jueves, 26 de noviembre de 2015

Kneebody & Daedelus - Kneedelus (2015)

Label: Ninja Tune
Source: Pitchfork

Under his Flying Lotus codename, Steven Ellison continues to push his distinctive strain of abstract hip-hop into the direction paved by his Great Aunt Alice and Great Uncle John. You could hear the family history coursing through the interstellar spaces he explored with his cousin Ravi on 2010's Cosmogramma and that Herbie Hancock jam on last year's You're Dead!. But Ellison's advancement of creative jazz has been more crucial as curator of the Brainfeeder label, which he founded in 2008 as an outlet for himself and his buddies down at Low End Theory in Los Angeles.

Kamasi Washington's The Epic hinted at FlyLo's A&R prowess, and Kneedelus puts an exclamation point on the imprint's new direction. The relationship between exploratory, Grammy-nominated funk-jazz outfit Kneebody and pioneering Cali beat scientist Daedelus (born Alfred Darlington) goes back almost a decade, evidenced by remixes on Bandcamp and a stage collaboration at the Jazz à Vienne Festival in 2009. Kneebody saxophonist Ben Wendel and Darlington are high school friends, while Darlington and Flying Lotus go back to 1983, Ellison's debut, and Darlington's indelible remix of the title track.

What all of this six-degrees business adds up to is this supernova of a record, rounded out by Adam Benjamin on keyboard, Shane Endsley on treated trumpet, bassist Kaveh Rastegar, and drummer Nate Wood. As a collaborative unit, the friendship between the parties undoubtedly lends itself to the fluidity of these 10 original compositions. In some cases, as on tracks like the rugged "The Hole" and the hypnotic "Move", you can't really even tell where Kneebody ends and Daedelus begins. Darlington's deft rhythmic impulses come to the fore on "Drum Battle", but in other moments, the invincible horn section of Kneebody runs the show. On "Loops", Endsley's trumpet is cat-like and cool, as the group takes the scrambled-signal breakbeat Daedelus delivers to the snapping point around the horn's calm center like a hurricane eye. On "Platforming", meanwhile, Wendel's fantastic Art Pepper-esque tenor work is transformed into a wild, distorted-violin sound. Elsewhere, its Benjamin who is leading the charge on the seven-minute Mwandishi-flavored space-out "Thought Not", and the haunting processed upright piano he plays on "Not Love".

Yet its when Kneebody and Daedelus fuse that Kneedelus achieves its potential. And perhaps no other track really embodies that idea more than "Home", the album's deep modal center that simmers together Tubby dub, TNT-era Tortoise, and Lalo Schifrin. It's no matter of happenstance the cover of Kneedelus is a shameless emulation of the design format of another game-changing jazz record label, ECM. This album exists in a very similar atmosphere to some of Manfred Eicher's bolder production moves throughout the last 40-odd years (dig that Jack DeJohnette box set for proof). And above all, it's a vision offering one last reminder before the year is out that Brainfeeder is very serious about its place in the jazz world.

01. Loops 06:20
02. The Hole 03:57
03. Drum Battle 05:24
04. They are We 04:37
05. Platforming 04:47
06. Home 05:42
07. Move 03:33
08. Thought Not 07:01
09. Rounds 04:10
10. Not Love 05:59

Daedelus - electronics
Adam Benjamin - keyboard
Shane Endsley - treated trumpet
Kaveh Rastegar - bass
Nate Wood - drums



Organic Three Plus - Clustered Injuries (2015)

Eclecticism in music is often frowned upon. Sometimes rightly so, since it may lead to an indeterminate hotchpotch, without any sense of direction. Not so in the case of Organic Three Plus. The name of the band is appropriate, since every musical direction they take into their stride, they manage to mould into an organic whole.
The group started as a trio, with guitarist Milan Kracht, drummer Kim Weemhoff and bassist Frans Tunderman, but has recently been extended with vibraphonist Murk Jiskoot. His appearance inspired Milan Kracht to write a completely new repertoire. Therefore he was influenced by some of his musical heroes Frank Zappa, Igor Stravinsky, Steve Coleman en Bill Frisell. The new material is a musical rollercoaster where composition and improvisation are woven into a multicoloured rug.
Murk Jiskoot is an enchanter on mallets, alternating dense melodic strands with tasteful, bluesy brushstrokes. Milan Kracht thinks like a horn player, and leaves breathing spaces in his lines, making them transparent, allowing the listener to hear his musical stories unfold. Frans Tunderman plays the double bass like a full-fledged melodic instrument, adding ideas and taste rather than merely accompanying. Kim Weemhoff, too, is so much more than a timekeeper. He colours the melodies with the full palette his drum kit offers him.

1. Intuitive Rendezvous of My Lost Memories
2. Disrupted Continuity
3. Torqued Metamorphosis
4. In Between Bouncing
5. Extracts of Higher Echoes
6. Joint Fragments of Disintegrated Assembly
7. Superficial Brushstroke of God
8. Cosmic Eye of Love

Milan Kracht, guitar
Kim Weemhoff, drums
Frans Tunderman, bass
Murk Jiskoot, vibraphone



Aaron Hanson Project - Count These (2015)

Source: Cdbaby

Something new, but not unheard of. This music is not restricted in any way, but truly free.
"Count These" is an adventurous album that in musical terms tries to comprehend the entirety of self analyzation. Each song is meant to stick in your head and strike memories, good or bad. It is about time an album of pure true artistry has been released. 

1. Count This
2. Herbie Withers
3. Overcoming
4. There's Your Cue...
5. Behind a Mile of Wall
6. The Divinity of Heart and Truth
7. Ascertained Faults
8. Don't Fear Us
9. F*** You All... Mostly




Corrie Dick - Impossible Things (2015)

Source: Irish Time
Label: Chaos Collective

Drummer Corrie Dick’s conception of music is a generous and wide-ranging one, embracing the raucous and the sublime, the complex and the disarmingly simple, with the same sense of mischief and discovery.
As well as jazz, the rising Glasgow-born percussionist’s training has included studies in Morocco and Ghana, and he has also delved into Celtic music.
It all comes together on this impressive debut album. For his nine-piece “pocket” big band, Dick has assembled a cast of similarly rising talents on London’s contemporary scene – including vocalist Alice Zawadzki, trumpeter Laura Jurd, and saxophonist Joe Wright – and they deliver on the promise of the leader’s original compositions.
By turns folksy, rootsy, bluesy and indy, Impossible Things announces the arrival of a new and compelling voice in contemporary European jazz.

1. Soar 06:32
2. King William Walk 07:43
3. Six Impossible Things 06:16
4. Annamarrakech 05:57
5. Farewell Modhachaidh 03:37
6. Lock Your Heart Up 07:28
7. What Has Become Of Albert? 06:22
8. Don't Cry 09:36
Corrie Dick - drums
Matt Robinson - piano
Joe Webb - wurlitzer
Laura Jurd - trumpet
George Crowley - reeds
Joe Wright - reeds
Felix Higginbottom - percussions
Conor Chaplin - bass
Alice Zawadzki - violin & vocals



Rodrigo Domínguez - LIMóN (2015)

Label: Kuai Music

LIMóN, es el quinto disco del saxofonista y compositor Rodrigo Domínguez.
Integrado por nueve composiciones originales, el eje de este nuevo trabajo es la
relación entre los escrito y lo improvisado.

Rodrigo Domínguez es uno de los músicos más activos e influyentes de la
efervescente escena jazzística de Buenos Aires.
Miembro fundador del Quinteto Urbano, grupo que marcó un antes y un después en
la escena argentina,participó de innumerables proyectos: Mariano Otero quinteto y
orquesta, Juan Pablo Arredondo quinteto, Fernando Tarrés, Lucía Pulido y La Raza,
Santiago Vázquez y La Grande, Juan Pablo Hernández quinteto, Hernán
Mándelman sexteto, entre otros.
Lleva editados los discos Presencia ( junto a Rodrigo Dominguez Cuarteto), Soy
sauce ( de la agrupación homónima, interpretando música de Luis Alberto
Spinetta),Tonal ( junto a Ernesto Jodos y Sergio Verdinelli), Drop Dogs ( junto a
Hernán Hecht y el legendario contrabajista norteamericano Mark Helias) y
recientemente , Limón,editado por el sello Kuai Music.

1. Mariano y Carolina 07:19
2. Limón 06:54
3. Canción Vacía 04:39
4. Bill (Parte I) 01:50
5. Otro 07:14
6. Bill (Parte II) 09:11
7. Cuasimilonga 04:55
8. Himno 07:07
9. Ingenua Flor 04:17

Rodrigo Domínguez: tenor sax
Ernesto Jodos: piano
Jerónimo Carmona: bass
Carto Brandán: drums  



Rich Halley 4 - Eleven (2015)

Source: Cdbaby
Label: Pine Eagle Records

A few notes about the eleven compositions on this recording:

First, while the compositions provide context for the solos and group improvisation, they do not dictate improvisational form. The blowing is all spontaneous and open.

The album begins with the three part Reification Suite. “Retroactive” starts with swing and is a 42 bar structure with three contrasting sections with each section built around repeating seven bar phrases. “Radioactive” has a straight eighths feel, is 26 bars long and incorporates various meters. “Remnant” is more reflective. It’s built around a seven bar bass line with the horns playing in half time over the top. Using the meter of the bass line, it’s 56 bars long.

“The Dugite Strikes” invokes the infamous Western Australian snake and is a composition without bar lines built over a fast cymbal groove and arco bass.

“The Creep of Time” is a through-composed ballad of 28 bars with a rubato section and a few meter changes thrown in.

“Glimpses through the Fog” starts with free improvisation and ends with a slow march-like theme of two sections, one nine bars long and the other eleven bars.

“Adjusting the Throughput” is a fast, angular 46 bar theme that puts us through our paces.

“Dead of Winter” uses a 37 bar structure that starts with a suspended feel over double stops and then goes to swing.

“Convolution” features a jagged straight eighths feel and is 29 bars long with several meter changes.

“Slider” is a 38 bar composition built around sliding bass notes and mallets on cymbals. It has three sections: we play sections one and two at the top and sections two and three at the end.

Finally, “The Animas” harks back to my time doing research on rattlesnakes in the Animas Mountains on the New Mexico/Mexico border. It’s a song-like composition of 37 bars built around five bar phrases.

Rich Halley




Los Ponis - Expansión (2015)

Buenos días amigos! con mucha emoción les presento Expansión, el disco que grabamos con Luciano Monte Nicolas Pasetti y Federico Viceconte. Pocas veces he tenido la oportunidad de tocar y grabar composiciones mías, y ahora gracias a la iniciativa de Discos ICM y el apoyo del FNA se hizo posible este trabajo. Quiero agradecer especialmente a los Ponis: Nico, Lucho y Vice que se tocaron todo y siempre le pusieron la mejor onda a este proyecto, a los amigos de ICM que me bancaron y bancan, a Seba Acampante que me dedicó el hermoso arte de tapa, a mi amor Florencia Toledo por todo el aguante, a Gabi Virga por el laburazo de mezcla y master, a Emiliano Vena y U.C.Dadson Studios por su profesionalismo, a Juan Macchiavelli por su magia y logística para mi amplificación, y a mi familia: este disco va en homenaje a mi querido viejo Ricardo Maliandi que se nos fué este año.
Ahi va, espero os guste! 

1. Expansión 1 08:10
2. Fassman 06:11
3. Bacterias y Protozoos 01:14
4. MNML 06:49
5. Orellano, Del Medio y Seco 01:46
6. Asterisco 06:01
7. Larvi 06:32
8. Ponis en Camet 01:27
9. Capullo 01:05   
10.Oruga 04:58
11.Viento, las olas y el viento 01:51
12.Contusión 03:07
13.Poni Kord 00:40
14.Gustav 04:01
Julián Maliandi (guitarra y composición)
Federico Viceconte (saxo tenor)
Nicolas Pasetti (contrabajo)
Luciano Monte (batería)



Fat Sparrow - Fat Sparrow (2015)

Label: Listen / Here Collective
Source: Bandcamp

FAT SPARROW, a band of five musicians with a collective sonic pallet that is both broad and searching. The band recorded their self titled debut album in the Summer of 2015 by converting into a studio, the very den that housed products during the 60s for a well known Perth small goods company.The record features a collection of snapshots captured from an ever-evolving stream of compositional and improvised ideas.

The music created by Fat Sparrow is at once energetic, detailed, imaginative and immersive. The band fearlessly explores the diverse aesthetics, musical styles and identities contained both within their compositions and beyond, bringing truth and power to the moment and ultimately their own representation of time and place.

Thank you to Kieren Kenderessy for your energy, expertise and for helping us stay true to our sound. Mace Francis for your guidance and experience every step of the way. Ben Collins for your advice throughout the recording. Robin Murray for being there from the beginning and giving time and enthusiasm to the project in its early stages. And a huge thank you to all our familes- Wives, parents, sisters, brothers and the like. We could not do any of this without your support!

1. Get In The Van, Nan 05:06
2. Rustic 04:34
3. Disconnected 07:28
4. Walks With Shaun 07:40
5. Junkie Stole My Clarinet 06:03
6. Junkie And The Cursed Clarinet 01:25
7. Noise 05:28
8. The Fiddler 03:17
9. MWR 05:15
10.Out Of Context 01:15
11.Context 06:00

Luke Minness: tenor sax
Ricki Malet: trumpet
Harry Winton: guitar
Karl Florrison: electric bass
Greg Brenton: drums  



Antonio Faraò - Boundaries (2015)

"After 20 years, my intent is to join together a wonderful cast of Italian musicians with which I have already collaborated in the past, with the certainty of being able to count on great connections. The idea: to clear the mind, to return to a free and unconditioned creativity, a nearly children's approach, a pure thought not limited in constrictive rules… Besides the original tunes I have composed for this new album, I wanted to include some of the most representative contemporary jazz standards: "Maiden Voyage" of Herbie Hancock, for sure one of the greatest and important musicians of the last 50 years - an inexhaustible source of inspiration for all us - who has deeply influenced my way of playing (and not only), and “Hand Jive” of Tony Williams, another genius, a vital element of the quintet of Miles Davis in the sixties.

I hope that my new cd will be listened to with the heart, in a free, unconditioned, authentic way (and world), which is how it has been thought and realized."


"A distanza di un ventennio ho voluto riunire un eccellente ensemble di musicisti italiani con i quali mi era già capitato di collaborare in passato, con la certezza di poter contare su di una grande sintonia. L’idea: sgomberare la mente, tornare ad una creatività libera e incondizionata, un approccio quasi infantile, un pensiero puro e non imbrigliato in regole costrittive... Oltre ai brani originali da me composti appositamente per questo mio nuovo lavoro, ho voluto che figurassero alcuni tra gli standard più rappresentativi del jazz contemporaneo: "Maiden Voyage" di Herbie Hancock, di sicuro uno dei più grandi ed importanti musicisti dell’ultimo cinquantennio, che - fonte inesauribile di ispirazione per tutti noi - ha fortemente influenzato il mio modo di suonare (e non solo), e "Hand Jive" di Tony Williams, altro genio, colonna portante del quintetto di Miles Davis negli anni sessanta.
Mi auguro che questo mio nuovo album sarà ascoltato col cuore, nel modo (e nel mondo) libero, incondizionato, autentico in cui è stato pensato e realizzato."


Antonio Faraò | Piano
Mauro Negri | Ten. & Sop. Sax
Martin Gjakonovski | Double Bass
Mauro Negri | Drums
Luigi Di Nunzio | Alto Saxophone (on *)

1. BOUNDARIES (Antonio Faraò) 7:00
2. HAND JIVE (Tony Williams) 6:02
3. MAIDEN VOYAGE (Herbie Hancock) 9:52
4. COOLFUNK...* (Antonio Faraò) 6:45
5. MY SWEETEST (Antonio Faraò) 6:56
6. NOT EASY* (Antonio Faraò) 8:54
7. AROUND PHRYGIAN (Antonio Faraò) 6:05