sábado, 4 de octubre de 2014

Screaming Headless torsos - Code Red (2014)

Source: mi2n
Label: Torsos Partners

Screaming Headless Torsos is back with a vengeance with the release of the highly anticipated album "Code Red”. This album is rich with the Torsos’ signature gumbo of styles, including electro-soul, rock-funk, jazz-punk, hip-hop and microtonal roots music, but there are some new elements as well.

There are some great collaborations with guest artists: James Valentine, guitarist from Maroon 5, steps out on the electro-soul jam “Brooce Swayne” with a shredding Munsters-Meets-Maggot-Brain solo.
Legendary keyboardist and founding member of Parliament-Funkadelic, Bernie Worrell, plays on“Wizard of Woo”, a tribute written in his honor and a madcap tempo-shifting roller-coaster ride that unites the Torsos with the Mothership as only he can.
Vocoder artist extraordinaire Casey Benjamin, from the 2013 Grammy winning Robert Glasper experiment makes an appearance leading the choir of synth voices on the etherial interlude “Sideways”.

This is also the first Torsos album featuring vocalist Freedom Bremner (Moby/Houseofreedom) on the entire album and his approach brings more choral and layered vocal arrangements than the previous SHT releases (1995, 2005, Choice Cuts).

Code Red is the first album of new material for the Torsos in 9 years.

It was produced by veteran Torsos producer Gregg Fine (Dead Christmas Trees -single) and 14 -Time Grammy Award Winning rock producer Ron Saint Germain (Bad Brains / Muse / 311).
The title track “Code Red” is a driving pop - metal anthem that tells the story of a soldier’s post traumatic stress and the nightmares that won’t leave his head.
The Torsos (David Fiuczysnki, Daniel Sadownick. Freedom Bremner) say that they chose “Code Red” as the title track because the entire album is a call to arms highlighting “the urgency of now”, in various ways, as much for the band as for the listeners.
The Torsos , known for their experimental and improvisational skills, have said that this record is driven more by songs than "chops” and it shows. The record is truly a Torsos record.
It’s big music, and it grooves hard.

1. Code Red (3:22)
2. Brooce Swayne [feat. James Valentine] (3:43)
3. Wizard of Woo [feat. Bernie Worrell] (3:41)
4. Field of Light (3:46)
5. With You (4:10)
6. Fried Tongue (5:25)
7. Sideways (Interlude) [feat. Casey Benjamin & Chris Fisher] (1:54)
8. Running Black Water (7:16)
9. Almond Pear in Love (6:04)
10. Dead Christmas Trees (5:10)
11. My Reasons for Silence (7:30)

- David Fiuczynski / Guitar
- Daniel Sadownick / Drums
- Freedom Bremner / Vocals
- David DJ Ginyard / Bass
- Bisquit Rouse / drums

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



Una nueva edición de JAZZ by JAZZ aportada por su productor, director y presentador 


 Bill Evans
Ernie Andrews
Max Roach
Roy Hargrove
João Donato
Osmar Milito

entre otras delicias...



de la mano de


Todos los Domingos a las 19:00h. (hora Brasil)


Marzio Scholten Identikit - Garage moi (2013)

Guitarist Marzio Scholten's Voices, Echoes & Whispers was, for me, one of the highlights of 2012, its superbly crafted tunes and arrangements a confirmation that Scholten is one of the brightest new jazz guitarists in Europe.
He's now back with his fourth album as leader, this time leading a new band project which goes by the name of Identikit. This new quintet features Scholten on guitar joined by Lars Dietrich in alto sax, Jasper Blom on tenor and a rhythm section made up of Sean Fasciani on bass and Kristijan Krajncan on drums. 

With a new band, comes a new sound. And for Garage Moi, Scholten goes into new territory, blending alternative and indie rock influences with the sound of contemporary jazz. While some cross-genre experiments leave something to be desired, it's clear here from the start that Scholten has created something special.

The album opens with some cool guitar that marks the start of the uplifting Contragramma, a tune where the two saxes combine to play the main riff and also weave around each other and the spoken introduction to The War Of The Worlds.

The title track is three minutes of blissful pop-rock that speeds along for the first minute and half before drifting into more dream-like improvisational territory to fade. This then leads into Heisenberg, a tune that starts of quietly and slowly, but gradually builds in intensity. Jesper Blom delivers a wonderful tenor sax before Scholten steps in with a blistering guitar solo that really highlights the his unique sound.

The Great Race starts out with something of a stop-start rhythm over which the two saxes and guitar play in harmony before moving into a catchy refrain. Another stand out number.

The tempo drops for Fire And Snow, the tune which harks back to the sound of Voice, Echoes And Whispers, much in the same way that Revolution Is Everywhere on that album can now be seen as a taste of what was to come with Garage Moi.

We Are All Bankers is another rocking tune with a rousing refrain, and like many of the tracks on the album shows Scholten happy comping for his sax players for large parts of the tune rather than taking centre stage with solos.

The last section of the album is sees a sequence of tunes titled The Architect, The Architect II and The Architect III. The first two tunes are uptempo tunes with a definite indie rock feel, while the closing track is a quieter number with a more introspective feel to it.

Marzio Scholten is clearly a very talented guitarist who has his own distinct sound, and is also a gifted composer and arranger. He's taken a bold step to create something completely new with Garage Moi and it's paid off handsomely with everything on the album fitting together perfectly. It's an album that has a potential audience way beyond the borders of the traditional jazz crows and definitely deserves to be heard. Highly recommended.

1. Contragramma 05:24
2. Garage Moi 02:52
3. Heisenberg 07:00
4. The Great Race 06:10
5. Fire And Snow 08:14
6. We Are All Bankers 04:31
7. The Architect 05:05
8. The Architect II 05:47
9. The Architect III 03:31
Marzio Scholten - Guitar
Lars Dietrich - Alto
Jasper Blom - Tenor
Sean Fasciani - Bass
Kristijan Krajncan - Drums 

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


Wanja Slavin - For Very Sad and Very Tired Lotus Eaters (2014)

Source: Wanja Slavin
Label: Whyplayjazz

This album is not only special to me because it is the second record carrying my own signature, but also because the production was particularly difficult and full of complications. There was a very clear idea from the beginning what the music should sound like and how it should be played, but it took over five years to reach the ideal moment where everything fell into place. Recording the final material took only two afternoons, but it took that long finding the right approach in my own musical practice, as well as choosing the right musicians and pieces.
There were many changes in the band constellation - about twenty musicians that were involved at one point or another. Even though they are not part of Lotus Eaters at present, they all left a mark on the music presented here. Special thanks at this point to Wolfgang Zechlin, Daniel Glatzel and Jan Leipnitz for the inspiration and input they have given in the past.
The sound of the album reflects the difficulties of its creation, but also presents a resolution after a long struggle. One can hear notions of melancholy as well as of getting lost, states of mind that have occurred after moving to Berlin in 2006. Yet, despite these shadows, the creative process always was stronger and the beauty emerging from it kept me on track (most of the time).
Compared to my first record „Scirocco“, this album focuses on more or less simple compositions that are all references to jazz pieces that have been of great inspiration to me. They are neither structural copies nor re-compositions, but try to catch the vibes or the particular feeling that I had listening to them, mirroring my moods on the way.

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


John Ellis & Andy Bragen - Mobro (2014)

Source: Downbeat
Label: Parade Light Records

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


David Murray Quartet - Tenors (1993)

cover (Custom)

01 - Equinox 6:15 
02 - Ghosts 6:38 
03 - Over Time 10:26 
04 - Perfection 5:38 
05 - Chelsea Bridge 9:03 
06 - St. Thomas 9:33

Time 00:47:46

David Murray (tenor saxophone)
Dave Burrell (piano)
Fred Hopkins (bass)
Ralph Peterson (drums)

Label: DIW Records DIW-881

Executive Producer - Disk Union
Producer - Kazunori Sugiyama

Recorded in January 1988 at A & R Recording, New York City, NY
released in 1993 on the Japanese DIW label as DIW-881

Track 3 is "a rag dedicated to the tradition of jazz saxophones and adapted from a theme by Punaluu Peter".
Biography: David Murray
Initially an inheritor of an abstract/expressionist improvising style originated in the '60s by such saxophonists as Albert Ayler and Archie Shepp, David Murray eventually evolved into something of a mainstream tenorist, playing standards with conventional rhythm sections.
However, Murray's readings of the old chestnuts are vastly different from interpretations by bebop saxophonists of his generation. Murray's sound is deep, dark, and furry with a wide vibrato --
reminiscent of such swing-era tenorists as Ben Webster and Coleman Hawkins.

And his approach to chord changes is unique. Although it's apparent that he's well-versed in harmony, Murray seldom adheres faithfully to the structure of a tune. He's adapted the expressive techniques of his former free jazz self (slurred glissandi, indefinite pitches, ambiguous rhythms, and altissimo flights) to his straight-ahead playing, with good results.
He'll plow right through a composition like "Round Midnight," hitting just enough roots, thirds, fifths, and sevenths to define the given harmonies, then filling every other available space with non-chord tones that may or may not resolve properly. In other words, he plays the wrong notes, in the same way that Eric Dolphy played the wrong notes. Like Dolphy, Murray makes it work by dint of an unwavering

The sheer audacity of his concept, the passionate fury of his attack, and the spontaneity of his lines -- in other words, the manifest success of his aesthetic -- make questions of right and wrong irrelevant.
Murray's parents were musical; his mother played piano and his father guitar. In his youth, Murray played music in church with his parents and two brothers.

He was introduced to jazz while a student in the Berkeley school system, playing alto sax in a school band. When he was 13, he played in a local group called the Notations of Soul. Hearing Sonny Rollins inspired Murray to switch from alto to tenor.
He attended Pomona College, where he studied with a former Ornette Coleman sideman, trumpeter Bobby Bradford. Around this time, he was influenced by the writer Stanley Crouch, whom he met at Pomona. Murray moved to New York at the age of 20, during the city's Loft Jazz era -- a time when free jazz found a home in deserted industrial spaces and other undervalued bits of urban real
estate below 14th street.

Murray and Crouch opened their own loft space, which they called Studio Infinity. Crouch occasionally played drums in Murray's trio with bassist Mark Dresser. In a relatively short time, Murray (with help from
his unofficial publicity agent, Crouch) acquired a reputation as a potential great.

Murray's early work was exceedingly raw, based as it was on the example of Ayler, who had a penchant for multiphonics, distorted timbres, extremes of volume, and forays into the horn's uppermost reaches and beyond.
He made his first albums in 1976, Flowers for Albert (India Navigation) and Low Class Conspiracy (Adelphi), with a rhythm section of bassist Fred Hopkins and drummer Phillip Wilson. Also in 1976, Murray became -- with Julius Hemphill, Oliver Lake, and Hamiet Bluiett -- a founding member of the World Saxophone Quartet.
Around this time, Murray was commissioned by theatrical impresario Joseph Papp to assemble a big band, who enjoyed a degree of critical success. Out of the big band came the formation of an octet, who provided him a platform for his increasingly ambitious compositions. In the '80s, Murray performed with the WSQ, his octet, and various small bands, recording mostly for the Italian Black Saint label. His octet records of the time -- though very roughly executed -- showed him to be a talented (if unformed) composer.
Murray's recording activity reached nearly absurd levels in the '80s and '90s; probably no contemporary jazz musician has led more dates on more labels. It was in the '80s that Murray began relying more on the standard jazz repertoire, especially in his small ensemble work. As he got older, the wilder elements of that style were toned down or refined. Murray incorporated free jazz gestures into a more fully rounded voice that also drew on the mainstream of the jazz improvising tradition. The influence of his swing- and bop-playing elders became stronger, even as the passionate abandon and spontaneity that marked his early work declined.
On the other hand, his attention to the craft of playing the horn increased exponentially. Although he ceased being a pacesetter, Murray became an inimitable stylist. By the time he turned 40, the relative predictability of his soloing style was offset by his increased skills as a composer. In this area,
Murray still seemed capable of breaking new ground.

Chris Kelsey All Music Guide


Corrado Rustici Trio - Blaze and Bloom (Live in Japan) 2014

Source: all info.it

L’attesa è terminata. E’ arrivato dopo un lungo periodo di gestazione il disco nato dalla collaborazione del Trio d’eccezione formato dal  produttore / chitarrista   Corrado Rustici, il batterista Steve Smith (Viaggio, Steps Ahead, Vital Information) e  il tastierista / produttore Peter Vettese (Jethro Tull, Annie Lennox, Seal)   

“Blaze and Bloom” (letteramente “fiammata e fioritura”), contenente 9  brani,   ora disponibile su supporto fisico e in digitale , su itunes e su Amazon racconta il viaggio intrapreso in un tour di 2 settimane in Giappone compiuto nella primavera del 2010 dal celebre chitarrista della band progressive “Cervello e fusion band” Nova “e produttore di alcuni degli artisti più influenti nella storia italiana (Zucchero, Elisa, Francesco De Gregori, Claudio Baglioni, Andrea Bocelli, Negramaro e Luciano Ligabue) con i suoi colleghi d’amicizia, Steve Smith e Peter Vettese 

“Nell’aprile del 2010 ebbi l’opportunità di portare un po’ della mia musica da solista in tutto il Giappone. Nel creare il team ideale con il quale presentare il materiale scelto per il tour complicai un po’ le cose perché scelsi di farlo come trio senza un bassista.” – è lo stesso Corrado Rustici a raccontarlo -  “Ovviamente quando si fanno scelte di questo tipo la cerchia di musicisti  con i quali si può realizzare qualcosa di musicalmente credibile e soddisfacente diventa molto limitata, però, per mia grande fortuna due dei più  grandi musicisti con i quali ho avuto l’onore di suonare Steve Smith e Peter Vettese accettarono la sfida“

Steve Smith , ancora oggi,  definisce l’esperienza fotografata da “Blaze and Bloom”  una occasione per espandere la musica ai confini del groove finalizzata alla scoperta di nuovi contesti ma anche l’opportunità per rivisitare la grande musica dei Nova   – musica agli albori della fusion degli anni 70 – e per spingere al massimo le sue capacità Jazz-Rock Fusion

Mentre Peter Vettese racconta questo viaggio compiuto con Corrado e Steve come uno dei più salienti della sua carriera artistica.   E riguardo all’apporto di Vettese,  parlando delle difficoltà incontrate nel concepimento di questo progetto, Corrado Rustici aggiunge :  “Il modo in cui Peter con il suo talento e la sua tecnica risolse, tra virgolette, il problema delle frequenze basse avvalendosi di pedali da basso anziché della sua mano sinistra fu a dir poco stupefacente. La musicalità di Peter trasuda in tutti i brani arricchendoli con  fantastici assoli e la sua giocosità senza limiti.“

Il risultato che ne consegue è questo CD / DVD ossia  il frutto della passione e della tecnica, conferite alla musica di “Blaze and Bloom” da tre talentuosi e virtuosi musicisti  di altissimo livello che spaziano  dalla vena soul e ipnotica di “Chiudi Gli Occhi” agli assoli ad alta energia e improvvisazione di “Loud Cloud”, con una particolare interesse per i ritmi indiani, i Konnakol , di cui Steve Smith è un eccelso estimatore / cultore.

In “Blaze and Bloom”  i tre musicisti danno una forma nuova alle già complesse melodie, molte delle quali estratte dall’album “Deconstruction of a Post Modern Musician” e “The Heartist” oltre alle rivisitazioni delle evoluzioni sonore dei  Nova che Corrado ebbe modo di concepire, a suo tempo,  grazie all’apporto simbiotico di Narada Michael Walden.

“Senza il contributo di questi due musicisti, questo album non sarebbe potuto esistere – è quanto afferma in conclusione Rustici augurandosi  che tutti possano avere l’opportunità di condividere le due settimane di fuoco e passione vissute in Giappone.

In the spring of 2010, Corrado Rustici - the renowned guitarist and producer of some of the most influential artists in Italian history (Zucchero, Elisa, Francesco De Gregori, Claudio Baglioni, Andrea Bocelli, Negramaro and Luciano Ligabue) - drummer Steve Smith (Journey, Steps Ahead, Vital Information) and keyboardist Peter Vettese (Jethro Tull, Annie Lennox, Seal) embarked on a 2 week tour of Japan. This audio CD and DVD package is a document of their firey, passionate playing during those two weeks. It showcases new arrangements from Corrado Rustici's acclaimed solo albums "Deconstruction of a postmodern musician" and "The Heartist", plus revisitations of material from Corrado's old fusion band "Nova". The result of the passion and technique that these three talented,virtuoso musicians lend to the music, is of the highest level and not for the faint of heart. From the soulful and hypnotic mood of "Chiudi gli occhi" to the high energy solos and improvisations of "Loud Cloud", this album is sure to satisfy any lover of multi-tiered, deep music.

1) Sushumna’s Dance
2) Lazarus Pain
3) The Princess and the Frog
4) 100 Famous Notes
5) Vimana
6) Chiudi gli occhi
7) Tantrum to Blind
8) Spirals of Light
9) Loud Cloud

Corrado Rustici: guitar
Peter Vettese: keys
Steve Smith: drums