Tuesday, April 10, 2018

Tenderlonious - THE SHAKEDOWN featuring The 22archestra (22a Music June 15, 2018)

“The future of UK jazz is bright. If ever proof were needed that London’s young jazz scene is on fire right now, here it is.” Evening Standard

“Not enough people realise how much this artist has helped to shape the U.K underground right now. A don.” The Move 

“Tenderlonious is one of the hardest working men in music, bridging jazz, house and beats with restless ease.” The Vinyl Factory      

“South London beat maker Tenderlonious has made waves with his beautiful hybrid productions of jazzy, house, hip-hop and more. Every new release is a must listen.” Stamp The Wax 

“Loosey-goosey grooves and stoned soul chords” Resident Advisor

“The sheer force of this musician's personality is forging out a fresh universe for others to explore” Clash

22a label founder, flautist, saxophonist, producer and DJ extraordinaire Ed Cawthorne - aka Tenderlonious - has gained a reputation as one of the hardest working, most well respected and influential figures in South London’s burgeoning jazz scene.

Whether dropping sought-after deep house / broken beat 12”s on 22a, releasing via the likes of Ninja Tune, Brownswood, Yoruba Sounds Of The Universe and Far Out, or making inspirational sounds with his other band Ruby Rushton, Tenderlonious is one of the jazz renaissance’s leading lights.

He has helped turn the UK music scene on its head and shifted the focus back from aesthetic and sartorial posturing to live real musicianship, alongside other key piers like Moses Boyd, Nubya Garcia, Henry Wu/Kamaal Williams and Shabaka Hutchins.

Tenderlonious’ credentials in both electronic and jazz worlds are impeccable. He already has a Solid Steel Radio, a monthly slot on Gilles Petersons Worldwide FM mix and NTS shows under his belt, whilst his productions have gained praise and club plays from Gilles Peterson, Benji B, Huey Morgan, Lefto, Bradley Zero, Bonobo, Soul Clap, Osunlade, Alexander Nut. Mr G, Henry Wu and Banoffee Pies.

The Shakedown is Ed’s debut album proper as Tenderlonious and features a new band - the dream team of top talent he named the 22archestra, who he leads seamlessly throughout. Listeners are exposed to the full breadth of Cawthorne’s technical and compositional skills, ranging from subtly meandering jazz, to hip-hop, afrobeat, Latin and exhilarating free form jazz.

SV Disco, a nod to the mighty Slum Village, is a chunk of sensually-contorted disco vibes that brings on full party mode instantaneously, with the slinky bass licks and pitch-bent synthesiser recalling Roy Ayres’s blissed-out funk, blended with flute flurries reminiscent of mind Max Cilla’s La Flûte des Mornes.

Maria showcases Ed’s roots as sample-based producer, pulling influence from around the globe to create an undulating piece of flute-led Brazilian fusion that fans of Ruby Rushton will find familiar. The eastern-inspired embellishments raise the temperature further, whilst former Yussef Kamaal member Yussef Dayes’ sizzling cymbals and shuffling snare work propel the track onwards, locking down a signature 22a groove.

Latin and African influence can be heard across many of the tracks. Togo is a smoky afrobeat jam that leaves space for Tenderlonious’ flute to soar above, his playing mimicking old school styles you might catch from MF Doom or J Dilla.

Yussef’s Groove kicks off with driving drums, and each of the 22archestra enter steadily, fully utilising their virtuosic power, switching between low-slung bass, chic open piano solos and hazy electric piano.

The Shakedown exercises more restraint, with Bitches Brew style ambience providing a palpable sense of anticipation and passion, whilst still retaining that stomping, low-riding 70s swing they do so well.

The 22archestra was conceived after Tenderlonious was invited to record at Abbey Road Studios. The whole crew was rounded-up and the album was recorded during a single 8 hour session – a testament to their musicianship and ability to nail a take, which has been honed on stage.  

Live performances include sessions for Red Bull and Boiler Room, shows for Jazz Re:freshed, House of Vans, Dulwich Picture Gallery and Worldwide FM’s 2017 birthday party, plus a support slot for Ethio jazz legend Malatu Astatke at The Barbican. Crowds have also been wowed in Paris, Milan, Brussels, Croatia and Amsterdam.

22a is an independent record label founded in London in 2013. Born out of a duty to release their music, the focus is on a collective family of artists sharing work through the vehicle of the label, for the love of the music itself. 22a is firmly establishing itself as one of the leading independent labels in the UK, with a consistent output of quality releases spanning house, hip hop, broken beat, rare groove and jazz. They are residents on Worldwide FM and hosted and sold out the re-launch of Jazz Cafe in 2016.

1. Expansions
2. Yussef’s Groove
3. Togo
4. SV Interlude
5. The Shakedown
6. Maria
7. You Decide
8. SV Disco
9. Red Sky At Night

Ed ‘Tenderlonious’ Cawthorne: flute & synth
Hamish Balfour: keys
Fergus Ireland: bass
Yussef Dayes: drums
Tim Carnegue: drums
Mo Kolours: Percussion
Al Dobson Jr: percussion
Aidan Shepherd: keys
Nick Walters: trumpet
Reginald Omas Mamode IV: percussion
Jeen Bassa: percussion
Konrad: percussion

Producer; Tenderlonious 
Executive Producer; Dennis Ayler 
Engineer; Matt Mysko 

All tracks written & arranged by Tenderlonious & The 22archestra 

Recorded at Abbey Road Studios, 26th March 2017 

Cover Design; Theo Ackroyd 
Cover Photography; Lou Jasmine


May 05th - Roundhouse - London, UK
May 19th - Paris - La Petite Halle
May 26th – Liverpool - The Reeds
May 27th - Leeds - World Island
June 1st - Bristol - Louisiana
June 7th - Brighton - Patterns
June 8th - Wales - Gottwood Festival
June 14th - Manchester - Soup Kitchen
June 15th - Poland – Wrocław 22archestra show
June 22nd - London - Oslo
July 30th - Croatia - Soundwave
31st August - Cornwall - Knee Deep Festival

Playlist for Tom Ossana – The Thin Edge – April 11, 2018 MST 7:00 to 9:00p.m.

http://www.kzmu.org/listen.m3u ~ Use this link to access the show online.

Henry Threadgill - Double Up, Plays Double Up Plus (PI RECORDINGS May 18, 2018)

Game Is Up 22:48
Clear And Distinct From The Other A 9:56
Clear And Distinct From The Other B 6:15
Clear And Distinct 8:38

Henry Threadgill saxophone
Curtis Macdonald saxophone
Román Filiú saxophone
David Virelles piano
Luis Perdomo piano
David Bryant piano
Christopher Hoffman cello
Jose Davila tuba
Craig Weinrib drums

Henry Threadgill 14 or 15 Kestra: Agg - Dirt… And More Dirt (PI RECORDINGS May 12, 2018)

Comprised of two full-length works, Dirt… And More Dirt, is composed for Henry Threadgill’s band 14 or 15 Kestra: Agg, which features 15 musicians (guitar, bass, drummers (2), cello, tuba, alto saxophone (3), flute (2), trumpet (2), trombone (2), and piano (2). The works are part of Threadgill’s ongoing exploration for integrating composition with group improvisation, in particular an entirely new system of improvisation based on preconceived series of intervals. They bear the unmistakable stamp of all Threadgill compositions: complex forms, multi-layered counterpoint, rigorous polyphony, and timbral contrasts all wrapped up in a swirl of rhythmic convolution. The use of multiple horns and woodwinds on Dirt… vastly expands the music’s harmonic and tonal palette at Threadgill’s disposal, adding a much wider range of color, texture, and weight. At the age of 73, Threadgill remains at the peak of his powers, yet remains completely open to all possibilities in expanding and refining his craft.

1. Dirt - Part I
2. Dirt - Part II
3. Dirt - Part III
4. Dirt - Part IV
5. Dirt - Part V
6. Dirt - Part VI
7. And More Dirt - Part I
8. And More Dirt - Part II
9. And More Dirt - Part III
10. And More Dirt - Part IV
11. Credits

Henry Threadgill - alto saxophone, flute, bass flute
Chris Hoffman - cello
Liberty Ellman - guitar
Jose Davila - tuba
Ben Gerstein – trombone
Jacob Garchik – trombone
Jonathan Finlayson - Bb trumpet, F trumpet
Stephanie Richards –Bb trumpet
Curtis Robert Macdonald – alto saxophone
Roman Filiú - alto saxophone, alto flute
David Bryant - piano
David Virelles – piano
Thomas Morgan - bass
Elliott Humberto Kavee
Craig Weinrib - drums, percussion

Dan Weiss - Starebaby (PI RECORDINGS 2018)

Starebaby is the upshot of drummer/composer Dan Weiss’s long-running dream to bring together some of the most accomplished players on the jazz scene to play music that combines the improvisation nature of that music with the power of heavy metal and electronic new music. One of the most in-demand drummers in jazz, Weiss performs with such disparate artists as Rudresh Mahanthappa, Chris Potter, John Zorn and Jen Shyu, evidence of the breadth of his artistry. As with his two critically-acclaimed previous releases — Fourteen, which was named one of the best releases of 2014 by The New York Times, and Sixteen: Drummers Suite, — Starebaby is a decidedly original work that is largely without precedence, reflecting the power of conviction coming from a single, brimming wellspring.

Weiss has wanted to put this particular project together for over a decade. As with his prior output, it reflects his catholic taste in music, where jazz improvisation, doom metal, electro-acoustic music, Indian beat cycles, and innumerable other influences are all compounded into an outpouring of personal expression completely beyond musical boundaries. Starebaby, though, definitely tilts towards the heavy, and Weiss, in particular, cites as influences metal bands such as Meshuggah, Burning Witch, High on Fire, Gorguts, early Metallica, Wormed, and Confessor; electronic and electro acoustic composers such as Karlheinz Stockhausen, Bernard Parmegiani, and Luc Ferrari; and every type of jazz ranging from Sidney Bechet to Threadgill. It is also inspired by Season 3 of the television show Twin Peaks, whose surreal, ominous emotional landscape helped shape the overall feel of this music. The music ebbs and flows, surging to thundering swells of foreboding doom before tempering to quiet reflection, finding a deep space where brutal aggression meets ghostly vulnerability. The expansive soundscape ranges from fortissimo to pianissimo, grave to presto, and dense, roiling dissonance to exquisite, pellucid melodies.

All of the musicians: Craig Taborn and Matt Mitchell on keyboards, piano, and electronics, Ben Monder on guitar, and Trevor Dunn on bass, along with Weiss – some of the heaviest hitters in the jazz/improvised music scene – share a love for heavy metal. It’s an astonishment to hear them play in this distinctly different setting, but perhaps the absolute authority they display should not be a complete surprise. Weiss played with the doom metal band Bloody Panda a dozen years ago and Dunn was a member of the experimental rock bands Mr. Bungle (with Faith No More singer Mike Patton) Fantômas (also with Patton), and Secret Chiefs 3. Weiss’s thundering gestures and Dunn’s shuddering, sludgy bass serve as the backbone of this music. Mitchell and Taborn are well known for their adroit experimentation on electronics, and they deliver to the music a huge variety of swirling textures and color. Monder’s own music usually tilts toward the spacious, so it’s somewhat of a surprise to hear him outright shredding with overdriven distortion. Together, they perform this music with complete conviction, melding meticulous precision, prodigious power, and masterful improvisation.

According to Matt Mitchell: “One thing I admire about Dan’s composing it’s how he manages to transcend stylistic issues. Although heavy music is undoubtedly the primary inspiration for this batch of material, I notice here many updated examples of forms that I associate with Dan’s composing: strong, direct melodies; long cycles allowing for building towards ecstatic climaxes; multiple instruments asymmetrically orbiting each other. Unique to this project is the combination of a very strong and distinctive compositional voice and extensive contribution from each of the musicians. Although this is Dan’s music through-and-through in a very specific way, he asked for a lot of input, especially regarding timbre, and he provided many novel spaces in which to improvise or act as a sonic free agent. All these qualities taken together result in an extremely powerful and multifarious musical message, one in which it is a privilege to take part.”

1. A Puncher's Chance 03:10
2. Depredation 05:32
3. Annica 09:04
4. Badalamenti 06:53
5. Cry Box 06:20
6. The Memory of My Memory 10:18
7. Veiled 04:23
8. Episode 8 14:28

Dan Weiss (drums, compositions)
Ben Monder (guitars)
Trevor Dunn (electric bass)
Craig Taborn (keyboards, piano)
Matt Mitchell (keyboards, piano)

Ana Kap - La gazette de Libór (PETIT LABEL 2018)

Voici enfin le deuxième album de l'inclassable trio emmené par le trompettiste Pierre Millet (trompette et platine vinyle) et ses acolytes Manuel Decocq (violon) et Jean-Michel Trotoux (accordéon et clavier), et pour l'occasion, et sur certains morceaux seulement, quelques invités : le musicien Macédonien Dzijan Emin (claviers) ainsi qu'un quatuor à cordes. Pierre Millet signe toutes les compositions et nous fait cadeau une fois encore de quelques pépites comme le mystérieux Belak, le tendre Petit Choral ou l'émouvant Papa Tango. Le trio prend une autre dimension lorsque Dzijan Emin entre en scène sur Les Seizes Torses notamment. Mais le petit joyau de ce nouveau répertoire est Chien de Paille, un petit chef d'oeuvre, une pièce de musique absolument originale de par son instrumentation et sa forme mais aussi par le mariage magnifique et parfait entre le quatuor à cordes et le trio augmenté de Dzijan Emin. on touche à la perfection. Et on en redemande !

01. Chien de Paille
02. Belak
03. Papa tango
04. Petit choral
05. Prude
06. Les seize torses
07. La gazette de Libor
08. Teketodo
09. Vache Chouain Chouain
10. L’exhibitionniste imprudent
11. Mambo
12. Jumeau II


Cédric Catrisse : alto sur 1
Corinne Basseux : violon sur 1
Jean-Yves Ehkirch : violon sur 1
Pierrine Pacherie-Basseux : violoncelle sur 1
Dzijan Emin : claviers sur 1, 6, 9, 12

Daniel Walzer - March to Muddy Water (The New England Soundscape Project) 2018

This album integrates field recordings collected from urban and rural locations around New England, the UK, Canada, and Miami as the inspiration to compose new soundscapes in a variety of genres with collaborative musicians in the recording studio.

Daniel Walzer is an Assistant Professor of Music at the University of Massachusetts Lowell. Walzer is a versatile and experienced musician, composer, educator, and media professional.

1. Welcome to Otter Brook 02:16
2. Cape Cod 05:26
3. March to Muddy Water 04:45
4. Manchester 04:39
5. Digame Tranquilo 04:09
6. I Waited Eight Years (For Emily) 03:22
7. Boott Mill (Lowell) 04:20
8. Reflections on Harvard Square 03:10
9. Around the World: Crouching By A Window 11:14

Matt Parmenter: Electric and Fretless Basses, Synthesizers, Keyboards
Jay Reynolds: Tenor Saxophone, Synthesizers
Tony Rogers: Cello
Andrew Noble: Violin and Viola
Carl Richardson: Electric Guitar, Fretless and Electric Basses 

Producers: Daniel Walzer and Matt Parmenter
Tracked, Mixed, and Mastered at the Ice Cream Factory Studio in Austin, TX by Matt Parmenter
Field Recordings Compiled and Arranged by Daniel Walzer
Percussion and Piano on Tracks 3 & 6 Recorded by Daniel Walzer in Lowell, MA

This project is made possible by an Internal Seed Grant from the University of Massachusetts Lowell.

Mayu Saeki - Hope (BJUR 2018)

“I have been more than fortunate to have worked and played with so many of the greatest jazz flautist in the history of this music. Names such as Hubert Laws, James Moody, Joe Farrell, Lew Tabackin and Sam Rivers. Mayu is a not a good flute player but a great flute player. She not only has an extremely expressive sound that is her own but she also plays each solo with such intense emotion and drama that each solo on this 6 song debut CD will take you on a journey, guaranteed. Mayu gives us the opportunity to add a beautiful jazz flute recording to our collection that is on the highest level. It seems more and more that so many jazz musicians today are making recordings that all sound like each other’s recordings. Her compositions, great jazz flute playing and the great band that she has for this recording make this stand out in a much more unique fashion.” – Gerry Gibbs

“Chico Hamilton has been very responsible for discovering many fine jazz artists. Mayu has been added to that long list of Chico finds. I first met Mayu when Chico called me to do a few club performances and a recording that Mayu was on. That is when I became aware of her high musical skill. She plays many different types of flutes, all very in tune while expressing herself very well in her musical compositions. She also makes every solo meaningful as each note has a true importance. Mayu is on her way to become better known to a wider audience with her first CD ‘HOPE’ as a leader. She has surrounded herself with some very wonderful musicians and has composed a series of very nice musical compositions.” – Jimmy Owens, NEA Jazz Master

Flautist/composer Mayu Saeki’s debut recording, Hope (available on Brooklyn Jazz Underground Records, March 16), breathes and resonates with beauty and optimism. Hope tells the story of Saeki’s journey to NYC from her native Tokyo. There she left a complete life for an uncertain future in New York City. Shortly after arriving, armed only with extensive classical training and mentorship, determination and hope, not to mention an abundance of talent, the opportunity presented itself to be a part of Chico Hamilton’s group. She toured and recorded with Hamilton, appearing on several albums, including Revelation and Euphoric (both were released in 2011 from Joyous Shout! records), until his passing in 2013. His final recording, The Inquiring Mind (released posthumously in 2014) features her composition, “Hope”. During her time in Hamilton’s band, Ms. Saeki began composing and actively performing with her own trio in 2011, making her debut at Jazz at the Kitano with Aaron Goldberg on piano and Joe Sanders on bass, and leading her band on several Atlantic coastal tours. This was the beginning of the road that led Saeki to create this recording, Hope.

Hope feels like the fifth or sixth offering from a veteran on the scene. Ms. Saeki certainly had an advantage, recording with Aaron Goldberg, Joe Sanders, John Davis and Nori Ochiai (a former student of Goldberg’s and a fine modern jazz pianist in his own right), but her self-assurance comes across without dubiety. Her solo on the title track bears a joyful swagger (immediately following a gem of a solo from Mr. Goldberg). Her playing, specifically the intro, solo & outro, on “Soshu-Yakyoku” are also moments to behold, as they encapsulate the sincerity and soul of this album. And, her band mates are on board completely, and given ample space to express their brilliance. Check out Joe Sanders’ truly breathtaking playing on “Do You Know”, and behold drummer John Davis’ brilliant, flowing solo over the vamp of the same tune. Goldberg is flawless throughout, but a highlight is his accompaniment and solo on the opening track, “Dilemma”. "Libertango" and “Oblivion” showcase Mayu’s classical training and her love for the music of Astor Piazzolla (with "Oblivion" displaying Mayu’s expertise on piccolo flute). Hope truly “offers the listener a glimpse into the musical heart of one of today’s great musicians. Mayu Saeki is a shining example of the hope we all can have when we combine passion, perseverance, and a strong voice. Mayu’s voice is a gorgeous flute sound that will surely inspire hope in everyone who hears it”. – Demarre McGill, Principal Flutist of the Seattle Symphony Orchestra.

More on Mayu Saeki: With nearly a decade of her musical career in New York City, Mayu Saeki, an alumni of Elizabeth University of Music, still keeps transforming herself, apparently with no limits. Her versatile and passionate style is deeply rooted in her early childhood classical training and mentorship with Sanae Nakayama, Keiji Oshiro, Kazukiyo Inoue, Pierre Yves Artaud, Alain Marion, and NEA jazz master, Chico Hamilton. Post-Chico Hamilton, and in addition to leading her own group more frequently, Saeki’s “sideman” career continues to grow with an all-female Irish music group, Four Celtic Voices, and Cosmos Sunshine’s Butterfly Effect (appearing on Butterfly Fight Effect, released in 2016, and their new album, Comes With The Fall, due out on March 9). In addition, Saeki has recently joined a project titled “Mark Gross with Strings”, led by Grammy award-winning jazz saxophonist, Mark Gross (also the liner note writer for Hope). Saeki also regularly performs with harpist/vocalist Erin Hill’s group.

“It was a pivotal moment to record my own album, and I’m very happy that I was able to deliver before I mark my tenth year being in New York. This album is reflections of my life, filled with passion and curiosity, love of music, and hopes that I never, ever let go of. Music has been with me since I was little. It has always been honest and keeps giving me hope for a better day. I wish that this HOPE, the feeling I have, is going to reach straight to your heart and sincerely hope your day is better tomorrow. I would like to dedicate this album to the memory of my father, Kazuo, and my mentor, Chico Hamilton, who left me invaluable experiences and precious memories”. – Mayu Saeki

1 Dilemma 7:52
2 Hope 7:24
3 Soshu-Yakyoku 9:43
4 Libertango 7:34
5 Oblivion 9:57
6 Do You Know...? 7:03

Special Guest:  Aaron Goldberg - piano (tracks 1,2,3)
Nori Ochiai - piano (tracks 4,5,6)
Joe Sanders - bass
John Davis - drums

New Orchestral Album from Tim Garland (EDITION RECORDS June 8, 2018)


Atmospheric and unfailingly melodic, the new orchestral album from Tim Garland takes its inspiration from the awe inspiring scenery of The Lake District in the North West of England.

Uniting regular collaborators with special guest Pablo Held and a 35 piece string orchestra, Weather Walker is epic in scope and ambition, and showcases some of Tim’s best writing yet.

Worldwide Release: 8th June 2018
Format: CD / DN / Streaming

TIM GARLAND composer, saxophones
YURI GOLOUBEV double bass

English Session Orchestra 35 piece string section

Recorded at Abbey Road Studios, London
All music by Tim Garland