trio recording Weltentraum is a stunning example of contemporary interpretation in the hands of a unique, fluidly virtuoso artist. Wollny, with both elegance and wit, explores the connection between songs that are worlds apart in terms of both centuries and cultures on Weltentraum. But in the pianist’s hands, the combination of interpretations of ‘God is a DJ’ by the riot girl power pop star Pink and the piece ‘Lasse!’ by Guiliaume de Machaut (the French Medieval composer and poet) gets to feel entirely natural. READ MORE


Michael Wollny / piano & harpsichord on 14
Tim Lefebvre / upright bass
Eric Schaefer / drums

01. Nacht ( dp Berg, Alban) 03:31
02. Be Free, A Way ( Coyne, Wayne Michael / Drozd, Steven Gregory / Ivins, Michael Lee / Scurlock, Kliph) 03:46
03. Little Person ( Brion, Jon / Kaufmann, Charlie) 03:40
04. Lasse! ( dp de Mauchaut, Guillaume) 04:32
05. Fragment an sich I ( dp Nietzsche, Friedrich) 01:08
06. In Heaven ( Ivers, Peter / Lynch David) 03:32
07. Rufe in der horchenden Nacht ( Hindemith, Paul) 05:34
08. When The Sleeper Wakes ( Wollny, Michael) 03:57
09. Hochrot ( Rihm, Wolfgang) 03:40
10. Mühlrad ( traditional) 03:48
11. Engel* ( Wollny, Michael ) 04:16
12. Un grand sommeil noir ( Varèse, Edgard) 03:46
13. Fragment an sich II ( dp Nietzsche, Friedrich) 03:47
14. God is a DJ ( Jonathan Davis / Mann, Billy / Alecia Moore / Jonathan Davis / Mann, Billy / Alecia Moore)

*including an except from "nun will die sonn' so hell aufgeh'n" by Gustav Mahler

"Hearing is Everything" Peter Watkins


JAVI

Steve Smith, Jerry Goodman, Howard Levy, Oteil Burbridge - Stranger's Hand (1999)



TRACKLIST

1. Brick Chicken
2. Sufferin' Catfish
3. Four Four And More
4. Glimmer Of Hope
5. Pinky's Revenge
6. Elvin
7. Caliente
8. Going Up!
9. Moonchild
10. The Stranger's Hand



LINEUP
Jerry Goodman Violin, Guitar (Electric), Violin (Electric),Assistant Producer
Oteil Burbridge Bass, Assistant Producer
Howard Levy Harmonica, Piano, Ocarina, Penny Whistle,Fender Rhodes, Assistant Producer
Steve Smith Drums, Producer




Review by Jim Newsom  
In the late 1990s, drummer Steve Smith set out to reinvigorate the long slumbering jazz-rock fusion movement with a series of all-star recordings on his own Tone Center record label. The Stranger's Hand is the best of the lot, with four instrumental masters coming together for nine days of spontaneous combustion that recalls the music's heyday while also bringing the freshness of new discovery into the updated mix. The assembled cast includes fusion pioneer Jerry Goodman. He was the wild electric violin-slinging frontman for the Flock a once-great but long forgotten band which came out in the wake of the Blood, Sweat & Tears horn-band rush of the late '60s. (Goodman would make his most lasting mark as an original member of John McLaughlin's Mahavishnu Orchestra in the early '70s.) Also on board is multi-instrumental wizard Howard Levy, best known for his work with Bela Fleck and the Flecktones. Anchoring the rhythm section with Smith is Allman Brothers bassist Oteil Burbridge. The material brings to mind the players' past associations. "Brick Chicken" and "Glimmer of Hope" are reminiscent of the Mahavishnu Orchestra, with the latter in the 11/8 time signature used on some of that group's classic material. "Sufferin' Catfish" would have fit neatly into a Flecktones recording. "Caliente" sounds quite contemporary in an organic-funk way, while "Moonchild" is a beautiful piece for violin and acoustic piano, and the title track closes the disc with a blaze of heat and atmospheric fireworks.
--------
Howard Levy, Steve Smith, Jerry Goodman and Oteil Burbidge
Tone Center TC40052
Aug 24, 1999
Howard with Steve Smith, Jerry Goodman and Oteil Burbidge.
Recorded Jan 7-16 1999
Neverland Studio, Marin County, CA 


RAZ



Review: Ayal Tsubery - Decisions (2014)





Ayal Tsubery was born in Jerusalem, Israel.
He started to play at age 14 and influenced by Hendrix , 
Led Zeppelin, Miles Davis and Jaco Pastoriuos.
Later on he got deeper into music and decided to take a step further
and went abroad to Berklee College of Music near Boston, USA (2007).
During his time at Berklee, Ayal focused on Jazz performance, arranging, and composing music, 
while studying with world-class musicians and teachers. Most significantly - he established the 
social circle that eventually turned into his band – Ayal Tsubery's Group.
Currently residing in Brooklyn, NY, Ayal is rapidly emerging as a significant voice in the music community, regularly performing in and out of NYC both as band leader and side man. After having his debut album released, an East Coast tour will take place in the fall of 2014, right after a summer tour with Tipsy Oxcart. 


Ayal's Debut album "Decisions" was recorded and mixed throughout 2013, and officially released in March 2014.

The group sound is a blend of contemporary jazz, middle east/Israeli folk spices, some african vibes and heavy slow rock feel (Track 7).

Review of the album by Raz Sekeles.

I have my own way of writing review and it all starts with the melodies.
Ayal's melodic sense is wonderful. his lines are fluent and gives the listener good vibes.
The feeling i got from the beginning is that the melodies were written from the heart but also combines lots of understanding
of composition and arranging. I can feel the inner search that Ayal had while composing his 8 originals.
The 1st melody, Decisions is very optimistic and starts with with a cool groove (i love the bass line!). the sax plays the melody with
nice sound and feel and the rhythmic line before the solo is so cool. 
The 2nd melody, Six Floor starts with "kinda" children song line. very simple and melodic. after the line ends, the drums starts a great groove
and the melody starts with wonderful vibe, kinda rhythmic story that works great.
The 3rd melody, Lullaby For Broken Land  is mixing Israeli folk, very mellow (even sad) lines with jazz harmony and it catches the ear immediately.
The 4th melody, A Dream I Had About You is beautiful and catchy to my ears. the melodic lines are nice and have cool rhythmic ideas by the bass.
The 5the melody, Hasin' have some lines that reminds Israeli folk music (and the drums helps getting it) but the harmony is far from the middle east.
The 6th melody, Blue Nights starts with Tabla (Indian drums) the sax plays the melody which is kinda catchy to the ear. i love the bass line here 
because it works out great for the melody and the drums+bass do a great rhythm section work.
The 7th melody, In Motion-Now is a down tempo nice melody with intro by the organ and drums. the saxes plays the melody wonderful and the rockish slow atmosphere is just amazing and leading to another part of the melody. alto and tenor sounds great together also when playing unison. this tune goes wild later on with avantgardish shouts of both saxes. so cool.
The 8th melody, Parts Come Together starts with cool atmosphere made by the bass, percussions+flute and sax. the melody by both instruments, each have line and the other answers, really nice built of the melody and nice development to B part or so. the drums play like a slow rock ballad. no solos at all....interesting concept :-)

so i listened to those melodies a few times and later on i listened to full tracks.

for concluding,
Ayal is a good composer and arranger and his music communicates with the listener.
the musicians playing very well (rhythm section and solos) and it is a very nice debut album.

Recommended listening at Bandcamp (support the musicians and buy the album....)



RAZ

Lionel Cole & The Family Business - Chicagoland (2014)


The year is 1994 I run a small Music jingle company with a few of my Frat brothers from Northwestern. I have started to carve my own little corner of the all powerful Cole Business. All my fathers brothers and my father are board members (Eddie, Ike, Nat, & Freddy) my cousin Natalie is the Ceo. After years of sending tunes to Babylon (Los Angeles) I get approached by a publisher... Read more: cdbaby

Lionel Cole, vocals

01. All Of Me (2:13)
02. Lullaby Of Broadway (3:39)
03. The Late Late Show (2:23)
04. In A Sentimental Mood (3:03)
05. The Blues Don't Care (2:09)
06. Save Some Time For Me (4:11)
07. Steal Away (4:51)
08. My Lady (4:11)
09. Let's Do It (4:46)
10. Smile Again (5:29)
11. The Golden Hour (5:55)
12. Cool Blue Mountain Stream (5:22)

"Hearing is Everything" Peter Watkins


LIRA