viernes, 5 de diciembre de 2014

Bill Frisell - Unspeakable (2004)


01. 1968 Frisell 4:37
02. White Fang Frisell, Willner 5:41
03.Sundust Willner 2:38
04.Del Close Frisell, Liljestrand, Willner 5:05
05.Gregory C. Frisell, Willner 5:41
06.Stringbean Frisell, Liljestrand, Willner 5:58
07.Hymn for Ginsberg Frisell 2:26
08.Alias Frisell, Liljestrand, Willner 7:56
09.Who Was That Girl? Bernstein, Frisell, Liljestrand, Walter, Willner 4:53
10.D. Sharpe Frisell 4:13
11.Fields of Alfalfa Sieben, Willner 3:41
12.Tony Frisell, Scherr, Wollesen 3:37
13.Old Sugar Bear Grant, Liljestrand, Willner 7:12
14.Goodbye Goodbye Goodbye Frisell, Lasry, Willner 8:59

Bill Frisell - guitar
Jenny Scheinman - violin
Kenny Wollesen - drums
Don Alias - percussion
Tony Scherr - guitar, bass guitar
Steven Bernstein - trumpet
Eyvind Kang - viola
Curtis Fowlkes - trombone
Hank Roberts - cello
Hal Willner - sampler, turntables
Briggan Krauss - baritone saxophone
Adam Dorn - synthesizer
The 858 Strings - strings

Release Date: Aug 24, 2004

Label: Nonesuch

Some artists spend an entire lifetime within a narrow genre, honing their skill and working at stretching the boundaries of that style, while others transcend all definitions and labels, creating a music that defies categorization. Such is the case with guitarist Bill Frisell, who over a twenty-five year career has contributed to everything from the Nordic cool of Jan Garbarek's quartet to the downtown edge of John Zorn's Naked City. On his own records he has explored diverse landscapes including the urban sprawl of Before We Were Born and the American heartland of Good Dog, Happy Man .
Always the sum of his parts, Frisell has constantly managed to bring forward past experiences into new contexts, never more so than on his new release, Unspeakable , which finally teams him for a full album with producer Hal Willner, with whom Frisell has worked in the past on projects as varied as the Mingus project Weird Nightmare and Stay Awake , an album of Disney film music. The result is a recording that stretches the imagination farther than anything Frisell has done to date and defines him as an artist who has created a personal musical landscape that is less about what is being played and more about what that playing evokes.
With a core group including long-time musical partners, bassist Tony Scherr and drummer Kenny Wollesen, Frisell continues to explore rhythmic grooves. But with the addition of a three-piece string section, three-piece horn section, percussion and Hal Willner's turntables and samples, the textures available are richer than ever before. Frisell builds rich layers of guitars, and continues to mine the "everyone solos and nobody solos" ground that has been the trademark of his work for many years. But collaborating with Willner has created a whole new level of sonics.
As a starting point for compositions that are sometimes Frisell's alone, but more often collaborative efforts with Willner and/or engineer Eric Liljestrand, Frisell and Willner looked to an extensive library of obscure songs and sounds culled from vintage vinyl recordings. Sometimes the compositions fit neatly within the context of the samples, other times Frisell digresses, moving things into completely unknown territory.
Frisell has always been an extremely visual writer and player, but his teaming with Willner has resulted in his most cinematic effort yet. Yes, there are elements of the Americana that has obsessed Frisell so over the past few years, on tracks including the tender "Goodbye Goodbye Goodbye," but equally present are the world music concerns that have captured his attention in more recent times, on "1968," and the most manifest soul that Frisell has ever shown on "White Fang" and "Del Close."
That Frisell has chosen to use his guitar as a sonic paintbrush rather than a simple purveyor of chops means that there are those who will be disappointed; but for those who prefer their music to tell stories and create vivid images, Unspeakable is another high point in an already significant body of work.


Thomas Marriott - Urban Folklore (2014)

Source: originarts

“Thomas Marriott's trumpet sound is as lush and inviting as it comes.”- DOWNBEAT MAGAZINE

For his ninth album as a leader, trumpeter Thomas Marriott presents a musical collection of personal, yet commonly shared stories of frustrations, fears, hopes and joys. Music has always been about story-telling and with Urban Folklore, Marriott spins his tales of modern day society and life in our present times with intensity, humor and nuance. Performing with one of the most intuitive and in-the-moment piano trios in jazz - pianist Orrin Evans, bassist Eric Revis and drummer Donald Edwards - Marriott creates a powerful new statement on life and the human condition.

1. Apophis 4:16
2. The Tale Of Debauchery 4:04
3. Room 547 5:27
4. Mo-Joe 3:32
5. What Emptiness Can Do 6:23
6. Locked Up (Theme from "The Shot Caller) 3:24
7. Living On The Minimum 6:02
8. I'm Vibing You 3:44
9. Washington Generals 6:15

Thomas Marriott - trumpet
Orrin Evans - piano
Eric Revis - bass
Donald Edwards - drums

"Hearing is Everything" Peter Watkins


Pat Mallinger Quartet with Bill Carrothers - Elevate (2014)

Chicago saxophonist Pat Mallinger’s seventh record, Elevate, is a sophisticated, intricately constructed and a tightly cohesive work without a single superfluous note. A lean quartet date, Elevate consists of nine intriguing Mallinger compositions that allow plenty of room for individual expression. There is a seamless fusion of the prewritten and the spontaneous in these performances as the boundaries between the two are deftly blurred. On the energetic and nimble “Double Whammy,”Mallinger unleashes a flood of ideas over the loosely swinging refrains of his band mates. His intelligent monologue maintains a refreshing originality and a delightful groove that makes it simultaneously accessible and stimulating. Pianist Bill Carrothers takes one of his signature, complex and provocative solos, while drummer George Fludas closes the tune with a propulsive burst of polyrhythms.

Carrothers demonstrates his unique take on the blues with an angular and thrilling improvisation that flirts with free jazz and is peppered with classical hints on “Ho-Ho-Kus Blues.”Mallinger’s yearning, simmering saxophone meanders with soulful swagger and leads to bassist Dennis Carroll’s turn in the spotlight. Carroll builds his ad-lib, poetic phrases out of sparse reverberations and carefully placed pauses with a singular mix of eloquence and lyricism. Carroll’s engaging and complex elegiac soliloquy brings the haunting “Windtree” (and the record) to its conclusion. The gorgeously dramatic piece opens with Zen serenity with Ma;linger’s Chinese Xiao flute blowing like a songbird over the hypnotic bursts of percussion. As the vibrant music takes off, Mallinger leads the group along a charming amalgam of Eastern and Western traditions. Carrothers’ bright, boppish keys liberally embellish the melody with influences from both heritages, while Mallinger’s melodic and exhilarating saxophone cooks with a raw intensity.

Mallinger has never recorded a mediocre album, but Elevate is his best effort to date. Erudite, emotive and passionate, the disc makes for an electrifying listening experience and is the perfect slice of superlative mainstream jazz.

Pat Mallinger– Saxophones, Chinese flute
Bill Carrothers– Piano
Dennis Carroll – Bass
George Fludas– Drums

01. Copacetic
02. Sunshine Rollins
03. Ho-Ho-Kus Blues
04. Singing Praises
05. No Rolling Rock
06. Prognosis
07. Double Whammy
08. 240 Edith Drive
09. Oatmeal Song
10. Oakdale Avenue
11. Windtree

"Hearing is Everything" Peter Watkins


GoGo Penguin - v2.0 (Deluxe Edition) 2014

Source: kudosrecords

"It's obvious why the Manchester clubs are jumping to this band."  - The Guardian

"Jazz, techno, hip-hop and dubstep are glimpsed here, but for all the looping motifs and dance floor vibes, this is the work of three sure-footed improvisers with deep jazz roots" - The Guardian

"[v2.0] showcases a group marking out their own musical world" - The Times

"A really brilliantly modern piano trio that takes in the whole history of music. I think they're really special." - Jamie Cullum / BBC Radio 2

"I think they're special...;and the response has been amazing" - Gilles Peterson 6 Music

"A stirring re-evaluation of what a piano trio should sound like in the 21st century"'۬ - Barclaycard Mercury Prize

"GoGo Penguin have barged their way to the front of this crowded playing field with a sharp-elbowed sound that's as intelligently accessible as it is belligerently danceable"'۬ - Jazzwise

"GoGo Penguin will win an audience way beyond the jazz dives" - MOJO

"v2.0 has the potential to be one of those rare albums that genuinely resonates with an audience outside jazz" - JazzUK

"Anthemic riffs and skittering grooves..pushes the acoustic piano trio into the future" Jazzwise

"v2.0 is an energetic album... it takes classical and jazz rhythms and pushes them into the world of electronica" - Echoes

"GoGo Penguin continue to stretch the piano-trio formula into the future" - The Quietus

"v2.0 is the sound of a band moving forward...; further establishing GoGo Penguin as one of the most exciting young bands on the contemporary scene" - All About Jazz

"Sometimes an album stops you in your tracks. The brilliant jazz-meets-electronica release from this remarkable Mancunian trio, is one of them" - Spotify

"This music has all the hallmarks of 21st century Britain, an island afloat on an ever shifting sea of underground beats and rhythms" -  Ancient to Future

"v2.0 could easily stake its claim as the most original and accessible jazz piano trio album of new music to emerge from these shores" - Marlbank

"GoGo Penguin courageously stretches the boundaries of modern hybrid music into new and incendiary regions...;smoothly incorporates elements of electronica, trip hop, jazz and classical music, with the explosiveness and anthemic melodiousness of quality rock"."'۬ - Igloo Magazine

01. Murmuration 04:12
02. Garden Dog Barbecue 03:44
03. Kamaloka 05:20
04. Fort 03:17
05. One Percent 05:35
06. Home 05:21
07. The Letter 06:13
08. To Drown In You 06:28
09. Shock And Awe 03:13
10. Hopopono 03:54
11. Break (Bonus Track) 04:29
12. In Amber (Bonus Track) 05:44
13. Wash (Bonus Track) 03:33

Chris Illingworth - piano
Nick Blacka - double bass
Rob Turner - drums/percussion

"Hearing is Everything" Peter Watkins