lunes, 11 de diciembre de 2017

David Friesen - Structures (ORIGIN RECORDS 2017)



"One of the most eminent exponents of the instrument, he maintains an astonishing level of virtuosity." LOS ANGELES TIMES

With 50 years of designing sublime musical architecture where risk-taking, rhythmic rapport, originality, and giving of oneself to the music are the vital ingredients, legendary bassist David Friesen has reached a creative pinnacle. The two-disc set, "Structures," highlights his capacities and his original compositions through duos with two dynamic improvisors he's partnered with over the years. Disc One offers saxophonist Joe Manis and Friesen in a live duo performance in Ukraine while on tour in early 2017. On Disc Two, David carries on with an eclectic musical relationship started back when master guitarist Larry Koonse was still a student. Together they have created an intimate album, sharing conversations full of vitality, warmth, and great musical respect.

"Few solo musicians on any instrument have made music as powerful and deeply moving as David Friesen." - Oakland Tribune


DISC ONE:

1. Wrinkle 4:41
2. Basic Strategy 4:56
3. Brilliant Heart* 5:11
4. Martin's balcony 2:56
5. Left Field Blues 3:26
6. New Hope* 3:41
7. Roof Tops 4:45
8. Seam Line 6:11
9. Going Forth* 6:14
10. Lament for the Lost/Procession 8:16

DISC TWO:

1. Make Believe 4:12
2. New Hope 4:16
3. Romantic 3:45
4. Quietly Unfolding 4:18
5. Alaskan Waters 4:25
6. Undisclosed 5:20
7. At Last, At Rest 4:05
8. Passage 3:58
9. My Faith, My Life 4:07

DISC ONE: 
David Friesen - Hemage bass, piano 
Joe Manis - tenor & soprano saxophones 

DISC TWO:
David Friesen - Hemage bass 
Larry Koonse - electric guitar

Organized Noise Trio (feat. Pete Rodriguez, Rudy Royston & Ricky Rodriguez) - The Wink of a Coward (YOU KNEW! RECORDS 2017)


On The Wink of a Coward, Rodriguez presents us with a new band configuration. Known as Organized Noise Trio, the improviser and bandleader puts together a superb trio. 

While Rodriguez’s original compositions dominate the record, the other two members also contributed with just as impressive original compositions for the album. The trio consists of Rudy Royston on drums and Ricky Rodriguez (no relation) on bass with special guests Gil Del Bosque on tenor saxophone. This new album is Rodriguez’s first on the You Knew! Records label.

1. Never Too Late (Pete Rodriguez)
2. Your Help’s Not Wanted Here (Pete Rodriguez)
3. They Smile at Your Face the Backstabbers (Pete Rodriguez)
4. What a Day (Pete Rodriguez)
5. Mayone (Rudy Royston)
6. Shamae (Rudy Royston)
7. The Chair With No Legs (Pete Rodriguez)
8. The Dark City (Ricky Rodriguez)
9. The Wink of a Coward (Pete Rodriguez)
10. Past Due (Ricky Rodriguez)
11. The Wink of a Coward (Pete Rodriguez)

Tracks 1, 2, 3, 4 ,7 , 9 , & 11: El Conde Negro Music / ASCAP
Tracks 8 & 10 Riguezmusic / ASCAP
Tracks 5 & 6: RudyRoyston Publishing / ASCAP
Recorded & mastered by George Shalda
Rudy Royston endorses Vic Firth Sticks, brushes & mallets, Canopus Drums & Sabian Cymbals


Special Guest:
Gil Del Bosque: tenor saxophone on The Chair With No Legs

domingo, 10 de diciembre de 2017

Bendik Hofseth / Jacob Young / Mats Eilertsen / Paolo Vinaccia / with Mike Mainieri - The Maze (OSLO SESSION RECORDINGS 2017)


A meeting between five jazzmusicians from different places and representing different generations. US vibes star Mike Mainieri joins top Norwegian International players like Mats Eilertsen (bass), Jacob Young (guitar), Bendik Hofseth (sax) and Paolo Vinaccia (drums) for an evening of musicmaking. Meldodic and original.


Nytt jazzalbum "The Maze". Ute på 180 grams eksklusiv vinyl med bonus CD. Denne praktutgaven av en utgivelse med sin gjennomtrengende estetikk både musikalsk og visuelt- med det slående coverbildet fra Oslo av Erlend Michael Sæverud, er nesten politisk. 

Hvordan kan man lage slik musikk i dag? Er det frekt? Er det et stille opprør? Er det ironi? Hvordan kan man finne roen til det. I all støyen og alt tullballet i mediene og i vår bevissthet om fake ditt og fake datt...så kommer den kunstneriske gåtefulle "The Maze". Og ikke nok med det, i en tid da alle tror det er over, det er nærmest armageddon i platebransjen, så skjer det: det kommer et nytt selskap seilende opp! Oslo Session Recordings. Ja, det er fremdeles mye som skjer i Oslo. 

Det er i jazzmusikkens natur at man skal møtes, på tvers av generasjoner og landegrenser, krysse innbilte stengsler og usynlige tidssoner og samtidig ha et håp om å kunne møtes i studio med noen sketsjer av noen temaer, en kort gjennomgang, kanskje en konsert som forberedelse dagen før - også spille inn et album som er noe helt for seg selv. 

Noen ville tenkt det er risikosport. Men sannheten er at det er dette musikerne har trent til. Det er det disse musikerne kan. Det er slikt man kan kalle erfaring. Og derfor er mye gjort bare man klarer å få disse musikerne samtidig i studio. At Jan Erik Kongshaug har tatt det opp og musikerne sammen har produsert er også kvalitetstegn. 

Musikken på "The Maze" er skrevet av Mats Eilertsen, Bendik Hofseth og Jacob Young og er både stillfarende, leken, fortellende og tidvis ulmende. Den er som en rolig vulkan med boblende lava som ikke trenger å eksplodere i fartsfylt bonanza av raske løp eller energi på utsiden av tiden. Det er slik den er. 

Lytteren må selv skape rammene å høre den på. Musikerne er alle representanter for moderne jazzmusikk og dens mange sjatteringer og sjangerkrumspring. Legenden Mike Mainieri, vibrafonisten fra New York City med en CV over samarbeidspartnere så lang at det blir meningsløst å ramse opp alle, er i topp form i sitt 78 år. Mike er gjest på tre låter på The Maze og er stadig og fremdeles på veien med sitt Steps Ahead hvor Bendik Hofseth, fikk sin amerikanske "break" på slutten av 1980 tallet, som arvtager etter saxikonet Michal Brecker.

I New York City, møttes også Jacob og Bendik og litt senere startet de sitt sammarbeide, med Bendik som produsent på Jacobs debut i 1994 "This is You" og Jacob som medlem av Bendiks senere grupper og på album som "Smilets Historie" og "Itaka". Paolo Vinaccia er en legende i både den alternative jazz m.m. og den populære musikken i Norge og ellers i verden og har snart i fire tiår bidrat til at dette er en bedre klode å være på og i. Han er kjent fra utallige pop/ rock prosjekter og som del av Arild Andersen og Terje Rypdals grupper.

Mats Eilertsen som i likehetstrekk med Jacob Young er en del av den nye generasjonen norske musikere på ECM har markert seg som en av de mest interessante bassisten i denne musikken. Det er også gøy at Mats ble plukket opp av Jacob på albumet "Pieces of Time" og var del av Youngs ensembler i nesten 10 år før denne innspillingen som skjedde i 2016.

Members: Paolo Vinaccia (Drums) Jacob Young (Guitar) Mats Eilertsen (Bass) Mike Mainieri (Vibes) Bendik Hofseth (Sax)

1. The Void 06:36
2. Capital 04:22
3. Bordeaux State of Mind 06:55
4. Bolero 08:11
5. Bora 05:15
6. Kokomlemle 05:45
7. Blue 03:40



Paolo Vinaccia / Jacob Young / Bendik Hofseth - Rathkes Gate 12:21:58 (OSLO SESSION RECORDINGS 2017)


Bakgrunnsinformasjon.

Rathkes gate 12:21:58 er et nytt album fra musikerne i trioen, Paolo Vinaccia (trommer) Jacob Young (gitar) og Bendik Hofseth (saxofon). Det er den andre utgivelsen til plateselskapet Oslo Session Recordings, som debuterte med albumet "The Maze" tidligere i sommer.

Ideen til albumet kom etter at vi hadde gjort en konsert langt ute på landet i Finnskogen på et lite galleri, vinteren for tre år siden. Konserten gikk sånn passe - med ideen ble født i bilen hjem etter konserten. Vi ble tent på å lage noe mer helhetlig i dette lydlandskapet med de mulighetene som åpner seg når man musiserer sammen - uten bass.

Fraværet av bass frigjør mer plass til de andre instrumentene og klangen av dette låter mer orginalt enn vi kunne ha forventet oss. Det er ikke veldig mange jazztrioer med denne besetningen, som spiller uten bass, men det finns noen og vi må nevne spesielt trommeslager Paul Motians trio og diverse album fra 1990 tallet med Bill Frisell (gitar) og Joe Lovano (saxofon) - som noe som brøyta vei - i alle fall med formatet.

Musikken er skrevet av Jacob og Bendik (tre låter hver) og en låt er improvisert frem av alle tre, (den med banjo på).

Alle musikerne er gode venner og kollegaer fra flere år tilbake, og da vi bestemte oss for å lage denne plata allierte vi oss raskt med lydtekniker og produsent Giert Clausen i Fersk Lyd AS på Majorstua. Giert er en felles venn av bandet og har jobbet sammen med oss hver for seg eller sammen, på mange forskjellige prosjekter i en årrekke. Da han var med på laget begynte det å skje ting, vi gjorde noen flere konserter også gikk vi i studio.

Det meste av materialet er spilt inn live i Fersk lyd studioet hos Giert og på hans kjøkken. Paolo er musikalsk produsent.

Tilslutt mikset og mastret Giert albumet også fikk vi lov til å bruke fotoet til Erlend Mikal Sæverud som coverbildet. Erlend tok også bildet på The Maze.

Oslo Session Recordings er stolte av å kunne presentere sin andre utgivelse og albumet “Rathkes gate 12:21:58"

på 180 gram vinyl. Finns også på CD og digitalt.


01 Oh, My Country 4:19
02 Here We Go Again 5:21
03 The Man, The Myth & The Legend 2:09
04 Horizon 6:19
05 Lille Berlin 6:44
06 Kilamba 7:40
07 Bird Ballad 3:46


Wiebke Schröder Trio - Episodes (UNIT RECORDS 2017)


The trio specializes in writing their own music- nonetheless, they love to strech out towards arranging jazz-standards, classical songs, or popular music. These three musicians have a clearly worked out path of how they want their music to be: communicative, instinctive and profound. The musical nucleus of their compositions range from novels, paintings, poems, to lived experiences, or mere sensations in the blink of an eye. This trio draws influences from jazz as well as classical music, to nurture a music with a seemingly limitless audial spectrum - once philosophical and earnest, their playing may take every direction towards the lyrical, the playful, the experimental, or groove- orientation. Although the compositions provide a thorough structure, they nevertheless provide plenty of room for improvisational jaunts, in which the magic of this bands unique sound can flourish.


1 SNCF 6:21
2 Hexenkind 5:54
3 On & On 7:22
4 The Saga of Harrison Crabfeathers 4:40
5 Angst 10:20
6 Perseverance 4:13

Wiebke Schröder – Piano
Silas Jakob – Drums & Percussion
Matthias Kleiner – Double Bass



NAKAMA / WORST GENERATION – 17.11.2017






5 generations – 1 world

Socrates said, some 2000 years ago: «The children nowadays love luxury. They have bad manners, contempt for authority; they show disrespect for elders and love chatter in place of exercise».

In today’s western world lives a total of 5 historically distinguishable generations. The track titles on Nakama’s 4th album is named after them: The Lucky Few, Baby Boomers, Generation X, Millennials and Plurals. Zooming out in both time and space and looking at the current state of the world these five generations must truly be the «Worst Generation» ever in human history. They are all part of- and have contributed to the current state of affairs. Paradoxically, new generations also bring with them a sense of hope and change, and maybe when we look back again 100 years from now this current amass of generation might turn out to be the best one?! 

Worst Generation is Nakama’s first album with new member Agnes Hvizdalek. It is also their first fully improvised album, recorded live in Amann Studio in Vienna as part of their 2017 Europe tour 




Releases officially on the 17th of November 2017

Unique cover features

The titles on the CD is in English on one side and Japanese on the other with the imprint in beautiful UV-gloss. The LP version is in lenticular – the motif changes when viewed from a different angle! One thing is always something different and at the same time two sides of the same coin...


Just check out this video and see for yourself:





Sylvain Rifflet - Re Focus (VERVE RECORDS 2017)



Les obsessions n’existent que pour être vécues. 

Certaines ronronnent, tristement centripètes, et en reviennent sempiternellement à l’objet du désir ; cela consiste à toujours tourner le même film, enregistrer le même album, écrire le même livre avec quelques décors placardés à la hâte et de rapides arrangements, principalement avec la réalité.

Rares sont les obsessions centrifuges, séminales, qui régulièrement viennent se désaltérer à la source pour parcourir à grands pas de nouveaux horizons. La passion ancienne de Sylvain Rifflet pour le Focus de Stan Getz est de celles-ci. Il se confie dans l’interview qu’il nous accorde, mais le projet bouillonne depuis 2013, puisqu’il parlait déjà alors de s’attaquer à ce monument du flirt entre jazz et classique aux côtés d’un Fred Pallem qui serait son Eddie Sauter. Cette idée fixe irradie sa musique de longue date sans pour autant la vampiriser, de Beaux Arts jusqu’à Mechanics. Elle est désormais assouvie avec ReFocus, en compagnie de l’orchestre à cordes Appassionato et édité - comme le disque de 1961 - par Verve, une condition sine qua non.


Il ne s’agit pas de redites. Pas plus d’un exercice de style : les partitions sont inédites pour la plupart et l’esprit de Getz est davantage dans la méthode que dans le résultat. Dans « Echoplex » qui débute sur les marimbas de Guillaume Lantonnet, le son si caractéristique du ténor de Rifflet badine un moment, avant de se laisser ensevelir par les cordes. Le choix de l’instrumentation et des musiciens a été primordial. L’option d’un vibraphone/marimba était évidente, tant la musique de Rifflet se nourrit de ces timbres. La présence de Jeff Ballard, qui tient le rôle de Roy Haynes pour Getz, est audacieuse. Avec le contrebassiste Simon Tailleu, il alimente le dialogue avec les quinze cordes de l’orchestre grâce à un colorisme savamment distillé. Le batteur peut aussi entretenir une tension vite acidulée par le travail des archets (« Le Kinétoscope »).

Ce qui pourrait virer au sirupeux garde, à l’instar de ce qui était le miracle de Focus, une distance. Une savante alchimie qui ne consiste pas à farcir son jazz de classique - praline de bas étage - mais à créer une passerelle éphémère, douce mais pas smooth où l’action discrète de Pallem sur les arrangements offre une pléthore de pistes. Ainsi « Egyptian Riot », belle construction contemporaine où les slaps du saxophone ouvrent la porte à des motifs répétitifs. Une énergie qui évoquera « I’m Late, I’m Late » de Getz sans jamais le citer. ReFocus n’est pas un jeu de piste ; c’est un point d’étape sur la question des relations entre jazz et musique écrite occidentale, 55 ans après l’influence de Bartók et Weill. Sylvain Rifflet l’exprime très bien dans notre interview : « On repart des moyens de 1961 et de s’interroger sur la démarche de Sauter et Getz s’ils avaient été inspirés par Glass ou Riley et toute cette branche répétitive et tonale contemporaine américaine ».

Évidemment, le limpide « Another From C », structuré sur les cymbales de Ballard et le cycle des violons, en est le symbole, mais le mouvement circulaire de « Harlequin On The Strings » en représente incontestablement le morceau le plus abouti. ReFocus est comme son aîné ; clair, précis, avec cette soyeuse profondeur de champ qui fait les beaux portraits. 

Le plaisir d’un fantasme qui a pris corps.


1 Night Run 3:52
2 Rue Bréguet 4:35
3 Another 'From C' 3:37
4 Harlequin On The String 4:17
5 Egyptian Riot 6:08
6 Echoplex 5:06
7 Une de perdue, une de perdue 4:45
8 Le kinétoscope 4:55
9 Hymn 4:30

Sylvain Rifflet (ts, comp)
Fred Pallem (comp, arr)
Guillaume Lantonnet (vib, mar)
Simon Tailleu (b)
Jeff Ballard (dms) + ensemble à cordes Appassionato

sábado, 9 de diciembre de 2017

Don't Miss This Weekend's $5 Album... (CUNEIFORM RECORDS)


Joy Ellis - Life on Land (2017)


Life On Land is the debut jazz album by Joy Ellis. The album features Joy's original compositions and reflects her passion for jazz, her love of groove and dance music, her classical roots as a pianist and the mournful, soulful aspects of being a singer-songwriter.

1. From Dusk Till Dawn 04:45
2. The Jazzman 05:09
3. Here In The Quiet 05:15
4. Life On Land 07:37
5. Veteran 05:23
6. What Got Lost Along The Way 03:54
7. Refugee 05:43
8. Ellington Said 05:43
9. When The Snows Fall 05:01
10. Be Kind 04:51
11. The City 06:48


Joy Ellis - piano/Rhodes/voice
Rob Luft - guitar
Henrik Jensen - double bass
Adam Osmianski - drums
James Copus - flugelhorn (tracks 4 & 10)
Binker Golding - tenor saxophone (tracks 2 & 8)

Marco von Orelli / Max E. Keller / Sheldon Suter - Blow, Strike & Touch (hatOLOGY 2017)

Manuel Valera Trio - The Seasons (MAVO RECORDS 2017)


Was there a closet ‘renaissance man’ just waiting to jump out of Manuel Valera? Probably so, but although his recording of The Seasons references Vivaldi’s eternal series of four concerti making up The Four Seasons there is little to link the two works other than the title of Valera’s suite. This centrepiece of the recording is a series of four single-movement pieces and Manuel Valera’s playing is spirited and eloquently ornamented and serves its referenced mentor well. It ends there, however. “The Seasons” is a dark suite where the composer (and performer/pianist and his trio) visits several states of mind that change from expectation then hopeful, melancholic and finally foreboding, capturing the mood of the times, as it were, in the Americas and, indeed, the world. As such it is not only the single most ambitious work by Manuel Valera, but certainly his most breathtaking performance.

Within the framework of The Seasons are seven other pieces of varying mood and scale. Not all of them are composed by Manuel Valera, but they all signify changing times in the life and times of the pianist. Valera has always seemed to lean into the idiom of Jazz as he sought to forge the distinctive of his own. In his idiosyncratic and exploratory style his music has become thematically more challenging and boldly expressive, slipping the Afro-Cuban mooring ever so gently with each new recording. At its heart his music will always retain that cultural topography but now Manuel Valera seems less beholden to inner clave. This ‘breaking free’ to express himself may lead him back to his roots at any time; who can tell? For now, however Valera is putting on another skin. And he does wear this one rather well.

There is an easy swing in all of the work on The Seasons. It is clear from the ever-so-spritely song, “Opening” that this music is going to demand the listener’s undivided attention. Turn away and you might miss something extraordinary. With characteristically expressive pianism, Manuel Valera reveals a profoundly thoughtful side to his music. “In the Eye of the Beholder”, for instance, is framed with rhapsodic harmonic and rhythmic elements around which the riveting expressiveness of the melody takes flight. “Tres Palabras”, the only Cuban song is at once dreamy, yet crisply modern, complex yet rich in space and silence. In dramatic contrast is movement IV of “The Seasons – Winter”, in which there is an almost unbearable, icy tenderness that leads, in turn, to “What is This Thing Called Love”, a perfect vehicle to set up the album finale, Leonard Cohen’s “Hallelujah”.

In solo performances there is absolutely no room for error and this is much the same with duos and trios. However, Manuel Valera has assembled two extraordinary virtuoso players: Hans Glawischnig on bass and E.J Strickland on drums. Both musicians deliver harmony and rhythm with relaxed grace and total lack of vanity; for they are musicians who just happen to play bass and drums respectively. And while both Glawischnig and Strickland are dazzling virtuosos they conjure tonal colours and expression through eye-popping articulation and deeply-felt emotion. It’s almost impossible to think how this performance would have sounded with other musicians on board and it is fortunate, indeed, that this is not the case.


Opening
In the Eye of the Beholder
Tres Palabras
Hopeful
In My Life
MOV I-Spring
MOV II- Summer
MOV III-Fall
MOV IV-Winter
What Is This Thing Called Love
Hallelujah