Tuesday, June 8, 2021

Cecil Taylor Ensemble - Göttingen (June 8, 2021 Fundacja Słuchaj)

Do you remember the legendary CD Legba Crossing released on FMP? Of course, you do! Each Cecil Taylor's music fan does it! Two years later Ove Volquartz assembled almost the same line-up and brought Cecil Taylor to Gottingen to work with the legendary artist longer and more intense. Here you have the whole monumental concert they gave on September 15th! What is the difference? Fundamental as always in the case of such great visionaries like Cecil was! Here, additionally, Mr. Taylor performs not only as a director and conductor but also as a full-time pianist!!!!!!! So let's discover what happened in 1990 at Junges Theater in Gottingen!!!!!

1. Set 1 - Part One (A) 14:41
2. Set 1 - Part One (B) 29:23
3. Set 1 - Part Two 28:23
4. Set 2 - Part One (A) 22:30
5. Set 2 - Part One (B) 21:03
6. Set 2 - Part Two 12:58
7. Encore 09:33

01. Set 1 – Part One 44.04 (on download files divided into two parts A and B)
02. Set 1 – Part Two 28.24

1. Set 2 – Part One 43.34 (on files divided into two parts A and B)
2. Set 2 – Part Two 12.58
3. Encore 9.33

Cecil Taylor Ensemble
Live at Junges Theater Göttingen Sept.15th, 1990

Cecil Taylor, piano, poetry, comp.
Tobias Netta, tp
Heinz-Erich Gödecke, tb
Joachim Gies, as,ss
Martin Speicher, as,bs
Ove Volquartz, ss,ts,bcl, cacl
Harald Kimmig, vi
Alexander Frangenheim, b
Uwe Martin, b
Georg Wolf, b
Kojo Samuels, perc,balafon,elephanthorn
Lukas Lindenmaier, dr
Peeter Uuskyla, dr

Recorded by Joachim Gückel
Cover Design: SEMAFOR
Executive Producer: Maciej Karłowski

Colonna / Miranda / Spera - N-EST (June 8, 2021 Fundacja Słuchaj)

Great Italian trio feat. Marco Colonna this time not only on clarinet but also bass clarinet, alto saxophone and flute and marvelous rhythm section Dario Miranda on bass and Fabrizio Spera on drums on his debut CD - N-EST.

1. Zamia 02:43
2. Aspen 07:00
3. Yucca 05:07
4. Taiki 04:50
5. Blues For Aida 05:27
6. Prunus 04:39
7. Naoki 03:50
8. Gelso 04:30
9. Soma 03:18
10. Elm 04:41
11. Dara 04:37

Marco Colonna clarinet, bass clarinet, alto sax, flute
Dario Miranda double bass
Fabrizio Spera drums

Recorded on May 21st and Mixed in September 2019
by Tommaso Cancellieri at Abbey Rocchi studios, Roma.

All music by Colonna, Miranda, Spera (SIAE) except track 5 by Steve Lacy.

Henrik Wartel / Anders Berg / Gunnar Backman / Mike Lloyd - Tretton (June 2021 Simlas Produksjoner)

1. Boxing Day 06:56
2. Palookaville 08:28
3. Signals 08:10
4. Freezing Point 05:06
5. Tretton 06:23
6. Heppy New 09:32

Henrik Wartel drums 
Anders Berg bass 
Gunnar Backman guitar, live loops 
Mike Lloyd trumpet

Florian Weiss' Woodoism - Alternate Reality (2021 nWog Records)

It is a rare stroke of luck when a completely new piece of music triggers the spontaneous impression that one has known it for decades. This is undoubtedly true of Alternate Reality, the third album by the Swiss band Woodoism, based on trombonist Florian Weiss. The ten tracks, recorded with trombone, saxophone, double bass and drums – and with flute and glockenspiel at selected moments – seem as familiar as a warm coat in a snowstorm. Everything is brand new and exciting, and yet instantly becomes music that’s deeply ingrained in the body.

Florian Weiss takes his compositions from the thick of life. Almost in passing he finds tiny ideas, which he enriches with his very own mixture of curiosity, world view and life experience so that complete narrative strands emerge from them. He doesn’t need a concept for this, but can trust his impulses and instincts. If he feels the need to hear something in particular, he can rely on others feeling the same way – it only has to be put into practice. Woodoism translates this relaxed necessity into music – reflecting the band’s unmistakable signature. “I don't even have to consciously incorporate extra-musical aspects into my music,” says Weiss, “because that happens all by itself when I develop a piece. I stick to moods, seasons, places, smells, colors, situations or the weather. Still images emerge in my mind – sometimes clearer, sometimes less so – and provide me with the parameters of a piece.”

Just so there are no misunderstandings: Florian Weiss doesn’t write program music and he doesn't compose bouquets of flowers or glasses of water. Rather what he knows and has absorbed through his life flow into his songs. He is a warm-hearted storyteller, but he leaves it up to his listeners to find the individual narrative for his fables. The music is fascinatingly simple – which is the key to accessing it – and yet it never becomes arbitrary. On the contrary, voice and signature can be recognized, which is an indispensable feature of the album. This makes the music seductively approachable and is based, among other things, on the deliberate omission of a harmony instrument. 
Florian Weiss may be the leader of Woodoism, but the interplay of all four voices is founded on absolute equality. Since he was a student, he has been working closely with alto saxophonist Linus Amstad, bassist Valentin von Fischer and drummer Philipp Leibundgut: years in which they were able to roll out a common philosophy, in which everyone has played an equal part: with what he can do and with what makes him unique. Each voice is exactly what it is – together they give rise to something complete, which makes everything additional not only superfluous, but in this context absolutely unthinkable. The collective tonal spectrum of the band is reminiscent of the palette of a painter who can get everything out of the available colors that he needs for a painting or a whole sequence of paintings. 

This certainty in accessing the necessary means in each case expresses itself not least in Weiss' own trombone playing. He understands the limitations of his instrument and does not even try to imitate on his horn how agile and flexible other wind instruments can be played. Instead, he is able to breathe on the trombone and to convey the pulse of life in a similarly undisguised way as Albert Mangelsdorff or Grachan Moncur III did before him. Respect for tradition is part of the idiom of Woodoism, without them copying it at any point. And when saxophonist Linus Amstad takes up the flute in “Wabi-Sabi” or drummer Philipp Leibundgut dances on a glockenspiel in “Valse Des Papillons De Nuit,” they conceal timidly, but no less consciously, that they are opening their own world to new possibilities

Empathy and humanity do not have to be written on banners in order to live them out passionately in art. Florian Weiss, Linus Amstad, Valentin von Fischer and Philipp Leibundgut succeed in creating places of retreat in their pieces, where one can stay and not be afraid to accept well-being as a personal gain. “This is certainly related to a basic attitude that the positive prevails,” Weiss surmises. “It doesn't have to be all cheerful, but warmth and colorfulness are more important to me than distance.” In this sense, in times of inner and outer alienation, Alternate Reality unmistakably signifies confidence and an open approach to one another that – and there is no doubt about this – will radiate long beyond the immediate present.
1. Inhale, Exhale
2. Shivering Timbers
3. Valse des Papillons de Nuit
4. Wabi-Sabi
5. The Woods are Lovely, Dark and Deep
6. Feuer im Termitenhügel
7. Fuge für A.
8. Alternate Reality (Visiting Oz)
9. Alternate Reality II (Delirium)
10. Alternate Reality III (Awakening)

Linus Amstad - altosax/flute
Florian Weiss - trombone
Valentin v. Fischer - doublebass
Philipp Leibundgut - drums/glockenspiel

All compositions by Florian Weiss

Recorded by Werner Angerer on Nov 3rd - 5th 2020 at 4tune Studio, Vienna (Austria)
Mixed by Werner Angerer
Mastered André Pousaz
Artwork by Corinne Hächler
Produced by Woodoism

Yuri Vinogradov - L'Azur (poems for piano solo) 2021

Recorded in homestudio, winter-spring 2021. It's a totally free improvisation without any prepared patterns, harmonies or melodies. All pieces recorded, performed, mastered by Yuri Vinogradov. Artwork also by Yuri Vinogradov.

1. First: Restless Azure 01:34
2. Second: Ringing Song Lurked in His Throat 02:24
3. Third: The Martlet Tears the Paper Sheet of the Sky 02:36
4. Fourth: My Name Flows 02:16
5. Fifth: Time to Sing, Time to Fade 02:06
6. Sixth: The Winds Are White 01:40
7. Seventh: Inside a Decisive Denial 01:42
8. Eighth: Eclipse the Sun with Velvet Shadows 01:20
9. Ninth: Why Do You Come, White Moth 02:02
10. Tenth: Rainfall of Butterlies 02:04


Niranjan Joshi - The placido effect (Vol​.​1) June 21, 2021

Inspired by the many layers of emotions that make a human being unique, The Placido effect promises to be a unique blend of melodies, compiled into one album, that eventually bring peace. All four songs of this album are composed to convey stories of different journeys, mostly trying to navigate through troubled waters to eventually find rest. The songs of this album have been mindfully picked out, to be a part of Vol 1 of The Placido effect.

This album’s sole intention is to help the listener identify with different layers of these songs. Songs such as ‘Voice’, ‘Me being me’ that blends into ‘You being you’ are aimed at helping the listener reflect and unwind. Whereas the up tempo cover of ‘Vera Cruz’ is added as reminder to enjoy the process, while you navigate through different layers of being yourself and eventually find self acceptance.

1. Voice 06:54
2. Me being me 04:10
3. You being You 07:32
4. Vera Cruz 06:25

Composed and performed by: Niranjan Joshi
Recorded, Mixed and mastered by: Jayakrishnan Nalinkumar
Album art by: Kenrick D'Cunha

Da martedì 8 giugno - “I Got Minor (The red thread of March 12th)” di Vincenzo Di Gioia (Dodicilune / Ird)


Prodotto da Dodicilune, distribuito in Italia e all’estero da Ird e nei migliori store on line da Believe, martedì 8 giugno esce “I Got Minor (The red thread of March 12th)” di Vincenzo Di Gioia. Nei nove br ani del disco il diciottenne sassofonista pugliese è affiancato da Francesco Schepisi (piano), Pasquale Gadaleta (contrabbasso) e Vincenzo Mazzone (batteria).  

«La tonalità minore, o meglio, le "sonorità minori", e quindi in generale l'atmosfera nostalgica, riflessiva e da un lato anche speranzosa che generano, rispecchiano la mia personalità, lo stato emotivo in cui mi trovo per la gran parte del tempo, il mio essere», sottolinea Di Gioia nel booklet impreziosito dalle fotografie di Natalia Riabchenko, Nicola Martinelli e Gianni Castellana (artephoto.info). «Da qui il titolo "I Got Minor", anche in analogia con il primo anatole della storia "I Got Rhythm". Il sottotitolo "The red thread of March 12th" si riferisce alla data di morte di Charlie Parker (12 marzo 1 955) che coincide, nel giorno, alla mia data di nascita (12 marzo 2003). Una coincidenza, una sorta di legame spirituale ulteriore, oltre alla sua musica, per il quale mi piace pensare di essere legato a Bird, mio punto di riferimento e fonte di ispirazione assoluta».

Il disco si apre con “I Got Minor”, composizione originale di Di Gioia, senza dubbio il brano di spicco dell'intero progetto. Nasce dall'idea di affiancare alle celebri strutture del blues e del rhythm changes quella del rhythm changes minore. Caratterizzato dalla velocità molto sostenuta, contribuisce assieme alle due take di Bebop di Dizzy Gillespie a fornire brio e adrenalina, equilibrata dalle dolci ballade “Laura” di David Raksin e “Body and soul” di Johnny Green. “Back home blues” e “Dexterity” sono le due composizioni di Charlie P arker che attestano la scuola di provenienza di Di Gioia. Si viaggia anche nel modale con “So What” di Miles Davis, per concludere con “Bean and the Boys” un contrafact del maestro Coleman Hawkins.

Vincenzo Di Gioia nasce a Terlizzi il 12 Marzo 2003. Intraprende lo studio del sassofono all’età di 12 anni e dopo soli 4 mesi si esibisce al “Talos Festival” come solista della “Apulia’s Banda Ruvo” del maestro Giuseppe Caldarola. All’età di 13 anni diviene membro fisso nel ruolo di 1° sax alto nella “Jazz studio Orchestra” del maestro Paolo Lepore. Qui collabora con musicisti del calibro di Chiara Civello, Fausto Leali, Simona Molinari, Gunhild Carling, Antonello Salis, Riccardo Fassi, Serena Brancale, Mathias Ruegg, Fawn Tolson, Joanna Rimmer, Eddy Olivieri ed altri. Nel 2017 vien e invitato come sassofonista ospite nel talk show televisivo “È ora di… Te!” del conduttore Vito Diomede. L’anno seguente forma il suo quartetto jazz avvalendosi della collaborazione di diversi musicisti quali Nico Marziliano, Andrea Gargiulo, Francesco Cinquepalmi, Pasquale Gadaleta, Ilario De Marinis, Vincenzo Mazzone ed altri, con cui esegue molteplici omaggi a Charlie Parker, fonte di ispirazione e punto di riferimento a cui è legato anche per mezzo di un “filo rosso”, ossia la data di morte del genio di Kansas City (12/03/1955) coincidente alla sua data di nascita (12/03/2003). Ha studiato sassofono classico al conservatorio “Niccolò Piccinni” di Bari, armonia jazz con il pianista Barry Harris e attualmente frequenta il triennio accademico di sassofono jazz al conservatorio “Niccolò Piccinni” e il liceo scientifico. Nel 2021 è tra i finalisti del Premio Internazionale Massimo Urbani.

Pianista barese classe  1990, Francesco Schepisi è attivo sulla scena musicale nazionale e internazionale da più di dieci anni. Intraprende lo studio del pianoforte intorno ai nove anni e presto comincia ad appassionarsi all’improvvisazione, come libera esplorazione dei suoni e come ricerca espressiva personale. Affiancando lo studio del repertorio classico, inizia ad approfondire il linguaggio jazzistico e ad assimilare la lezione afroamericana dei grandi maestri, partecipando anche a seminari e workshops di alta specializzazione. Successivamente consegue il diploma di II livello in Musica Jazz, presso il Conservatorio Niccolò Piccinni di Bari. Si esibisce in numerosi festival e rassegne jazzistiche, collaborando con musicisti di rilievo, in Italia e all’ estero. La sua attività discografica lo ha coinvolto in diversi progetti e formazioni, in qualità di leader e sideman.

Pasquale Gadaleta, classe 1965,  diplomato in contrabbasso classico presso il Conservatorio Nino Rota di Monopoli, consegue presso lo stesso Istituto il diploma accademico di II livello in discipline musicali ad indirizzo interpretativo-compositivo in musica jazz con il massimo dei voti e la lode. È stato vincitore di borsa di studio presso i seminari di Siena Jazz dove ha studiato con Bruno Tommaso e Furio Di Castri. Ha seguito seminari e workshop di perfezionamento con Miroslav Vitous, Marc Johnson,  Dennis Irwin e Rufus Reid. Nel 2007 è stato vincitore del Premio Nazionali Delle Arti sezione jazz. Ha suonato e/o inciso con, Tullio De Piscopo, Claudio Fasoli, Gianluigi Trovesi, Enrico Rava, Massimo Urbani, Pino Minafra, Steve Lacy, John Surman, Micheal Godard, Glen Ferris, Paolo Fresu, Rober to Ottaviano, Gianni Lenoci, Steve Potts, David Murray, Karl Berger, Kent Carter, Daniele Cavallanti, Tiziana Ghiglioni, Tiziano Tononi, Joshua Roseman, Louis Sclavis, Dave Burrell, Bob Mover, Don Moyè, Steve Grossman, John Tchicai, Taylor Ho Bynum, Michael Rosen, Vince Mendoza, Joe Lovano, Irene Aebi, Dusko Goykovich, Evan Parker, Bob Moses, Paolo Fresu ed altri. Nell’anno 2011/12 è stato docente di contrabbasso jazz  presso il conservatorio di Musica Niccolò Piccinni  di Bari e il conservatorio Nino Rota di Monopoli.

Vincenzo Mazzone è un musicista poliedrico. Collabora da oltre un trentennio con il trombettista Pino Minafra in varie formazioni musicali. Batterista e percussionista della Italian Instabile Orchestra, ha partecipato e partecipa a numerosi festival internazionali in Francia, Germani a, Spagna, Olanda, Canada, U.S.A., Giappone, Belgio, Danimarca, Norvegia, Inghilterra, Grecia, Macedonia, Slovenia, Bulgaria, Iugoslavia, Portogallo. Ha collaborato con musicisti di fama internazionale: D. Gillespie, A. Farmer, G. Schuller, D.Goigovich, L.Koonitz, C.Baker, C.Taylor, A Braxton, E.L.Davis, S.Kuriokhin, W.Breuker, M.Godard, A.Trovaioli, B.Bacarach, G.Gaslini, K.Tippett, L.Moholo. M. Ruegg. Ha collaborato con l’Orchestra Sinfonica di Bari come percussionista per oltre un decennio e ha ricoperto il ruolo di timpanista presso l’Orchestra del Teatro Petruzzelli di Bari, con la quale ha partecipato a diverse incisioni discografiche e a numerose tournee in Francia, Brasile, Australia, Cairo, Russia. Ha inoltre collaborato con F.Donatoni, Mannino, L.Berio. Fondatore del gruppo percussionistico Sud Percussion, nel quale ricopre il ruolo di solista e compositore, ha partecipato a numerose rassegne musicali  ed ha prodotto un lavoro discografico (con la prestigiosa etichett a inglese Leo Records) dal titolo “Ping Pong”, progetto interamente dedicato agli strumenti a percussione. Dal 2003, collabora con la UFIP Italia in veste di musicista,  sperimentando i nuovi linguaggi della musica improvvisata. È docente di Strumenti a percussione presso il Conservatorio di Musica “Nino Rota” Monopoli. Ha pubblicato anche “11 studi per tamburo” (Edizioni Musicali Tabla 2004).

1 - I Got Minor
2 - So What
3 - Bebop
4 - Body and Soul
5 - Back Home Blues
6 - Bebop (alternate take)
7 - Dexterity
8 - Laura
9 - Bean and the Boys

Compositions by Vincenzo Di Gioia (1), Miles Davis (2), Dizzy Gillespie (3, 6), Johnny Green (4), Charlie Parker (5, 7), David Raksin (8), Coleman Hawkins

Vincenzo Di Gioia - alto sax
Francesco Schepisi - piano
Pasquale Gadaleta - double bass
Vincenzo Mazzone - drums