Friday, October 6, 2017

Collective Order Vol. 2 (2017)

"[Volume Two] In which we find ourselves in the midst of the first, all original, mental telepathy jazz date and we find the bar is set pretty high. An outgrowth of most of the Toronto jazz scene gathering in a basement and jamming, their first set went so well they decided to try even harder this time around. Taking solid, non-showy-for-the-sake-of-showy improv to places it’s never been, there’s something here for everyone but oddly enough, it’s solid enough that everyone will probably like everything. Yeah, it’s like that. If this isn’t a major collection of the stars of tomorrow getting it all down, then nothing is. Hot stuff."
 —Chris Spector, Midwest Record, Lake Zurich, IL, USA

"So hauntingly beautiful! Jocelyn Barth has the kind of voice that never fails to take you away, but always makes you want to come back for more. Her range is off the map and her poetic interpretations are nothing short of exquisite. She is one major talent!"
—Jeanne Beker, Canadian Journalist, Media Personality and Fashion Entrepreneur

"Collective Order Vol. 2 is a unique project that showcases some truly original songs, excellent musicianship and the voice of Jocelyn Barth alone makes this a must-have for any jazz fan."
—Jaymz Bee, ​JAZZ.FM91

"Jam sessions are all about shared moments and ideas; collaborative creativity. In times when concepts of community are screaming out for serious revisiting along comes a uniquely sensitive album project, Volume Two, from Collective Order. It is timely and very welcome."
—John Devenish, Host, Dinner Jazz, JazzFM91

Space Jam
Medieval Sanctions
A Meditation
Open Wide
Outside My Window
Then And Now

Chris Adriaanse: bass
Julian Anderson-Bowes: bass
Jocelyn Barth: vocals
Mike Campbell: drums
Belinda Corpuz: vocals
Ewen Farncombe: piano
Jon Foster: drums
Jared Goldman: drums
Murray Heaton: saxophones
Nebyu Yohannes: trombone
Andrew McAnsh: trumpet
Andrew Miller: drums
Connor Newton: saxophone
Liam Stanley: guitar
Laura Swankey: vocals
Noel Thomson: guitar
Ethan Tilbury: bass
Joel Visentin: piano/hammond B3
Connor Walsh: bass

Jana Kütt Group - Värvid (2017)

The album is Jana Kütt Group's debut. It speaks about the diversity of tones ja notes, colours and shades which are represented while Jana composes music.

1. Ootus 04:27
2. Värvid 07:23
3. Eile 04:35
4. Kollasus 08:07
5. Kuri lugu 06:43

Jana Kütt- vocal 
Anna Wibe- piano 
Johannes Laas- guitar 
Tõnis Koppel- electric & double bass 
Kristjan Mängel- drums 

Rec, mix & master- Sten-Olle Moldau 
Covert art- Eva Rank 
All tunes composed by Jana Kütt


Chris Tordini: Acoustic Bass
Dave King: Drums
Chris Speed: Tenor Saxophone

Omri Ziegele: Alto Saxophone, Uzbek Flute, Vocals
Yves Theiler: Keyboards, Reed Organ, Melodica, Vocals
Dario Sisera: Percussion, Drums

Ralph Alessi: Trumpet
Ingrid Laubrock: Saxophones
Kris Davis: Piano
Drew Gress: Bass
Tom Rainey: Drums

Irène Schweizer: Piano
Joey Baron: Drums

Aruán Ortiz: Piano

Silke Eberhard: Saxophone
Jan Roder: Bass
Kay Lübke: Dums

Stephan Crump: Acoustic Bass
Kris Davis: Piano
Eric McPherson: Drums

Release date: October 20, 2017

Hans Hassler: Akkordeon

Release date: October 20, 2017


Alexander Hawkins: Piano
Elaine Mitchener: Voice
Neil Charles: Double Bass
Stephen Davis: Drums

Intakt CD 297
Release date: November 17, 2017

Axel Dörner: Trumpet
Rudi Mahall: Bass Clarinet
Jan Roder: Bass
Michael Griener: Drums
Guest: Christof Thewes: Trombone

Intakt CD 289

Release date: November 17, 2017

INTAKT RECORDS: UNERHÖRT! - November 24 – December 3, 2017 in Zürich (and Winterthur)

November 24 – December 3, 2017
In Zürich (and Winterthur)

Borderlands Trio - Asteroidea (INTAKT RECORDS 2017)

Borderlands Trio, the collective effort of bassist Stephan Crump, pianist Kris Davis and drummer Eric McPherson, has luck on its side. Less than a year old, its chemistry is unusually deep. And while I don’t often use the term, it’s also a band that boasts a bit of magic. 

The album title Asteroida is the Latin term for starfish – a creature that can regenerate parts of itself whenever need be. That idea resonates with Crump because of the trio’s ability to steadily develop new landscapes, and the Stephan Crump reminds that the word starfish conjures notions of both the ocean and outer space. ‘Gravity, magnetism, constellations, nature. With this band, we’re always expanding and contracting, recontextualizing what’s around us and heading for the instantly inevitable.’

Ultimately Asteroidea is a treatise on immediacy and a deep dive into the spectrum of responses made by any one gesture. Pay close attention. Its grooves are always morphing, its drama boasts moments of whimsy, and its creators are just getting started. Jim Macnie, from the liner notes

1. Borderlands 26:32
2. Carnaval Hill 2:06
3. Flockwork 7:52
4. Ochre 3:40
5. Body Waves 6:31
6. From Polliwogs 5:59

Stephan Crump: Acoustic Bass
Kris Davis: Piano
Eric McPherson: Drums

Music by Eric McPherson, Kris Davis and Stephan Crump. 
Recorded December 18, 2016, at The Samurai Hotel, Queens, NY by David Stoller. 
Mixed by Stephan Crump at The Butler Plaza, Brooklyn, NY.
Mastered by Liberty Ellman at 4D Studios, Brooklyn, NY. 
Cover art and graphic design: Jonas Schoder. Liner notes: Jim Macnie. Photo: Jimmy Katz. 
Produced by Kris Davis, Stephan Crump, Eric McPherson and Intakt Records, Patrik Landolt.
Published by Intakt Records.

Hans Hassler - Wie die zeit hinter mir her (INTAKT RECORDS 2017)

Hans Hassler, born 1945 in Graubünden, East Switzerland, is the true Swiss king of accordion. Hassler inspires the listener with his playful virtuosity, a good sense of humour and a musical imagination without borders.

For Hans Hassler, performing on a variety of stages, to return to the studio as a soloist means adding something significant to anything which has already been played. It doesn’t necessarily have to be new or different; it has to be substantial.

Hans Hassler has retained something of the originality of his playing. He combines this elemental, physical and spontaneously deployed music-making power with a finely tuned sense for artistic form. Appropriately enough for this two-handed instrument, this often involves a dialogue across the spectrum between heavenly descant and droning lowlands. There are ethereal lone notes and powerful clusters of tones, and altogether a great deal of dynamics, scurrility, humour, drama and thoughtfulness. That, if we wish to name it, is Hassler music.

1. Wohin? 3:18
2. Einerlei – Zweierlei? 5:42
3. Wozu – und wieso nicht? 2:49
4. Fragezeichen – allein in einer Stadt 1:03
5. Calanda 5:10
6. Benigna 4:09
7. Das Dreieck und der Teppich 6:49
8, Spitziges Zeug 3:16
9. Die Sanduhr ohne Sand 1:19
10. Disput – aber oho! 7:52
11. Die zweieckige Krone 5:20
12. Nähmaschinen-Boogie 3:59
13. Akkordämon 1:40
14. Ach so! 0:35
15. Das Lied von den Rosen – den kleinen 0:59


All compositions by Hans Hassler. 
Recorded 2016, by Willy Strehler at Studio Klangdach, Guntershausen, Switzerland. 
Mixed 2017, by Hans Hassler and Willy Strehler. Mastered by Willy Strehler.
Cover art and graphic design: Jonas Schoder. Liner notes: Bert Noglik.
Photo: Francesca Pfeffer. Produced and published by Intakt Records, Patrik Landolt.

Daniel Levin - Living (SMERALDINA-RIMA 2017)

“The man to watch.” (Penguin Guide to Jazz) 

On his second solo album, Living (Smeraldina-Rima, release date: September 15th), cellist-composer Daniel Levin explores a unique creative and psychological environment. In creating it, Levin explains, “I imagined that I had hiked deep into a forest, where nobody was around for a hundred miles, pitched a tent, and went to sleep. Emerging from the tent the next morning, in complete solitude, I decided to make little ritual sculptures out of leaves, twigs, and rocks. Make them and destroy them, and then make some more, little sculptures to please only myself.” 

It’s a radical departure from his previous unaccompanied music, documented on his 2011 Clean Feed CD, Inner Landscape. “Not long after I started to improvise,” Levin explains, “I became very interested in producing an entire set of original improvised music, using just the cello. This was incredibly daunting to me for a long time, and it took me until about 2009 to be able to somewhat consistently produce completely improvised solo material that I thought could stand on its own. At the time, I seemed to be unable to produce anything even approaching convincing solo music, unless I was in front of an audience. In order to make the music strong, I needed the excitement and fear and adrenaline that I felt when I was creating music in real time in a performance setting. This is how my solo music was produced and functioned for a while. 

“Then, about 3 years ago, a new concept for the solo music began to emerge,” Levin continues. “This way of creating actually required that the live audience be taken out of the equation altogether. The trick for me in documenting this was to be able to establish and then really sustain that kind of creative and psychological space in the recording studio.” 

His new approach to solo playing produces an album of quiet intensity as he molds his vast vocabulary of sound into fascinating shapes that reveal surprises at every turn. Living employs nearly every conceivable sound available using a cello. It exists along the full continuum of possible timbres, from scratches and scrapes with no identifiable pitch to lyrical bowed melodies. Ideas appear as kinetic sculptures related to one another in intimate and varied ways, sometimes contrapuntally, sometimes through juxtaposition or opposition, either repeated or as isolated events. Living is the soundtrack of a sonic sculptor at work alone in his workshop. 

Daniel Levin “invokes all manner of musics with prodigious skill: jazz, classical, improv, noise, vocal chorus. His technique is unquestioned and he revels in the physicality of the instrument,” according to the New York City Jazz Record. Born in Burlington, Vermont, Levin began playing the cello at the age of six. In 2001, he graduated with a degree in Jazz Studies from the New England Conservatory of Music and arrived on New York City jazz scene shortly thereafter. Ed Hazell noted upon release of Levin’s first record as a leader, “Cellist Daniel Levin is a major new voice on his instrument and in improvised music.” Since then, Daniel has continued to develop his own unique voice as a cellist, improviser, and composer. He has performed and/or recorded with Billy Bang, Borah Bergman, Tim Berne, Anthony Braxton, Gerald Cleaver, Andrew Cyrille, Mark Dresser, Ingebrigt Håker Flaten, Tony Malaby, Mat Maneri, Joe Morris, Joe McPhee, William Parker, Ivo Perelman, Warren Smith, Ken Vandermark, and many others. A recipient of a Jerome Foundation award, he has released more than 20 albums as a leader or co-leader on labels such as Clean Feed, HatOLOGY, Not Two, Trost, Riti, and others. 

“Living is a major milestone for me in my development as an improviser and artist,” Levin says. It is also a new landmark in the landscape of improvised cello.

1. Assemblage 4:57
2. Generator 5:12
3. Baksy-buku 8:54
4. The Dragon 11:01
5. Symbiotic 4:18
6. Mountain of Butterflies 5:47

Daniel Levin  cello


October 6 - Brandon Seabrook / Daniel Levin / Henry Fraser @ Cornelia Street Café, New York, NY

October 8 - Daniel Levin / Brandon Seabrook / Juan Pablo Carletti @ Legion, Brooklyn, NY

October 10 - Daniel Levin / Ståle Liavik Solberg @ Café Mir, Oslo, Norway

October 11 - Solo @ Sentralen, Oslo, Norway

October 12 - Solo @ Pygméteatern, Stockholm, Sweden

October 13 - Joe Morris / Daniel Levin @ Skaņu Mežs Festival, Riga, Latvia

October 23 - Daniel Levin / Chris Pitsiokos @ Bushwick Public House, Brooklyn, NY

October 24 - Tony Malaby / Daniel Levin / Randy Peterson @ Barbès, Brooklyn, NY

October 25 - Tony Malaby / Daniel Levin / Randy Peterson @ Outpost 186, Cambridge, MA

October 26 - Tony Malaby / Daniel Levin / Randy Peterson @ Studio4, Northampton, MA

October 27 - Tony Malaby / Daniel Levin / Randy Peterson Workshop @ New England Conservatory of Music, Boston, MA (morning)

October 27 - Tony Malaby / Daniel Levin / Randy Peterson @ Firehouse 12, New Haven, CT

October 28 - Daniel Levin Solo + Larkin Grimm + Brandon Seabrook's Die Trommel Fatale @ H0L0, Brooklyn, NY

October 29 - Tony Malaby / Daniel Levin / Randy Peterson @ The Windup Space, Baltimore, MD

October 30 - Tony Malaby / Daniel Levin / Randy Peterson Workshop @ Towson University, Towson, MD (morning)