Tuesday, December 19, 2017

Brad Linde's Gumshoe - Gumshoe (2017)


Brad Linde is a saxophonist, bandleader, and presenter in the Washington DC metro area. In 2010, he founded and began co-directing the Bohemian Caverns Jazz Orchestra - a 17-piece big band in residence at the historic club.

He was a participant in the Banff International Jazz and Creative Music Workshop 2013 and he studied with Barry Harris and Lee Konitz, among others. READ MORE...


1. Good Time Islands 08:08
2. Seeds Sown 11:28
3. For Valentine's Day 11:10
4. Banff 2013 14:13
5. Tomorrow Was Great 10:22
6. Death Knell (Tolls) 11:22
7. King Reason 07:37
8. And...Scene 03:21

Brad Linde's Gumshoe 

Recorded February 14, 2017 at Airshow Mastering/Allyworld in Takoma Park, MD
Engineered by Gantt Kushner
Mixed and Mastered by Charlie Pilzer
Artwork and Design by Matt Rippetoe at Sideman Creative, LLC.
Produced by Brad Linde


Patrick Booth - soprano and tenor saxophone
Erika Dohi - piano and Rhodes
Jonathan Taylor - drums and percussion

Playlist for Tom Ossana – The Thin Edge – December 20, 2017


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



I’m wishing jazz lovers a very Merry Christmas, Happy Hanukah and Happy New Year, especially to those of you who listen to and support the jazz programming on KZMU. Tonight's show is both jazzy and Christmassy. Instead of the usual summary, we'll include an abbreviated playlist. Stop right here if you're not fascinated with the details. For a detailed description of the show, go to Republic of Jazz and search for Tom O.

DKV Trio (Hamid Drake / Kent Kessler / Ken Vandermark) - Latitutde 41.88 (NOT TWO RECORDS 2017)



The DKV Trio is one of the most exciting ensembles working in contemporary improvised music. Featuring Hamid Drake (drums), Kent Kessler (bass), and Ken Vandermark, the band has been active since the mid 1990s and has released eleven recordings, including their most recent album, which came out in the autumn of 2016: Collider (that features the trio paired with the Scandinavian group, The Thing).

Their 2014 five CD box set, Sound in Motion in Sound, was reviewed by the Free Jazz Collective as follows, “They are tighter, more explosive, and ingenious than ever. Imagine every DKV Trio’s signature element coming together in a remarkably dazzling, fiery display of musical prowess. There’s an almost palpable quality to the way that the musicians meld their ideas and approaches together. There’s groove propelled by Drake’s funky, loose drumming, there’s melody in the bass lines, there’s dissonance and conflict in Vandermark’s fluid, mercurial playing.

This is a great recording by an unmistakable, intense group of musicians with a sound and feeling of their own. That much is clear now. I would even dare to call this album their best to date. Inspired, full of energy, harmonically, rhythmically, and even melodically rich, capable of wonderfully recreating the joy of listening to DKV Trio live.” 5 stars

2017 promises to be an exceptional year for the band: they will be releasing a new album on the label Not Two, have concerts scheduled in Canada during June, and will tour in Europe with Joe McPhee as a guest for the first time in their career.

01. Faster Than It Would Be (Hamid Drake, Kent Kessler, Ken Vandermark) 20:25
02. 20th Century Myth (Hamid Drake, Kent Kessler, Ken Vandermark) 17:33
03. Uncontrolled Writer (Hamid Drake, Kent Kessler, Ken Vandermark) 21:56

Ken Vandermark: reeds

Kent Kessler: bass

Hamid Drake: drums

Airto Moreira - Aluê (2017)


Aluê, seu primeiro trabalho após Live in Berkeley, de 2012, foi registrado num estúdio localizado numa fazenda, na paisagem verde do interior de São Paulo. Apoiado e construído com um time de grandes músicos (Carlos Ezequiel, José Neto, Sizão Machado, Vítor Alcântara, Fabio Leandro, Diana Purim e Krishna Booker), Aluê se apresenta como uma revisão inteligente e necessária de grandes momentos da carreira de Airto Moreira, retomando e relendo composições que evocam seu portentoso universo sonoro.

Não se trata apenas de seus ritmos, síncopes, cadências, diálogos, melodias, frases, gritos e texturas – mas também do que sua música disse e continua dizendo nos tempos estranhos em que vivemos, nos quais não podemos mais ignorar os avisos que o planeta envia a cada momento. De várias formas, essa mensagem sempre esteve na música desse catarinense, nascido em 1941 na pequena e charmosa Itaiópolis. A cada audição, Aluê nos traz lembranças, ressignificando experiências e emoções – algo como pegar uma canoa e atirar-se rio abaixo, enfrentando corredeiras rápidas e quedas perigosas, que se alternam com as águas mais calmas e límpidas cobertas por copas de árvores centenárias em meio à Mata Atlântica. É fato que a Mãe Terra sempre esteve presente na obra de Airto, sempre se manifestou nela inspirando seu sound design, sua marca registrada. READ MORE...

01 Aluê - Airto Moreira / Flora Purim 
02 Misturada - Airto Moreira
03 Rosa Negra - Airto Moreira
04 I'm Fine, How Are You? - Airto Moreira
05 Lua Flora - Flora Purim / José Neto
06 Não Sei Pra Onde, Mas Vai - Airto Moreira
07 Sea Horse - José Neto
08 Guarany - Airto Moreira


+

José Neto (guitarra)
Diana Purim (voz)
Sizão Machado (contrabaixo)
Fabio Leandro (piano)
Vitor Alcântara (saxofones)
Carlos Ezequiel (bateria e produção)




Yoram Rosilio & the Anti RuBber brAiN fAct0rY - Anti RuBber brAiN fAct0rY & Mar0kAït (LFDS RECORDS 2017)




Throughout the centuries each region, each town and sometimes even each village in Morocco have developed their own particular individual musical identities. Inspired by everyday life they give expression to major events of society recording and marking the identity of tribes and regions. They constitute an absolute traditional treasure, telling the tales of the different customs of people but also giving voice to their rebellious spirits and their magical and mystical visions of the world.

Our inspiration comes from this wide multicolored repertoire and we have endeavored to respect, to the best of our ability, the shapes, structures, rhythms and intentions that we can feel in this music and to reproduce them with what makes us musical beings.

1. 3abidat 'Rma 13:07
2. Leïlaa Lill 11:35

Yoram Rosilio : Bass, flute, percussions, Direction
Nicolas Souchal : Trumpet, flute, percussions
Jérôme Fouquet : Trumpet, flute, percussions
Jean-Brice Godet : Clarinets, flute, percussions
Jean-Michel Couchet : Soprano Sax, Alto Sax, flute, percussions
Florent Dupuit : Tenor Sax, Bass Flute, Flute, Piccolo, percussions
Benoit Guenoun : Tenor Sax, Soprano Sax, flute, percussions
Paul Wacrenier : Piano, Vibes, Balafon, Flûte, percussions
Rafael Koerner : drums
Eric Dambrin : Drums, percussions
François Mellan : Soubasophone, flute, percussions (on 03 and 06)

Monday, December 18, 2017

Esperanza Spalding - Exposure & Undeveloped (2 CD) 2017


CD 1: Exposure
01. Swimming Toward the Black Dot
02. Public Trance It
03. Heaven in Pennies (feat. Robert Glasper)
04. Colonial Fire
05. Coming to Life (feat. Lalah Hathaway)
06. Geriment
07. I Am Telling You
08. The Ways You Got the Love (feat. Andrew Bird)
09. I Do
10. Double Jointed Canyon

Today's world has a way of teaching us that who we are is not good enough as it is. It tells us that we're better when we look our best. And that as artists, our work requires polish before it can be seen.

But the truth is, the creations that come from us are at their most powerful, at their most potent, the moment they surface.

In her new work entitled 'Exposure', composer, vocalist and bassist Esperanza Spalding will create an album of music in just 3 days, every second of the process broadcast live for a global audience.

The three-day livestream will begin on Facebook Live on September 12th, giving the audience a chance to see what it takes not just to create an album, but to create an album entirely composed on the spot.

Once the cameras start rolling, the audience will witness every second of Esperanza's process, including her eating and taking breaks to sleep in the studio. A monitor will also capture and show Esperanza the comments from the live audience, allowing them to participate in the creative process. Making it the first album ever created entirely on Facebook Live, not just for an audience, but with an audience, for an unprecedented 77 hour live feed.

After the record is finished, a limited edition 7,777 CDs will be released. The packaging of each CD will include a piece of the original notepaper Esperanza will have used to write the lyrics and music, allowing those who witnessed the process to own a piece of the creation itself, directly from the source.

Part of the theory behind Exposure comes from the idea that everything we've ever seen as people - anything we've ever seen, studied, heard, wished, read or thought - has been permanently captured by the mind. During Esperanza Spalding's Exposure, she'll aim to open this cache in her mind, allowing songs, lyrics, music and themes to develop spontaneously from the depths of her imagination and experience.

Esperanza says, "I foresee that creating before a live audience will add excitement and extra inspiration energy.  Knowing someone is watching and listening to what you're making seems to conjure up a sort of "can't fail" energy, the necessity to keep going because it's live draws up another depth of creative facility that can't be reached when you know you can try again tomorrow."

Having such limited time to write and record will also force us to rely on improvisation and first instinct. Not allowing us time to judge, second guess, question, or alter the initial hits of inspiration that drive the creation of each song.  

That means that the audience will get a record of the most potent, charged, fresh-from-the ethers-compositional, musical and lyrical content. Of course they will be formed into songs, but they'll carry the charge of the immediate, of the innately inspired artists co-creating in the room throughout the 3 day process.


CD 2: Undeveloped (Pre-exposure Practice)
01. Helluva
02. Tangerine
03. Word Jungle
04. Chelsea Mercy
05. Work of Art
06. Winning Machines
07. Trouble
08. 4th Grade
09. Whisper
10. Fittest


Special Jazz Sextet - Projekt Elbląg (ALLEGRO RECORDS 2017)



Yet another interesting album from Allegro Records released this year (check also “Afreakan Project” and “Facing The Challenge”) and again it is pleasent surprise. Surprise because though musicians are not from first ranks of Polish jazz yet they deliver very good music indeed. All compositions are by Bartek Krzywda while all members of the sextet taking part in this project are from Elbląg (or connected to this city). It is astonishing that so many fantastic musicians live in this relatively small city and that they managed to join their forces to deliver such a palatable dish. As far as regular members of this sextet are concerned I want to single out Marcin Gawdzis, the outstanding trumpeter, that should be much better known on Polish scene. Melodic lines as supplied by his instrument underline catchy Krzywda compositions and saturate music with lyricism and levity. But other players input is of no less quality be it Szymon Zuehlke on tenor saxophone, Artur Olewniczak on trombone or rhythm section: Janusz Mackiewicz on double bass and Grzegorz Sycz on drums. A lot of spice is added by guests’ appearance: soprano saxophone by Przemek Dyakowski is an outstanding counterpoint to Gawdzis’ trumpet, Jerry Goodman violin sounds other-worldly and hauntingly beautiful (like on “The Heart On A Plate”) and finally well-known guitar of Jarek Śmietana. All in all, this is definitely worthy debut by Special Jazz Sextet, a tribute both to jazz and to city of Elbląg (from which also come from Jerzy Małek whose excellent album “Air” is our October Album Of The Month). Maciej Nowotny

1. Maciek 7:32
2. Obierek / A peel 8:44
3. Prusacy / Prussians 9:23
4. Idzie Szwed / Swede goes 6:55
5. Stary kapeć / An old sleeper 7:32
6. Serce na talerzu / The Heart on a plate 6:52
7. Klamerka / A buckle 6:10
8. Szymek  8:10

Bartek Krzywda /keyboards/
Szymon Zuehlke /tenor saxophone/
Marcin Gawdzis /trumpet/
Artur Olewniczak /trombone/ 
Janusz Mackiewicz /double bass/ 
Grzegorz Sycz /drums/

special guest
Przemek Dyakowski /tenor saxophone/


Carmen Lundy - Code Noir (AFRASIA PRODUCTIONS 2017)



Never one to limit her creative journeys, Lundy explores the realms of Jazz, Blues, Brazilian Samba and Pop with a multitude of messages that reflect not only the complexities of her own mindset, but the disparity of the world at large. Poignant, heartfelt, joyous, shocked, saddened and impassioned are just a few of the emotions conveyed by this wonderfully evocative singer on CODE NOIR in a highly personal musical voyage.

Another Chance
Live Out Loud
Black And Blues
Whatever It Takes
Afterglow
Second Sight
The Island, The Sea, And You
I Keep Falling
I Got Your Number
You Came Into My Life
Have A Little Faith
Kumbaya

Carmen Lundy: vocals, keyboards, guitar, background vocals
Patrice Rushen: piano
Ben Williams: acoustic and electric bass
Kendrick Scott: drums, percussion
Jeff Parker: electric guitar
Elisabeth Oei: background vocals track 7


Mike Reed - Flesh & Bone (482 MUSIC 2017)



"A multithreat musician who thrives as soloist, bandleader, presenter and global talent scout, Reed has emerged as a center of gravity for music in Chicago (and beyond)." - Howard Reich, The Chicago Tribune

It was the most terrifying moment of Mike Reed's life.

The Chicago drummer-impresario, who founded the Constellation arts center and produces the Pitchfork Music Festival, was touring Europe six years ago when he and his band stumbled into a neo-Nazi rally.

Or, more precisely, were lured into it: The conductor on the train Reed and colleagues boarded in the Czech Republic told the musicians they needed to transfer at a particular stop they hadn't intended on. Figuring the conductor must know best, they did what he suggested, arriving in the small town of Prerov.

This not only was the wrong station for their ultimate destination, but it was ground zero for right-wing, anti-gypsy marchers convening by the hundreds in a long-planned demonstration — which led the musicians to believe the conductor had sent them into danger intentionally.

Suddenly, "You hear these explosions going off … and see these people amassing," recalls Reed, of the tumultuous events of April 4, 2009.

Soon, "You're seeing a full-on riot breaking out. These people came ready: They had their gas masks ready. They had their Molotov cocktails ready to throw. It was crazy."

In a band staffed by two African-Americans (Reed and saxophonist Greg Ward) and two white musicians (tenor saxophonist Tim Haldeman and bassist Jason Roebke), the jazz musicians instantly realized they would not be looked upon kindly by the rioters.

"We freeze as the skinheads swarm from every direction," writes saxophonist Ward of the experience, on www.mikereed-music.com. "Armed with stones, petrol bombs and firecrackers, they attack the riot-gear clad police. … We all jump on to the train tracks and begin running for our lives out of the station."

A plainclothes officer came to their rescue, hid them in a small room in a nearby apartment and left the musicians to ponder what might come next. Reed and colleagues naturally felt helplessness and fear.


"We can't do anything," recalls the drummer. "We don't have the Internet. Who are we going to call? Anyone we know is at least hundreds of miles away."

Eventually, police escorted Reed and his People, Places & Things band onto a train out of town, though the musicians faced another threatening encounter with skinheads who had boarded, too. Once again, they were saved from attack and eventually made it safely to Krakow, Poland.

Reed has been pondering this close call ever since and, perhaps not surprisingly, decided to deal with it through art. "Flesh & Bone," a jazz suite with text, will have its world premiere Friday night at the Art Institute of Chicago's Fullerton Hall, performed by Reed and an expanded version of People, Places & Things that will include cornetist Ben Lamar Gay and bass clarinetist Jason Stein, plus Marvin Tate and Kevin Coval performing text.

Reed hastens to note, however, that "Flesh & Bone" will not be a musical re-creation of the original event or of the way he felt as it unfolded. Instead, the piece will serve as a gateway for his thoughts on art, race, culture and a great deal more.

"It doesn't have to be about this event," says Reed. "The event is the spark on how we converse and reflect. … It's a parable on what it's like to be confined in these situations."

Yet this encounter did not happen in a vacuum. In a way, it was born of ancient prejudices and, not surprisingly, evoked for Reed America's own battles with racism. While Reed and friends were in hiding, he wondered what this brush with danger told him about the brave souls who faced down institutionalized racism during the civil rights battles of an earlier era.

"At one point, while cowering in a 12x12 room," Reed writes on his website, "I asked Greg and myself: Would we have had the courage to march in Selma or even Chicago?"

Those who did, Reed believes, showed a kind of mettle that surpassed anything he and his colleagues had to muster, in part because the civil rights warriors stepped directly and heroically into harm's way.

"It made me think: I got thrown into this, and I'm scared," says Reed. "There's no real courage here, not like sitting in a lunch counter. I can't imagine that. … I don't know that I would have that courage."

How Reed reconciles all of these conflicting thoughts and themes are what "Flesh & Bone" is all about. Musically, he says, the piece is built partially on motifs the musicians played during their 2009 European tour. Textually, the opus will include quotes from James Baldwin and others, as well as phraseology conceived by Tate and Coval, who will be "authors of their own solos," as Reed puts it.

By expanding People, Places & Things with the two additional horns, Reed says he's referencing the small-group work of Duke Ellington, which has been a source of fascination for him in recent years.

Exactly how all of this comes together — and how well — won't be apparent until Friday night. But considering the ingenuity and depth of Reed's music with People, Places & Things and other projects, "Flesh & Bone" holds great promise.

And though Reed believes this "may be the most risky thing I've done," in that "I'm exposing a lot of myself and my process and inviting a lot of people to it," he doesn't want his audience to be scared off by the subject matter.

Listeners "don't have to know all this stuff," he says, referring to the story of what happened and its implications.

"The layers are there (to experience), if you want to. But you can come and think: This is really cool. … I don't know what it's about. I don't need to know."

But who wouldn't want to?


1. Voyagers 03:19
2. First Reading: SF Sky 01:46
3. Conversation Music 05:18
4. A Separatist Party 03:30
5. The Magic Drum 01:27
6. My Imaginary Friend (Tyshawn Sorey) 07:19
7. I Want to Be Small - For Archibald Motley 03:52
8. Second Reading: Me Day 01:25
9. Watching the Boats 04:25
10. Call Off Tomorrow (My Life Up Until the Present) 04:56
11. Scenes From The Next Life 03:33

Greg Ward - alto saxophone
Tim Haldeman - tenor saxophone
Jason Roebke - bass
Mike Reed - drums
Ben Lamar Gay - cornet
Jason Stein - bass clarinet
Marvin Tate - words

Recorded by Nick Broste, February 2016
Additional Recording by: Sima & Liam Cunningham at Foxhall Studio, Mike Reed field recordings.
Mastered by Dave Zuchowski
All compositions by Mike Reed, All words by Marvin Tate
Original Art Work by Nicholas Kashian
Produced by Mike Reed
Executive Produced by Mike Lintner

Special Thanks to George Lewis, Wadada Leo Smith, Kevin Coval, Naomi Beckwith, Amy Mooney, John Corbett, Sima Cunningham, Alyssa Martinez, Brett Swinney, Jeff Albert, Marcello Bennetti, Wojciech Jusczak

Sunday, December 17, 2017

Sarah Lancman, nouvel album À Contretemps (JAZZ ELEVEN)



Nouvel album À Contretemps
Sortie le 19/01/2018 chez Jazz Eleven

Après le succès d'Inspiring Love, enregistré à New York, la chanteuse Sarah Lancman revient avec un nouvel album : A Contretemps, qui sort le 19 janvier 2018 sur le label Jazz Eleven, et sur lequel elle est entourée d’une équipe  de prestige : avec le pianiste Giovanni Mirabassi (17 disques d’or, Victoire de la Musique,  Django d’or,) qui a joué notamment avec Chet Baker, Steve Grossman, Eliott Zigmund, Glenn Ferris  et tant d’autres, à la contrebasse Gianluca Renzi (Ari Hoenig, André Ceccarelli, Kevin Hays...), à la batterie Gene Jackson ( Herbie Hancock Trio, Diane Reeves, Christian McBride,  Joe Lovano...), et en invité spécial le grand chanteur et trompettiste japonais Toku (13 albums, artiste chez Sony Jazz Japan).


« She’s truly a great new voice for jazz » : voilà ce que Quincy Jones a dit de Sarah Lancman lorsqu’elle a remporté le 1er Prix de la Compétition Internationale Shure du festival de Montreux en 2012. Depuis cette date, Sarah Lancman s'affirme comme l'une des plus émouvantes voix du jazz actuel et confirme son talent avec son nouvel album A Contretemps.

Mademoiselle chante le jazz et elle ne fait pas semblant. A l’heure où le swing a déserté  les gosiers et où les projets ultra formatés flattent les oreilles, Sarah Lancman fait figure  au mieux d’oiseau rare, au pire de samouraï. Comme ses illustres aînées, les Merrill, Vaughan, Horn ou Simone, elle sait jongler avec les timbres et explorer tout le registre des émotions. Sa voix caméléon monte à la gorge, jouant tantôt d’un petit voile qui électrise, tantôt d’une candeur adolescente qui attendrit. Comme elles, elle chante l’amour, les histoires qui commencent et qui finissent mais sur tout l’amour de créer ensemble et de se donner toute entière à la musique et à ceux qui la reçoivent.

On pourrait croire qu’elle a toujours chanté, pourtant cette parisienne native de Châtelet-Les Halles est d’abord une pianiste, montée à la station Debussy avant de prendre la correspondance Bill Evans. Du piano classique à 7 ans au piano jazz à la Haute Ecole de musique de Lausanne - où elle obtiendra en 2013 son diplôme de Bachelor filière composition - c’est au clavier qu’elle se destine.


Et le chant dans tout ça ? Une envie qui trotte dans la tête depuis longtemps. Le grand saut, Sarah le fera en 2012 au Festival de Montreux. Elle s’inscrit au Concours International Shure Jazz Vocal, présidé cette année-là par Quincy Jones. Quand le Premier Prix arrive, il est pour elle. Le verdict de Mister Jones est sans appel : « She’s truly a great new voice for jazz. » Cette fois, plus de doute, elle sait qu’elle est sur le bon chemin. Sarah se lance alors dans l’aventure de l’autoproduction pour accoucher au bout de deux  ans d’un premier album de reprises baptisé Dark qui témoigne de ses goûts personnels, de Julie London à Nick Drake en passant par des standards du Real Book.

Un deuxième coup du destin l’attend un soir, dans un bar montmartrois de la rue des Abbesses. Venue écouter une amie chanteuse, elle tombe sur le pianiste italien Giovanni Mirabassi. « Je ne pouvais pas croire que cet artiste que j’admirais depuis longtemps, était là, juste à côté de moi, en train de boire un café au comptoir. Alors je me suis lancée. » Il dit banco. « J’étais justement à la recherche d’une chanteuse et quand on en rencontre une qui a un tel sens de l’harmonie et du swing et qui arrive à émouvoir autant, on ne la laisse pas passer ! »

Ces concerts vont sceller un solide compagnonnage entre ces deux résistants du jazz. Giovanni Mirabassi endosse alors l’habit de coach et de manager, trouve les musiciens, la pousse à composer, co-écrit avec elle.

Après le succès de l’album “Inspiring Love” dont les 10 compositions originales ont été enregistrées à New York et qui est sorti le 18 novembre 2016, Sarah Lancman revient avec l'album "A contretemps" toujours en co-écriture avec Giovanni Mirabassi et enregistré en Thaïlande avec la même « dream team » ainsi qu’un invité spécial : le trompettiste et chanteur japonais Toku. Une belle tournée de concerts s’annonce prochainement.

Prochains concerts :
25/01 - Duc des Lombards - Paris, France 
26/01 - Le Jam - Marseille, France
22/02 - Théâtre du Cheval Blanc - Schiltigheim, France

 Tournée au Japon : 25/02 au 4 Mars

12/03 - Scène Sacem - Pan Piper - Paris, France
20/03 - Théâtre des Pénitents - Montbrison, France
29/03 - Bal Blomet - Paris, France

Cuneiform's Year in Review: 2017


Cuneiform Records Wishes You A
Very Happy Holiday Season

The holidays are the time to open our hearts and show our appreciation for those who have touched our lives. Cuneiform would like to thank its amazing artists, and the music press, radio professionals, and fans who have supported our efforts worldwide over the years. Thanks to all of you, we've been able to release a wealth of uniquely wonderful music in 2017, including 11 jazz and rock albums and - a label landmark - our first ever multi-media Box Set!

Released November 24, 2017

For those of you who may have missed seeing what we released in 2017 and want to hear them now, you'll find all of this year's album listed below with links to the music so you can try them before you buy them!

Cuneiform's Year in Review 2017

JUMP TO:
Jazz & Beyond (New Recordings) | Rock & Beyond (New Recordings)

Jazz & Beyond: New Recordings

Raoul Björkenheim / eCsTaSy
Doors of Perception
Genre: Jazz / Improv
Format: CD / Digital
Release Date: 10/6/2017

Finnish-American guitarist Raoul Björkenheim and Ecstasy take a trip into the unknown with Doors of Perception, a session of kaleidoscopically inventive improvisation. The album captures an extraordinary working ensemble stretching into transfixing new spaces, settings defined as much by texture, vibe and sinuous melodic lines as by rhythmic and harmonic structures.

Ecstasy continues to expand its sonic palette. Over the course of seven years the musicians have forged a riveting communion. Capaciously inventive, rigorously gutsy and unapologetically Nordic, the music flows from the forbidding Finnish landscape and the hothouse Helsinki scene that gave birth to the band.

One sure sign of the quartet’s deep connection is the way they distill ideas. Sequenced as a stream of consciousness train of impressions, Doors of Perception features 10 tracks that all clock in under five minutes. Rather than exploring extended forms or expansive soundscapes the music is marked by pithy statements and compressed drama.
PROMOTIONAL TRACK:
"Ecstasy Dance" stream:

PRESS MATERIALS:

PURCHASE LINKS:

ARTIST SITES:
OFFICIAL (Bjorkenheim) - OFFICIAL (Ecstasy) 

The Ed Palermo Big Band
The Adventures of Zodd Zundgren
Format: CD / Digital
Release Date: 10/6/2017

The Ed Palermo Big Band combines two unlikely American masters with The Adventures of Zodd Zundgren, a dizzying and ingenious reinvention of music by Todd Rundgren and Frank Zappa, two much-loved but drastically different American rock composers.
PROMOTIONAL TRACK:
"Flamingo (Todd Rundgren)" stream:

PRESS MATERIALS:

PURCHASE LINKS:

ARTIST SITES:

The Great Harry Hillman
Tilt
Genre: Jazz / Post-Jazz
Format: CD / Digital
Release Date: 5/26/2017

Switzerland doesn’t produce many musical acts compared to other European countries, but the ones that do emerge are always of the highest quality. The Great Harry Hillman is a quartet from Lucerne, a lakeside city in the center of the country. About the name: Harry Hillman was an American athlete who won three gold medals at the 1904 Summer Olympics. That the hurdler Harry Hillman deserved his own band became apparent when exactly 105 years later The Great Harry Hillman came into being. Performing a sort of undefinable post-jazz which represents the jazz and creative music of today, we all feel quite that Harry Hillman would be pleased! The Great Harry Hillman’s music on Tilt combines jazz, rock, and improv into a subdued, layered, yet thrilling sound that will appeal to fans of bands like Radian or Tortoise, as well as modern jazz artists like Mary Halvorson.
PROMOTIONAL TRACK:
"The New Fragrance" stream:

MUSIC VIDEO:

PRESS MATERIALS:

PURCHASE LINKS:

ARTIST SITES:

Chicago / London Underground
A Night Walking Through Mirrors
Genre: Jazz / Experimental / Creative Music
Format: CD / Digital
Release Date: 2/24/2017

At a time when the world is mired in divisiveness, it takes visionaries to build bridges rather than tear them down. “This is protest music,” insists Rob Mazurek. “It always has been. That’s why it’s called ‘Underground’. For the last two decades the Chicago Underground Duo – Rob Mazurek and Chad Taylor – have created music meant to open minds and explore alien territory.  Now, on A Night Walking Through Mirrors, they’ve created a new Transatlantic partnership in the form of Chicago / London Underground, inviting a pair of renowned British improvisers – Alexander Hawkins and John Edwards – into the creative fold. The result is an expansive sonic adventure whose every unexpected note and alchemical reaction runs counter to the limited imaginations ruling social media name-calling and clannish provincialism.
PROMOTIONAL TRACK:
"Boss Redux" [excerpt] stream:

PRESS MATERIALS:

PURCHASE LINKS:

ARTIST SITES:
OFFICIAL (Mazurek) - CUNEIFORM

The Microscopic Septet
Been Up So Long It Looks Like Down to Me: 
The Micros Play the Blues
Genre: Jazz
Format: CD / Digital
Release Date: 2/10/2017

What happens when you put the blues under a microscope? When the lens is wielded by the incisive deconstructivists of the Microscopic Septet, the musical odyssey traverses territory that’s disarmingly strange, pleasingly familiar and consistently revelatory. It takes an unusual band to make news out of the blues, and The Microscopic Septet deliver a gripping investigation of the form on Been Up So Long It Looks Like Down to Me: The Micros Play the Blues, which continues the band’s brilliant resurgence. This new album builds on the band’s longstanding love of that most basic and profound musical form, bringing the same reverently irreverent and insistently playful approach to the blues that has marked the Micros music from the beginning.

PROMOTIONAL TRACK:
"Don’t Mind If I Do" stream:

PRESS MATERIALS:

PURCHASE LINKS:

ARTIST SITES:

The Ed Palermo Big Band
The Great Un-American Songbook:
Volumes I & II
Genre: Jazz
Format: 2xCD / Digital
Release Date: 2/24/2017

Crazy times call for outrageous music, and few jazz ensembles are better prepared to meet the surreality of this reality-TV-era than the antic and epically creative Ed Palermo Big Band. The New Jersey saxophonist, composer and arranger is best known for his celebrated performances interpreting the ingenious compositions of Frank Zappa. But his fifth project for Cuneiform, The Great Un-American Songbook Volumes 1 & 2, is a love letter to the rockers who ruled the AM and FM airwaves in the 1960s via successive waves of the British Invasion. The 18-piece EPBB lovingly reinvents songs famous and obscure, leaving them readily recognizable and utterly transformed. The first installments in what he hopes to be an ongoing project, these two volumes give a whole new meaning to 'swinging London'.
PROMOTIONAL TRACK:
"The Low Spark of High Heeled Boys (Traffic)" stream:

PRESS MATERIALS:

PURCHASE LINKS:

ARTIST SITES:
TWITTER - FACEBOOK

Schnellertollermeier
Rights
Genre: Rock / Experimental-Avant-Psych-Minimal Rock / Jazz / Post-Jazz
Format: LP / CD / Digital
Release Date: 10/6/2017

Clarity. Attitude. Skill. These really aren’t qualities that define our present time. All too often, our ephemeral reality finds itself reflected in a jittery retro-music that sucks its data from the Cloud – that atomised archive accessible to all. Schnellertollermeier’s fourth album is their reply to all this: Rights, and it offers ample demonstration of their own clarity and ability. Rights comprises four pieces, every one of them inscribed with radicalism. Each is built on just a few ideas and develops out of them until it sounds like a Cubist work of art that seems to gaze out from the most varied of perspectives, but always in the same direction. This is the key to the immense depth and beauty of this album. Apart from the fact that it simply blows you away.

You could say that Rights is the result of this process of consolidation. Schnellertollermeier has an immense presence – that’s the first thing you notice. Initially, you only hear concise, repetitive patterns, but you can already feel their powerful energy while performing, their will to play out and not to yield to any ceremonial, reductionist modes. The pressure is high, their concentration levels too, and their energy levels aren’t a sudden spasm but a prerequisite. This music is complex, but never so much so that the band couldn’t play it with something in reserve. That keeps their music open and free – for themselves, and also for those who hear it. Schnellertollermeier is never brash. They regulate the intensity of their sound with the highly controlled nuances of a precision engineer handling thumbscrews. They never discharge an impertinent punch – instead it’s outstretched, held out, and offered up.
PROMOTIONAL TRACK:
"Rights [Part 1]" stream:
SOUNDCLOUD - BANDCAMP - YOUTUBE

MUSIC VIDEOS:
"Rights" (Official Live Video)

PRESS MATERIALS:
PRESS RELEASE (PDF)
COVER IMAGE

PURCHASE LINKS:
ITUNES - AMAZON
BANDCAMP [HD 96khz/24 bit]
WAYSIDE MUSIC [LP]

ARTIST SITES:
OFFICIAL - CUNEIFORM

FACEBOOK

Art Zoyd
44 1/2: Live and Unreleased Works
[Box Set]
Genre: Rock / Post-Rock / Avant-Progressive / Rock In Opposition / Electronic / Classical / Avant-Classical / New Music / Art Music
Format: Box Set (12xCD + 2xDVD + 2xBOOK + 2xPOSTER) / Digital Download
Release Date: 11/24/2017

Trying to make France's Art Zoyd fit into a single neat description is an exercise in futility. Sometimes they're fiendish sonic saboteurs bent on destroying listener's preconceptions about the way music works. Sometimes they're musical sorcerers conjuring strange but bewitching moments of lyrical beauty.

You could call them the original post-rock band, moving on from the dark, stormy sounds of prog legends like Magma and King Crimson to something that makes even those fearless explorers sound conventional by comparison. You'd be equally accurate in dubbing them avant-classical composers, whose experimental visions are influenced by Stravinsky and Schoenberg.

They were members of the notorious Rock In Opposition (RIO) movement alongside the likes of Henry Cow and Univers Zero. They're impressionistic soundtrack composers. They're a band. They're a multimedia collective. Ultimately they're simply Art Zoyd. And it takes a document as massive and monumental as the 12-CD/2-DVD/2-Book set 44 1/2 to even come close to offering a comprehensive picture of what they're all about.

Containing hours of live and unreleased material from the vast Art Zoyd archives, 44 1/2 delves into the dense jungle of wildly diverse periods in a story that goes all the way back to the '70s. But it also provides many of the missing links in their long, knotty discography, filling in the gaps between their official releases and weaving together all of Art Zoyd's disparate stylistic strands into a majestic, multicolored, even imposing tapestry.
PROMOTIONAL TRACK:
"Tone Reverse" stream:
SOUNDCLOUD - BANDCAMP - YOUTUBE

PRESS MATERIALS:
PRESS RELEASE (PDF)
COVER IMAGE

PURCHASE LINKS:
ITUNES - AMAZON
BANDCAMP - WAYSIDE MUSIC

ARTIST SITES:
OFFICIAL - CUNEIFORM
TWITTER - FACEBOOK

Bubblemath
Edit Peptide
Genre: Rock / Eclectic Prog / Avant-Pop / Technical Metal
Format: CD / Digital
Release Date: 5/26/2017

Fifteen years in the making, Minnesota eclectic prog / avant-pop / art-math quintet Bubblemath's sophmore sequence, Edit Peptide, provides a worthwhile wait with it's non-formulaic formula of lively textures, wacky and virtuosic musicianship, hypnotically robust vocals and charmingly astute attitude. Blending in-your-face intricacy with eccentric experimentation, dense and poppy harmonies, symphonic vibrancy and tongue-in-cheek foundation, Bubblemath are clever and musically intricate, but despite their loyal adherence to high information-density compositional constructs, they make serious and seriously quirky music that doesn't take itself too seriously and allows the fun to shine through. 

It's not often that a band releases a new album after such a long hiatus, let alone something that exceeds expectations beyond fans’ wildest dreams. Somehow, though, Bubblemath has done just that with Edit Peptide. By conducting so many divergent styles, refining their songwriting and compositional skills, and most of all, sticking to their guns when it comes to crafting highly challenging and adventurous, but also quite hypnotic and welcoming, tunes, the quintet proves just how perfectly a band can fuse the familiar and the fresh.
PROMOTIONAL TRACK:
"The Sensual Con" stream:
SOUNDCLOUD - BANDCAMP - YOUTUBE

PRESS MATERIALS:
PRESS RELEASE (PDF)
COVER IMAGE

PURCHASE LINKS:
ITUNES - AMAZON
BANDCAMP - WAYSIDE MUSIC

ARTIST SITES:
OFFICIAL - CUNEIFORM

TWITTER - FACEBOOK

Miriodor
Signal 9
Genre: Rock / Avant-Progressive
Format: CD / Digital
Release Date: 5/12/2017

"Metaphorically, we could say that Miriodor is a planet, with aliens communicating in their mysterious ways with planet Earth," says Miriodor's keyboardist, Pascal Globensky. In that sense, the long-lived Montreal band's ninth album, entitled Signal 9, could simply be considered the ninth set of musical messages from that exotic heavenly body. The Miriodor discography has been building strength upon strength with each successive album. The band combines jazz, classical, rock, and international influences for an arresting, idiosyncratic sound that eludes description but remains immediately identifiable as Miriodor. Once you return to your everyday life after emerging from the alternative universe of Signal 9, the whole album seems like some kind of fever dream you've just emerged from. But the big difference is that it's a dream you're eager to leap right back into again.
PROMOTIONAL TRACK:
"Venin" stream:
SOUNDCLOUD - BANDCAMP - YOUTUBE

PRESS MATERIALS:
PRESS RELEASE (PDF)
COVER IMAGE

PURCHASE LINKS:
ITUNES - AMAZON
BANDCAMP - WAYSIDE MUSIC

ARTIST SITES:
OFFICIAL - CUNEIFORM
TWITTER - FACEBOOK

CHEER-ACCIDENT
Putting Off Death
Genre: Rock / Avant-Progressive
Format: LP / CD / Digital
Release Date: 5/12/2017

Bands, like the human beings that comprise them, are mortal. Against all the odds, in the face of an unstable record industry that never embraced their restless experimentation, Chicago avant-rock pioneers CHEER-ACCIDENT have survived to release their 18th album, Putting Off Death. More than 30 years after first joining forces, fellow eclecticists Thymme Jones and Jeff Libersher have faced down the inevitable and returned with a new set of songs that’s as unpredictable, exploratory and viscerally compelling as anything they’ve released over the course of their erratically evolving career. The music is action packed and filled to the brim with living, breathing humanity. The band’s continuing hunger bleeds through in the music’s immediacy. As Jones says, "There's still something to prove."
PROMOTIONAL TRACK:
"Immanence" stream:
SOUNDCLOUD - BANDCAMP - YOUTUBE

PRESS MATERIALS:
PRESS RELEASE (PDF)
COVER IMAGE

PURCHASE LINKS:
ITUNES - AMAZON
BANDCAMP - WAYSIDE MUSIC

ARTIST SITES:
OFFICIAL - CUNEIFORM

TWITTER - FACEBOOK

Thinking Plague
Hoping Against Hope
Genre: Rock / Avant-Progressive / Art-Rock / Post-Rock / Post-Classical
Format: CD / Digital
Release Date: 2/10/2017

Clouds scud across a storm-wracked sky, but while briefly exposing rare shards of blue, most often, blacker, gloomier grays lurk behind the mists. Sometimes a work of art enables us to articulate our thoughts and feelings in times of upheaval and chaos. In an era when the world has seemingly come off its hinges, an album like Hoping Against Hope offers listeners the consolation that they are not alone. But more than that, this intellectually complex work offers tools to help us make sense, affectively at least, of the whole sorry mess. Thinking Plague is a storied band, whose thirty-five year history has seen it cleave consistently to the extreme limits of what is possible to do within rock music–influenced by folk, chamber music, and particularly, the avant-garde tradition of twentieth-century classical music.
PROMOTIONAL TRACK:
"The Echoes of Their Cries" stream:
SOUNDCLOUD - BANDCAMP - YOUTUBE

PRESS MATERIALS:
PRESS RELEASE (PDF)
COVER IMAGE

PURCHASE LINKS:
ITUNES - AMAZON
BANDCAMP - WAYSIDE MUSIC

ARTIST SITES:
OFFICIAL - CUNEIFORM

FACEBOOK


www.cuneiformrecords.com
www.twitter.com/cuneiformrecord
www.facebook.com/cuneiformrecords
www.soundcloud.com/cuneiformrecords
www.youtube.com/CuneiformRecords