Wednesday, October 18, 2017

Rudresh Mahanthappa's Agrima with Indo-Pak Coalition (October 17, 2017)


Trio breaks new sonic and conceptual ground with first release since Apti (2008)

Independently released, Agrima is available October 17, 2017 via digital and vinyl only
(download $2, limited edition deluxe double LP), exclusively at

Album Release Concert at BRIC JazzFest 2017 in Brooklyn on October 21, 2017

"The band, playing at the Litchfield Jazz Festival, "...lit a fire under the audience....Drawing on their album Agrima, they deployed a potent mix of fresh tunes and a new, expansive electronic sound."
– Phillip Lutz, DownBeat cover story

"...there is individual virory– Phtuosity, at almost every turn. But the larger point of this album is the transformation of materials in a process of real-time exchange — a meeting of minds and methods that takes no possibilities for granted."
– Nate Chinen, NPR

"These are three distinct talents, unfettered in pursuit of the brutish beauty of their collective vision.... Nearly a decade between albums, but worth the wait." – Britt Robson, JazzTimes

"...Rudresh Mahanthappa is one of the best players today.... Over the last 50 years, many artists have combined Indian music with jazz and rock, but nobody has done it quite like this....Agrima is an outstanding release." – Jon Davis, Exposé Online

"This is arresting music that takes plenty of chances yet feels entirely accessible, particularly for fans of jazz-rock fusion seeking something extraordinary." – Bret Saunders, Denver Post

"On Agrima, Abbasi’s guitar sounds as rugged as it ever has and Weiss now possesses the flexibility to go back and forth between tabla and drums to the extent that it sounds of one instrument. For his part, Mahanthappa never seems to run out of original ways to push his alto sax (and now, occasional effects) right into the great, unknown musical expanse he and his cohorts have created." – S. Victor Aaron, Something Else!

"★★★★★" – Angelo Leonardi, All About Jazz Italia

"The music on the album takes its sound from the Indian sub-continent with the intricacy of modern jazz and a boost of rock energy to make for a unique and compelling sound." - Tim Niland, Music and More

"★★★★" – Jazz Magazine (France)

"★★★★" With Agrima Mahanthappa continues to challenge himself and the listener with the difficult task of bringing the single-note and drone elements of Indian music together with jazz. Abbasi's penchant for blistering rock guitar interludes adds an almost incalculable test to the composing process. The complex methodology works, even more so than on Apti, due to the expanded reach of the better equipped Weiss. His ability move the process along and shift the environment without seismic repercussions, is just one of the wonders of Agrima. – Karl Ackermann, All About Jazz

Rudresh Mahanthappa's Indo-Pak Coalition has been hailed by The New York Times as "a trio equally grounded in folk tradition and jazz improvisation, propos[ing] a social pact as well as a musical ideal."  The ensemble's three formidable talents – Mahanthappa on alto saxophone, Rez Abbasi on guitar, and Dan Weiss on tabla – first documented their group conception in 2008 with Apti, which won praise from The Guardian for its "irresistible urgency."

Agrima, the long-awaited follow-up, finds Mahanthappa and the group expanding aesthetic horizons: adding a modified drumset, incorporating effects and electronics, and working with a broader audio canvas overall. The core of the band's sound, the vibrant presence of Indian rhythmic and melodic elements in a charged, modern improvisational framework born of the New York jazz scene, remains firmly in place.

According to Mahanthappa, "Agrima" in Sanskrit simply means "next" or "following." It comes at a propitious time for all three members: Mahanthappa has enjoyed great success with his Bird Calls quintet and recently became Director of Jazz Studies at Princeton University. Abbasi, born in Karachi, Pakistan and raised in California, has revealed a rare mastery of guitar in a range of settings including his own RAAQ acoustic quartet and his heavily electric project, Junction. Weiss, a voraciously eclectic drummer with interests ranging from classical tabla performance to metal, has garnered acclaim for his work ranging from solo drums to trio to large ensemble.

"I wanted everyone to think about Agrima as if we were making a rock album," Mahanthappa declares. "Apti is almost 10 years old and I think the way that the three of us conceive of non-Western or Indian music sonically and technically has really evolved. So I didn't want us to be concerned with having an overt Indian sound. I wanted to highlight our interactions, which we've developed since 2005 when the band premiered at New York City's Joe's Pub."

From all three instruments we hear a heightening of expressive nuance and possibility. Mahanthappa's alto is transformed in places by software-driven effects to create strange processed timbres, echoes, decays and soundscapes. "Working with electronics is like learning a new instrument," Mahanthappa says. "It takes a bit of thought to figure out how to have a voice in that realm. I ended up doing some work with Neil Leonard [from the Berklee College of Music's program in Electronic Production and Design]. He's also an alto player. He wrote a piece for the two of us, just two altos and our laptops, and he made all these patches for me, allowing me to use them however I wanted. I was always interested in electronics but my initial foray was not until Samdhi, (2011). That was really kind of a more instinctive approach but in the end it turned out really cool and I got what I wanted. Electronics was something I always wanted to get back to."

Abbasi's guitar, clean-toned and fluid (at times even acoustic) on Apti, becomes something bigger and more foreboding on Agrima: there's an edge and growl to the tone, a looming presence and sustain in the low notes, and more atmosphere thanks to an array of pedal effects that complement Mahanthappa's electronics at every turn. But perhaps the most pronounced shift from the previous record is Weiss's hybrid setup, melding tabla with drum set. "A while back we had a gig coming up in Montreal," Mahanthappa recalls, "and Dan asked what I thought about having him still be seated playing tabla but also with pieces of the drum set around him. We didn't even rehearse it, we just got to that sound check a half-hour early and Dan threw this thing together that ended up being amazing. That's how we've played ever since. On some tunes Dan only plays drum set, in fact. It all stems from our shared experience and our relationship to Indian music and jazz, which transcends the instrumentation."

In January 2017 the Indo-Pak Coalition premiered the new set of music that would become Agrima at globalFEST in New York. The energy of that encounter carried forward into the studio, from the eerie rubato incantation of "Alap" to the spiky lines and bracing tempo of "Snap," from the looping synthesized patterns, fractured beats and sunny temperament of "Agrima" to the simpler, moodier medium groove of "Showcase." The band is in peak form, executing tough thematic material, attending to fine dynamic contrasts, shifting tempos with spellbinding ease, and of course improvising with depth and ferocity.

There are riveting musical stories to be heard within "Rasikapriya" and "Revati," ambitious works with ever-shifting rhythmic foundations, gamboling between hyper-precision and pure abstraction. Between the slow and measured legato of "Can-Did" and the agitated esprit of "Take-Turns" we hear the play of extremes, of the unexpected, a many-sided adventurousness that is the Indo-Pak Coalition's reason for being. Inimitably rendered by three of the most mature and compelling players of our time, Agrima is an album likely to resonate through the years.

CONCERTOS PORTA-JAZZ: Roberto Pianca "Sub Rosa" - Sala Porta Jazz Sábado 21 de Outubro


Sábado 21 Outubro 
Roberto Pianca "Sub Rosa"
Concerto Sala Porta Jazz 
(Sessões iniciam às 19:00h e às 22:00h)

Destacando-se na cena jazzistica internacional, Roberto Pianca é um dos músicos que mais presença tem marcado nos diversos palcos europeus.

Neste espectáculo, Pianca vem apresentar o seu mais recente projecto - "Sub Rosa" - cuja música circula entre os universos da música clássica, do jazz, da rock e da música contemporânea. Aqui, a complexidade musical articula-se com a liberdade da improvisação, que deixa espaço a cada voz interpretativa presente em palco.

Para este espectáculo a guitarra de Roberto Pianca far-se-á acompanhar pelo piano do artista nacional José Diogo Martins. A descoberta da cumplicidade musical em palco, vai levar os músicos a aventurem-se pelos caminhos da música de Roberto Pianca e da linguagem improvisada.

Este espectáculo é, então, uma viagem pelos lugares secretos, escondidos da música, ou não seria o título do projecto uma menção à expressão latina - "sob a rosa", em português - que em inglês é usada para referir o segredo e a confidencialidade. Um novo mundo é, aqui, trazido à luz.

Roberto Pianca - guitarra 
José Diogo Martins - piano

Próximo Concerto: O Outro - Sábado 28 de Outubro
Gustavo Dinis - guitarra
Ricardo Moreira - hammond
Miguel Sampaio - bateria

O Outro é a soma de todas partes.

Música improvisada sem barreiras de tempo, espaço ou cultura.

Três músicos que procuram experimentar e atravessar novos caminhos.

Jazz, Rock e World Music são condimentos essenciais num cozinhado próprio e em movimento.

Adrian Cunningham - Jazz Speak (ARBORS RECORDS 2017)

This album is my sincere attempt to connect with you, from experiences and people that have affected me and from which I«ve done my best to translate into music. Adrian Cunningham

The Source
Let's Fall In Love
Mood Indigo
Getting Down Uptown
Rachel's Dance
Petite Fleur
Jazz Speak
Autumn Moon Over the Calm Lake
Tempus Fugit

Adrian Cunningham - tenor sax, clarinet, flute
Ted Rosenthal - piano
John Clayton - bass
Jeff Hamilton - drums

Playlist for Tom Ossana – The Thin Edge – October 18, 2017 MST 7:00 to 9:00p.m. ~ Use this link to access the show online.

Adam Niewood - Paradigm Shift Live at Lafayette Bar (2017)

Adam Niewood (Saxophones, various woodwinds, EWI / electronic wind instrument, Drums) is a jazz improviser and American composer living in Manhattan New York, USA.

Adam grew up in a musical household in Glen Ridge, New Jersey. His father Gerry: an improvising jazz musician and freelancing woodwind doubler. His mother Gurly: a classical clarinetist and pianist, with a full-roster of local piano students.

"Piano lessons on the first floor - Jazz on the 3rd floor - There was music floating around in the house every day!!!"

1. Sandy's Dance (Live) 8:59
2. Joy (Live) 9:16
3. Mellow Drama (Live) 7:56
4. Vertigo (Live) 8:08
5. The Wrong Opinion (Live) 9:31
6. Not Quite Right (Live) 8:36
7. This Way to the Egress (Live) 5:53

Adam Niewood - Drums
Vic Juris - Guitar
Dick Oates - Alto Saxophone
Gene Perla - Bass

Erik Jekabson Quintet - Erik Jekabson Quintet (WIDE HIVE RECORDS 2017)

Erik Jekabson is a well known Bay Area musician who's played trumpet in many groups, including: Galactic, John Mayer, and most recently alongside Kamasi Washington in Throttle Elevator Music's latest release.

Here, on nine new compositions, Erik is stepping into his own sound with an awesome quintet that features saxophonist Dave Ellis (Charlie Hunter Trio), and guitarist Dave Mac Nab, bassist John Wiitala, drummer Hamir Atwal and percussionist John Santos also joins on congas for two tracks.

E.J.Q. is an overall beautiful album that sounds both expansive and classic.

1 Maintain 6:37
2 Zig Zag 7:35
3 Detective Work 6:26
4 The Rising Tide 5:26
5 A Piece of the Action 6:20
6 Emily Jane 6:29
7 Nasty Woman 4:02
8 Let Me Tell You What 4:39
9 Little Z's Strut 6:44