lunes, 8 de septiembre de 2014

FORQ - FORQ (2014)

Source & Label: groundUP music

"Made up of Lost Tribe founder Adam Rogers (Brecker Brothers, Chris Potter, Norah Jones, Paul Simon) Rudder founder Henry Hey on keyboards (Jeff “Tain” Watts, David Bowie, Empire of the Sun), Snarky Puppy founder and Grammy Award-winner Michael League on bass (Kirk Franklin, Wayne Krantz/Ari Hoenig Quartet, Lalah Hathaway), and Jason “JT” Thomas on drums (RoyHargrove’s RH Factor, Marcus Miller, D’Angelo), FORQ is an all-star ensemble of sorts - but with the spirit and cohesiveness of a garage band.Though based in New York City, the group retains a subtle Texas accent, where Michael League and Jason Thomas established a fast friendship and musical rapport through almost two years of weekly gigs in legendary keyboardist Bernard Wright’s trio. Upon moving to the east coast, League teamed up with Henry Hey and Adam Rogers (who are East Village neighbors, by coincidence) to form a group rooted deep in that distinctly southern groove, but with with both the fire and inventiveness that NYC is known for. Hey and Rogers contribute all but one of the tracks on FORQ’s debut album, a mixture of fierce, playful, and soulful material. It’s the Texas-meets-Manhattan cocktail that has a created a sound rich in both musical intelligence and undeniable pocket."

"The most important thing I look for in a musician,
 is whether he knows how to listen."
  - Duke Ellington - 


Matthew Halsall & The Gondwana Orchestra - When the World Was One (2014)

Manchester based DJ, bandleader and trumpeter, one of the UK's brightest talents. His albums have won him a legion of fans across the world and acclaim from the likes of Gilles Peterson, Jamie Cullum, Mr Scruff, Radio 3's Late Junction, MOJO, BBC Music Magazine and BBC 6 Music. 'On The Go' was winner of best jazz LP at Gilles Peterson's Worldwide Awards 2011.

1. When The World Was One
2. A Far Away Place
3. Falling Water
4. Patterns
5. Kiyomizu-Dera
6. Sagano Bamboo Forest
7. Tribute To Alice Coltrane

Matthew Halsall: trumpet
Nat Birchall: saxophone
Lisa Mallett: flute
Keiko Kitamura: koto
Rachael Gladwin: harp
Taz Modi: piano
Gavin Barras: bass
Luke Flowers: drums

All tracks composed by Matthew Halsall 

Recorded by Brendan Williams & George Atkins at 80 Hertz in April 2012
Mixed by Matthew Halsall & George Atkins at 80 Hertz
Mastered by George Atkins at 80 Hertz
Artwork and design by Daniel Halsall

"Hearing is Everything" Peter Watkins


The Bulchemists - Bulchemistry (2014)

Bulgaria is arguably the Olympus of jazz and traditional music in Southeastern Europe, as well as the nexus for a unique blend of these two music styles. When a Bulgarian musician plays jazz, he brings his own musical history into his interpretations of the classics. Each new composition reveals his deeply rooted sense of, and love for, traditional Bulgarian sounds. But then why has the cream of Bulgaria’s jazz talent since the 90’s been driven to choose exile over certain poverty -­‐ to the delight and benefit of the rest of the world?
Universally renowned Jazz aficionados, including Quincy Jones, Al Jarreau, Wyton Marsalis, Joe Lovano and Phil Collins, have for years enjoyed the artistry of top young Bulgarian jazz musicians. These days it is not unusual to hear the sweet sounds of young Bulgarian trumpeters and saxophonists improvising to a 7/8 beat on stages in Amsterdam, Paris, Vienna, Berlin and New York. There are good reasons for this: Before the fall of the Iron Curtain, Jazz musicians in Bulgaria risked imprisonment for playing jazz, whether it was John Coltrane or Dixieland. Clearly not the best foundation for a jazz scene.
Later jazz became “ghettoized” to the universities, banished from cafes, concert halls and streets. There was only one major Bulgarian jazz artist to break out in this early period -­ Milcho Leviev, who emigrated in 1970 to Los Angeles. Leviev developed into a dominant arranger of American jazz, working with giants of the international jazz scene, including among many others Don Ellis & Billy Cobham. But for many years, Leviev was the sole visible export to represent Bulgarian jazz talent overseas. Until now. The Bulchemists is an ambitious project from Ambrol Iglenikov (Joro) –the producer of the annual Balkan Fever Festival in Vienna.

Joro has brought together seven representatives of the younger Bulgarian jazz Diaspora (unquestionably outstanding representatives of the jazz scenes in their chosen exile cities) to record one unforgettable album: “Bulchemistry”. Like any perfect stew, each of these Bulgarian artists infuses this project with their own special flavour. They have all studied in a wide variety of international locations, and also played with very different jazz musicians. What makes these musicians additionally unique is how they have maintained their very deeply rooted relationship to the melodies and rhythms of Bulgarian ethnic music.
Coming together from all corners of Europe and the US, but still rooted in Bulgaria, these individual artists at the height of their talents will together create a powerful new music project.

1. Sweet Spot (No. 5) 04:57
2. Piribimbambei 06:28
3. Mirrors 08:47
4. Birds (...moving planets) 03:28
5. I'll Be Fine 04:11
6. Declaration Of Love 01:52
7. Glide 06:07
8. Bassta Prassta 02:15
9. Inside 05:43
10.Solar Protuberance 02:57  
11.Rhodopology 05:54
12.Crossroad 03:10
13.Calling The Unknown 04:08

Dimitar Bodurov – Piano, Fender Rhodes (all except 6,8,10,12 )
Vladimir Karparov – Soprano, Tenor & Baritone Saxophone (all except 6,8,10)
Dimitar Liolev – Alto Saxophone (all except 4,6,8)
Alexander Wladigeroff – Trumpet, Flugelhorn (all except 4,8,10)
Borislav Petrov – Drums (all except 4,6,8,12)
Peter Slavov – Bass (all except 4,5,11,12,13)
Mihail Ivanov – Bass (5,8,11,13)
As guest Michel Nahabedian on tenor saxophone (1)

"The most important thing I look for in a musician,
 is whether he knows how to listen."
  - Duke Ellington - 


Lissy Walker - Wonderland (2014)

Alice had many adventures in Wonderland: they could be fun, they could be touching, but they were seldom musical. Lissy Walker's second album, Wonderland, also provides lots of adventures—some fun, some touching, all musical. READ MORE... BRUCE LINDSAY/ALLABOUTJAZZ

Lissy Walker: vocals, backing vocals
John R Burr: piano, Hammond B3 organ
Jon Evans: bass, lap steel guitar, electric guitar
Scott Nygaard: guitar, mandolin
Jason Lewis: drums
Steven Bernstein: trumpet (1, 2, 6, 8, 11), slide trumpet (15)
Ben Goldberg: clarinet (1, 15)
Dave MacNab: 12-string guitar (5, 7)
Philip Worman: cello (10, 12)
Carla Kihlstedt: violin (4, 14)
Liz Schultze: cello (4, 14)

01. Dream A Little Dream Of Me/I'll See You In My Dreams
02. You're A Heavenly Thing
03. Tonight You Belong To Me
04. Isn't It Romantic?
05. Lazy Afternoon/Where Or When
06. Little Person
07. Faithless Love
08. There Ain't No Sweet Man
09. I Wish I Was A Fool For You
10. I'm Forever Blowing Bubbles
11. Remember
12. Lover Man
13. Something Wonderful
14. I'll Be Home
15. Lullaby In Ragtime

"Hearing is Everything" Peter Watkins


Marty Ehrlich - Song (2001)

1. Waltz
2 .Price of the Ticket, The
3. Day of the Dark Bright Light
4 .Blue Boye's Blues
5. I Pity the Poor Immigrant
6. Fauve
7. Falling Rains of Life, The

Line Up:
Marty Ehrlich -soprano & alto saxophones, bass clarinet
Ray Anderson -trombone
Uri Caine-piano
Michael Formanek -bass
Billy Drummond-drums

Long considered one of the finest and most distinctive soloists in progressive jazz, multi-woodwind expert Marty Ehrlich melds charm and eloquence with hard-edged inflections on this 2001 release. Supported by a notable rhythm section, Ehrlich's compositional wares come to the forefront on these often endearing and sometimes rambunctious arrangements. Trombonist extraordinaire Ray Anderson performs on the bluesy and often boisterous piece titled "Blue Boye's Blues," as the band also minces delicately performed interludes with power-packed choruses. Many of these works feature the quartet's fiery swing vamps and climactically engineered undercurrents, especially when pianist Uri Caine peppers the groove with well-placed block chords. The musicians also engage in mid-tempo bop-ish swing vamps, where Ehrlich and Caine expound upon sublime themes via soul-searching lines. When viewed upon as a whole, this effort leans a bit toward a mainstream-type approach. However, those familiar with the artist's impressive and altogether multifaceted body of work should welcome this outing with open arms. Recommended.