Tuesday, November 30, 2021

Joëlle Léandre - At Souillac en Jazz (November 30, 2021 Ayler Records)

This solo by Joëlle Léandre concentrates an energy coming out of the depths of the earth, right from the first strokes of the bow. The huge sound, instantly gripping the body, is overwhelming far beyond the music, an experience so strong that tears flow when it comes to the sung parts. From the depths of the ages, evocative of a Native American medicine woman, an Inuit shaman, voodoo priestess or even blues woman, extracting with bare hands her strings rooted in clay, transcending the sound of her double bass, she awakens a thousand-year-old buried 'collective unconscious' with her voice of trance, inviting ancestral spirits to a form of resistance to fight all the injustices of the world, piercing with sound and love the hearts of both aficionados dreaming of impossible musical utopias and of novices stunned by her visceral “duende”.
(from Christian Pouget's liner notes)

1. Calès I
2. Calès II
3. Calès III
4. Calès IV
5. Calès V
6. Calès VI
7. Calès VII
8. Calès VIII 

Joëlle Léandre - double bass, voice

Recorded live by Christian Pouget on July 18th, 2021 in the Saint-Jacques church of Calès, Lot, France. Tracks #7 & 8 were recorded during a private after-set, once the audience had left.
Mixed and mastered by Maïkôl Seminatore.
All comprovisations by Joëlle Léandre.
Cover artwork by Bénédicte Gallois & Stéphane Berland.

Laurence Cook / Jacques Coursil / Warren Gale / Perry Robinson / Steve Tintweiss - Ave B Free Jam (November 30, 2021 Inky Dot Media)

source master recording 7.5ips ¼ track stereo reel from Tintweiss Archives catalog ST_0203
The title lays it out: Five musicians looped and shimmered in an unplanned environment of a NYC Lower East Side apartment session. No audience but themselves; no leader, no tunes, no objective but the engine of their own ideas fusing immediacy, pace and momentum. Perfectly balanced in the alloy are listening and flowing with the sounds. Here’s the raw edge of now, tempered by the etiquette of cooperative improvisation.

​Troubadour Robinson was the veteran in this company, a recording artist twice over; all the others were close to the dawn of their careers.

Both trumpeters were poised “lead” players who had just made their mark in the avant-garde: Warren Gale, who had just recorded with drummer Jim Zitro, was destined for Stan Kenton’s Orchestra and a Bebop future; Parisian Coursil, who worked stateside with Sunny Murray and Bill Dixon, spent decades in academia before returning to music in his last years.

Twenty-year-old Tintweiss had already recorded with Patty Waters, Burton Greene and Frank Wright (alongside Coursil) for the ESP-Disk free jazz label. Laurence Cook still surges on as he did for years with Bill Dixon, Paul Bley, Bobby Naughton, the Purple Why and others.

Collective extended improvisation recorded May 12. 1967 in New York City. Source master recording 7.5ips ¼ track stereo reel.

Track listing:
21 tracks of collective extended improvisation
Total time: 1:18:42

Laurence Cook - drums
Jacques Coursil - trumpet
Warren Gale - trumpet
Perry Robinson - bass clarinet
Steve Tintweiss - bass

Tranfers and mastering by Joe Lizzi at van AlstSound-East, Brooklyn, N.Y.
Design by Susan Archie at World of anArchie
Cover paitning by Ellie Ali used with permission of the artist

FISH WOOL (feat. Susana Santos Silva / Yedo Gibbons / Vasco Trilla - Live In Cerkno (November 30, 2021 Fundacja Słuchaj)

1. Rainbow Trout 20:14
2. Huchen 12:25
3. Grayling 06:45
4. Northern Pike 13:10

Susana Santos Silva - trumpet
Yedo Gibson – tenor sax & soprano sax
Vasco Trilla – drums

Recorded by Marko Turel at the 24th Jazz Cerkno, 18th May 2018.
Mixed and mastered by El Pricto

All music by Susana Santos Silva, Yedo Gibson & Vasco Trilla

Graphic design: Anna Płotko
Executive Producer: Maciej Karłowski

Irek Wojtczak Band (Kapela Irka Wojtczaka) - Rom Tom Dada (November 30, 2021 Fundacja Słuchaj)

Sonic Liberation Front - Moon Rust Red Streets (November 30, 2021 High Two)

Moon Rust Red Streets is a product of a time when rust was discovered on the lunar surface, while at home on planet earth blood ran in the streets, people rose in response to systemized violence and racism, and a global pandemic hobbled everyone, took away many, and changed ways musicians create.

Moon Rust Red Streets was recorded remotely during COVID Summer 2020, then assembled and mixed by Grammy winning producer Aaron Levinson at his studio, Range Recording. MRRS was mastered by Carl Saff. A limited run of twelve inch vinyl LPs were pressed by Burlington Record Plant.

Moon Rust Red Streets is for people who wonder what it would be like if the sensibilities of "Birth of the Cool" Miles and those of late 80’s synth units like Meat Beat and the Orb converged; or Monk’s with trip hop maestro Tricky’s. Or, what are other ways acoustic and electronic improvisation intertwine as in the Sunny Murray tune, RIP?

The closing track, Hymn for Ashé is tool for spiritual healing and personal strength needed for societal challenges.

RIYL (recommended if you like) : Sun Ra Arkestra, Angel Bat Dawid, Tortoise, Idris Ackamoor and the Pyramids, Miles, Monk, Meat Beat Manifesto, Sunny Murray, Abbilona, Thievery Corporation, Mogwai, Stereo Lab, of Montreal and a bit of Sonic Youth.

1. Moon Rust Red Streets
2. Lumbering Giant
3. RIP
4. Derecho (Storm of Change)
5. Breath Sounds
6. Hymn for Ashé

Kevobatala (Kevin Diehl): Drumkit, Bata Drums, Synths, Percussion, Sensory Percussion
Matt Engle: Acoustic & Electric Bass, Extended Bass Effects, Synths, Trombone
Veronica Jurkiewicz: Violin
Elliot Levin: Tenor Sax
Jameka Gordon: Flute
Paul Geiss: Trumpet (TR 1, 3 & 5)
Pepper_handz (Greg Diehl): Sensory Percussion Drumkit (TR 2)
Tom Lowery: Assorted Percussion (TR 4)
Kathryn Radakovich: Vocals (TR 5 & 6)

Produced by Aaron Levinson
Recorded at large during COVID Summer 2020
Mixed at Range Recording, Ardmore, PA
Mix Engineer - Eric Scattareggia
Mastering - Carl Saff, Chicago

Miquel Álvarez - La Base (November 30, 2021)

Miquel Àlvarez (El Verger, València) has been professionally dedicated to interpretation since before he came of age. Currently, he is a professional double bass player and electric bass player and has been part of bands such as: Perico Sambeat Flamenco Big band, Jim Rotondi Quintet, Vince Benedetti Quartet or Albert Sanz Trio among others. He is an arranger of his own songs.

1. Lotus Blossom (Tanguillos) 06:42
2. Little B's Poem (Bulerías) 07:36
3. La Mesha (Seguirillas) 08:20
4. The Jody Grind (Tangos) 04:53
5. I wish you love (Charles Trenet) 03:19

Perico Sambeat (saxo alto)
Will Mallard (trompeta)
Albert Sanz (piano)
Miquel Álvarez (contrabajo)
Sergio Martínez (percusión)
Juan Antonio Giménez
Toni Bizarraga (palmas y jaleos)

Adi Stoenescu Group - Waking Light (November 30, 2021)

1. Hesitation I
2. Unfinished
3. Waking Light
4. Vapors
5. Sneaky Detective
6. Underwater
7. Rubato
8. Power Rangers
9. Hesitation II

Adi Stoenescu - piano & fender rhodes
Arnau Garrofe - tenor sax
Mihail Ivanov - double bass
Borislav Petrov - drums
Marta Popovici - vocals on Underwater

All songs composed by Adi Stoenescu
Lyrics by Marta Popovici on Underwater

Recorded at SGO Music Factory,
Bucharest, Romania,
4-6 July 2021
Recording engineer Mirel Cumpănaș

Mixing by Uțu Pascu
Mastered by Nate Wood at Kerseboom Mastering

Graphics by Sorin Trăistaru

Cecil Taylor - Music From Two Continents (November 30, 2021 Fundacja Słuchaj)

In 1984 Cecil Taylor came to Poland for the second time. His first performance in Poland was in 1968 in Warsaw Philharmony where he presented a solo piano recital. After 16 years he returned to the Jazz Jamboree festival but that time with a large group of internationally acclaimed and most important improvisers on the free jazz scene. The lineup was incredible. Two great trumpeters one from Poland, Tomasz Stańko another from Italy, Enrico Rava. In the reed section, long time Cecil's collaborator, legendary altoist Jimmy Lyons with his wife bassoonist Karen, John Tchicai, Frank Wright Jr. on tenor saxophones, phenomenal trombonists Conrad Bauer, iconic vibraphone and bass clarinet player Gunter Hampel and finally a gorgeous rhythm section with Henry Martinez on drums and great William Parker.

Together they played for over one hour set of unbelievable, strong, and magnificent music in front of the hall lined to the brim. Here you have the whole Cecil Taylor concert with Music From Two Continents.

Includes unlimited streaming of Music From Two Continents via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

1. Music From Two Continents A 12:04
2. Music From Two Continents B 25:06
3. Music From Two Continents C 25:01

Full-length, legendary Cecil Taylor Orchestra concert from Jazz Jamboree 1984 feat. greatest names on American and European free jazz scene: Tomasz Stańko, Enrico Rava, Conrad Bauer - trombone, Jimmy Lyons - alto saxophone, Frank Wright Jr. - tenor saxophone, John Tchicai - tenor saxophone, Karen Lyons - bassoon, Günter Hampel - bass clarinet, vibraphone, William Parker - double bass, Henry Martinez - drums. Brilliantly recorded by Polish Radio.

1. Music From Two Continents 62.15 (on CD you received the whole set without any cuttings. On Bandcamp site for technical reasons music was divided to three parts)

Cecil Taylor – piano, leader
Tomasz Stańko - trumpet
Enrico Rava - trumpet
Conrad Bauer - trombone
Jimmy Lyons - alto saxophone
Frank Wright Jr. - tenor saxophone
John Tchicai - tenor saxophone
Karen Lyons - bassoon
Günter Hampel - bass clarinet, vibraphone
William Parker - double bass
Henry Martinez - drums

Recorded 26.10.1984 at Jazz Jamboree, Congress Hall PKiN, Warsaw, Poland by POLSKIE RADIO
Produced under the license of POLSKIE RADIO (Polish Radio) 2021

Mastered: 30.04.2021 by Grzegorz Piwkowski (Hi End Studio, Warsaw)
Photos: mirek makowski
Cover design. SEMAFOR
Executive Producer: Maciej Karłowski

Modern Recordings Congratulates Vince Mendoza on GRAMMY® Award Nominations

Modern Recordings Congratulates
Vince Mendoza on 64th Annual
GRAMMY® Award Nominations

Nominated for Best Instrumental Composition
and Best Arrangement, Instruments and Vocals

Nominations for Vince Mendoza's Freedom Over Everything in the 64th Annual GRAMMY® Awards:

Best Instrumental Composition
"Concerto for Orchestra: Finale"
Vince Mendoza, composer (Vince Mendoza & Czech National Symphony Orchestra Featuring Antonio Sánchez & Derrick Hodge)

Best Arrangement, Instruments and Vocals:
"To the Edge of Longing (Edit Version)"
Vince Mendoza, arranger (Vince Mendoza, Czech National Symphony Orchestra & Julia Bullock)

Recently, Vince Mendoza arranged and conducted the orchestra for a new project with Elvis Costello and Burt Bacharach, and is presently putting the finishing touches on a long-awaited recording of his compositions celebrating his long association with the Metropole Orkest, featuring some very special guest vocalists and musicians.

Six time GRAMMY® Award-winner, and 36-time nominee, Vince Mendoza is considered the foremost arranger of his generation, working with legends such as Björk, Elvis Costello, Sting, and Joni Mitchell. In a new star-studded release, Mendoza returns to his roots as a composer and conductor with a remarkable collaboration—highlighting the Czech National Symphony Orchestra, soprano Julia Bullock, guest artists Joshua Redman, Antonio Sanchez, Derrick Hodge, and The Roots' premier MC Black Thought—for his forthcoming album, Freedom Over Everything, on BMG’s Modern Recordings label imprint.

The album opens with Mendoza’s Five movement “Concerto for Orchestra” which was commissioned by the Czech National Symphony Orchestra, with whom Mendoza has had a working relationship for the last several years. The collaboration aimed to create a work that would feature soloists in the orchestra but to somewhat forge a new direction in this revered form. “My approach is a departure from the traditions of an orchestra concerto. For me it was more about having an arc that tells a particular story but also incorporates rhythmic and melodic aspects of African American music and improvisation.” explains Mendoza. 

“Coinciding with the composition of the concerto was the 2016 [American] saga of the election of ‘45’ and the resulting tremendous discord in the U.S. during that time. While writing this piece, the events happening in our country invaded my artistic space. For the first time I felt I couldn’t really write music and be removed from what was going on in our environment. I started seriously considering the importance of an artist to reflect the times and how I could make my music a reflection not only of what I was witnessing but what I hoped would occur. So that’s when the arc of this concerto started to take shape.” 

Mendoza, as a skilled practitioner of the classical-jazz fusion that Gunther Schuller once called third stream, was and is ideally suited to meet this challenge. “I sought to design the structure of the concerto to be inspired by M.L. King’s remarks on the moral universe, that the arc is long, but it bends toward justice. The beginning of the concerto (the first movement is called ‘American Noise’) reflects the discord that began leading up to the 2016 election. Of course, it pales in comparison to what we dealt with in 2020 and now 2021,” says Mendoza, “but the arc of the composition goes through that process of pure noise, much needed consolation and the need for ‘hitting the streets’. The end of the concerto seeks to reflect justice and the hope for a peaceful resolution to what we were only entering in 2016. Arguably in 2021 we still haven’t quite gotten there.” 

Throughout the “Concerto for Orchestra,” drummer Antonio Sanchez provides rhythmic textures using color, placement and variation accenting the various motifs and ideas expressed in Mendoza’s score. “Antonio thinks and plays like a composer,” says Mendoza. “He was the perfect person to step into this music. He was very sympathetic to what I wanted to achieve, while never losing his voice in the process.” Joshua Redman’s saxophone performance in “Meditation” provides an important improvisational voice to the movement. Mendoza points out that the piece was not originally conceived to have improvised commentary in it. “Once we recorded it, I thought that the music asked for Joshua’s dialog with the orchestra. Joshua understood the purpose and the mood that was needed in that moment, and he played so beautifully.” 

The fifth movement of the concerto, “Justice and the Blues,” is a sly reference to two famous quotations from philosopher and public intellectual Dr. Cornel West: “Justice is what Love looks like in public,” and "The Blues responds to the catastrophic with compassion, without drinking from the cup of bitterness." “When we recorded this piece last year in July (of 2019) in particular that last movement – the middle section of that piece that has the groove and the vamp, was originally going to be an instrumental solo,” Mendoza recalls, “I thought we should really have a message there through rap instead. Listening to the recordings of Black Thought, his work seemed to reflect a certain awareness of message I wanted to bring out in this piece. When he agreed to record, Covid hit the U.S. and we were delayed. And then (the death of) George Floyd happened – and then the reaction to George Floyd happened. And so, the shift of consciousness of what we thought was going to be in Black Thought’s performance was enti ely different. Then he came up with this amazing heartfelt text,” Hodge provides a foundation of groove for the music and Black Thought’s text of Freedom Over Everything.
“In a way, my plan for a long, constructed arc was interrupted by reality. That’s sort of Jazz sensibility. You can plan your structure but then somebody comes in with their voice and completely changes your point of view. And I love that part of it – things are going to change when the human spirit gets put into it. Improvisation gives us that,” says Mendoza. He is uniquely suited to address these challenges with the ability to speak in the language of the composer and the language of the improviser. It is this denouement which allows for the transition from the end of the “Concerto for Orchestra” to “The Edge of Longing.”

When Mendoza finished writing the concerto the years of turbulence portrayed in the narrative arc of the music seemed to cry out for a piece that might serve as consolation communicating that ‘it’s going to be okay.’ “I wanted it also to be somewhat of an encouraging text that was going to bring people together and bring light into our situation,” Mendoza explains. “To The Edge Of Longing” is an extraordinary art song setting composed by Mendoza for Julia Bullock with orchestral accompaniment, based on verses from the “Book of Hours” by the late 19th, early 20th century poet and novelist Rainer Maria Rilke. 

Ms. Bullock described her approach to the material this way: “Vince wrote a poignant setting of an English translation of the German text by Rilke, which is what first got me excited about the project. There’s an intimacy in what is said, but the intensity of the words makes the scope far reaching, and Vince’s music follows that framework. The singers and interpreters I most respect and admire have clear intentions in the delivery of whatever music they share, and I aim for that same kind of immediacy—whether it was music written centuries ago or with my voice in mind. As long as there’s a message to be communicated and a genuine connection to that message, I find no reason to limit how to use my voice, or in which context. So, in that respect, it’s wonderful to participate in a project that is also uninhibited.”

There’s a through line music lovers can identify from Mendoza’s body of work as an arranger and from his previous long form orchestra works as a composer; especially Epiphany (1999) and Constant Renaissance (2019.) “New York Stories,” a Concertino for Trumpet and Orchestra, was commissioned by the Czech National Symphony featuring trumpeter and orchestra founder Jan Hasenöhrl.

As with the artists and the orchestra, Mendoza selected a co-producer and engineer with the capability and experience to be able to work in both the jazz and classical idioms equal to his own whom he knew from his work with the Metropole Orchestra. Jonathan Allen — formerly the chief engineer at the most famous recording studio in the world, Abbey Road — was responsible for the recording, mixing and mastering of this album. If it is true, as Aristotle once said, that “Music has the power of producing a certain effect on the moral character of the soul,” then Vince Mendoza’s Freedom Over Everything is sure to be received as a welcome addition to the times in which we live.

Vince Mendoza | Freedom Over Everything
Modern Recordings

Monday, November 29, 2021

Lars Larsson / Anders Berg / Fredrik Lindholm - Underground (November 2021 Simlas produksjoner)

1. Underground 1 06:51
2. Underground 2 05:16
3. Underground 3 07:50
4. Underground 4 03:27
5. Underground 5 07:49

Lars Larsson - baritone saxophone
Anders Berg - bass
Fredrik Lindholm - drums

Recorded June 2020

Mixed and Mastered by Lars Larsson at Hönshuset Studios

Luca Filastro - Don't Blame Me (November 2021)

1. My Monday Date 04:08
2. Fine And Dandy 03:53
3. Gone With The Wind 04:28
4. Never Ending Blues 05:37
5. Morning Air 03:02
6. Don't Blame Me 04:42
7. Finger Buster 02:37
8. Rosetta 06:09
9. Stars Fell On Alabama 03:43
10. Who's Sorry Now? 04:39
11. Polka Dots And Moonbeams 04:57
12. Riverside C Blues 03:55
13. After You've Gone 04:43
14. Makin' Whoopee 03:24
15. Hallelujah 04:34
16. Smoke Gets In Your Eyes 06:12

Luca Filastro, piano

Atsushi Kumagai - 8​.​5 (November 29, 2021)

1. I'm Satisfied 03:36
2. Confirmation 03:21
3. Born To Be Blue 05:04
4. Be There 07:14
5. Passing By 03:40
6. Conception 04:51
7. Pretending To Care 05:46
8. Mountain Greenery 03:26

Atsushi Kumagai (Vo)
Ben Paterson (Pf/Orn)
Nori Naraoka (Bs)
Darrian Douglas (Dr)
Calvin Johnson (Sop/Tnr Sx)

Recorded at Big Orange Sheep in Brooklyn, NY
Engineered by Christopher Benham

at Nori Naraoka Recording Studio in Brooklyn, NY
by Nori Naraoka

Photo by Pazut Wutigornsombatkul/Makito Umekita
Designed by Tomo Tany

Sim Card Hølder - Sim Card Hølder (Blueberry Records)

SIM CARD HØLDER is not a band. It is the hybrid child of Ian Bruner, Drone Operatør and Gajek. Its procreation date is hard to pin down, but it started 2020 with an Insta chat and one of Ian's piano improvisations recorded in his Colorado living room. From there the album grew in separated covid lockdown wombs at three different locations in Germany. Ian's shadowy instrumentation of light piano and heavily layered and long believed to be dead soundscapes were digested, replanted and grown-over by Drone Operatør's and Gajek's uncompromising and individual sense for song structures and sounds. When finally all body parts were assembled in early 2021 the baby was already fluent in different languages.

Sim Card Hølder grows slowly while meandering through dense and open fields. It switches from calm and dreamy moods to wild fractured outbursts without fragmenting into the arbitrary. A raw spiritual power keeps every part connected and in perfect motion. Each song is a portal into multiple universes that suck you in on thick piano carpets, sharp saxophone spikes and buzzing quadcopter wings, warming insect intestines, blasting raw drums and slow healing winds, screeching synth rhymes, dissonant orchestral tales and floating blue melodies. It’s a demanding ride but thoroughly deeply relaxing. The perfect soundtrack to rewind your mind.

1. dronepilot (composed by Drone Operatør & Ian Bruner) 05:46
2. Contrailsnake (composed by Drone Operatør & Ian Bruner) 05:24
3. Dronegød (composed by Drone Operatør & Ian Bruner) 03:02
4. Icaruscomplex_ (composed by Gajek & Ian Bruner) 03:35
5. TVdream (composed by Drone Operatør & Ian Bruner) 10:09
6. fallingasleepwiththedrones (composed by Drone Operatør & Ian Bruner) 04:20
7. ASEGMENTØFSKY (composed by Gajek & Ian Bruner) 05:31
8. Sleepparalysis (composed by Drone Operatør & Ian Bruner) 05:05
9. Boneless (composed by Gajek, Drone Operatør & Ian Bruner) 02:39
10. virtualcopulation (composed by Drone Operatør & Ian Bruner) 05:48
11. Alone_ (rendered altitude) [composed by Drone Operatør & Ian Bruner] 05:31


Artwork by Mario Miron

Mastered by Kevin McPhee (East End Mastering)

Releasing on Blueberry Records, 2021.

Quinn, Schulz and Shakur - Four Standards (November 2021)

1. My Shining Hour 05:43
2. Zero 05:50
3. It Never Entered My Mind 05:49
4. Lonnie's Lament 06:33

Norm Quinn - trumpet, flugelhorn
Guenter Schulz - guitar
D. Shakur - bass

Giuseppe Malinconico - Up for play! (November 2021)

Giuseppe is a modern pianist from Italy.

When he composes he sets no limits and lets himself be contaminated by all his plays ranging from 80s rock, progressive metal and electronic music. The glue between these musical genres is jazz and moments of improvisation are never lacking.

“Up for Play!” is his first album of original music, a first attempt to represent his musical identity.

1. Prelude - Get In! 01:04
2. Am I a Bitch? 04:21
3. Interlude - All I Can Do 00:47
4. Polychrome 06:38
5. The Tramp 07:19
6. Interlude - What's the Problem? 01:19
7. Fortitude 05:57
8. Interlude - Get to the Bottom 00:50
9. Moody Games 06:40

Giuseppe Malinconico - Piano
Andrea Elisei - Drums
Matteo Magnatera - Bass
Elena Sbalchiero - Vocals
Claudio Malinconico - Accordion

Various Artists - Pyramid Pieces 2 (November 2021 Roundtable)

Following the critical acclaim of the 2020 compilation Pyramid Pieces, The Roundtable return with a second offering of modernist jazz from Australia. Another vital document further examining the nation’s jazz scene during the late 1960s and 70s. A fertile period that witnessed the birth of an independent movement and the development of a distinct Australian jazz sound. While continuing to focus on the modal forms explored in Volume 1, this second edition shifts direction slightly, this time also surveying other post-bop modes representative of the scene including soul jazz, avant-garde ballet music and Eric Dolphy-inspired free jazz.

Again featuring tracks from the esteemed independent imprints Jazznote and 44 Records, the collection also offers never before published pieces from less obvious Australian jazz groups. Compositions by internationally renowned musicians including Bob Bertles (Nucleus/Neil Ardley), Bruce Cale (The Spontaneous Music Ensemble/Prince Lasha) and Allan Zavod (Frank Zappa) alongside pillars of the local scene, Charlie Munro and Ted Vining plus the lesser-known yet formidable free jazz unit ‘Out To Lunch’. Pyramid Pieces 2 is another timely insight into the evolution of the incredible yet obscured Australian modern jazz movemen

1. Bob Bertles Moontrane - Valley Of The Tweed
2. The Bruce Cale Quintet - Kuri Monga Nuie
3. The Charlie Munro - Whirlpool
4. Allan Zavod - Circles
5. The Ted Vining Trio - Number One
6. Out To Lunch - What The Thunder Said

* A compilation of Australian modern jazz. 1969-1980

* Rare modal, soul-jazz and free jazz from artists including The Charlie Munro Trio, Bob Bertles Moontrane, The Bruce Cale Quintet and The Ted Vining Trio.

* Tip-on sleeve featuring artwork from renowned Australian modernist painter James Meldrum.

Alex Malheiros - Tempos Futuros (November 2021 Far Out Recordings)

Stargazing from the sands of the Niterói beach, Tempos Futuros is low-end-led Brazilian futurism from one of Brazil’s most prolific and influential bassmen. As one third of legendary trio Azymuth, Alex Malheiros has pioneered a unique fusion of space-funk, samba and jazz since the early seventies. His playing can be heard on the records of Jorge Ben, Milton Nascimento, Roberto Carlos, Marcos Valle, and Mark Murphy (to name a few), and he’s performed and toured with everyone from Stevie Wonder to Chick Corea.

Written and recorded in Niterói, Brazil, overlooking Guanabara and the beaches, mountains and forests of Rio de Janeiro, Tempos Futuros has deep roots in Brazilian soil. The rhythms of Malheiros’ homeland have always permeated his music. But just like the Oscar Niemeyer designed Niterói Contemporary Art Museum which stands spaceship-like over the water, Tempos Futuros - while inspired by terrestrial forms, reaches out, deep into the great unknown.

Produced by acclaimed London-based producer Daniel Maunick, who has worked with Marcos Valle, Azymuth, Terry Callier, and Ivan Conti, the funk comes full circle. Daniel’s father Jean-Paul “Bluey” Maunick and Alex Malheiros shared a reciprocal stream of influence throughout the 80s, between London and Rio; Azymuth and Incognito; brit-funk and samba-funk. But just as with Azymuth’s music, you can also hear the influence of stateside jazz-funk masters like Roy Ayers, Weather Report, Lonnie Liston Smith, Mtume and Pleasure.

Tempos Futuros features Alex’s daughter, a Brazilian star in her own right, vocalist Sabrina Malheiros, Brazilian percussion master Sidinho Moreira, London based saxophonist Sean Khan, Marcos Valle’s go-to drummer Massa, and Brazilian keyboard player Dudu Viana. Featuring the late Azymuth keyboard maestro Jose Roberto Bertami on Fender Rhodes, the title track “Tempos Futuros” was originally recorded as a demo in 1995. On this finished version, Alex Malheiros used Bertami’s original keyboard take, explaining the posthumous release.

Tempos Futuros will be released via Far Out Recordings on vinyl LP, CD and digitally on the 26th November 2021 

1. The Razor's Edge
2. Telegramas Para Arp
3. Retrato (feat. Sean Khan)
4. Prece (feat. Sabrina Malheiros)
5. Nikiti
6. Kuarup
7. O Temporal
8. Alto Verão (feat. Sabrina Malheiros)
9. Sereno
10. Marcinha
11. Tempos Futuros (feat. Jose Roberto Bertrami)
12. Requiem For A Storm

Alex Malheiros: Electric Bass, Fretless Bass, Acoustic Bass, Acoustic Guitar, Keyboards, Percussion & Vocals
Daniel Maunick: Organ, Synths & Effects, Additional Keyboards, Drums & Percussion
Sidinho & Ian Moreira: Percussion
Sabrina Malheiros: Vocals
Sean Khan: Saxophone
Victor Bertrami: Drums
Renato Massa: Drums
Dudu Viana: Keyboards

Produced & Arranged By Daniel Maunick
Co-Produced By Alex Malheiros

Mixed By Daniel Maunick @ The Sugar Shack, Carluke, Scotland
Recorded & Engineered By:
Daniel Maunick & Heber Ribeiro @ Castelo Studio, Niteroi, Brazil
Daniel Maunick & Dudu Viana @ DV Estudio, Rio, Brazil
Daniel Maunick & Alex Malheiros @ Estudio Dos Calangos, Niteroi, Brazil

Executive Producer: Joe Davis
Recording Co-ordinator: Livia Malheiros
Artwork: Noopur Choksi

The Westerlies - Fireside Brass: A Westerlies Holiday (November 2021)

Fireside Brass is a collection of our favorite holiday music: cherished songs from our childhoods, recent musical discoveries, and old standbys from the annual holiday house concerts we’d host in the living room of our Harlem apartment in our earliest days as a band. Some of the pieces we left relatively unadorned, while others were abstracted and personalized with a unique Westerlies touch. All of the music here was captured with a meticulous attention to detail and a spirit of spontaneity and improvisation. We hope this album brings you a sense of warmth, intimacy, and joy from our fireside to yours.

1. Angels We Have Heard on High
2. Christmas Time Is Here
3. Deck the Hall
4. O Holy Night
5. Es ist ein Ros' entsprungen
6. Carol of the Bells
7. Still, Still, Still
8. Some Children See Him
9. Ma’oz Tzur
10. It’s Love, It’s Christmas
11. Oh Tannenbaum
12. A Merrier Christmas
13. A Ceremony of Carols, Op. 28: Procession
14. A Ceremony of Carols, Op. 28: Wolcum Yole!
15. A Ceremony of Carols, Op. 28: There is no rose

The Westerlies:
Riley Mulherkar - Trumpet
Chloe Rowlands - Trumpet
Andy Clausen - Trombone
Willem de Koch - Trombone

All arrangements by The Westerlies
Recorded June 14-18, 2021 at Atterbury House, New York, NY
Produced, Mixed, and Mastered by Andy Clausen
Additional Engineering by Willem de Koch
Cover Design & Layout by Jack Dunnington

Karl Naegelen / Sylvain Darrifourcq / Toma Gouband - Cartographie de rythmes #1 (November 2021 Umlaut Records)

Cartographie de rythmes - Vitesses approchantes [Cartography of rhythms - Approximating speeds] is a startling duo comprised of two drummers following their own respective rhythmic paths.

Toma Gouband’s path is littered with stones, plants and traditional drum elements, all leading him into a complex and direct polyphonic world.

Sylvain Darrifourcq’s instrumental exploration is rife with machine esthetics and questions on temporality, space and rupture.

In uniting these two singular yet complementary musicians, composer Karl Naegelen brings them to collaborate on a written object of rhythmical invention that stems from extended shifts in interval and phasing.

1. Impacts
2. Vitesses approchantes
3. Déphasage circulaire
4. Minimal
5. Continuum - filtrage

Karl Naegelen: composition
Sylvain Darrifourcq: drums, percussions, objects
Toma Gouband : drums, percussions, vegetal lithophones

Recorded in July 2021 at Athénor - Centre National de Création Musicale (Saint-Nazaire)
Engineering, mix and mastering : Ananda Cherer
Design : copyright atelier informationCare / Ronan Le Régent
Produced by Athénor scène nomade - CNCM with the support of Centre National de la Musique.

Aseo Trio - Muddy Water (November 2021)

The Aseo Trio is striving for a unique musical direction. The music can hardly be put in a box but is definitely influenced by jazz, rock and flamenco. Additional Aseo brings his cultural background into his art.

1. Oblivion 06:26
2. Transformation 04:55
3. Muddy Water 05:15
4. Japanese Song 04:25
5. Starlights 06:04
6. Nargit 08:20
7. Silence 06:38

Aseo Friesacher - Piano
Dean Montanaro - E-Bass
Manu Pinzon - Drums
Andrea Leone - Tenor Saxophone (Track 6 & 7)
Beatrice Milanese - Vocals (Track 6 & 7)
Tarang Poddar - Tabla (Track 7)

Orri - Crépuscule (November 2021)

Quartet de Jazz moderne nourri par de nombreuses esthétiques, de la Folk au Rock en passant par la musique ambiante, Orri explore les textures musicales avec une curiosité sans limites.

Dans cet espace sonore qui laisse place à l’imagination, chaque composition tire le portrait d’un moment ou d’un lieu, vécu ou rêvé, et partage les émotions qui les accompagnent.

1. Zozio
2. Phares
3. Oeuf au Riz
4. Joseph's Dream
5. Crépuscule

Jérémie Lucchese : Saxophone
Paul Couvreur : Guitare
George Storey : Contrebasse
Malo Évrard : Batterie

Sunday, November 28, 2021

Fearless Trio - Choose Your Way (November 2021)

The 2nd album by Ludwig-Nabatov-Arends, known as Fearless Trio. Sax, piano and drums interplay and improvise like it really matters, creating tension and friction on the one hand, release and beauty on the other.

1. Unrelated 04:01
2. Wolfland 06:17
3. Northern Soul 07:04
4. Elevate Slowly 04:56
5. How You Didn't Think It Would Be 05:09
6. Unwanted Phone Call 03:55
7. One Hour Left 05:02
8. Signs 04:37

Recorded by Christian Heck at Loft, Cologne
Mixed and mastered by Lukas Fehling
Cover Art by Mathias Fleck

Kellylee Evans - Green Light (November 2021)

2018 JUNO nominee Kellylee Evans is a high-octane, chameleon-like performer whose natural charm and improvisational vocal style embody jazz, soul, pop, and hip-hop.

The singer-songwriter won a 2011 JUNO Award and has been captivating audiences along the way, opening for stars such as John Legend, George Benson and Willie Nelson.

1. Green Light 02:56
2. Holding You 03:49
3. Everything 03:58
4. Not Today 02:56
5. To Feel My Love 03:37

Vocals and backing vocals recorded by Kellylee Evans at Enliven House, Ottawa.
Piano, Rhodes, trumpet, guitar, percussion recorded by Michael Shand at Tiger Tiger Music Group, Toronto.
Drums recorded by Roberto Occhipinti at Modica Music Studio, Toronto.
Bass recorded by Mark Godfrey at Pram Records, Toronto.

Darrell Katz & Oddsong - Galeanthropology (November 2021 JCA Recordings)

Composer-arranger Darrell Katz’s New OddSong CD Features Original Songs, Pop Classics, and Jazz Standards

Unique ensemble features four saxophones, violin, marimba, and voice 

“a progressive and creative orchestrator of new music in a way that few can claim.”
— Michael G. Nastos, All Music Guide 
“Darrell Katz is the heir to the great George Russell–composer, arranger, innovator par excellence. Just as Russell invented the Lydian Chromatic Concept of Tonal Organization... Darrell Katz has redesigned and integrated song form into the ‘jazz’ orchestration and attracted major soloists to his visioning of the art.”
— Steve Day, Sandy Brown Jazz 

The artistic vision of jazz composer Darrell Katz recognizes no boundaries and Galeanthropology (JCA, November 19, 2021) is a varied showcase of his genre-spanning interest in American music from Jimi Hendrix’s “Belly Button Window” to original jazz-art song settings of the poetry of Paula Tatarunis. Working with the drummerless ensemble OddSong, which gracefully blends composition and improvisation into seamless performances, the album ranges from gritty blues to sublime meditations on the vagaries of life. 

Settings of poems by Katz’s late wife, Paula Tatarunis, are among the highlights of the album. Few modern composers, in any genre, are as good as Katz at composing music for voice that reinforces the meaning of words. Sung with luminous transparency by vocalist Rebecca Shrimpton, “Guiding Narrative” is a poignant poem about the inevitability of misfortune in life. It features a melody seamlessly linked to the cadence of the words, while rhythmic phrases from the marimba and saxophones provide jazzy propulsion, and the instrumental scoring shades and deepens the meaning. Violinist Helen Sherrah Davies’ rhapsodic, melancholy solo beautifully encapsulates the poem’s rueful irony and sadness. The final line of the poem was originally scored for voice and violin, but Katz ended up scoring for a trio of voices. Written while Katz was recovering from knee replacement surgery, the poem is the source of the band’s name. “I was in the hospital, having a difficult time with my recovery from surgery,” Katz says. “And so it’s about me—I was lost in the forest of the night. Not only did it give me the name of the group, but it was a name that Paula called me.” 

A little studio manipulation helped create the moving “Women Talking.” When the group performed it live, women members of the band talked among themselves at the opening of the song. But Katz didn’t feel it had the comforting quality he wanted, so he gave lines that Tatarunis had written to female members of the band, then created a collage of voices in the studio. The music shadows the words sometimes echoing them (the droplets of marimba notes when Shrimpton sings “rain whispering”) and sometimes amplifying the beautiful melancholy of the poem. Phil Scarff interweaves a lovely soprano sax solo into the ensemble and a collective improvisation is perfectly integrated into the flow of the score. 

Vocalist Shrimpton (whose virtuosic solo rendition of Mingus’ “Duke Ellington’s Sound of Love” is an album highlight) recites “Outta Horn,” the story of a discouraged poet inspired seeing John Coltrane in a club, told in what Katz describes as Tatarunis’ “detective novel/film noir” voice. The accompanying music offers a commentary on the story that balances composition and improvisation. “There are scored passages, but also section that include only directions as to what person is playing and when, when everybody stops or what approach they should take; it's mapped out,” Katz explains. “So, each performance has some kind of similarity to the others, but there are important differences.” 
The title track, a witty and loving tribute to Tatarunis written by Katz, is playfully humorous (much like Tatarunis’ poetry often is) with a tender emotional twist at the end. The title derives from a mental condition in which patients believe they are a cat. The music is playful with the words—for instance, there’s a quote of Charlie Parker’s “Ornithology” in response to the question “Wouldn’t you really rather be a bird?” Alto saxophonists Rick Stone and Lihi Haruvi, in another nod to Parker, are the soloists. 

Arrangements of “Sweet Baby James” and the Standell’s garage band anthem “Dirty Water” have their origin in Jazz Along the Charles, a 2018 outdoor concert in Boston during which jazz groups played their interpretations of Boston-related songs. Instead of the original spoken introduction to “Dirty Water,” Katz substitutes “Microtonal.” The tough guy persona of the poem’s voice fits with the song’s outlaw sensibility, but Katz’s abstract setting contrasts with the song’s famous rhythmic hook. Baritone saxophonist Melanie Howell Brooks uses that hook to propel her flowing, blues-inflected solo. Musically related, are settings of the folk song, “I Am a Poor Wayfaring Stranger,” Jimi Hendrix’s “Belly Button Window,” and Katz’s bruising ballad original, “The Red Blues,” an homage to Julius Hemphill. Katz translates them into the sound world of OddSong with his own riffs and rhythmic figures, tart and often surprising harmonies, and opens them to the band’s superb soloists. 

OddSong handles the many demands of the music with graceful flair. Comprised of a saxophone quartet with violin, marimba, and voice, OddSong walks a fine line between classical chamber ensemble and big band sax section. Their passionate engagement with music, from the unclassifiable fusion of jazz and classical elements in “Guiding Narrative” and “Women Talking” to the jazzy harmonies and funky swagger of “Dirty Water” and “Belly Button Window,” indicate a band perfectly in tune with its leader’s vision. The instrumentation gives Katz plenty of opportunity to work with unusual textures and timbres and the group displays a fine-tuned balance that allows all the colors to shine through. 

Musician-composer-bandleader-educator Darrell Katz is a composer of uncommon range and broad vision, able to weave influences from every musical sphere into his own unique voice. The Boston Phoenix called him, "one of Boston's most ambitious and provocative jazz composers." As director of the Jazz Composers Alliance (JCA), an organization he helped found in 1985, Katz has documented his large ensemble work on 10 previous CDs with the Jazz Composers Alliance Orchestra. His JCA Orchestra album Wheelworks was named one of DownBeat’s best CDs of 2015. He debuted his smaller OddSong ensemble in 2016 with Jailhouse Doc with Holes in Her Socks. Lynn René Bayley, writing in Art Music Lounge, called it “one of the most fascinating jazz albums of 2016, possibly one of the finest albums I’ve heard regardless of genre.” Jerome Wilson, of All About Jazz says “Listening to Darrell Katz's music, it boggles the mind that he is not celebrated as one of the best jazz composers/arrangers around. He has been creating ambitious and accessible works full of humor, social conscience and creativity for decades...” 

Friday, November 26, 2021

Stephen Magnusson / Ren Walter / Scott Tinkler - SRS (November 26, 2021)

Stephen Magnusson is a guitarist/improviser/composer. He has performed with many artists including Charlie Haden, Archie Roach, Stephen Pigram, Andrea Keller Meshell Ndegeocello,Tim Berne,Jim Black,Vince Jones, Scott Tinkler, Paul Grabowsky, Dave Beck, Frank diSario ,SNAG,Enrico Rava, Arthur Blythe and many others. He Lives in Melbourne Australia and love Practising/Recording and Gardening. 

1. SRS 20:52
2. Drop D 25:22
3. I did have a little toolbox 15:10
4. Happenings 14:57
5. Okay, great 12:31
6. Great, okay 04:33
7. I'm gonna shuddup 16:05

Scott Tinkler - Trumpet
Ren Walters - Guitars
Stephen Magnusson - Guitars

Recorded live at Adria Studio at 9th May 2021
Mixed by Oliver Powell