tag:blogger.com,1999:blog-68737368953812618592024-02-20T02:44:45.429+01:00Republic of JazzUnknownnoreply@blogger.comBlogger8515125tag:blogger.com,1999:blog-6873736895381261859.post-8964465560374325202022-04-08T13:21:00.001+02:002022-04-08T13:22:14.869+02:00Harvey Valdes - Novare: J.S. Bach Lute Works on Electric Guitar (April 8, 2022 Destiny Records)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://destinyrecords.bandcamp.com/album/novare-j-s-bach-lute-works-on-electric-guitar" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEjD2gMZiGphwd3gjeijhs_fuyHkrVxvnhXwh6oJViXhpw8c_Rx23Pjyl1qx-LxglwiBtm8cmfqiivuHVkvtypzWEX2hrKjq7NciUMEQHC6aqJOYXGRjTrVoqB2ltGu1xndjpCrLSOZnKST9QjZFZVR5vtJmDVeCAXiE4VsF63Pw4Qx3kHYbOHf16Yn9tw=s16000" /></a></div><p></p><div style="text-align: center;"><span style="font-size: x-large;">1. Lute Suite in C Minor, BWV 997: I. Prelude (Arr. A-Flat Minor)</span></div><div style="text-align: center;"><div><span style="font-size: x-large;">2. Lute Suite in C Minor, BWV 997: II. Fugue (Arr. A-Flat Minor)</span></div><div><span style="font-size: x-large;">3. Lute Suite in C Minor, BWV 997: III Sarabande (Arr. A-Flat Minor)</span></div><div><span style="font-size: x-large;">4. Lute Suite in C Minor, BWV 997: IV Gigue (Arr. A-Flat Minor)</span></div><div><span style="font-size: x-large;">5. Lute Suite in C Minor, BWV 997: V Double (Arr. A-Flat Minor)</span></div><div><span style="font-size: x-large;">6. Prelude, Fugue and Allegro in E-Flat Major, BWV 998: I. Prelude (Arr. D-Flat Major)</span></div><div><span style="font-size: x-large;">7. Prelude, Fugue and Allegro in E-Flat Major, BWV 998: II. Fugue (Arr. D-Flat Major)</span></div><div><span style="font-size: x-large;">8. Prelude, Fugue and Allegro in E-Flat Major, BWV 998: III. Allegro (Arr. D-Flat Major)</span></div><div><span style="font-size: x-large;">9. Prelude in C Minor, BWV 999 (Arr. D-Flat Minor)</span></div><div><span style="font-size: x-large;">10. Fugue in G Minor, BWV 1000 (Arr. A-Flat Minor)</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Harvey Valdes: Electric guitar</span></div><div><span style="font-size: x-large;">Compositions by Johann Sebastian Bach</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Produced by Harvey Valdes. Recorded by Harvey Valdes February 28th to March 9th, 2021 in Brooklyn NY. Mixed by Todd Carder with Harvey Valdes at The Bunker Studio. Mastered by Alex DeTurk. Cover photo by Harvey Valdes, design by Cameron Mizell. CD design by Ben Walker. Photo of Harvey by Shervin Lainez. Release Coordination by Cameron Mizell.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><b><u><a href="https://destinyrecords.bandcamp.com/album/novare-j-s-bach-lute-works-on-electric-guitar" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div></div><iframe style="border: 0; width: 100%; height: 42px;" src="https://bandcamp.com/EmbeddedPlayer/album=1696537720/size=small/bgcol=333333/linkcol=0f91ff/transparent=true/" seamless><a href="https://destinyrecords.bandcamp.com/album/novare-j-s-bach-lute-works-on-electric-guitar">Novare: J.S. Bach Lute Works on Electric Guitar by Harvey Valdes</a></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-69670398822090549842022-04-08T13:21:00.000+02:002022-04-08T13:21:24.214+02:00Sun Ra Arkestra & Salah Ragab - Sun Ra Arkestra Meets Salah Ragab In Egypt (April 8, 2022 Strut)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://sunrastrut.bandcamp.com/album/sun-ra-arkestra-meets-salah-ragab-in-egypt" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEjm5OdAdVqJuVpQZFuUegWXTWJvtlKk8UTwFjyN0E-6f9of-hglQw5Ly_xQx6uW7OvI7uUa_du0iNDgip0y0wmZ7_l-0pKvN16qHI9-NWG8WfrdpINZCNG26yXs-QvTZ0hi2kHW_xKZRdJMde-hbNxSXDl87Ybc6KAif6TDamvx1ODDBPElLD-lSqZ8bQ=s16000" /></a></div><p></p><div><span style="font-size: x-large;">Strut present the final instalment in their series of reissues of Sun Ra’s historic recordings in Egypt with The Sun Ra Arkestra meets Salah Ragab in Egypt plus the Cairo Jazz Band, originally released on Greek label Praxis in 1983.</span></div><div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Salah Ragab first encountered the Arkestra at a concert at the house of Goethe Institut ex-pat Hartmut Geerken during the Arkestra’s first visit to Cairo and Heliopolis in December 1971 and, although Ra and Ragab did not meet in person on that occasion, they did meet and bond together when Ra returned to Egypt in 1983, resulting in these recordings. The Arkestra had been touring Europe in March 1983 and made their way to Cairo, playing a number of concerts during April at the Il Capo / Il Buco venue before recording the two superb studio versions of Ragab compositions, ‘Egypt Strut’ and ‘Dawn’, at El Nahar Studios in Heliopolis in May, featuring Salah Ragab on congas.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Kostas Yiannoulopoulos, organiser of the Praxis festival in Greece, released the recordings as the A-side of this album, with three tracks by Salah Ragab and the Cairo Jazz Orchestra on Side B. ‘Ramadan’ and ‘Oriental Mood’ were first heard on the Cairo Jazz Orchestra album Egypt Strut released in 1973 while ‘A Farewell Theme’, received its very first release on this record, written following the death of Gamal Abdel Nasser in 1970; the piece was played at the much-loved President’s funeral.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">This first ever official reissue of the album features previously unseen photos and memorabilia alongside brand new liner notes by Hartmut Geerken and Paul Griffiths. The album is released in its original artwork and is fully remastered by Technology Works. </span></div><div><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">1. Egypt Strut</span></div><div style="text-align: center;"><span style="font-size: x-large;">2. Dawn</span></div><div style="text-align: center;"><span style="font-size: x-large;">3. Ramadan</span></div><div style="text-align: center;"><span style="font-size: x-large;">4. Oriental Mood</span></div><div style="text-align: center;"><span style="font-size: x-large;">5. A Farewell Theme</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><b><u><a href="https://sunrastrut.bandcamp.com/album/sun-ra-arkestra-meets-salah-ragab-in-egypt" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div></div><iframe style="border: 0; width: 100%; height: 42px;" src="https://bandcamp.com/EmbeddedPlayer/album=321049993/size=small/bgcol=333333/linkcol=0f91ff/transparent=true/" seamless><a href="https://sunrastrut.bandcamp.com/album/sun-ra-arkestra-meets-salah-ragab-in-egypt">Sun Ra Arkestra Meets Salah Ragab In Egypt by Sun Ra Arkestra & Salah Ragab</a></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-12857886014913194742022-04-08T13:19:00.000+02:002022-04-08T13:19:52.000+02:00Michael Scott Dawson - Music For Listening (April 8, 2022 We Are Busy Bodies)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://michaelscottdawson.bandcamp.com/album/music-for-listening" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJoxLQKeWWfQeWIEvUCnc_HHsHqivIU6XjoFhyCWAVV_yVBGTl3g8699y_h6wAtM1yRdS4BGmLV6eA3RQ0sHJAUtfvFSSnSb_RMCUGSXusqlFq7z21aSvt5qcJ3jihNWpOWk83m_EHEjhEFseRhwDV8sJLs-t_STJj9yw3OZKQJQhDZWQPbZKIccnhfQ/s16000/COVER.jpg" /></a></div><p></p><div style="text-align: center;"><b><span style="font-size: x-large;">Music For Listening, the sophomore album by Michael Scott Dawson, arrives April 8 via We Are Busy Bodies</span></b></div><div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">The album is comprised of twelve ambient works for guitar. It follows his 2020 debut Nowhere, Middle Of which was built around generative synths. Not wanting to repeat himself, Dawson entirely abandoned the synthesizer, his primary instrument, on Music For Listening. The resulting guitar pieces lean heavily on tape loops and manipulations, and are accompanied by field recordings and spare piano elements. This music rests at the intersection of composition, improvisation, and chance, with patient and simple melodies emerging and recurring across the album like mantras.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Dawson’s inspiration grew from a phone call to his 95-year-old grandmother. As they talked, she shared observations about the birds outside her window, just as she’d done since he was a child. Upon hanging up the phone, he felt compelled to dig out recordings he’d made some summers before, while visiting family. These fragments were initially intended to be part of an album of prairie birdsong: he’d trekked through pastures and farmland on the outskirts of his childhood hometown to capture the audio. Field recordings in the truest sense.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Dawson abandoned this project because the raw audio was densely populated with the hiss and crackle of mosquitoes and insects swarming the microphones: but listening back, after that phone call and after many years, he was struck by the similarities between these recordings and the music he would come to compose. While the audio played, he found himself compelled to pick up a guitar and tinker along. Dawson’s commitment to the follow-up album he’d been deep into creating evaporated in that moment, and he switched course to begin crafting Music For Listening. </span></div><div><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">1. No Rave</span></div><div style="text-align: center;"><span style="font-size: x-large;">2. Campestral</span></div><div style="text-align: center;"><span style="font-size: x-large;">3. Witness Marks</span></div><div style="text-align: center;"><span style="font-size: x-large;">4. Summerfallow</span></div><div style="text-align: center;"><span style="font-size: x-large;">5. Places I've Loved, People I've Been</span></div><div style="text-align: center;"><span style="font-size: x-large;">6. This Young Century</span></div><div style="text-align: center;"><span style="font-size: x-large;">7. Two Solitudes</span></div><div style="text-align: center;"><span style="font-size: x-large;">8. Everything In Modulation</span></div><div style="text-align: center;"><span style="font-size: x-large;">9. Praise and Other</span></div><div style="text-align: center;"><span style="font-size: x-large;">10. Mineral Rights</span></div><div style="text-align: center;"><span style="font-size: x-large;">11. North Dakota Stars</span></div><div style="text-align: center;"><span style="font-size: x-large;">12. The Sentimentalist</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">Music For Listening was mastered by Taylor Deupree at 12K Mastering.</span></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><b><u><a href="https://michaelscottdawson.bandcamp.com/album/music-for-listening" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div></div><iframe style="border: 0; width: 100%; height: 42px;" src="https://bandcamp.com/EmbeddedPlayer/album=4140503185/size=small/bgcol=333333/linkcol=0f91ff/transparent=true/" seamless><a href="https://michaelscottdawson.bandcamp.com/album/music-for-listening">Music For Listening by Michael Scott Dawson</a></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-63527428137830798362022-04-08T13:18:00.000+02:002022-04-08T13:18:28.717+02:00Matt Gold - Midnight Choir (April 8, 2022 Ruination Record Co.)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://mattgoldmusic.bandcamp.com/album/midnight-choir" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPhh8a0J7Bhu_kMCtbdKgCg0Lqa_fDRSJxLQijEWku0LECz1-OeTu2EaNijvoqbB-Z41amfVpgf-Hor3w270v3xd2mc3G02Fo_f8NihUO45irZX_O-vXht-iFbQNsp4Amkh8Vtjg1PIcvA4Hnedv6bVvnFY66iiQVliWDwaGsbLwYpFG-SUT2NT6BAYw/s16000/COVER.jpg" /></a></div><p></p><div style="text-align: center;"><span style="font-size: x-large;">1. Coming Up Shy 03:18</span></div><div style="text-align: center;"><div><span style="font-size: x-large;">2. Remains</span></div><div><span style="font-size: x-large;">3. Wave Over Me</span></div><div><span style="font-size: x-large;">4. Midnight Choir</span></div><div><span style="font-size: x-large;">5. 190 Proof</span></div><div><span style="font-size: x-large;">6. Sing Us Till Dawn</span></div><div><span style="font-size: x-large;">7. One Half is True</span></div><div><span style="font-size: x-large;">8. Hazel, Friend of Mine</span></div><div><span style="font-size: x-large;">9. On Our Way Out</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Matt Gold - voice, acoustic and electric guitars, electric bass, synth bass, wurlitzer electric piano, harmonium, mellotron, synthesizer, drum machine, percussion</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">JT Bates - drums (1, 3, 4)</span></div><div><span style="font-size: x-large;">Anabel Hirano - voice (6)</span></div><div><span style="font-size: x-large;">Bryan Doherty - electric bass (1)</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Recorded by Matt Gold at Catfish Recording (Chicago, IL)</span></div><div><span style="font-size: x-large;">Mixed by Steve Shirk at Shirk Studios (Chicago, IL)</span></div><div><span style="font-size: x-large;">Mastered by Dave Cooley at Elysian Masters (Los Angeles, CA)</span></div><div><span style="font-size: x-large;">Drums on tracks 1, 3, 4 recorded by JT Bates at Salon Studio (St. Paul, MN)</span></div><div><span style="font-size: x-large;">Artwork and layout by Marine Tempels Black</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">All music and words by Matt Gold (ASCAP)</span></div><div><span style="font-size: x-large;">except "Hazel, Friend of Mine" - music by Matt Gold, words by Bryan Doherty (ASCAP)</span></div><div><u><span style="font-size: x-large;"><br /></span></u></div><div><b><u><a href="https://mattgoldmusic.bandcamp.com/album/midnight-choir" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div></div><iframe style="border: 0; width: 100%; height: 42px;" src="https://bandcamp.com/EmbeddedPlayer/album=330484419/size=small/bgcol=333333/linkcol=0f91ff/transparent=true/" seamless><a href="https://mattgoldmusic.bandcamp.com/album/midnight-choir">Midnight Choir by Matt Gold</a></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-58741251626325043782022-04-08T13:15:00.000+02:002022-04-08T13:15:26.945+02:00Curt Sydnor - Heaven is Begun (April 8, 2022 passerine records)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://sydnor.bandcamp.com/album/heaven-is-begun" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEhHly3253a1lLARWvl5nErTuTt52RecetGb-1ZXyPaFF1jbTGtGuzfm3jwlsGxdKa0-tLo8sKqTVVn4_CfUEZ_56gg82goLFMcWi4CNn1u69vf_iQAX1ta2KSR2ZqDPp-iFsxIhK9f7jNvTgXv2dqU4YUaBpr8Wbzk18KKXc46lCFGmdhDlKCP8mYnLaQ=s16000" /></a></div><p></p><div style="text-align: center;"><span style="font-size: x-large;">“Heaven is Begun” is an unconventional foray into the borderlands that separate gospel & secular songcraft. The lyrics speak to themes of doubt, death, and unknowability. The musical arrangements feature the masterful vocalist Laura Ann Singh backed by an avant-jazz rhythm section, operating fearlessly within Sydnor’s own traditional-experimental song structures. Proudly grandiose in its attempts to meld the mundane with the weird, “Heaven Is Begun” slips musical, lyrical, and metaphorical subversion into familiar source material.</span></div><div style="text-align: center;"><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">1. Battle Hymn of the Republic</span></div><div><span style="font-size: x-large;">2. Not Even Past</span></div><div><span style="font-size: x-large;">3. Nature Strives for Beauty</span></div><div><span style="font-size: x-large;">4. Old Rugged Cross</span></div><div><span style="font-size: x-large;">5. Heavenwards</span></div><div><span style="font-size: x-large;">6. Beyond the Sunset</span></div><div><span style="font-size: x-large;">7. Adagietto</span></div><div><span style="font-size: x-large;">8. Covered in Clover</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Curt Sydnor - keys, vocals</span></div><div><span style="font-size: x-large;">Laura Ann Singh - vocals</span></div><div><span style="font-size: x-large;">Scott Clark - drums</span></div><div><span style="font-size: x-large;">Adam Hopkins - bass</span></div><div><span style="font-size: x-large;">Ryan Seaton - orchestrations</span></div><div><span style="font-size: x-large;">Aaron Dugan- guitar on "Nature Strives for Beauty"</span></div><div><span style="font-size: x-large;">Alan Good Parker- lap steel on "Heavenwards"</span></div><div><span style="font-size: x-large;">Gary Kalar - guitar on "Covered in Clover"</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Recorded and mixed by Lance Koehler</span></div><div><span style="font-size: x-large;">Mastered by Sarah Register</span></div><div><span style="font-size: x-large;">Album layout and design by Darryl Norsen</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">All songs by Curt Sydnor except:</span></div><div><span style="font-size: x-large;">"Battle Hymn of the Republic" (Howe/anon)</span></div><div><span style="font-size: x-large;">"Old Rugged Cross" (Bennard)</span></div><div><span style="font-size: x-large;">"Beyond The Sunset" (Brock/Rowswell)</span></div><div><span style="font-size: x-large;">"Adagietto" (Mahler)</span></div><div><span style="font-size: x-large;"><br /></span></div><div><b><u><a href="https://sydnor.bandcamp.com/album/heaven-is-begun" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div></div><iframe style="border: 0; width: 100%; height: 42px;" src="https://bandcamp.com/EmbeddedPlayer/album=1001926578/size=small/bgcol=333333/linkcol=0f91ff/transparent=true/" seamless><a href="https://sydnor.bandcamp.com/album/heaven-is-begun">Heaven is Begun by Curt Sydnor</a></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-29271415388686885832022-04-08T13:14:00.000+02:002022-04-08T13:14:32.692+02:00Michelle Willis - Just One Voice (April 8, 2022 GROUNDUP MUSIC)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://groundupmusic.net/artists/michellewillis#!#justonevoice" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEjhFilOSLoi7K862Ng65fD5AlLhuvIqUH1hiubrHJL4B8tqafVa9m70JQxjAdqt0HZmOM5XBNXeLOKCaT7DF4Qk8MCYzPC4Mxc73uj34D4Rov7aytRnmArit9LQP9UWoKKjD3z1ZQlrGlUCyEc2X4naJI02VfcaFXaeV2xvazwOhEMFXUYBtaX416a7SA=s16000" /></a></div><p></p><div style="text-align: center;"><b><span style="font-size: x-large;"><u><a href="https://www.michellewillis.ca/" target="_blank">MICHELLE WILLIS</a></u> TO RELEASE NEW ALBUM ‘JUST ONE VOICE’</span></b></div><div><div style="text-align: center;"><b><span style="font-size: x-large;">FEATURING</span></b></div><div style="text-align: center;"><b><span style="font-size: x-large;">DAVID CROSBY, MICHAEL MCDONALD, BECCA STEVENS AND MORE</span></b></div><div style="text-align: center;"><b><span style="font-size: x-large;"><br /></span></b></div><div style="text-align: center;"><b><span style="font-size: x-large;">RELEASED APRIL 8 VIA <u><a href="https://groundupmusic.net/artists/michellewillis#!#justonevoice" target="_blank">GROUNDUP MUSIC</a></u></span></b></div></div><div><span style="font-size: x-large;"><br /></span></div><div><div><span style="font-size: x-large;">Singer, songwriter and keyboard player Michelle Willis’ is to release her second album, Just One Voice on April 8 2022 via GroundUP Music. In celebration of the upcoming release the, first single “Green Grey” has been shared on YouTube<b><u><a href="https://www.youtube.com/watch?v=h9R4_-u7kwI" target="_blank"> HERE</a></u></b>. The album, produced with Fab Dupont (Andre 3000, Gregory Porter) features guest performances by David Crosby, Michael McDonald, Grégoire Maret, Becca Stevens and Taylor Ashton. </span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Just One Voice was written during the intensity of non-stop travel, penned from the cramped seats of buses, planes and countless green rooms. One night, out on the open road, Willis played the title track for Crosby, her mentor and bandmate, who urged, “No one else sounds like this. This is you. You have to make this record.” Shortly thereafter she was able to secure a prestigious grant from the Canada Council for the Arts which set the recording process in motion.</span></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://www.michellewillis.ca/" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEgATEJx0M4t0gE5hsJc3Bq0g9EzsAjbu21LVvi7JP8PZCgOQd9AclsJScNGhbfyekuYPnv0Pho3a082QT2nMx1ITW8og6fdaX_5qZBou3Lb5dE9_Ku_-wkl6tch-itrzfOqa1jN-MkInoamcwebZm-nAZ3C_3OiOQ_xzC0TjVsZq-qzcQ0abVUIj0070g=s16000" /></a></div><div><span style="font-size: x-large;">“This song is meant to be playful, fun and flirtatious, in the (sort of?) innocent first moments of attraction,” Willis says of ‘Green Grey.’ “I spent a few years following the trope of being a young, fun escape to other people’s sadness. That got old, and thankfully so did I. I originally heard this as a combo of Bonnie Raitt’s ‘Something To Talk About’ but with the energy of Simon & Garfunkel’s ‘Cecilia.’”</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Of the rest of the tracklisting on Just One Voice, Willis notes, “I originally thought these songs were going to be about ‘being strong alone’ and all this ‘ra ra I can do it by myself’-ness, but in the end, looking at the lyrics I realized they were about the process of getting there, how there’s all sorts of ugly feelings to sort through once we're on our own that I needed to look at. I do feel stronger and wider for acknowledging them now, but hoo boy, can they be uncomfortable to look at.”</span></div><div><span style="font-size: x-large;"><br /></span></div><div><div style="text-align: center;"><b><span style="font-size: x-large;">New Single: Green Grey</span></b></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><b><u><a href="https://orcd.co/mwgreengrey" target="_blank"><span style="font-size: x-large;">Available now worldwide</span></a></u></b></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Michelle Willis is a Canadian singer-songwriter and keyboard player based in Brooklyn. A Toronto native, she moved to New York in 2016 with few prospects save for a monthly residency at Rockwood Music Hall. Within months she was touring in two bands led by David Crosby (David Crosby & Sky Trails and David Crosby & Lighthouse), another by pop/jazz composer Becca Stevens, and opening for jazz/funk collective Snarky Puppy across the globe. Willis has cemented her place as an in-demand keyboard player and singer, touring and recording with a diverse array of artists such as the aforementioned Crosby and Stevens as well as the Zac Brown Band, Iggy Pop, Laura Mvula and Michael McDonald. Just Once Voice follows her debut record, 2016’s See Us Through.</span></div></div><div><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><b><u><span style="font-size: x-large;">Just One Voice</span></u></b></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><div><span style="font-size: x-large;">1. 10ths 03:47</span></div><div><span style="font-size: x-large;">2. Liberty 04:42</span></div><div><span style="font-size: x-large;">3. Just One Voice 04:37</span></div><div><span style="font-size: x-large;">4. Green Grey 03:00</span></div><div><span style="font-size: x-large;">5. Trigger (feat. Taylor Ashton) 04:02</span></div><div><span style="font-size: x-large;">6. Janet 03:24</span></div><div><span style="font-size: x-large;">7. How Come (feat. Michael McDonald) 04:28</span></div><div><span style="font-size: x-large;">8. Think Well 03:33</span></div><div><span style="font-size: x-large;">9. 'Til the Weight Lifts (feat. Grégoire Maret) 04:13</span></div><div><span style="font-size: x-large;">10. On & On 04:23</span></div><div><span style="font-size: x-large;">11. Black Night (feat. Becca Stevens) 05:09</span></div><div><span style="font-size: x-large;"><br /></span></div><div><u><b><a href="https://groundupmusic.net/artists/michellewillis#!#justonevoice" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></b></u></div><div><u><span style="font-size: x-large;"><br /></span></u></div><div><b><u><a href="https://publictheater.org/productions/joes-pub/2022/m/michelle-willis/" target="_blank"><span style="font-size: x-large;">Release Show</span></a></u></b></div><div class="separator" style="clear: both; text-align: center;"><a href="https://publictheater.org/productions/joes-pub/2022/m/michelle-willis/" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1250" data-original-width="1000" height="640" src="https://blogger.googleusercontent.com/img/a/AVvXsEjhDALcMXcZvej1LnkXvLPXybyF4DS0G3dMYFH1vGA-VI9dMj7IwDeUnOV-XrYM3kFbfTQGjC5qSCrzla7wYCbzvk38uyaoAyuvxyNsvh0TTfxdM4MVR2DoJDxFR0L7Dsz84xzK6blfxfZJtm3bFjus7SGQH63us2kPbzjJb_Osv0quZuD4-yo2jTFKgw=w512-h640" width="512" /></a></div><div><span style="font-size: x-large;">New York, come celebrate! One week before the worldwide digital release, Michelle and her band perform JUST ONE VOICE live at Joe's Pub with special guests TBA. A very special night indeed. <b><u><a href="https://publictheater.org/productions/joes-pub/2022/m/michelle-willis/" target="_blank">Buy Tickets Here</a></u></b>. Band listed below. It's HAPPENING!</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Michelle Willis: keys, vox</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Louis Cato: drums/percussion/vocal</span></div><div><span style="font-size: x-large;">David Cutler: bass</span></div><div><span style="font-size: x-large;">Christian Almiron: keys</span></div><div><span style="font-size: x-large;">Julia Easterlin: bg vox</span></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="450" src="https://www.youtube.com/embed/h9R4_-u7kwI" width="1000" youtube-src-id="h9R4_-u7kwI"></iframe></div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-75924213992718642272022-04-08T13:13:00.000+02:002022-04-08T13:13:37.813+02:00Alan Braufman announces 1975 live album (April 8, 2022 Valley of Search)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://alanbraufman.bandcamp.com/" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEgNSKkcibnNZj1VZLuywpCLVRptl9y4_10vXsGkRPafilzQKUOqDRmRwaeSYW18244o3jYeqfjdJ-2wGX4p2AeQPxx3F-cuKtNjb6iQ85Ji0yaWM8FWoTxzZe3nsdKLSVdYuJebiCNqh3dFUCs0sI783gOL0FizdDVF_xs7OkNN6ttlwL55mnES7IGrZQ=s16000" /></a></div><p></p><div style="text-align: center;"><b><span style="font-size: x-large;">ALAN BRAUFMAN ANNOUNCES NEW LIVE ALBUM FROM 1975</span></b></div><div style="text-align: center;"><div><b><span style="font-size: x-large;"><br /></span></b></div><div><b><span style="font-size: x-large;">Live in New York City, February 8, 1975</span></b></div><div><b><span style="font-size: x-large;">VINYL / CD / DIGITAL <u><a href="https://alanbraufman.bandcamp.com/" target="_blank">PRE-ORDER</a></u></span></b></div><div><b><span style="font-size: x-large;"><br /></span></b></div><div><b><span style="font-size: x-large;">HEAR "CHANT" NOW</span></b></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="450" src="https://www.youtube.com/embed/oDwNUHeDC9E" width="1000" youtube-src-id="oDwNUHeDC9E"></iframe></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both;"><span style="font-size: x-large;">Today, <b><span style="color: #fcff01;">Alan Braufman</span></b> announces a new live album due on <b><span style="color: #fcff01;">April 8, 2022</span></b>. <b><i><span style="color: #fcff01;">Live in New York City, February 8, 1975</span></i></b> is the recently unearthed recording of Braufman with his five-piece band, <b><span style="color: #fcff01;">Cooper-Moore</span></b> (piano, ashimba, recitation), <b><span style="color: #fcff01;">William Parker</span></b> (bass), <b><span style="color: #fcff01;">John Clark</span></b> (French horn), <b><span style="color: #fcff01;">Jim Schapperow</span></b> (drums) and <b><span style="color: #fcff01;">Ralph Williams</span></b> (percussion), in an early 1975 live radio session. Coupled with the album's announcement, Braufman shares the live version of his song "Chant" from Live in New York City album.</span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;">The 94-minute performance is spread over 5 album sides on 3 LPs and 2 CDs. Newly mastered with new liner notes by the host Susan Mannheimer. Live in New York City, February 8, 1975 will be available on vinyl, CD and to stream on April 8th via Valley of Search.</span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;">Live in New York City, February 8, 1975 was recorded soon after the recording of Braufman's debut album Valley of Search for the India Navigation Label and marks the first meeting for William Parker and Cooper-Moore, whose musical partnership has flourished ever since. Live in New York City arrives after 2020's reissue of The Fire Still Burns, the second album released under Alan's own name following 1975's Valley of Search.</span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;">Alan Braufman is an instrumental figure in New York City downtown culture. Born in Brooklyn, after studying at Berklee College of Music he moved to a vacant building at 501 Canal Street in Manhattan alongside several other musicians. Monthly rent at the time was $140 for a floor, and the space was transformed into a practice space and venue. This gritty, improvised set up in downtown Manhattan would blaze a trail for generations of creatives and set a do-it-yourself tradition for young jazz acts in the city that is followed to this day. During this period Alan recorded Valley of Search at 501 Canal Street, and released it with the label India Navigation. The album is a perfect snapshot of the energy and creativity of its era, and would come to achieve cult status. It was highly sought after by vinyl collectors, and in 2018 Alan reissued Valley of Search.</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://alanbraufman.bandcamp.com/" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEh0LuNQ_dtV26nLpCSwYGJAPKLt4ZgqPBm7_kDWk8fVLSr21On3AsoIMx7N2ZbcOAIAX-XKftuKo0RES8MGU5IiDYoUyLsaOBT6WED7V80VWYSHTLT043ZExe8vgSJ9GQPjE4OuwLda3Qx81J1WaqCg65iwm4ArJ7q5Y5c9GkXkutOdCt0iUwSlIsiSzA=s16000" /></a></div><div style="text-align: center;"><span style="font-size: large;"><b><i>Live in New York City, February 8, 1975 vinyl</i></b></span></div><div style="text-align: center;"><br /></div><div style="text-align: center;"><div><b><span style="font-size: x-large;">Alan Braufman</span></b></div><div><b><span style="font-size: x-large;">Live in New York City, February 8, 1975</span></b></div><div><b><span style="color: red; font-size: x-large;">Valley of Search</span></b></div><div><b><u><a href="https://alanbraufman.bandcamp.com/" target="_blank"><span style="font-size: x-large;">April 8, 2022</span></a></u></b></div></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: left;"><div class="separator" style="clear: both;"><b><span style="font-size: x-large;">About Alan Braufman:</span></b></div><div class="separator" style="clear: both;"><span style="font-size: x-large;">What we know of Downtown New York comes from the countercultural and creative flowering that emerged in lower Manhattan in the 1960s, attributable to cheap live-work spaces called lofts. These were often abandoned and disused small manufacturing spaces and they became a nexus for artistic practice and life. From a jazz perspective, lofts were alternatives to the club scene, and they gained notoriety in the 1970s. Places like Studio We, Studio Rivbea, The Ladies' Fort, Ali's Alley, and Environ became central in the development of the new music. But even the underground had an underground, and the happenings at 501 Canal Street on the West Side were a point of activity in which a small but dedicated number of people took part. In 1973 a cadre of free improvising musicians relocated from Boston to lower Manhattan: pianist Gene Ashton (now known as Cooper-Moore), bassist Chris Amberger, and saxophonists David S. Ware and Alan Braufman.</span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;">All had studied at Berklee College of Music, though they stood apart from most collegiate musicians. Ashton secured the building at 501 and the rent for the each of the four usable floors was $140 a month. The first floor became a performance space, while Ware and Braufman took the front and back of the second floor, respectively. Ashton was on the third floor with his young family, and Amberger was on the fourth. Later, drummer Tom Bruno and his partner, vocalist Ellen Christi would take Amberger's spot. Along with bassist David Saphra and drummer Ralph Williams, the Braufman-Ashton unit became the house band, rehearsing regularly and performing in the storefront.</span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;">Braufman was born in 1951 in Brooklyn and raised on Long Island, moving to Boston to attend Berklee in 1968. In his own words, he "started playing clarinet at eight; my mom was deeply into the music, so she would play Mingus, Eric Dolphy and Coltrane. It grabbed me - there was something exciting about it that I didn't hear in other music, so no matter what I was going to be a musician. When I was thirteen I got my first saxophone. I had a teacher who could teach me how to play but not how to improvise (which is what I wanted to do) so I had to figure it out. I didn't know changes, but I could pick out the patterns that were happening in free music and I could figure out what to do. I would teach myself patterns and scales, figure out some harmonics - I was self-taught until I got to Berklee."</span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;">Braufman's sound - "Alan had a huge sound on alto and voice that was his, and that was rare in a town where you had lots of young players coming up" (Cooper-Moore) - was immediately appealing and rooted in such forebears as Jackie McLean. In Boston, he made other connections, including drummer David Lee Jr.'s wife-to-be who ran the coat check at the Jazz Workshop. The saxophonist parlayed that into working lights at the venue and, more importantly, a friendship with Lee that resulted in the percussionist's place on this album. Braufman also sat in at the Jazz Workshop, which is how he met future mentor and collaborator Cecil McBee, whose partner Lucia, an artist, was also living in Boston - in this case, on the bandstand when the bassist was coming through town with Pharoah Sanders. Braufman later played on McBee's debut Strata-East LP Mutima, recorded in New York in May of 1974 and a precursor to the bassist's role in Valley of Search.</span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://alanbraufman.bandcamp.com/" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1200" data-original-width="800" src="https://blogger.googleusercontent.com/img/a/AVvXsEhKYiBxqhoDERfkEN1wJ_oitM8Qn5PwNbe0lB-1-UfcW9S_D9n8E1hKjmvOp7ElyTHr6uzq7g0hGAdvB3F0naExqgc7Y6M4us23_yeVkokmidKLduP1ppopbKIUh0GDORbO1DNTF8n1QLXG9A9ksozZrWwk9aqu_p1MQmjXdGzsMRMzYLJyPyJwkwP6nw=s16000" /></a></div><div class="separator" style="clear: both;"><span style="font-size: x-large;">As Cooper-Moore tells it, "when we moved to 501 Canal Street... that's when I got to really play with Alan. When we started putting on concerts, we used the same musicians but [depending on the day it] would be either his band or my band. It was around that time Cecil Taylor did a concert at Carnegie Hall with his orchestra, and Gary Giddins, who was writing for the Voice, wrote very badly about David S. Ware. Tom Bruno was living at Canal Street then, along with Ellen Christi. Philip Polumbo, a bass player and painter, was living on the top floor, and they were all working at the Village Voice. Tom said, you know, 'we gonna get back at this guy Gary Giddins,' so they mimeographed these posters, little sheets about how Gary was an idiot and he couldn't hear, he really didn't know the music and he should come down to Canal Street sometime and hear what's going on there. So one week when it was Alan's band, Giddins showed up and reviewed us, and we got good press. He thought that the space was loud but the headline read 'Taking Chances at 501 Canal' and then people started coming." The article, in the June 13, 1974 issue of the Voice, discusses the music as it relates to figures like Taylor and Don Cherry, and notes the programs' "kaleidoscopic densities" and that Ashton and Braufman's linkage is what pushes the music forward.</span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;">Valley of Search is a document of the music at 501 Canal, but it's also a document of relationships - people who lived or worked together and were humanly close. Braufman met Bob Cummins, the founder of India Navigation Company, at a party at McBee's apartment in Harlem. The label had just been conceived, and Braufman would be its second artist. McBee, Lee, and Williams were obvious foils for their place in the saxophonist's work and life, the latter providing a bevy of instruments that he would later apply to work with trumpeter Wadada Leo Smith. In late 1974, Cummins set up microphones in the building's storefront, documenting two short sets by the band with no alternate takes or additional cuts.</span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;">Invoking with a dulcimer and bowed bass drone undergirded by flits of percussion, Ashton chants the Bahá'í prayer "God sufficeth all things above all things, and nothing in the heavens or in the earth but God sufficeth, verily he is in himself the knower, the sustainer, the omnipotent. God sufficeth all things above all things..." granting the music's higher search a stirring, declaratory shout amid mountain strings. Soon, liquid alto keen, harried screams, and rhapsodic piano chunks edge a dense fracas toward the sharp, sinewy groove and foamy crests of the following movement. One would imagine that the music on this recording reflects the overall feel at 501; the compositions are among those that were in their book at the time, fleshed out with a powerful array of percussion, whistles, and cries, McBee's bass steadily thrumming and in counterpoint to burred, throaty alto and briskly twined piano.</span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;">When Bruno and Christi moved from the fourth floor down to the first, that was the end of performances as they had been at 501 Canal; Ashton relocated to his home state of Virginia soon after, before returning to New York in 1985 as Cooper-Moore. Braufman would go on to work with drummer William Hooker and his own more commercially-leaning groups (as Alan Michael) before relocating to Salt Lake City, where he resides today. Valley of Search has enjoyed a cult status among followers of this music, and it captures a unique and very alive historical slice of New York's creative improvised underground.</span></div><div class="separator" style="clear: both;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">1. Announcements</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">2. Rainbow Warriors</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">3. Ark of Salvation</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">4. Little Nabil's March</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">5. Destiny</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">6. Ashimba</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">7. Chant</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">8. Thankfulness</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">9. Love Is For Real</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">10. Forshadow</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">11. Announcements 2</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">12. Emancipation (Cooper-Moore)</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">13. Tree Of Life</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">14. Bright Evenings</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">15. The Muse</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">16. A Tear And A Smile</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">17. O Nosso Amour</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">18. Sunrise</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">Alan Braufman - Alto saxophone, Flute</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">Cooper-Moore - Piano, ashimba, recitation</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">William Parker - Bass</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">John Clark - French horn</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">Jim Schapperoew - Drums</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">Ralph Williams - Percussion</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">Susan Mannheimer - Host</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">Recorded live at WBAI Studio C, New York February 8, 1975</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">Mastered by Joe Lambert</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;">Art by Mike Zimmerman</span></div><div class="separator" style="clear: both; text-align: center;"><span style="font-size: x-large;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><b><u><a href="https://alanbraufman.bandcamp.com/" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="450" src="https://www.youtube.com/embed/P-FYyaggrOM" width="1000" youtube-src-id="P-FYyaggrOM"></iframe></div></div></div></div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-85403366976049477302022-04-08T13:12:00.000+02:002022-04-08T13:12:19.235+02:00Lionel Pillay (feat. Basil Mannenberg Coetzee) - Shrimp Boats (April 8, 2022 We Are Busy Bodies)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://as-shams-busy-bodies.bandcamp.com/album/shrimp-boats" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEgEuE_FPNJm-LqQhLDQKs4pigBhERzG7mKt-tBzBhipKyR77dUwe12Jw50RsQ88d6_Z8e1CkZYmjCIRtL8YVr58p_8sXTM-OAjkguXluamY0fkRA0mRjSbJNoO-tf4t4M4FEQ9mJ3ZQ-XQcDRgwId7OT27lubskulB-drvR1ursG_mnGlYaLLP9x_ZYog=s16000" /></a></div><p></p><div><span style="font-size: x-large;">Assembling unreleased recordings from 1979 and 1980, Shrimp Boats is a South African jazz archival compilation from 1987 built around its epic side-long title track featuring saxophonist Basil "Mannenberg" Coetzee. The recording was made during pianist Lionel Pillay's November 1979 session with Coetzee for the As-Shams/The Sun album Plum and Cherry. Side Two is composed of material recorded in September 1980 from the session for Lionel Pillay's Deeper in Black album. The 1951 pop standard "Shrimp Boats" was first given its unlikely jazz arrangement by Abdullah Ibrahim (recording as Dollar Brand) in 1971.</span></div><div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Pillay and Coetzee take this seed of an arrangement to its furthest reaches with their mesmerising performance. Although the title track casts a big shadow, Pillay's "Slow Blues for Orial" is a welcome original composition on the flip side that stands proudly next to a rare 1970s cover of Winston "Mankunku" Ngozi's "Yakhal 'Inkomo" (Pillay was the pianist on Mankunku's original 1968 recording) featuring saxophonists Barney Rachabane and Duke Makasi. The set closes with a nod to the contemporaneous jazz fusion scene with a take on Weather Report's "Birdland" from 1977.</span></div><div><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">1. Shrimp Boats 25:07</span></div><div style="text-align: center;"><span style="font-size: x-large;">2. Slow Blues For Orial 07:31</span></div><div style="text-align: center;"><span style="font-size: x-large;">3. Yakhal'Inkomo 09:06</span></div><div style="text-align: center;"><span style="font-size: x-large;">4. Birdland 05:50</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><b><u><span style="font-size: x-large;">Personnel on Track 1:</span></u></b></div><div style="text-align: center;"><span style="font-size: x-large;">Lionel Pillay - Piano</span></div><div style="text-align: center;"><span style="font-size: x-large;">Basil Coetzee - Tenor Sax</span></div><div style="text-align: center;"><span style="font-size: x-large;">Stompie Manana - Trumpet</span></div><div style="text-align: center;"><span style="font-size: x-large;">Charles Johnstone - Bass</span></div><div style="text-align: center;"><span style="font-size: x-large;">Rod Clark - Drums</span></div><div style="text-align: center;"><span style="font-size: x-large;">- Recorded 12 November 1979</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><b><u><span style="font-size: x-large;">Personnel on Tracks 2, 3, 4:</span></u></b></div><div style="text-align: center;"><span style="font-size: x-large;">Lionel Pillay - Piano</span></div><div style="text-align: center;"><span style="font-size: x-large;">Barney Rachabane - Alto Sax</span></div><div style="text-align: center;"><span style="font-size: x-large;">Duku Makasi - Tenor Sax</span></div><div style="text-align: center;"><span style="font-size: x-large;">Sipho Gumede - Bass</span></div><div style="text-align: center;"><span style="font-size: x-large;">Gilbert Mathews - Drums</span></div><div style="text-align: center;"><span style="font-size: x-large;">- Recorded 29 September 1980</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">Produced by Rashid Vally</span></div><div style="text-align: center;"><span style="font-size: x-large;">Cat. No. MANDLA 001</span></div><div style="text-align: center;"><span style="font-size: x-large;">Original Release 1987</span></div><div style="text-align: center;"><span style="font-size: x-large;">We Are Busy Bodies Reissue 2022</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><b><u><a href="https://as-shams-busy-bodies.bandcamp.com/album/shrimp-boats" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div></div><iframe style="border: 0; width: 100%; height: 42px;" src="https://bandcamp.com/EmbeddedPlayer/album=3895439709/size=small/bgcol=333333/linkcol=0f91ff/transparent=true/" seamless><a href="https://as-shams-busy-bodies.bandcamp.com/album/shrimp-boats">Shrimp Boats by Lionel Pillay feat. Basil Mannenberg Coetzee</a></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-61972701903902862212022-04-08T13:11:00.000+02:002022-04-08T13:11:33.661+02:00Jane Ira Bloom / Mark Helias - See Our Way (April 2022)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://markhelias.bandcamp.com/album/see-our-way" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBb1k4NxPs1nqFpiZLr8dFkkzP-kZnpIKkzInyPd2Q9BXi7FQ4BVq1I-tS_osOd3HRBGy66nGdRjFqgoXiDmtx9R0bUghFU9_-hxp_NJ3VgWReCuW1KWwoLQijh9LNJ9NBEVBHBcdSywQ6lyknZ3dsK-U_mlbuTBL-QEVxS0C1Nl1zw0_p-QoeDbpDSA/s16000/COVER.jpg" /></a></div><p></p><div style="text-align: center;"><span style="font-size: x-large;">This music was recorded in multiple sessions over several months in 2021-22. It was done at Chateau Beyond Studio in upstate NY. The mixing and mastering was completed at Radio Legs Music in NYC. The pieces were collaboratively improvised and we allowed ourselves the freedom to just be with the music and create the sound as the moment moved us. It comes on the heels of our first duo release “Some Kind of Tomorrow” in 2020. It’s hard to put into words how extraordinary it feels to collaborate with a musician who you can coax composition out of the air with. It’s exhilarating, it’s dangerous, it’s like jumping off the high board and it’s our way.</span></div><div style="text-align: center;"><div><span style="font-size: x-large;"><br /></span></div><div><b><span style="font-size: x-large;">See Our Way</span></b></div><div><span style="font-size: x-large;"><br /></span></div><div><b><span style="font-size: x-large;">Multiverse 1</span></b></div><div><span style="font-size: x-large;">See Our Way 4:35</span></div><div><span style="font-size: x-large;">Cut to the Chase 4:13</span></div><div><span style="font-size: x-large;">Laser Plane 4:28</span></div><div><span style="font-size: x-large;">Detectives 2:59</span></div><div><span style="font-size: x-large;">As Close As It Gets 3:26</span></div><div><span style="font-size: x-large;"><br /></span></div><div><b><span style="font-size: x-large;">Multiverse 2</span></b></div><div><span style="font-size: x-large;">Perfect Memory 2:59</span></div><div><span style="font-size: x-large;">Hard Science 4:55</span></div><div><span style="font-size: x-large;">Imaginary Fences 3:48</span></div><div><span style="font-size: x-large;">Folks Sing 5:38</span></div><div><span style="font-size: x-large;">Hold the Wire 3:25</span></div><div><span style="font-size: x-large;"><br /></span></div><div><b><span style="font-size: x-large;">Multiverse 3</span></b></div><div><span style="font-size: x-large;">Time Shear 6:25</span></div><div><span style="font-size: x-large;">Quelle 2:43</span></div><div><span style="font-size: x-large;">Second Hand Lonely 6:27</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Mark Helias Radio Legs Music /BMI</span></div><div><span style="font-size: x-large;">Jane Ira Bloom Outline Music/ BMI</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Recorded by Mark Helias & Jane Ira Bloom</span></div><div><span style="font-size: x-large;">Mixed & mastered by Mark Helias</span></div><div><span style="font-size: x-large;">Joseph Helias – Audio Consultant</span></div><div><span style="font-size: x-large;">Cover Artwork “Street Lamps” by Ching Ho Cheng</span></div><div><span style="font-size: x-large;">© 2022 Estate of Ching Ho Cheng/Artists Rights Society (ARS), New York</span></div><div><span style="font-size: x-large;">Cover Design by Christopher Drukker</span></div><div><span style="font-size: x-large;"><br /></span></div><div><b><u><a href="https://markhelias.bandcamp.com/album/see-our-way" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div></div><iframe style="border: 0; width: 100%; height: 42px;" src="https://bandcamp.com/EmbeddedPlayer/album=794942793/size=small/bgcol=333333/linkcol=0f91ff/transparent=true/" seamless><a href="https://markhelias.bandcamp.com/album/see-our-way">See Our Way by Jane Ira Bloom/Mark Helias</a></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-15999468097809901432022-04-08T13:10:00.001+02:002022-04-08T13:10:51.408+02:00Florian Arbenz / Joāo Barradas / Tineke Postma / Rafael Jerjen - Conversation Elemental #5 (April 29, 2022)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://florianarbenz.bandcamp.com/album/conversation-5-elemental" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTDGdHOP8zpXiDly0Ii9Ra71RpinxYF8k3Q_Z41vi0wN8s-75XXgNedfZGK_gwwzZDmuvkEn7Qr7CZr8Zq99SrtaCHc2vFuW4GTOVdAQgATUHxuuOfyuSgJVAGplRKWxir3JDXg81OS1hyV7j62_OrdQtXVccRCezjTpioJD2bHVhk4L4Rhzkmp8ODuQ/s16000/COVER.jpg" /></a></div><p></p><div><span style="font-size: x-large;">For the fifth installment of his ambition Conversations project, award-winning Swiss drummer Florian Arbenz presents the album Elemental (29th April) with Dutch saxophonist Tineke Postma, Portuguese Accordion virtuoso Joāo Barradas and Swiss-Australian Rafael Jerjen on bass .</span></div><div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Arbenz’s choices for Conversation #5 were selected for their unmistakably unique voices on their respective instruments. Arbenz himself says, “it doesn't happen so often that I immediately get captured by a musician by just hearing him/her on a record. And I think this is a big link for me to Tineke, Joāo and Rafael.”</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">An improvised exploration of the realm between jazz and classical chamber music, the ensemble’s sophisticated and open-minded sound is equally comfortable in either world. Strikingly vast in texture and feeling, the ensemble shifts rapidly between tight, syncopated grooves, flurries of virtuosic saxophone playing, passages melancholic openness, and powerfully dense accordion harmonies.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">With a slew of awards and world-class collaborations under their belts, the ensemble’s collective international reputation cannot be understated.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">From Postma’s appearances on two Grammy winning albums and Downbeat Magazine’s Rising Star for soprano saxophone award, Barradas winning the World Accordion Trophy (twice!), Jerjen’s National Emerging Jazz Composers Prize and Arbenz’s European Award for Culture, each member of the quartet is a powerhouse in their own right. </span></div><div><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">1. Sin Tar-Danza</span></div><div style="text-align: center;"><span style="font-size: x-large;">2. Small Talk</span></div><div style="text-align: center;"><span style="font-size: x-large;">3. Reverie</span></div><div style="text-align: center;"><span style="font-size: x-large;">4. Waking With a Start</span></div><div style="text-align: center;"><span style="font-size: x-large;">5. Luna Volver</span></div><div style="text-align: center;"><span style="font-size: x-large;">6. Shooting The Breeze</span></div><div style="text-align: center;"><span style="font-size: x-large;">7. The Passage of Light</span></div><div style="text-align: center;"><span style="font-size: x-large;">8. Prelude</span></div><div style="text-align: center;"><span style="font-size: x-large;">9. Freedom Jazz Fugue</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><b><u><a href="https://florianarbenz.bandcamp.com/album/conversation-5-elemental" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div></div><iframe style="border: 0; width: 100%; height: 42px;" src="https://bandcamp.com/EmbeddedPlayer/album=591656079/size=small/bgcol=333333/linkcol=0f91ff/transparent=true/" seamless><a href="https://florianarbenz.bandcamp.com/album/conversation-5-elemental">Conversation #5 - elemental by Florian Arbenz, Joāo Barradas, Tineke Postma, Rafael Jerjen</a></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-58166329498933071292022-04-01T11:04:00.000+02:002022-04-01T11:04:17.347+02:00Gerald Clayton - Bells On Sand (April 1, 2022 Blue Note)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://store.bluenote.com/collections/gerald-clayton/products/gerald-clayton-bells-on-sand" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEiIjCtTTKxolx7PvZBKTsZX2--c1KZAQx_gjBUbNo7jePcWaytSzwxF6lEuR-3QgXdHYRcwevkV_qXtlGLrP6dfGnbbKsJIw-aKB-7YnTuWnxA8gGko5dirhHlJbmFmNy7BOeaHsvA9mZH3OVQloqU6tv92A2VTaw-t9TgK66dwkZkjJt4BVk1YnH8VHg=s16000" /></a></div><p></p><div style="text-align: center;"><span style="font-size: x-large;">Pianist & composer <b><span style="color: #3d85c6;">Gerald Clayton</span></b> explores the impact and abstraction of time on his ravishing 2nd Blue Note album <b><i><span style="color: #3d85c6;">Bells On Sand</span></i></b>, which features contributions from mentor <b><span style="color: #3d85c6;">Charles Lloyd</span></b> on saxophone, father <b><span style="color: #3d85c6;">John Clayton</span></b> on bass, longtime friend and peer <b><span style="color: #3d85c6;">Justin Brown</span></b> on drums, and new collaborator <b><span style="color: #3d85c6;">MARO</span></b> on vocals. “Each musician on the record represents a different aspect of the axis of time and its shifting sands,” says <b><span style="color: #3d85c6;">Clayton</span></b>. “My father and <b><span style="color: #3d85c6;">Charles Lloyd</span></b>, who has been a mentor figure to me, reflect new permutations of my past, and the lineage of elders who have shaped my development; <b><span style="color: #3d85c6;">Justin Brown</span></b>, being my contemporary and musical brother, represents my present; and <b><span style="color: #3d85c6;">MARO</span></b> represents the future—she is part of the next generation, and points to a brand new collaboration.” The music includes new originals, pieces by Catalan composer <b><span style="color: #3d85c6;">Federico Mompou</span></b> and <b><span style="color: #3d85c6;">Gerald’s</span></b> uncle <b><span style="color: #3d85c6;">Jeff Clayton</span></b>, as well as two stunning solo piano versions of the standard “My Ideal.”</span></div><div style="text-align: center;"><div><span style="font-size: x-large;"><br /></span></div><div><b><span style="font-size: x-large;">If the digital album is purchased, you will receive the full album via email on April 1st, 2022.</span></b></div><div><b><span style="font-size: x-large;"><br /></span></b></div><div><b><span style="font-size: x-large;">Standard digital downloads are delivered as MP3 44.1khz/24-bit audio files.</span></b></div><div><b><span style="font-size: x-large;"><br /></span></b></div><div><b><span style="font-size: x-large;">Please note, digital downloads are only available in the U.S. </span></b></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">1. Water’s Edge feat. John Clayton & Justin Brown</span></div><div><span style="font-size: x-large;">2. Elegia feat. John Clayton</span></div><div><span style="font-size: x-large;">3. Damunt de tu Només les Flors feat. MARO, John Clayton & Justin Brown</span></div><div><span style="font-size: x-large;">4. My Ideal 1</span></div><div><span style="font-size: x-large;">5. That Roy feat. Justin Brown</span></div><div><span style="font-size: x-large;">6. Rip feat. Justin Brown</span></div><div><span style="font-size: x-large;">7. Just A Dream feat. MARO</span></div><div><span style="font-size: x-large;">8. My Ideal 2</span></div><div><span style="font-size: x-large;">9. Peace Invocation feat. Charles Lloyd</span></div><div><span style="font-size: x-large;">10. This Is Music Where You’re Going My Friends</span></div><div><span style="font-size: x-large;"><br /></span></div><div><b><u><a href="https://store.bluenote.com/collections/gerald-clayton/products/gerald-clayton-bells-on-sand" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div><div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="450" src="https://www.youtube.com/embed/t8f9O2jTlfo" width="1000" youtube-src-id="t8f9O2jTlfo"></iframe></div></div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-52760232042196202802022-04-01T11:03:00.000+02:002022-04-01T11:03:24.553+02:00Dave Douglas - Secular Psalms (April 1, 2022 Greenleaf Music)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://davedouglas.bandcamp.com/album/secular-psalms" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEiCNTE3-WJrc_ULLiuXhgcDi1rS3SCXx-aCXlb7l3ZlGKvYut-qkfwnc0SJMq0wLmR_dl3O3Aw90Kk6r7yNZca3gHuAM7IPWjixn3bkrLsZgaOGVa2sz4AeQ7Wrut5lcYtv6pWDJfdPNYRPYbt1k9wc6bd7BifQR2r1BheuguQ2jfUmMFgRlqwQUptv9Q=s16000" /></a></div><p></p><div><span style="font-size: x-large;">Inspired by and dedicated to The Adoration of the Mystic Lamb by Jan and Hubert van Eyck - a polyptych originally painted for display in St. Bavo’s Cathedral in Ghent, Belgium. Begun in the mid 1420s and completed by 1432.</span></div><div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Secular Psalms took shape over a medieval-seeming time span. The first messages from Wim date to July 10, 2018, when we began to formulate a plan to celebrate the 600th anniversary of the Altarpiece with creation of new music. Research led to a few discoveries: elements of the polyptych were moved and/or stolen, then almost entirely recovered over the years. A restoration begun in 2012 discovered that the work had been mostly overpainted around 1550—removal of the overpaint revealed an almost entirely new contemporary vision of the piece.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">The Van Eyck worked in the court of Philip The Good of Burgundy, speaking multiple languages. It’s likely they would have encountered composer Guillaume Dufay and writer Christine de Pisan in the same court. Bringing in elements of both these artists helped give me a connection to the atmosphere of those times. With a band and instrumentation in place, we were on our way.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Then all work came to a halt. Initially, like for so many of us, it was unclear how work would carry on. I kept writing. The meaning of the piece (and the title) took on a new scope as we dealt with the global crisis. Close communication with the assembled musicians, shut down in their own home countries, helped cement the message and the meaning of Secular Psalms: sacred songs for all of us as we are. We continued working. The first parts were recorded around May 2020. Over the course of a year and a half, my score came to life as I worked with each musician to create their performances. New techniques had to be invented to capture interactive improvisations. And new texts came in as I began to write them myself, in addition to the Latin Mass, Marvin Gaye, and Christine de Pisan.</span></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://davedouglas.bandcamp.com/album/secular-psalms" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="666" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEgB7IatPStxANtVLap-0aj6pnmS9mKhj10jy4lmqhkddb_WvMiu1lQV0XNksJXQS1dCMWLyU_OKDQmN8ZxFUhnMPwUIbfMjqaFUU-VWxhlSCWCbH6pjQikUdhhpq1N7FtR5SDpi6dlgWaw4zQgBz10On4Tig7Mp649zrYfyZ77w4uXrtugT1EEAZAPJNg=s16000" /></a></div><div style="text-align: center;"><b><span style="font-size: large;">Dave Douglas © John Abbott</span></b></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><div><span style="font-size: x-large;">This music came to life as a result of many forces: artistic, spiritual, pragmatic, physical, psychic, poetic, and interpersonal. In a visual sense, the piece begins in the space of the outer panels, with muted colors and dank interiors. Subsequent sections explore the inner panels, full of light, showing people from all walks of life. With Edge of Night, the piece returns to the mysterious and darker panels of the Arrival, where Van Eyck’s Gabriel and Mary play out this mystery for all eternity.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Very special thanks to Wim Wabbes of Handelsbeurs for staying with me through the long process of getting this piece made. Thanks to Keller Coker for talking me through the matrix of Dufay. Thanks to Tyler McDiarmid for being available to go through the countless sound and tech issues as they arose. Thanks to all the musicians for your patience, persistence, and belief in me. Thanks also to my entire family of loved ones, friends, colleagues, correspondents. We hung together through this and we will always have each other eternally. I am grateful for this most of all.</span></div><div><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">1. Arrival</span></div><div style="text-align: center;"><span style="font-size: x-large;">2. Mercy</span></div><div style="text-align: center;"><span style="font-size: x-large;">3. We Believe</span></div><div style="text-align: center;"><span style="font-size: x-large;">4. Agnus Dei</span></div><div style="text-align: center;"><span style="font-size: x-large;">5. Instrumental Angels</span></div><div style="text-align: center;"><span style="font-size: x-large;">6. If I’m In Church More Often Now</span></div><div style="text-align: center;"><span style="font-size: x-large;">7. Hermits and Pilgrims</span></div><div style="text-align: center;"><span style="font-size: x-large;">8. Righteous Judges</span></div><div style="text-align: center;"><span style="font-size: x-large;">9. Ah Moon</span></div><div style="text-align: center;"><span style="font-size: x-large;">10. Edge of Night</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">Dave Douglas, trumpet, voice</span></div><div style="text-align: center;"><span style="font-size: x-large;">Berlinde Deman, serpent, tuba, voice</span></div><div style="text-align: center;"><span style="font-size: x-large;">Marta Warelis, piano, prepared piano, pump organ</span></div><div style="text-align: center;"><span style="font-size: x-large;">Frederik Leroux, guitars, lute, electronics</span></div><div style="text-align: center;"><span style="font-size: x-large;">Tomeka Reid, cello</span></div><div style="text-align: center;"><span style="font-size: x-large;">Lander Gyselinck, drums, electronics</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">Production Credits:</span></div><div style="text-align: center;"><span style="font-size: x-large;">Executive Producer: Dave Douglas</span></div><div style="text-align: center;"><span style="font-size: x-large;">Produced by Dave Douglas</span></div><div style="text-align: center;"><span style="font-size: x-large;">Recorded separately by each musician between May 2020 and August 2021</span></div><div style="text-align: center;"><span style="font-size: x-large;">Berlinde Deman vocals recorded by Koen Gisen in Ghent, Belgium</span></div><div style="text-align: center;"><span style="font-size: x-large;">Tomeka Reid recorded by Ralph Loza, Experimental Sounds Studios, Chicago</span></div><div style="text-align: center;"><span style="font-size: x-large;">Marta Warelis piano recorded by Jasper Stadhouders at Splendor, Amsterdam</span></div><div style="text-align: center;"><span style="font-size: x-large;">Ms. Warelis pump organ recorded by Marielle Groven at Orgelpark, Amsterdam</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">Edited and Mixed by Tyler McDiarmid and Dave Douglas</span></div><div style="text-align: center;"><span style="font-size: x-large;">Mastered by Tyler McDiarmid</span></div><div style="text-align: center;"><span style="font-size: x-large;">Altarpiece Photography / Images courtesy Sint-Baafskathedraal Gent, www.artsinflanders.be, Dominique Provost</span></div><div style="text-align: center;"><span style="font-size: x-large;">Graphic design by Lukas Frei</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">All compositions and arrangements by Dave Douglas (Dave Douglas Music / BMI)</span></div><div style="text-align: center;"><span style="font-size: x-large;">Commissioned by Handelsbeurs Concert hall (Gent, Belgium), in co production with KAAP/Concertgebouw Brugge; Jazzfest Berlin; November Music. With the additional support of the City of Ghent and Baloise Insurance.</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><b><u><a href="https://davedouglas.bandcamp.com/album/secular-psalms" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div></div><iframe style="border: 0; width: 100%; height: 42px;" src="https://bandcamp.com/EmbeddedPlayer/album=3163952224/size=small/bgcol=333333/linkcol=0f91ff/transparent=true/" seamless><a href="https://davedouglas.bandcamp.com/album/secular-psalms">Secular Psalms by Dave Douglas</a></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-82785530673638655312022-04-01T11:02:00.000+02:002022-04-01T11:02:33.744+02:00Alabaster DePlume - GOLD (April 1, 2022 International Anthem)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://intlanthem.bandcamp.com/album/gold" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEjLuUzhbcZjzbcSZFehzDWse_oxwv0UdfyA31A8-6f9SBMSi_CZM7DLOQOkxmMB0BPtFCv9XGzR-xzw0N9GgCE7hDuT177pbr5CUC9L7AybqoewHW5Cs91QrfkaQ3Zx0CFNkDer6oMgZhLJpXVl_9jNcWwYI45urE8VmT7_R63FsKDeA_ZCnvtlsm-xUQ=s16000" /></a></div><p></p><div><span style="font-size: x-large;">The lightning rod for Alabaster DePlume’s luminous follow up to the widely-acclaimed 2020 release To Cy & Lee: Instrumentals Vol. 1 was personal. “Someone was going through a thing,” says the Mancunian poet-performer. “I said, ‘go forward in the courage of your love’. And then I thought 'yeah, that's what I need to hear as well’.”</span></div><div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Gold is a sonorous double album that celebrates the communal act of making music and the relationships that can be explored when you purposefully avoid the standard way of doing things.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">It contains filmic pieces that oscillate between the otherworldly and the trenchantly grounded, rendered maximally human through the recording process. There is laughter mid-track and studio chatter. There is the music of shouting and applause generated by a handful of people who were listening from the doorframe and the corridor. Complex vocal harmonies circle the songs like small birds and there’s an undercurrent of steely toughness, necessitated by the musician’s engagement with personal vulnerability and collective politics.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">In late summer 2020 Alabaster DePlume (real name Gus Fairbairn) booked two weeks of sessions at the influential Total Refreshment Centre in London, recording to tape with Kristian Craig Robinson (aka Capitol K). He invited a different set of musicians each day, who would record the same tunes at the same speed so that DePlume – who produced the record – could cut them together later, like ingredients. “They didn’t have enough preparation to be able to hide behind this piece of material or skill,” he says. “They had to look up and respond to each other, and that’s what we've recorded.”</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">There were two rules that were essential to the process: that musicians wouldn’t be given enough time to rehearse and that they wouldn’t listen back to the music they recorded. “The method is part of the mission. It wasn’t like school. We had mayhem. We were having fun. That’s the story and the process – and I want to live that way,” he says.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">The singer and percussionist Falle Nioke’s solo on “Again” is an example of the album’s unusual and liberating recording process. The tune was planned as an instrumental but Falle sang out spontaneously, and stilled the room with his arresting contribution. “He was just one voice in the choir but he suddenly sang lead because he felt it,” says DePlume. “It’s one example of what we were able to record,” he says, “because people felt genuinely personally welcome. Their own voices were made welcome. That is what this album is made of and it’s what the best things in our society are made of. We can either make people welcome or we can make them unwelcome; unseen.”</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">After the recording, the artist made a map, because frankly he needed a map after recording more than 17 hours of music. The map dictated which bits of each session to pull into the orbit of the record and it was drawn on a long scroll of paper with lines drawn across it, each line representing one analog tape. The triangles, dots and colors – red for fire, pink for beauty and blue for breath – shaped what emerged. The map has since been requisitioned for a gallery exhibition, and a photograph appears on the Gold artwork.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">The music that emerged ranges from sparse understated bangers “Fucking Let Them” and the hypnotic pulse of “Visitors XT8B – Oak” to skilfully soothing instrumentals which will feel familiar to the many people who found To Cy & Lee a pandemic panacea (including Bon Iver, who sampled that album’s top track, “Visit Croatia”).</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Gold opens with the Portuguese-titled “A Gente Acaba” which itself opens with the hum of voices, rich and human. There are gentle strings, gently strummed. The saxophone leaves vibrating trails in the air. “The Sound of My Feet On This Earth Is A Song To Your Spirit” is beauty and breath, generating the kind of deep warmth and connection that requires no lyrical explanation.</span></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://intlanthem.bandcamp.com/album/gold" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEi0McnuuV-MHRLRyvG1D-tQbs1NDHxKeOHjXApYdk0LDnsRJ4mvMEB8J-aqAk5OtujtTlifY1HgTVeZPeSwgoLHuHIODKxVZzUXMHUYdkxR7x1aBuOjV1lbI6XYQIzjXqXtKA0SJVImampxCFE_IZtXm2p4NY2uB4ycDKrdybSSZiDUlgN2Us_uMODNxQ=s16000" /></a></div><div><span style="font-size: x-large;">There is circularity. One piece of music arrives and leaves repeatedly, and a phrase is repeated:</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">I have all I need for the glory of being. I recognise you and celebrate. I am brazen, like a baby, like the stupid sun and I go forward in the courage of my love.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">“I’m Good At Not Crying” is a self-accusatory lullaby that lists out the things he excels at (not eating much, not being the bad guy) whilst plaintive and harmonically-rich singers spill and spiral around the low tones of his voice.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">On “People What’s The Difference” he unpicks the selective deafness that surrounds the refugee crisis within a gentle punk-funk frame and towards the end, there’s a lament for the broken earth marked out with plucked strings and harmonies that dip in and out like sharp bells. Softness, in the hands of this Mancunian poet-performer, can be a weapon.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">“The reason for To Cy & Lee was to help people have peace,” he says. “The reason to make Gold is to give people courage and love by putting myself in a situation where I had to bring courage and love. It’s how I made it, it’s what it’s about. It’s what we need next.”</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">This is the sound of an artist attempting full transparency and maximum relationship. It is also the sound of an artist who has achieved the sound he hoped for. This is the sound of soft power. It’s golden.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;"><b>- album writeup by Emma Warren</b> </span></div><div><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">1. A Gente Acaba (Vento Em Rosa)</span></div><div style="text-align: center;"><span style="font-size: x-large;">2. Don’t Forget You’re Precious</span></div><div style="text-align: center;"><span style="font-size: x-large;">3. Fucking Let Them</span></div><div style="text-align: center;"><span style="font-size: x-large;">4. The World Is Mine</span></div><div style="text-align: center;"><span style="font-size: x-large;">5. The Sound Of My Feet On This Earth Is A Song To Your Spirit</span></div><div style="text-align: center;"><span style="font-size: x-large;">6. I'm Gonna Say Seven</span></div><div style="text-align: center;"><span style="font-size: x-large;">7. Do You Know A Human Being When You See One?</span></div><div style="text-align: center;"><span style="font-size: x-large;">8. Visitors YT15B – Jerusalem, Palestine</span></div><div style="text-align: center;"><span style="font-size: x-large;">9. I’m Good At Not Crying</span></div><div style="text-align: center;"><span style="font-size: x-large;">10. Now (Stars Are Lit)</span></div><div style="text-align: center;"><span style="font-size: x-large;">11. Again (feat. Falle Nioke)</span></div><div style="text-align: center;"><span style="font-size: x-large;">12. Mrs Calamari</span></div><div style="text-align: center;"><span style="font-size: x-large;">13. People: What's The Difference?</span></div><div style="text-align: center;"><span style="font-size: x-large;">14. Visitors XT8B – Oak</span></div><div style="text-align: center;"><span style="font-size: x-large;">15. Who Is A Fool</span></div><div style="text-align: center;"><span style="font-size: x-large;">16. I Will Not Be Safe</span></div><div style="text-align: center;"><span style="font-size: x-large;">17. Visitors YT15 – Krupp Steel Condition Pivot</span></div><div style="text-align: center;"><span style="font-size: x-large;">18. Broken Like</span></div><div style="text-align: center;"><span style="font-size: x-large;">19. Now (Pink Triangle, Blue Valley)</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">Alabaster DePlume – tenor sax, guitar, synths and voice</span></div><div style="text-align: center;"><span style="font-size: x-large;">Falle Nioke – voice, percussion</span></div><div style="text-align: center;"><span style="font-size: x-large;">Rozi Plain – guitar</span></div><div style="text-align: center;"><span style="font-size: x-large;">Sarathy Korwar – drums, tabla</span></div><div style="text-align: center;"><span style="font-size: x-large;">Tom Skinner – drums</span></div><div style="text-align: center;"><span style="font-size: x-large;">Kenichi Iwasa – percussion</span></div><div style="text-align: center;"><span style="font-size: x-large;">James Howard – guitar</span></div><div style="text-align: center;"><span style="font-size: x-large;">Tom Herbert – double bass</span></div><div style="text-align: center;"><span style="font-size: x-large;">Natalie Pela – voice</span></div><div style="text-align: center;"><span style="font-size: x-large;">Rosa Slade – voice</span></div><div style="text-align: center;"><span style="font-size: x-large;">Elly Condron – voice</span></div><div style="text-align: center;"><span style="font-size: x-large;">Luisa Gerstein – voice</span></div><div style="text-align: center;"><span style="font-size: x-large;">Matt Webb – double bass</span></div><div style="text-align: center;"><span style="font-size: x-large;">Michael Chestnutt – synths</span></div><div style="text-align: center;"><span style="font-size: x-large;">Ursula Russell – drums</span></div><div style="text-align: center;"><span style="font-size: x-large;">Conrad Singh – guitar</span></div><div style="text-align: center;"><span style="font-size: x-large;">Hannah Miller – cello and voice</span></div><div style="text-align: center;"><span style="font-size: x-large;">Donna Thompson – voice</span></div><div style="text-align: center;"><span style="font-size: x-large;">Paddy Steer – synths and percussion</span></div><div style="text-align: center;"><span style="font-size: x-large;">Danalogue – voice and synths</span></div><div style="text-align: center;"><span style="font-size: x-large;">Matthew Bourne – piano</span></div><div style="text-align: center;"><span style="font-size: x-large;">Dilip Harris – Small clone and mimeophon</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">Produced by Alabaster DePlume.</span></div><div style="text-align: center;"><span style="font-size: x-large;">Engineered by Kristian Craig Robison at Total Refreshment Centre.</span></div><div style="text-align: center;"><span style="font-size: x-large;">Mixed by Dilip Harris.</span></div><div style="text-align: center;"><span style="font-size: x-large;">Mastered by Greg Obis at Chicago Mastering Service.</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">Artwork by Raimund Wong.</span></div><div style="text-align: center;"><span style="font-size: x-large;">Photography by Chris Almeida.</span></div><div style="text-align: center;"><span style="font-size: x-large;">Scan of the map by Fabrice Bourgelle.</span></div><div style="text-align: center;"><span style="font-size: x-large;">Layout and insert design by Craig Hansen.</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">Special consultation on production and mix engineer from Danalogue.</span></div><div style="text-align: center;"><span style="font-size: x-large;">Sequencing consultation from Scottie McNiece.</span></div><div style="text-align: center;"><span style="font-size: x-large;">Titling consultation from poet Chris Almeida.</span></div><div style="text-align: center;"><span style="font-size: x-large;">Management consultation from Stephen Bass.</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><b><u><a href="https://intlanthem.bandcamp.com/album/gold" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div><iframe style="border: 0; width: 1000px; height: 435px;" src="https://bandcamp.com/VideoEmbed?track=4119658133&bgcol=333333&linkcol=0f91ff" mozallowfullscreen="1" webkitallowfullscreen="1" allowfullscreen="1" seamless></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-18373419288252289852022-04-01T11:01:00.000+02:002022-04-01T11:01:45.658+02:00NEW RELEASE: GRAMMY® Nominated Vocalist Catherine Russell's 'Send For Me' is out April 1, 2022 via Dot Time Records<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.catherinerussell.net/news-1/https/lydialiebmancom/indexphp/2021/12/02/new-release-vocalist-catherine-russell-to-release-new-album-send-for-me-out-april-1-2022-via-dot-time-records" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEjPeqXxtDP6Cvk8horCS0AF_9FyPGUVKAF-bPuQ2YYJsJ9OT8cVeYBcQTANTjrBaf0bVafFI3jqcvHTJKH0nU8eKBZ2VO8WwdB7mPhXORrpuzEGvasnsqJTp6G55fg_3ImLO4zkA0DTeV_GADuQN6Q6Eq3Cr7rovLKJUgCaWf_U4f4PapBvuG7CmIzyrA=s16000" /></a></div><p></p><div style="text-align: center;"><b><span style="font-size: x-large;">GRAMMY® Nominated Vocalist Catherine Russell to Release New Album,</span></b></div><div><div style="text-align: center;"><b><span style="font-size: x-large;">Send For Me, Out April 1, 2022 via Dot Time Records</span></b></div><div style="text-align: center;"><b><span style="font-size: x-large;"><br /></span></b></div><div style="text-align: center;"><b><span style="font-size: x-large;">Release Tour Kicks off February 4 through May 13</span></b></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><i><span style="font-size: x-large;">“One of jazz’s most celebrated vocalists…a dogged song sleuth with a vast and varied book of salty blues, swooning ballads, pre World War II pop tunes, and vintage R&B.”</span></i></div><div style="text-align: center;"><b><span style="font-size: x-large;">– San Francisco Chronicle</span></b></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><i><span style="font-size: x-large;">“At a moment when the world can seem out of balance, it’s still possible for a musician to project a groundedness and a joy…a strength, good humour and intelligence…”</span></i></div><div style="text-align: center;"><b><span style="font-size: x-large;">– New York Times </span></b></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">GRAMMY®-nominated vocalist <b><span style="color: red;">Catherine Russell</span></b>, when asked to characterize her new album, <b><i><span style="color: red;">Send For Me</span></i></b>, replied, “I love romance that swings.” Due out on <b><span style="color: red;">April 1, 2022</span></b> via <b><span style="color: red;">Dot Time Records</span></b>, Send For Me features a baker’s dozen of newly recorded tunes on her eighth album as a leader, meeting a simple exacting standard. “Songs that inspire or touch me in some way. When I find a song I like, it haunts me until I learn it.” Her mission is finding songs that you might not have heard but deserve attention. </span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Russell’s deep connection to her chosen material is part of a calling. As the daughter of pioneering and legendary musicians, pianist/orchestra leader/composer/arranger <b><span style="color: red;">Luis Russell</span></b>, and bassist/guitarist/vocalist <b><span style="color: red;">Carline Ray</span></b>, Catherine Russell was born into jazz royalty. In culling material for her new album from the likes of Billie Holiday, Nat King Cole, Luis Russell, Betty Carter, Kay Starr, Joe Liggins, Earl King, Jack Teagarden, Helen Humes, Frank Sinatra, Dakota Staton, Henry Red Allen, and Louis Armstrong, the vocalist swims in familiar waters. She sings a language that comes naturally, furthering a profound legacy.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;"><b><i><span style="color: red;">Send For Me</span></i></b> is a follow up to Russell’s 2019 release <b><span style="color: red;"><i>Alone Together</i></span></b>, which received a GRAMMY® nomination for Best Jazz Vocal Album, and landed on the JazzWeek year-end radio chart as the #1 most played album. “I like to invite the people in,” she says of her new album, which is also her philosophy of performing live. The album is an invitation, welcoming the audience to come along on a journey.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">“<b><span style="color: red;">Send For Me</span></b>”, the title track, was first recorded by Nat King Cole, and became a crossover hit in 1957, reaching #1 on the U.S. R&B charts, and #6 on the U.S. Pop Chart. “Nobody thinks of Nat King Cole as a blues singer, but he sang some really great blues,” observes Russell.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">“<b><span style="color: red;">At The Swing Cats Ball</span></b>” has a strong family connection. Russell recalls, “My mother had given me sheet music a long time ago, saying, ‘your father co-wrote this tune, and Louis Jordan covered it.’” The song was among the first recordings by Louis Jordan. Luis Russell never recorded his tune, although he performed it on gigs. “We found a live version performed by my dad’s orchestra on a radio broadcast, and we adapted his arrangement. I love the image of people going to a swing dance.”</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Another highlight is “<b><span style="color: red;">Make It Last</span></b>,” a gorgeous standard written by Dick Haymes and Bill Paxton, made famous by Betty Carter in 1958. “A good friend of mine sent me “Make it Last” and when I heard it I said, ‘wow, this is another great tune with an interesting chord progression, and a Melba Liston horn arrangement.’ Another connection: Russell’s mother worked with trombonist/arranger Liston and a young Russell had seen Betty Carter perform, leaving a great impression. “Make It Last” is about holding onto what’s really important, and hoping it will continue. “It’s not wanting to lose a beautiful moment, because tomorrow the moment may be gone,” the singer reflects. </span></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://www.catherinerussell.net/news-1/https/lydialiebmancom/indexphp/2021/12/02/new-release-vocalist-catherine-russell-to-release-new-album-send-for-me-out-april-1-2022-via-dot-time-records" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="960" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEgYYPtryOlSSk0mASoNVl1zOzEsaKzijWOBNfkqZN12CVLQB9YuWDiqXQN6TB13PR53CY9fEDANVHAOjKfGRdKTpe2nilZjgJ39mikT3Gnka0SSLisPwC0L7XZKioLg_P9He7150EfeShI61hBV_5hAP2WPRslWJr-d4OSo8gNgwdBrOrr0p1cssYpzPg=s16000" /></a></div><div style="text-align: center;"><b><span style="font-size: large;">Catherine Russell by Sandrine Lee</span></b></div><div style="text-align: center;"><br /></div><div style="text-align: left;"><div><span style="font-size: x-large;">“<b><span style="color: red;">Going Back To New Orleans</span></b>” was written and originally recorded by Joe Liggins, who shared bills in the late 1940s with both Luis Russell and His Orchestra and The International Sweethearts of Rhythm, including Catherine’s mother, Carline Ray, on guitar and vocals. Interestingly, these intersections happened years before Luis Russell and Carline Ray first met in 1955; Luis was 23 years her senior and they married before Catherine was born in 1956. </span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Russell’s professional life began at age 7, when she first took the stage as a dancer with Katherine Dunham’s company for four seasons at The Metropolitan Opera’s production of Aida. After graduating with honors from the American Academy of Dramatic Arts, she was fortunate to work with <b><span style="color: red;">David Bowie, Steely Dan, Cyndi Lauper, Paul Simon, Jackson Browne, Michael Feinstein, Levon Helm, Wynton Marsalis, Dr. John, Rosanne Cash, Toshi Reagon,</span></b> and <b><span style="color: red;">Carrie Smith</span></b>, among others. Russell performed extensively as a backup singer, multi-instrumentalist, and lead singer, before launching her solo recording career in 2006. She amassed decades of experience touring and recording with cutting edge songwriters and iconic artists, appearing on over 200 albums.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Co-producers <b><span style="color: red;">Katherine Miller</span></b>, <b><span style="color: red;">Paul Kahn</span></b> and <b><span style="color: red;">Catherine Russell</span></b>, the team behind Russell’s albums, <b><i><span style="color: red;">Alone Together</span></i></b> (2019) and <b><span style="color: red;"><i>Harlem On My Mind</i></span></b> (2016), both GRAMMY® nominees for Best Jazz Vocal Album, are reunited on Send For Me, their 6th album together. The winning streak began with Inside This Heart of Mine (2010), which reached #1 on iTunes and Amazon jazz charts. <b><i><span style="color: red;">Strictly Romancin’</span></i></b> (2012) was awarded the Prix du Jazz Vocal (Vocal Album of The Year) by the French Jazz Academy and Grand Prix du Hot Club de France. Her fifth solo album, <b><i><span style="color: red;">Bring It Back</span></i></b> (2014), received a 5 Star Review in <b><span style="color: red;">Downbeat Magazine</span></b>. </span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Significant film and TV credits include Russell contributing the song, “Crazy Blues,” as a featured artist on the 2012 GRAMMY® winning soundtrack album of the HBO series, <b><i><span style="color: red;">Boardwalk Empire</span></i></b>. In 2017, she performed the song on PBS-TV’s Great Performances special, ‘Grammy Salute To Music Legends’. In 2019, she had a cameo in the feature film <b><i><span style="color: red;">Bolden</span></i></b>, a biopic about jazz pioneer Buddy Bolden, while also contributing lead vocals on two songs to Wynton Marsalis’s soundtrack album.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Russell’s versatility shines through on an array of new recordings released over the past 18 months. She added harmony vocals on albums by <b><span style="color: red;">Sarah Jarosz</span></b> (a GRAMMY® Award winner for Best Americana Album in 2021), <b><span style="color: red;">Brett Eldredge</span></b>, and <b><span style="color: red;">Little Feat</span></b>, while also contributing a song on renowned banjo player <b style="color: red;">Tony Trischka</b>’s new album Shall We Hope. In addition, she appeared as a guest lead vocalist on albums by <b><span style="color: red;">Andy Farber and His Orchestra</span></b> (Early Blue Evening), reedman <span style="color: red;"><b>Evan Arntzen</b></span> (Countermelody), and on <b><span style="color: red;">Steven Bernstein</span></b>’s MTO featuring Catherine Russell, Good Time Music, the second album in the four-part Community Music series by trumpet player and arranger, <b><span style="color: red;">Steven Bernstein</span></b>. Russell continues to tour with <b><span style="color: red;">Steely Dan</span></b>, as recently as in the fall of 2021, and she sings on two new releases including Northeast Corridor Live! and a live version of the acclaimed album by Donald Fagen, The Nightfly Live. </span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Sixteen years into her solo career, Catherine Russell is on the move. Her band, including guitarist/musical director <b><span style="color: red;">Matt Munisteri</span></b>, pianist <b><span style="color: red;">Mark Shane</span></b>, bassist <b><span style="color: red;">Tal Ronen</span></b>, and drummer <b><span style="color: red;">Mark McLean</span></b>, has performed at major festivals on four continents, while also selling out concert halls from SFJazz Miner Auditorium in San Francisco, to Zankel Carnegie Hall in New York City, to Tchaikovsky Hall in Moscow. In addition, Catherine has appeared as a featured vocalist with today’s leading big bands and symphony orchestras including the Jazz at Lincoln Center Orchestra with Wynton Marsalis, Vince Giordano’s Nighthawks, Count Basie Orchestra, Andy Farber and His After Midnight Orchestra, Knoxville Jazz Orchestra, Jazz Philharmonic Orchestra of St. Petersburg, Russia; Miami’s New World Symphony, The Philly Pops, and The Pasadena Pops Orchestra. Most recently, Russell joined forces with <b><span style="color: red;">John Pizzarelli</span></b> to perform a salute to Billie Holiday and Frank Sinatra. </span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">As Catherine sings on the title track of her new album, “Anywhere, Oh Yeah, Send For Me, and I’ll be there.”</span></div><div><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">1. Did I Remember (Harold Adamson, Walter Donaldson)</span></div><div style="text-align: center;"><span style="font-size: x-large;">2. Send For Me (Ollie Jones)</span></div><div style="text-align: center;"><span style="font-size: x-large;">3. At The Swing Cats Ball (Luis Russell, William Campbell)</span></div><div style="text-align: center;"><span style="font-size: x-large;">4. Make It Last (Dick Haymes, Bill Saxton)</span></div><div style="text-align: center;"><span style="font-size: x-large;">5. Going Back To New Orleans (Joe Liggins)</span></div><div style="text-align: center;"><span style="font-size: x-large;">6. If I Could Be With You (James P. Johnson, Henry Creamer)</span></div><div style="text-align: center;"><span style="font-size: x-large;">7. You Can Fly High (Earl King, John Vincent)</span></div><div style="text-align: center;"><span style="font-size: x-large;">8. East of The Sun (and West of the Moon) (Brooks Bowman)</span></div><div style="text-align: center;"><span style="font-size: x-large;">9. In The Night (Norman Mapp)</span></div><div style="text-align: center;"><span style="font-size: x-large;">10. You Stepped Out of A Dream (Nacio Herb Brown, Gus Kahn)</span></div><div style="text-align: center;"><span style="font-size: x-large;">11. Blue And Sentimental (Count Basie, Mack David, Jerry Livingston)</span></div><div style="text-align: center;"><span style="font-size: x-large;">12. Sticks and Stones (Cavanaugh/Razaf/Palmer)</span></div><div style="text-align: center;"><span style="font-size: x-large;">13. Million Dollar Smile (Porter Roberts, Lionel Hampton)</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><b><u><span style="color: red; font-size: x-large;">Upcoming Catherine Russell Tour Dates 2022</span></u></b></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span style="color: red;">Feb 4-5</span></b> / The Lift at Cascade Village/ Durango, CO</span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span style="color: red;">Feb 14-19</span></b>/ Birdland / New York, NY</span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span style="color: red;">Mar 9-10 </span></b>/ Jazz St. Louis / St. Louis, MO</span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span style="color: red;">Mar 15</span></b> / Theatre at Renovation Square / Rochester, NY</span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span style="color: red;">Mar 16</span></b> / Sarasota Jazz Festival / Sarasota, FL</span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span style="color: red;">Mar 18-19</span></b> / Jazz Forum / Tarrytown, NY</span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span style="color: red;">Mar 24 </span></b>/ Carnegie Hall / New York, NY</span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span style="color: red;">Mar 26</span></b> / Rose Theater, Jazz at Lincoln Center / New York, NY</span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span style="color: red;">Mar 31</span></b> / Jimmy’s / Portsmouth, NY</span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span style="color: red;">Apr 1</span></b> / Scullers / Boston, MA</span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span style="color: red;">Apr 8 </span></b>/ Modlin Center for The Arts / Richmond, VA</span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span style="color: red;">Apr 14-17</span></b> / Jazz Alley/ Seattle, WA</span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span style="color: red;">Apr 19 /</span></b> Yoshi’s / Oakland, CA</span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span style="color: red;">Apr 20</span></b> / Kuumbwa Jazz / Santa Cruz, CA</span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span style="color: red;">Apr 21</span></b> / Irvine Barclay Theatre / Irvine, CA</span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span style="color: red;">Apr 29</span></b> / Festival Hall / Greensboro, GA</span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span style="color: red;">May 6</span></b> / Kupferberg Center for The Arts / Queens, NY</span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span style="color: red;">May 7</span></b> / Kingsborough Community College / Brooklyn, NY</span></div><div style="text-align: center;"><span style="font-size: x-large;"><b><span style="color: red;">May 13</span></b> / Kleinhans Music Hall / Buffalo, NY</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><b><span style="font-size: x-large;">Catherine Russell · Send For Me</span></b></div><div style="text-align: center;"><b><span style="font-size: x-large;">Dot Time Records · Release Date: April 1, 2022 </span></b></div><div style="text-align: center;"><b><span style="font-size: x-large;"><br /></span></b></div><div style="text-align: center;"><b><span style="font-size: x-large;">For more information on Catherine Russell, please visit: <u><a href="https://www.catherinerussell.net/news-1/https/lydialiebmancom/indexphp/2021/12/02/new-release-vocalist-catherine-russell-to-release-new-album-send-for-me-out-april-1-2022-via-dot-time-records" target="_blank">CatherineRussell.net</a></u></span></b></div><div style="text-align: center;"><b><span style="font-size: x-large;"><br /></span></b></div><div style="text-align: center;"><b><u><a href="https://www.dottimerecords.com/news/grammy-nominated-vocalist-catherine-russell-to-release-new-album-send-for-me-out-april-1-2022-via-dot-time-records/" target="_blank"><span style="font-size: x-large;">Dot Time Records</span></a></u></b></div></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="450" src="https://www.youtube.com/embed/3G2SXq15jJw" width="1000" youtube-src-id="3G2SXq15jJw"></iframe></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-12339036221814975772022-04-01T10:58:00.000+02:002022-04-01T10:58:52.644+02:00Lisa Hilton | "life is beautiful" | Available April 1<p></p><div class="separator" style="clear: both; text-align: center;"><a href="http://LisaHiltonMusic.com" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEic0NRVDehDuYbduuL5e07IVw-vE8CdtgCI9Do0E3ltrredr8jyPgd_kDdaVkE45z1qifp24jyUjnBLSeQGmMXYSoSS4a9cfIG2BNfx6SRXps8dFZJJxxRx4VxxJckB8cnhg90-Ddrp70Y74Zw12mHQv-GCIIfhmYfIFXr4t6LlrilAbMGErttHhYOejA=s16000" /></a></div><p></p><div style="text-align: center;"><b><span style="font-size: x-large;">Lisa Hilton and her trio with</span></b></div><div style="text-align: center;"><div><b><span style="font-size: x-large;">Luques Curtis and Rudy Royston</span></b></div><div><b><span style="font-size: x-large;">Present an Optimistic Vision</span></b></div><div><b><span style="font-size: x-large;">Celebrating Hilton’s 25th Stateside Album:</span></b></div><div><b><span style="font-size: x-large;">life is beautiful</span></b></div><div><b><span style="font-size: x-large;"><br /></span></b></div><div><b><span style="font-size: x-large;">Out April 1 / PreOrder March 1</span></b></div><div><b><span style="font-size: x-large;"><br /></span></b></div><div><span style="font-size: x-large;"><i>"Attention grabbing!”</i><b> -KVNF Radio</b></span></div><div><span style="font-size: x-large;"><br /></span></div><div style="text-align: left;"><span style="font-size: x-large;"><b><span style="color: #3d85c6;">Lisa Hilton</span></b> and her trio, manifest a memorable experience on <b><i><span style="color: #3d85c6;">life is beautiful</span></i></b>, their third recording of the pandemic era, and the acclaimed pianist, composer, and producer’s twenty-fifth album as a leader in the US. On it, Hilton indulges her love of the piano with ten original tracks and the cover gem, Ernie’s Blues, (written by Ernie Wilkins). Backed by her ever-excellent band mates: <b><span style="color: #3d85c6;">Rudy Royston</span></b> on drums and <b><span style="color: #3d85c6;">Luques Curtis</span></b> on bass, Hilton’s elegantly swinging piano and engaging compositions encompass a range from traditional tracks, Latin, blues and retro seamlessly. Royston continually hits the marks on his kit, and Curtis shows off plenty of style over this splendid repertoire of compositions. </span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://lisahiltonmusic.com/" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="600" data-original-width="800" src="https://blogger.googleusercontent.com/img/a/AVvXsEgSOAmR8ux3Pv0VWNKhtqUdYsizYTw4jR9gOeQszStyqW5OAHUzLaTySTQXho1reMYPT0WeLHkTFC5mOSkOcKETw5YV1Q774w34ZlVY84yGeyp88t7GpJ4k4V5ibjSz2YO0FuJVoYUaRxFgmyNwxO5smOmsXUmP50Ko5ZyKYKjhXPP5ZWJ3gpQi_EBYLw=s16000" /></a></div><div style="text-align: left;"><div><span style="font-size: x-large;">The album begins with an impressive bass solo from Curtis on the classic Ernie’s Blues. The tune’s complex chords and loose bluesy passages allow accomplished soloing from Hilton as well. Retro Road Trip highlights Royston’s rhythm skills and has a bit of a Prokofiev energy amid mid-century grooves. Inspired by classic American Standards, Hilton includes two romantic compositions here: So This Is Love and Nightingales and Fairy Tales - both evoking nostalgic charms and reminiscent of some of Bill Evans work in his sixties period. Too Hot dips into modal ideas creating its own melodic atmosphere. Hilton includes two Latin flavored compositions: Stepping Into Paradise as well as Santa Monica Samba, that show the versatility of the trio in mingling different Latin styles together effortlessly. Seduction is a solo piano piece that Hilton has recorded before, (some other tracks have also been recorded on past albums), with a new extended version here, showcasing Hilton’s love for the blues. Temporary Lullaby, written for Hilton’s daughter, is a melodic standout. In her liner notes, it mentions that More Than Another Day nods to Miles Davis, Antonio Carlos Jobim and Cole Porter.</span></div><div><span style="font-size: x-large;"> </span></div><div><span style="font-size: x-large;">Besides his work with Hilton, Royston has collaborated with an ever-expanding list of iconic jazz musicians such as Ron Miles, Bill Frisell, Rudresh Mahanthappa, and Tia Fuller. Curtis, an equally sought-after collaborator, has worked with Eddie Palmieri, Orrin Evans, Christian Scott, Sean Jones, and many more. About planning a recording session this far into the pandemic years, Hilton notes: “I think all musicians right now are hungry to play, so it feels really good when we have the opportunity to get together all day in the studio when we record. Despite the masks and other challenges, musicians need to create music. It sounds simplistic, but that's how we thrive.” Hilton has continued to compose, perform and produce an album a year in a trio, quartet, quintet or solo piano setting, and is a familiar name at the top of charts like Jazz Week, ZMR, and #1 Amazon New Releases. Hiltons albums also regularly appear on some “Best Of” lists” at All About Jazz or other sites, and popular music collections like Apple’s Pure Jazz Playlist.</span></div><div><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">Lisa Hilton’s new album, life is beautiful, is available everywhere April 1, 2022.</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><b><span style="font-size: x-large;">Lisa Hilton | <i>life is beautiful</i></span></b></div><div style="text-align: center;"><b><span style="font-size: x-large;">Release Date: <span style="color: #3d85c6;">April 1, 2022</span></span></b></div><div style="text-align: center;"><b><span style="font-size: x-large;"><br /></span></b></div><div style="text-align: center;"><b><span style="font-size: x-large;">For more information on Lisa Hilton, please visit:</span></b></div><div style="text-align: center;"><b><span style="font-size: x-large;"><a href="http://LisaHiltonMusic.com" target="_blank">LisaHiltonMusic.com</a> | <a href="https://www.facebook.com/LisaHiltonMusic/" target="_blank">Facebook</a> | <a href="https://www.instagram.com/lisahiltonmusic/" target="_blank">Instagram</a> | <a href="https://twitter.com/lisahiltonmusic" target="_blank">Twitter</a> | <a href="https://www.youtube.com/user/LisaHiltonMusic" target="_blank">Youtube</a></span></b></div></div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-71519918086049333032022-04-01T10:57:00.000+02:002022-04-01T10:58:02.497+02:00Bryan McAllister - I'll Meet You There (April 1, 2022 Redhill Records)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://bryanmcallister.bandcamp.com/album/ill-meet-you-there" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEgN6HSO-v1aCmamb9oi2PyLEzfQCBYtR-c-yncdwABKX-E1qOQj9080WH5qiix2dMfdXd91nEDYrzYW06XD064Z3uHu1HHabUEMTEHyL9J8FOebLhvirwkJp-Io3NKpJjULwglUMq_IlEL0iazUUPbvYVNnyr8RXUWX6zwFTG4E2cfSRkhVkUK8Y4Ljfw=s16000" /></a></div><p></p><div style="text-align: center;"><span style="font-size: x-large;">Written in the first month of the COVID-19 pandemic, "I'll Meet You There" is a series of songs about the journey towards living a more equanimous life. The album is conceptually based around Rumi's "A Great Wagon" and explores lessons, experiences, and meditations that point towards a 'middle way' in life. Two short meditations separate the album into three parts, considering the suffering inherent in life, and the suffering brought on through reactivity. The final track is a lovingkindness prayer.</span></div><div style="text-align: center;"><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">As Rumi said, "There are hundreds of ways to kneel and kiss the ground."</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Thank you for reading and listening.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">1. Mr. Henderson Saves The World</span></div><div><span style="font-size: x-large;">2. Bullseye</span></div><div><span style="font-size: x-large;">3. The First Arrow</span></div><div><span style="font-size: x-large;">4. The Path</span></div><div><span style="font-size: x-large;">5. Rain On The Mountain</span></div><div><span style="font-size: x-large;">6. The Second Arrow</span></div><div><span style="font-size: x-large;">7. Broken Window</span></div><div><span style="font-size: x-large;">8. Redhill (105)</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Casey Lipka - voice</span></div><div><span style="font-size: x-large;">Levi Saelua - alto saxophone</span></div><div><span style="font-size: x-large;">Brandon Sherman - trumpet</span></div><div><span style="font-size: x-large;">Gregory Uhlmann - guitar</span></div><div><span style="font-size: x-large;">Bryan McAllister - keyboard</span></div><div><span style="font-size: x-large;">Zack Teran - bass</span></div><div><span style="font-size: x-large;">Greg Lewis - drums</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Horns recorded by Tristan Dolce at BIG EGO in Long Beach, CA</span></div><div><span style="font-size: x-large;">Mixed by Colin Christian</span></div><div><span style="font-size: x-large;">Mastered by Will Borza</span></div><div><span style="font-size: x-large;">Produced by Bryan McAllister and Chris Luard</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Album art by Shweta Mahajan</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">All music and lyrics by Bryan McAllister (ASCAP)</span></div><div><span style="font-size: x-large;">©Bryan McAllister Music (ASCAP), 2021, All rights reserved</span></div><div><span style="font-size: x-large;"><br /></span></div><div><b><u><a href="https://bryanmcallister.bandcamp.com/album/ill-meet-you-there" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div></div><iframe style="border: 0; width: 100%; height: 42px;" src="https://bandcamp.com/EmbeddedPlayer/album=2559671279/size=small/bgcol=333333/linkcol=0f91ff/transparent=true/" seamless><a href="https://bryanmcallister.bandcamp.com/album/ill-meet-you-there">I'll Meet You There by Bryan McAllister</a></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-5923031641358943542022-04-01T10:56:00.001+02:002022-04-01T10:57:11.168+02:00Wajazz series - WaJazz: Japanese Jazz Spectacle Vol.I - Deep, Heavy and Beautiful Jazz from Japan 1968-1984 - The Nippon Columbia masters - Selected by Yusuke Ogawa (Universounds) April 1, 2022 180g<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://wajazz.bandcamp.com/album/wajazz-japanese-jazz-spectacle-vol-i-deep-heavy-and-beautiful-jazz-from-japan-1968-1984-the-nippon-columbia-masters-selected-by-yusuke-ogawa-universounds" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEgtOCzk5SuWbAsLG4nnyzk7WyD3IhmUoMPItZItNK7-Q4UT12073M-1La99FkzVq4I_ahmc2MmoafT8Iyq0T_kdRwQAVv6LRxp6NrD8WKDjSdpA-AeSuWCd525R4iauvCf6sGsPun0hEL1e91O3DNleSnbF-J2Boyj0zc9qrZ1CGv4l4azvr5SAuXERrg=s16000" /></a></div><p></p><div><span style="font-size: x-large;">Universounds, HMV Record Shop and 180g team up for an exceptional release: from blazing hard bop to free jazz, to introspective saxophone solos and massive big band sounds, renowned Japanese jazz expert Yusuke Ogawa presents an essential 14 track collection of “WaJazz” music taken from the Nippon Columbia vaults. Featuring Jiro Inagaki, Minoru Muraoka, Hiroshi Suzuki, Hozan Yamamoto, Count Buffalo, Takeshi Inomata, and much more!</span></div><div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">● Essential 14 track collection of “WaJazz” music selected and compiled by renowned Japanese jazz expert Yusuke Ogawa, owner of the Universounds record store in Tokyo.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">● Gatefold 180g heavy double vinyl LP. Comes with extensive track-by-track liner notes by Yusuke Ogawa.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">● All tracks licensed by Nippon Columbia, Tokyo, Japan.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">● Mastering and lacquer cut by Jukka Sarapää at Timmion Cutting Lab, Helsinki, Finland.</span></div><div><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">1. Tadaaki Misago & Tokyo Cuban Boys - Sakura Sakura</span></div><div style="text-align: center;"><span style="font-size: x-large;">2. Minoru Muraoka with New Jazz Players - Muraiki (no digital, excerpt only)</span></div><div style="text-align: center;"><span style="font-size: x-large;">3. Count Buffalo & The Jazz Rock Band - Mago-Uta</span></div><div style="text-align: center;"><span style="font-size: x-large;">4. Kiyoshi Sugimoto Quartet - D-51 (no digital, excerpt only)</span></div><div style="text-align: center;"><span style="font-size: x-large;">5. Toshiyuki Miyama & The New Herd - Adult’s Day</span></div><div style="text-align: center;"><span style="font-size: x-large;">6. Soul Media - Breeze 04:35</span></div><div style="text-align: center;"><span style="font-size: x-large;">7. George Otsuka - Sea View (no digital, excerpt only)</span></div><div style="text-align: center;"><span style="font-size: x-large;">8. Hozan Yamamoto, Masahiko Togashi, Yosuke Yamashita - Breath Prologue (no digital, excerpt only)</span></div><div style="text-align: center;"><span style="font-size: x-large;">9. Jiro Inagaki & Soul Media - Do It!</span></div><div style="text-align: center;"><span style="font-size: x-large;">10. Hiroshi Suzuki - Romance 05:56</span></div><div style="text-align: center;"><span style="font-size: x-large;">11. Masahiko Sato - Tochi Mo Kurumi Mo Fukiotose (no digital, excerpt only)</span></div><div style="text-align: center;"><span style="font-size: x-large;">12. Masahiko Togashi - Fourth Expression</span></div><div style="text-align: center;"><span style="font-size: x-large;">13. Takeshi Inomata & Sound Ltd. - Mustache (Live) (no digital, excerpt only)</span></div><div style="text-align: center;"><span style="font-size: x-large;">14. Takeo Moriyama - Watarase</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><b><u><a href="https://wajazz.bandcamp.com/album/wajazz-japanese-jazz-spectacle-vol-i-deep-heavy-and-beautiful-jazz-from-japan-1968-1984-the-nippon-columbia-masters-selected-by-yusuke-ogawa-universounds" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div></div><iframe style="border: 0; width: 100%; height: 42px;" src="https://bandcamp.com/EmbeddedPlayer/album=3459757463/size=small/bgcol=333333/linkcol=0f91ff/transparent=true/" seamless><a href="https://wajazz.bandcamp.com/album/wajazz-japanese-jazz-spectacle-vol-i-deep-heavy-and-beautiful-jazz-from-japan-1968-1984-the-nippon-columbia-masters-selected-by-yusuke-ogawa-universounds">WaJazz: Japanese Jazz Spectacle Vol.I - Deep, Heavy and Beautiful Jazz from Japan 1968-1984 - The Nippon Columbia masters - Selected by Yusuke Ogawa (Universounds) by Wajazz series</a></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-19198402699970123852022-04-01T10:56:00.000+02:002022-04-01T10:56:17.071+02:00Armen Donelian - Fresh Start (April 1, 2022 Sunnyside Records)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://armendonelian.bandcamp.com/album/fresh-start" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEh-uJHa339OwZz9soqyTBDHvI5VurIMtGlV6fyxm3jFhQjgCgoDDlprnRsZDHIGcXZoKcC5WF_FxB5t_VVKaq7glFzxoCsBQyHKMvwJ9F-Vk93jbG31p3lLGdOQehxVTG1Go1VshlFt54vLwSQpDLIFbB2C0bySDOa3tqkkz11W_YrbLgy_sttSzPfrzg=s16000" /></a></div><p></p><div><span style="font-size: x-large;">When the history of Jazz during the COVID-19 pandemic gets written, Armen Donelian warrants a detailed chapter. Though he composed more than a dozen new pieces through the spring of 2021, the veteran pianist and educator didn’t use the downtime to reinvent his repertoire as much as he deepened his pianistic approach and sharpened his ears in the context of a supremely sensitive new trio with bassist Jay Anderson and drummer Dennis Mackrel. The group’s unabashedly beautiful debut, Fresh Start, is Donelian’s 14th album and his 11th for Sunnyside, the label that has documented the bulk of his work as a leader since the mid-1980s.</span></div><div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Like many musicians facing canceled tours and gigs, Donelian sought to push back against the initial depression by redoubling his efforts on his instrument. Before long he’d suffered a practice-induced shoulder injury, which led him to concentrate on composing while he healed. When he started playing again after three months, Donelian continued honing his new pieces, but with a new mindset “that had nothing to do with technique and content,” he says. “Instead of focusing on what I was playing, I was focusing more on how I was playing, on touch, expression, and storytelling, allowing the sound to happen in its own way. That was the main focus of this album.”</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Transforming one’s sound is a major undertaking for any musician, but for an acclaimed improviser stepping into his eighth decade it’s downright audacious. While his name might not be as widely known as some of his contemporaries, Donelian possesses all of the attributes, gifts, and paid dues of a heavyweight improviser, from formative stints with Sonny Rollins, Billy Harper, Chet Baker, and Mongo Santamaria to a discography marked by sublime and unmistakably personal projects documenting enduring relationships and ever-evolving compositional investigations.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Taking a year-long sabbatical from teaching responsibilities at the New School during the pandemic, Donelian solidified the Fresh Start trio, a group that renewed an old friendship and established a new one. Donelian and Anderson, one of the New York scene’s most sought-after bassists, got to know each other in the early ’80s when they worked occasionally as a duo. Though their career paths diverged, they reconnected about a decade ago via saxophonist Marc Mommaas, “which reminded me how much l liked Jay’s playing and planted an idea in the back of my mind,” Donelian says.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Fellow piano master Jim McNeely had recommended Mackrel, whom Donelian knew by reputation as a first-call bandmate. But their paths didn’t cross until about four years ago when the drummer came to hear Donelian’s trio at a Hudson Valley performance. “One of Dennis’s children was a student in the program that was sponsoring that concert and afterwards he said, ‘Armen, I really enjoyed your playing. Anytime you want to play, let me know.’ I saw a door opening. So I got together with Jay and Dennis to see if there was any chemistry between us. I loved what I heard, playing without ego or an agenda other than beauty and sound.”</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">With Mackrel and Anderson bringing a good deal of bandstand and studio history to Fresh Start, the trio’s foundation couldn’t be stronger. Since first making a mark together on Maria Schneider’s 1994 debut album Evanescence, they’ve played hundreds of gigs as a rhythm section tandem, including dates with pianist/arranger Russ Kassoff, pianist Ted Rosenthal, saxophonist Steve Wilson, and many other leading players. Their deep connection and conversational rapport are evident on every Fresh Start track produced, arranged, and led by Donelian.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">In responding to the calamity of the pandemic, the trio offers a balm in troubled times. Healing and stimulating, it’s music that both soothes the soul and sparks the imagination, starting with the bittersweet bossa nova “Noviembre,” a moody piece that culminates in a taut exchange between Donelian and Anderson. The title track is a post-bop workout with a serpentine melody that keeps snaking back on itself. Anderson and Donelian take masterly solos while Mackrel keeps the narrative thread spinning.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Donelian has devoted himself to teaching from the earliest stages of his career. A proud champion of his former students, he includes two alluring pieces by rising musicians that serve the trio well. Vatan Rajan Singh’s winsome 5/4 ballad “Ferry Maiden” features a joyful solo by Anderson that displays his expansive lyricism. And Sophia Bondi contributes “In the Western Night,” a vehicle for the trio to ascend, awestruck, into a blues-drenched skyscape (an excerpt from another take of the piece, capturing some particularly lovely blues passages by Anderson and Donelian, serves as the album’s striking closing track).</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">No tune better captures the trio’s venturesome spirit than “Madagascar,” which uses Donelian’s two-chord vamp as a magic carpet carrying them deep into modal realms. The tension builds to a sumptuous climax, with a Mackrel passage that’s a marvel of textural calibration. No stranger to small group recordings, Mackrel is best known as one of the era’s finest big band drummers. Long before he directed the Count Basie Orchestra (2010-2013), he’d distinguished himself via his work with the American Jazz Orchestra, the Carla Bley Big Band, the Vanguard Jazz Orchestra, Buck Clayton’s Swing Band, the Dizzy Gillespie All Star Big Band, and most notably the McCoy Tyner Big Band (whose Grammy Award-winning CDs The Turning Point and Journey feature four Mackrel arrangements).</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Donelian takes the opportunity to offer a tribute to his former teacher, pianist Richie Beirach, with a gorgeous rendition of “Gale,” a tender melody that belies its fierce, gusty title. It’s been recorded by several other musicians, but not with such exquisite interplay. Harry Warren’s beseeching ballad “Never Let Me Go” offers another master class in melodic invention. And late saxophonist Makanda Ken McIntyre’s “Day Break,” which he recorded as a boiling up-tempo swinger on the 1976 album Open Horizon, gets reimagined as a luminous, spiritually charged ballad.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Donelian got to know McIntyre, a brilliant multi-instrumentalist, when they were on faculty together at the New School, and he’s one of several departed masters whose spirit inhabits Fresh Start. The samba-powered “Tirado” is dedicated to the late Brazilian Jazz masters, Cidinho Teixeira and Claudio Roditi. And Donelian dedicated the buoyantly celebratory “Janet Left the Planet” to the memory of two other exceptional musicians, vocalist Janet Lawson and bassoonist Janet Grice. The album’s biggest surprise is Donelian’s debut as a singer on Herb Magidson and Allie Wrubel’s “I’m Stepping Out with a Memory Tonight,” an overlooked American Songbook gem that was recorded by Ray Eberle and the Glenn Miller Orchestra in 1939 before quickly being forgotten. His pleasing vocals along with his formidable pianistic skills should put the delightfully wistful tune back in circulation.</span></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://armendonelian.bandcamp.com/album/fresh-start" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="699" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEjWe1WmvLhuzAQ4eOR8k0KlikYqfzDYS2j1CfkPC1vTxp6h_GwfUnTLoFdQXptRvnEaDdCT8scLBj8EwcGq2QJn2vNGXI4BJDTprFPhQpwwiQKqZh3CApd1e6RLlsIZjP2jCsMLcuF4xR0653Ij0AAnJt03y648CN8fPdgPhaTLQZABveo11eI3EuvMGQ=s16000" /></a></div><div><span style="font-size: x-large;">Born to Armenian parents living in New York City’s Jackson Heights neighborhood on December 1, 1950, Armen Hrant Donelian grew up in a household full of intellectual ferment. His Ottoman Empire-born father Khatchik Ohannes Donelian, who lost dozens of family members during the Armenian genocide, was a Columbia University-trained physicist who worked on the Manhattan Project. Growing up, Armen was surrounded by Classical and Armenian music, and from seven to 19 years old he studied piano at the Westchester Conservatory of Music in White Plains, NY.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Jazz entered the picture for Donelian at 12, through his older brother’s clarinet work in a Dixieland band directed by the great guitarist Arthur Ryerson Sr., a studio ace who recorded with everyone from Sinatra and Ella Fitzgerald to Charlie Parker and Fats Waller. Ryerson’s daughter Ali, now an eminent Jazz flutist, played in the band along with her three brothers. Entranced by the music’s energy, Donelian eventually joined the combo, where he learned numerous standards and more significantly how to swing.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Following his father’s path to Columbia University in 1968, Donelian immersed himself in music history, theory, composition, choral arrangement, and conducting, while supporting himself with a regular gig as a lounge pianist (and as a Blues and Folk guitarist). But his Jazz studies didn’t really commence until after graduation, when he fell under the sway of Beirach, a brilliantly probing improviser with a rarefied harmonic vocabulary who opened up a vast new musical universe for Donelian.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">“But there came a point when I had to break away,” he says. “That’s a very natural process that I often see as a teacher myself. After Richie, I focused on developing my own sound. It was a long process of experimentation from 1980 until the mid-’90s when I feel I really came into my own voice after investigating contemporary Classical music more deeply, and my own Armenian roots.”</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">While studying with Beirach, Donelian absorbed a series of bandstand master classes with Jazz giants, starting in 1975 with Afro-Cuban percussion legend Mongo Santamaria. Touring internationally with the conguero’s Latin Jazz octet, he recorded four albums on the Fania label, including the Grammy Award-nominated Sofrito, which features three Donelian compositions.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">After leaving Santamaria, Donelian immersed himself in Brazilian music, collaborating with artists such as pianist Dom Salvador, trumpeter Claudio Roditi, saxophonist Justo Almario, guitarist Amaury Tristão, and drummer Portinho. Freelancing around New York, he worked with established stars like Chet Baker, Lionel Hampton, Ted Curson, and Ray Barretto, and rising players such as Tom Harrell, Bob Berg, Rory Stuart, Keith Copeland, Ratzo Harris, Dennis Irwin, Jeff Williams, and Harvie S.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">He reached his widest audience yet upon joining tenor titan Sonny Rollins’s band in 1977, a thrilling yet daunting experience for the young pianist. Some years later, tenor sax master Billy Harper hired him for a four-year run that brought Donelian to the attention of audiences in Europe and Japan and resulted in four acclaimed albums. “With Billy I felt that I was able to really bring in my own voice,” he says. “He’d take these 20-minute solos and I had to come in afterwards. Billy’s music is very powerful and very soulful. That was a really great time in my life.”</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">In the midst of his tenure in Harper’s band he made his recording debut as a leader with 1981’s Stargazer on the Japanese label Atlas, a trio session with drummer Billy Hart and bassist Eddie Gomez focusing on Donelian’s original compositions. He’s kept the format in play over the years, recording the highly regarded Trio ’87 with Norwegians Carl Morten Iversen (bass) and Audun Kleive (drums), and 2007’s Oasis and 2014’s Sayat-Nova: Songs of My Ancestors with bassist David Clark and drummer George Schuller. The latter project, featuring Donelian’s arrangements of songs by the legendary 18th-century Armenian poet and musician Sayat-Nova, was his last recording, and expanded on his longtime engagement with the music of his ancestral homeland where he resided as a 2002 Fulbright Scholar. After the decade-long endeavor, he took his time before starting his next album.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">“I let the feeling develop organically,” he says. “I had all these thoughts about what I might want to do next, lists and lists of ideas like a Leonard Bernstein project or an album of Richard Rodgers tunes. There’s only so much you can do. Then the pandemic came and it was an opportunity for me to reexamine my approach to the piano and composing. But more than that I was looking to deepen how we listen and interact with each other in a responsive way, taking every particle of time as an opportunity to connect with and support each other, contributing in some way to a more beautiful sound.”</span></div><div><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">1. Noviembre</span></div><div style="text-align: center;"><span style="font-size: x-large;">2. Fresh Start</span></div><div style="text-align: center;"><span style="font-size: x-large;">3. Ferry Maiden</span></div><div style="text-align: center;"><span style="font-size: x-large;">4. Madagascar</span></div><div style="text-align: center;"><span style="font-size: x-large;">5. Gale</span></div><div style="text-align: center;"><span style="font-size: x-large;">6. Never Let Me Go</span></div><div style="text-align: center;"><span style="font-size: x-large;">7. Tirado</span></div><div style="text-align: center;"><span style="font-size: x-large;">8. In The Western Night</span></div><div style="text-align: center;"><span style="font-size: x-large;">9. Day Break</span></div><div style="text-align: center;"><span style="font-size: x-large;">10. Janet Left The Planet</span></div><div style="text-align: center;"><span style="font-size: x-large;">11. I'm Stepping Out with a Memory Tonight</span></div><div style="text-align: center;"><span style="font-size: x-large;">12. Tales In The Western Night</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">Armen Donelian - piano</span></div><div style="text-align: center;"><span style="font-size: x-large;">Jay Anderson - bass</span></div><div style="text-align: center;"><span style="font-size: x-large;">Dennis Mackrel - drums</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><b><u><a href="https://armendonelian.bandcamp.com/album/fresh-start" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div><iframe style="border: 0; width: 100%; height: 42px;" src="https://bandcamp.com/EmbeddedPlayer/album=447676639/size=small/bgcol=333333/linkcol=0f91ff/transparent=true/" seamless><a href="https://armendonelian.bandcamp.com/album/fresh-start">Fresh Start by Armen Donelian</a></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-15161588846683721552022-04-01T10:55:00.000+02:002022-04-01T10:55:21.218+02:00Asher Gamedze - out side work | two duets with Xristian Espinoza and Alan Bishop (April 1, 2022 Astral Spirits)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://gamedzeduos.bandcamp.com/album/out-side-work-two-duets-with-xristian-espinoza-and-alan-bishop" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEgEo5iz6eyUmSCpx7FznUAPJ8ugNo9hAno7OHDgnOx7rLys87nrqH0RDd9L8HRXdKvK9AGS_U1GmtXzyGHXpLG9jW9RfeIZkrX1cfyrMCCoDkaZYbWH3GZ5s20ecIQ9kaCTUrscfPK8RvOnCLG_jovPbIhzp5sNDbs4XyfwwCrJFqWTsCKLlMtDqblzJg=s16000" /></a></div><p></p><div><span style="font-size: x-large;">We are beyond thrilled to present the latest from South African drummer / cultural worker / organizer Asher Gamedze. I'm sure many of you are familiar with his incredible debut Dialectic Soul (On The Corner, 2020) or his work with Angel Bat Dawid & Tha Brothahood, and we're happy to unveil another side of Gamedze's work with out side work | two duets. </span></div><div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">out side work | two duets is a very literal album as the album features Gamedze in a conversation of sorts, a recording made more for the enjoyment of playing together rather than being planned as a release. Quite literally, the record consists of two improvised duets, one with fellow Brothahood member Xristian Espinoza (who's artwork graces the cover and insert of the record as well) and one with Alan Bishop (Sun City Girls, Alvarius B., Sublime Frequencies). </span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">As Gamedze mentions in the liner notes, this is "Free time" - both in terms of the music itself and the multi-directional possibilities that each duo aspires toward. This record wasn't made to capitalize on anything, it focuses instead on those out side moments of possibility: music on the other side of Time. </span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">One of the things that makes Gamedze so unique is how his playing is both conversational but also slyly lifts up those around him. His writing and playing on Dialectic Soul drove the group behind the album, and the same can be said here on out side work | two duets. Xristian Espinoza & Alan Bishop shine, painting, stretching and conversing with Time. Whilst channeling a playful urgency, their ideas unfurl with an unhurried and patient logic. All in real time, free time, out side of time, and that is truly what makes this album an amazing new statement from Gamedze, Espinoza & Bishop, furthering what each has done and will do long into the future. </span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">ASHER GAMEDZE ON out side work | two duets</span></div><div><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">1. (with xristian): robbing the clock</span></div><div style="text-align: center;"><span style="font-size: x-large;">2. (with xtristian): robbing the clock (EXCERPT)</span></div><div style="text-align: center;"><span style="font-size: x-large;">3. (with alan): wild cats strike</span></div><div style="text-align: center;"><span style="font-size: x-large;">4. (with alan) wild cat strike (EXCERPT)</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">tenor saxophone and percussion on 'robbing the clock': xristian espinoza</span></div><div style="text-align: center;"><span style="font-size: x-large;">alto saxophone and voice on 'wild cat strike': alan bishop</span></div><div style="text-align: center;"><span style="font-size: x-large;">drum kit on both sides: asher gamedze</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><b><u><a href="https://gamedzeduos.bandcamp.com/album/out-side-work-two-duets-with-xristian-espinoza-and-alan-bishop" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div></div><iframe style="border: 0; width: 100%; height: 42px;" src="https://bandcamp.com/EmbeddedPlayer/album=1578191093/size=small/bgcol=333333/linkcol=0f91ff/transparent=true/" seamless><a href="https://gamedzeduos.bandcamp.com/album/out-side-work-two-duets-with-xristian-espinoza-and-alan-bishop">out side work | two duets with xristian espinoza and alan bishop by Asher Gamedze</a></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-37599464462469159292022-04-01T10:54:00.000+02:002022-04-01T10:54:33.666+02:00Soylent Green - Soylent Green (April 1, 2022)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://wearesoylentgreen.bandcamp.com/album/soylent-green" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEiwl8hBg45kH-11Hwnu1AoaEcqu2G2dXNF9VHR3F6LHZBl744WYi_jRohY07pu5TfazEVsSoa8jp8PZ3AuCqtfJpjUhYEh6uy-eVWCf3ew6WxLAgq4-CV5oOOsGRRvNvqQhV6iQLjec0Eal6YirXHSDsEHr62uyfk71mR8fQJ2nczD-T84M8uEo_JHSPA=s16000" /></a></div><p></p><div style="text-align: center;"><span style="font-size: x-large;">This is our debut album and it reflects our experiences and influences.</span></div><div style="text-align: center;"><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">We are deeply blessed to be creating music and we hope that you can listen deeply and share in our joy which is deeply sewn into the fabric of this record.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">This music was made on Kaurna land and we acknowledge that sovereignty was never ceded.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">1. Intro</span></div><div><span style="font-size: x-large;">2. 88301</span></div><div><span style="font-size: x-large;">3. Caution</span></div><div><span style="font-size: x-large;">4. Inner Peace</span></div><div><span style="font-size: x-large;">5. Seven Fold</span></div><div><span style="font-size: x-large;">6. Chamelaucium Uncinatum</span></div><div><span style="font-size: x-large;">7. Poly</span></div><div><span style="font-size: x-large;">8. Triskaidekaphobia</span></div><div><span style="font-size: x-large;">9. Saudade</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Daniel Isler - Trumpet</span></div><div><span style="font-size: x-large;">Ruby Mensforth - Trombone</span></div><div><span style="font-size: x-large;">Giacomo Guttilla - Alto Saxophone</span></div><div><span style="font-size: x-large;">Ciara Ferguson - Piano</span></div><div><span style="font-size: x-large;">Tasha Stevens - Bass</span></div><div><span style="font-size: x-large;">Cam Tonkin - Drums</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Mixed and Mastered at Wizard Tone Studios</span></div><div><span style="font-size: x-large;">Engineered and Mixed by James Brown</span></div><div><span style="font-size: x-large;">Mastered by Jarrad Payne</span></div><div><span style="font-size: x-large;">Album Artwork by Peter Dudding courtesy of Studio A</span></div><div><span style="font-size: x-large;"><br /></span></div><div><b><u><a href="https://wearesoylentgreen.bandcamp.com/album/soylent-green" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div></div><iframe style="border: 0; width: 100%; height: 42px;" src="https://bandcamp.com/EmbeddedPlayer/album=1160995579/size=small/bgcol=333333/linkcol=0f91ff/transparent=true/" seamless><a href="https://wearesoylentgreen.bandcamp.com/album/soylent-green">Soylent Green by Soylent Green</a></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-18655022119492611482022-04-01T10:53:00.000+02:002022-04-01T10:53:52.459+02:00Rob Clearfield & Quin Kirchner - Concentric Orbits (April 1, 2022 Astral Spirits)<p></p><div style="text-align: center;"><a href="https://clearfieldkirchner.bandcamp.com/album/concentric-orbits" imageanchor="1" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEgWOtMV07087HwBcUt5Ob-pH3ii0Qyoa9OuasxhyIjG7sdqAfkym8ZurSlMJngZMQp5m17nP_x92pMNvwZ5lhEhsWeujV6USQcg3CgCucSSBEjp60O04ejn-BAKjlvi_96fXzZsjBNKAeJpmLWwA3BH_FDOXwSV8REqHVYBXRoKwTjJSDJfUOV017l_GQ=s16000" /></a></div><p></p><div><span style="font-size: x-large;">Happy to announce the latest from Chicago-based percussionist Quin Kirchner, this time in an intimate duo setting with France-based pianist Rob Clearfield. Concentric Orbits is Clearfield & Kirchner's gorgeous debut recording as a duo, although they have a long history of playing together over the years in Chicago.</span></div><div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">You will likely remember Clearfield from his standout playing on Kirchner's The Shadows and The Light (2020, Astral Spirits), and here on Concentric Orbits he takes a bit more of the foreground on the piano with Kirchner's solid, driving support moving the proceedings along.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">The two sidelong tracks offer different sides of the duo; "Orbit 1" dives in with a insistent and repetitive left piano groove that eventually unfolds into a splattering of free improv that subsides. Cymbals, bells and more from Kirchner lead us through the second half of the track, with Clearfield continuing variations on the original ostinato through to the ending. "Orbit 2" jumps out immediately with a percussive attack complimented by Clearfield's prepared piano that mirrors the percussive sounds without overpowering. Kirchner's groove rides powerfully through the majority of the track, with some truly stirring playing from Clearfield on the second half.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">It's worth noting that Concentric Orbits came out of the same sessions as Kirchner's The Shadows and The Light. Clearfield & Kirchner happened to find themselves at the session earlier than the other musicians and decided to roll tape. The loose "let's see what happens" vibe helps give focus to why Concentric Orbits is so beautiful and important without being self-important. Even though it may not have seemed as substantial as Kirchner's album at the time, it stands on equal footing as yet another beautiful document of these players growth and maturity.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">"When we were recording The Shadows and The Light, it was tricky to coordinate because I had 8 other people on the session over a couple days and no one could be there the whole time. One of the reasons we were doing the session that week was because I knew Rob was going to be in town from France and I definitely wanted him to play on it. As it turned out, he and I were the only musicians able to be there first thing on the second day, so I suggested we just record some duo things. Without any planning we just dove in, and what you hear on this album are the first two pieces we played, in order. We also did a third one - I used my sampler and Rob switched to Wurlitzer - and what we made eventually became Batá Chop on Shadows, after adding Matt Ulery & Greg Ward. I originally thought I'd use excerpts of our improvisations as vignettes on the album, but after taking in all the material from our session, it became clearer to me and Rob that it was kind of great on its own and we ought to keep it that way. We're happy to finally be presenting it to you now." - Quin </span></div><div><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">1. Orbit 1</span></div><div style="text-align: center;"><span style="font-size: x-large;">2. Orbit 2</span></div><div style="text-align: center;"><span style="font-size: x-large;">3. Orbit 1 (excerpt 1)</span></div><div style="text-align: center;"><span style="font-size: x-large;">4. Orbit 1 (excerpt 2)</span></div><div style="text-align: center;"><span style="font-size: x-large;">5. Orbit 1 (excerpt 3)</span></div><div style="text-align: center;"><span style="font-size: x-large;">6. Orbit 1 (excerpt 4)</span></div><div style="text-align: center;"><span style="font-size: x-large;">7. Orbit 2 (excerpt 1)</span></div><div style="text-align: center;"><span style="font-size: x-large;">8. Orbit 2 (excerpt 2)</span></div><div style="text-align: center;"><span style="font-size: x-large;">9. Orbit 2 (excerpt 3)</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">Rob Clearfield - Piano</span></div><div style="text-align: center;"><span style="font-size: x-large;">Quin Kirchner - Percussion</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">Recorded at Decade Music Studios in Chicago 9/17/19</span></div><div style="text-align: center;"><span style="font-size: x-large;">Engineered by Nick Broste & Brian Sulpizio</span></div><div style="text-align: center;"><span style="font-size: x-large;">Mixed by Nick Broste at Shape Shoppe</span></div><div style="text-align: center;"><span style="font-size: x-large;">Mastered by Mikey Young</span></div><div style="text-align: center;"><span style="font-size: x-large;">Produced by Quin Kirchner</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">Artwork & Layout by Mason McFee</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><b><u><a href="https://clearfieldkirchner.bandcamp.com/album/concentric-orbits" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div></div><iframe style="border: 0; width: 100%; height: 42px;" src="https://bandcamp.com/EmbeddedPlayer/album=1328413793/size=small/bgcol=333333/linkcol=0f91ff/transparent=true/" seamless><a href="https://clearfieldkirchner.bandcamp.com/album/concentric-orbits">Concentric Orbits by Rob Clearfield & Quin Kirchner</a></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-58487284380841281592022-04-01T10:52:00.000+02:002022-04-01T10:52:26.660+02:00Angelicus - Approach (April 1, 2022 Improved Sequence)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://improvedsequence.bandcamp.com/album/approach-imp080" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEgaJwqee6xPps_lR-jMiJcFwnI2OeRpezbDLGWGLk9FjSvKtpnGcC4560d8ZoDEoktjX9uRNHDFNaOsuEJDYDIOFV8VdTerDRU4L5PkdyU-j2Fz7eWrM01xfuIzZ8gf4QKWQjniwSNV4syDbdqq2HRJfU-Z-d55o8gM7VkIeWd9fijirdxjvnQ29KBuOg=s16000" /></a></div><p></p><div style="text-align: center;"><span style="font-size: x-large;">500 copies, 100 on Transparent Black Vinyl.</span></div><div style="text-align: center;"><div><span style="font-size: x-large;">CD ships April 1st</span></div><div><span style="font-size: x-large;">LP ships June 10th</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Project: Angelicus</span></div><div><span style="font-size: x-large;">Album title: Approach</span></div><div><span style="font-size: x-large;">Dirk Dresselhaus (Die Angel, Schneider TM), John Duncan, Ilpo Väisänen (Die Angel), Zappi (Faust)</span></div><div><span style="font-size: x-large;">LP + CD released by Improved Sequence</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Strange attractors. Zappi's subtle tribal rhythms. Powerdrone electronics by Dresselhaus and Väisänen. Duncan's lyrics and vocals. Sublime and daunting.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">1. Toll</span></div><div><span style="font-size: x-large;">2. Tanzcandid</span></div><div><span style="font-size: x-large;">3. Slither</span></div><div><span style="font-size: x-large;"><br /></span></div><div><b><u><a href="https://improvedsequence.bandcamp.com/album/approach-imp080" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div></div><iframe style="border: 0; width: 100%; height: 42px;" src="https://bandcamp.com/EmbeddedPlayer/album=458083379/size=small/bgcol=333333/linkcol=0f91ff/transparent=true/" seamless><a href="https://improvedsequence.bandcamp.com/album/approach-imp080">Approach (IMP080) by Angelicus</a></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-16719582033084170172022-04-01T10:50:00.000+02:002022-04-01T10:50:53.239+02:00Paolo Zou - Venus (April 1, 2022 Auand Records)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://auand.bandcamp.com/music" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEjZt19tuaa0MAw8JAH-n5gSm32kf2lJ9EzSf_LO6r26ii33LXV0NjfCP9R4O8HDKxqZ1WpNlfbAPt1jCNjjnFiqvaohnRU4ubNx0tgMZWMcQ72d6_bYxoG2sCo0VEd9YJD896I2hZI6ulab7gCasX6-dMESCs7aK-5UyzJ4wdvLjEmBZpGdXJLj8Fnf4A=s16000" /></a></div><p></p><div style="text-align: center;"><b><span style="font-size: x-large;">Paolo Zou, Venus</span></b></div><div><div style="text-align: center;"><b><span style="font-size: x-large;">The new multifaceted, colorful album by Italian guitar player Paolo Zou, out now on Auand Records</span></b></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Italian guitar player Paolo Zou’s new record, conceived over the lockdown weeks in early 2020, is intentionally nuanced and filled with different music moods. Such stylistic variety is key to Zou’s career, which includes electronic music production, reggae-ska, as well as appearances in the pop and hip-hop scene.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Released by Auand Records, “Venus” will be available on April 1st – singles from the album will pop up on all streaming platforms starting Friday, March 4th.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">«Just like every composition I’ve made – Paolo Zou explains – I first figured out who I wanted to record with in my first album as a leader, then I started writing music, focusing on the musician I picked.» The lineup includes Adriano Matcovich on electric bass (plus vocals on one track) and Dario Panza on drums.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">«On our first rehearsal – Zou recalls – there was immediately a deep understanding with the three of us, and a very similar approach to jazz and improvised music. When it comes to writing, I usually do everything at home, on paper, often including bass and drums. Agreeing with them on basically everything music-related was a breeze! We all have an open, inclusive mind. And we share a varied taste in music: ranging from jazz, trap, soul, and pop, to classical.»</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">“Venus” is a colorful, richly nuanced album, partly because of Zou’s personal experience: a slight form of synaesthesia, which allows him to feel a connection in sounds, colors and shapes. He decided to highlight this specific aspect of creativity – something that has intrigued artists, writers and poets, such as Baudelaire and Kandisnky, over the centuries.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">«In this album – he adds – I wanted to make room for the colors evoked by songs, regardless of who wrote them. This is why every track title (except for some interludes) recalls an object with the color of that track: Venus is yellow, Orhis is red, Covellite is blue, Adamite green, while Is Arutas is white.»</span></div><div><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">1 Seahorse #1</span></div><div style="text-align: center;"><span style="font-size: x-large;">2 Is Arutas</span></div><div style="text-align: center;"><span style="font-size: x-large;">3 Seahorse #2</span></div><div style="text-align: center;"><span style="font-size: x-large;">4 Orhis</span></div><div style="text-align: center;"><span style="font-size: x-large;">5 Seahorse #3</span></div><div style="text-align: center;"><span style="font-size: x-large;">6 Covellite</span></div><div style="text-align: center;"><span style="font-size: x-large;">7 Seahorse #4</span></div><div style="text-align: center;"><span style="font-size: x-large;">8 Venus</span></div><div style="text-align: center;"><span style="font-size: x-large;">9 Seahorse #5</span></div><div style="text-align: center;"><span style="font-size: x-large;">10 Adamite</span></div><div style="text-align: center;"><span style="font-size: x-large;">11 Seahorse #6</span></div><div style="text-align: center;"><span style="font-size: x-large;">12 Black Onyx</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">Paolo Zou - guitar</span></div><div style="text-align: center;"><span style="font-size: x-large;">Adriano Matcovich - electric bass</span></div><div style="text-align: center;"><span style="font-size: x-large;">Dario Panza - drums</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><span style="font-size: x-large;">Recorded at Jedi sound Studio on October 30-31, 2020 by Jesse Jermanò.</span></div><div style="text-align: center;"><span style="font-size: x-large;">Mixed at Jedi Sound Studio in February 2021 by Alessandro Donadei.</span></div><div style="text-align: center;"><span style="font-size: x-large;"><br /></span></div><div style="text-align: center;"><b><u><a href="http://auand.com" target="_blank"><span style="font-size: x-large;">auand.com</span></a></u></b></div><div style="text-align: center;"><b><span style="font-size: x-large;"><br /></span></b></div><div style="text-align: center;"><b><u><a href="https://auand.bandcamp.com/music" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-18606062040832602292022-04-01T10:49:00.000+02:002022-04-01T10:50:02.218+02:00Club d'Elf - You Never Know (April 1, 2022)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://clubdelf.bandcamp.com/album/you-never-know" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="1000" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEjg5ZdaCn1FDYKci657k03KpXWG9k7LTvyWFhnZ4ujths2Y_nI1wMMTAMhv79HVSV2CglGVxaa7zkVIYTfTDovArscRTupncP9ua1cl1MUePOs4XC0zTytvnv-_1w0ExubmlggYsIGBrEGOYy4bTSTPHdyR_Wsx4QYU0Dro6v1uRDsH0GsQW9cu8iA9cw=s16000" /></a></div><p></p><div style="text-align: center;"><span style="font-size: x-large;">"You Never Know" is a trance-heavy meditation on finding light amidst the shadows. The band pay tribute to the music and musicians who have been heavy influences, with half the album being covers of Gnawa (trance music from North Africa), Miles Davis, Joe Zawinul, Moroccan band Nass el-Ghiwane, and Frank Zappa. The other half consists of original music inspired by leader Mike Rivard's personal journey into darkness following a near death experience in the remote jungle of the Peruvian Amazon.</span></div><div style="text-align: center;"><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Sessions were recorded live to analog tape in the studio with minimal overdubbing, with the result being the closest feeling of the band's legendary live performances than any of it's preceding fifteen releases.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">1. Boney Oscar Stomp</span></div><div><span style="font-size: x-large;">2. Zeed Al Maal</span></div><div><span style="font-size: x-large;">3. Now Open Your Eyes</span></div><div><span style="font-size: x-large;">4. Golden Hour</span></div><div><span style="font-size: x-large;">5. In a Silent Way/It’s About That Time</span></div><div><span style="font-size: x-large;">6. Dark Fish</span></div><div><span style="font-size: x-large;">7. Dervish Dance</span></div><div><span style="font-size: x-large;">8. Lalla Aisha in Jhaptal</span></div><div><span style="font-size: x-large;">9. Allah Ya Moulana</span></div><div><span style="font-size: x-large;">10. King Kong</span></div><div><span style="font-size: x-large;"><br /></span></div><div><b><u><span style="font-size: x-large;">Musicians:</span></u></b></div><div><span style="font-size: x-large;">Brahim Fribgane: oud, vocal, bendir, karakab, cajon, frame drum, dumbek; Mike Rivard: acoustic bass, sintir, electric bass, tamboura (7), chorus vocal (9); Dean Johnston: drums, chorus vocal (9); Duke Levine: guitar (1-4, electric mandocello & 6 string bass (3); Kevin Barry: lap steel (1-4); Paul Schultheis: Rhodes, Wurli, organ, Moog, clavinet, ARP Omni (1-4); John Medeski: Rhodes, Wurli, organ, Mellotron, clavinet (5-10), chorus vocal (9); David Fiuczynski: fretted and fretless guitars (5-10); Mister Rourke: turntables (2, 4, 6, 7, 8, 10); Amit Kavthekar: tabla (6, 8); Andrew Fogliano: tenor sax (1, 8), bari sax, flute (8); Phil Grenadier: trumpet (1, 6, 8); Thorleifur Gaukur Davidsson: harmonica (3).</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Produced and arranged by Mike Rivard.</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Recorded by Chris Rival at Middleville Studio. Horn overdubs by Will Holland at Chillhouse. Horn arrangements (1, 8) by Andrew Fogliano. Additional recording by Jeff Misner at The Chop Shop, Trausti Laufdal at TLA Studios, and Duke Levine.</span></div><div><span style="font-size: x-large;">Mixed by Danny Blume at Hidden Quarry Studio. Edited by Evren Celimli. Mastered by Alan Silverman at Arf Mastering.</span></div><div><span style="font-size: x-large;">Face Pelt Records FP 2201</span></div><div><span style="font-size: x-large;"><br /></span></div><div><b><u><a href="https://clubdelf.bandcamp.com/album/you-never-know" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div></div><iframe style="border: 0; width: 100%; height: 42px;" src="https://bandcamp.com/EmbeddedPlayer/album=2160541897/size=small/bgcol=333333/linkcol=0f91ff/transparent=true/" seamless><a href="https://clubdelf.bandcamp.com/album/you-never-know">You Never Know by Club d'Elf</a></iframe>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-6873736895381261859.post-19612888702396382512022-04-01T10:48:00.000+02:002022-04-01T10:49:00.380+02:00URUK - Ame (Live at Artacts) April 1, 2022 trost records<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://franzhautzinger.bandcamp.com/album/ame-live-at-artacts" imageanchor="1" style="margin-left: 1em; margin-right: 1em;" target="_blank"><img border="0" data-original-height="986" data-original-width="1000" src="https://blogger.googleusercontent.com/img/a/AVvXsEihmxV9rc2FsP76GJmuPcdl_zgh7FbkZ839Ai76DeFxvpv5vGmo1zyc4sHYB9nUWe7qXkOPQaBh0EEukiPXSG1XiDOz_x4H2qrmfxZcw-gKaQ2LeVyQ41lFKSBZVcXEyEhz3aiVMNY-UkOZbgGGt3YMt84BRW78XVUKgLUH6-iEDJuZs10-BpRywOQ-ow=s16000" /></a></div><p></p><div style="text-align: center;"><span style="font-size: x-large;">1. Ame</span></div><div style="text-align: center;"><div><span style="font-size: x-large;">2. Enkidu</span></div><div><span style="font-size: x-large;">3. Gilgamesh</span></div><div><span style="font-size: x-large;">4. Ianna Ishtar</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Isabelle Duthoit – clarinet, voice</span></div><div><span style="font-size: x-large;">Franz Hautzinger – quarter-tone trumpet</span></div><div><span style="font-size: x-large;">Hamid Drake – percussion, frame drum, voice</span></div><div><span style="font-size: x-large;">Michael Zerang – percussion, frame drum</span></div><div><span style="font-size: x-large;"><br /></span></div><div><span style="font-size: x-large;">Recorded live at Artacts, Alte Gerberei, St.Johann, March 7th 2020</span></div><div><span style="font-size: x-large;">Mastering by Martin Siewert</span></div><div><span style="font-size: x-large;"><br /></span></div><div><b><u><a href="https://franzhautzinger.bandcamp.com/album/ame-live-at-artacts" target="_blank"><span style="font-size: x-large;">PRE-ORDER</span></a></u></b></div></div><iframe style="border: 0; width: 100%; height: 42px;" src="https://bandcamp.com/EmbeddedPlayer/album=2662387175/size=small/bgcol=333333/linkcol=0f91ff/transparent=true/" seamless><a href="https://franzhautzinger.bandcamp.com/album/ame-live-at-artacts">Ame - Live at Artacts by URUK</a></iframe>Unknownnoreply@blogger.com