Thursday, July 29, 2021

Mike Lloyd / Peeter Uuskyla / Gunnar Backman / Anders Berg - Leavings (July 29, 2021)

I have a soft spot for Peeter Uuskyla and his loose, deceptively clumsy style of drumming. Here, he is accompanied by Mike Lloyd on trumpet, Gunnar Backman on fretted and fretless virtual guitar (possibly the storied Yggdrasil) and live loops, and his long-time companion-at-arms Anders Berg on bass.

I am familiar with some of Uuskyla and Berg’s previous work. I am less familiar, however, with Lloyd and Backman. Both have appeared on previous Simlas releases, sometimes together and sometimes, in the case of Backman, with other configurations of an apparently tight circle of musicians featured on Simlas (run by guitarist Tellef Øgrim and Berg) and Backman’s own label, Brakophonic Records.

In other words, most of these musicians seem to play together frequently. (Lloyd may be an outlier in that respect when it comes to Uuskyla, but the claim certainly applies to the rest of combinations.) Although the music itself can hardly be called “tight,” that familiarity shows in the Leavings. As the cover art shows, each musician can be thought of one within an interlocking system of gears. When one gears turns, the others must as well. If one were to stop abruptly, the others would have to follow suit. Were one to malfunction, the entire apparatus would be rendered kaput. I do not want to make too much of this image. Gears, of course, have no volition and no recourse outside of their track. When working properly, they do not take detours or try new things. The whole image, of course, is too mechanical to be perfect. But, as free music lovers would likely agree, the pursuit is not reproducibility or mere function, but an unexpectedly moving whole.

And that is what Leavings achieves. Uuskyla sweeps one direction with his blustery rolls. Berg lays an unsteady beat that collides with Uuskyla’s bass drum. Lloyd offers muffled fanfares and restrained runs that reference electric Miles, though it shies from the intensity and funk that Miles so perfectly harnessed. And Lloyd, alternates between disrupted radio-wave atmospherics, feedback-laden background fidgeting, and straight-up shredding. This sounds psychedelic without the polish and pop. It sounds like a less manic Acid Mother’s Temple, before their morning cup of coffee (or, maybe, in the laggard after-hours of the night), fumbling in search of some indeterminate magical combination of sound. It is fusion played by free jazz musicians. Or, free jazz played by prog rockers who found that too restrictive and jam bands too long-winded. Or, something of the sort. I am not sure which direction these sessions went in. I can say, however, that this album rocks, through and through. This may not be music that blows you away, but it is music that, if you heard it at a friend’s house (were that still a thing in these times), you would likely say, “Wild stuff. Who is that?” - By Nick Ostrum - Free Jazz Blog

1. FOOD 12:35
2. IS THAT SO? 15:54
3. VERILY 07:27
4. BOOKSMART 14:04
5. DOGGY BAG 08:49
6. LEAVINGS 13:33

Lars Larsson / Anders Berg / Fredrik Lindholm - Underground (July 2021)

1. 1 06:51
2. 2 05:03
3. 3 10:35
4. 4 08:46

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

Recorded June 2020
Mixed and Mastered by Lars Larsson at Hönshuset Studios
Cover Art by Lars Larsson

Álvaro Domene - The Sword Still Hangs Upon The Wall (July 2021 Iluso Records)

Iluso Records is delighted to release Álvaro Domene's new solo album, The Sword Still Hangs Upon The Wall, which is in continuation from his orchestral inspired solo works for electric guitar captured on Illustris 2020, and The Compass 2018.

"We might well ask upon whose wall this sword hangs, this sword Álvaro Domene testifies to in his music. It is a simple comparison to link the guitar and the sword and to ask which bodies and minds might be set free by each. Both are part of a techne that captures vectors and arcs which force-multiply through other systems- separating them, clarifying them. Domene’s sound sculptures pose questions of emotion, spirit, intellect, the cosmos- and in the end, these questions of sound invite us to act in some way. The sword hangs upon all our walls and in ringing metal it leads to one destination in unison. A ‘land of song’, puissance, voices raised in glorious clamor. In unison against a falling power. ‘This machine ends all fascism.’

Domene’s work on this album explores the outer limits of engagement with the instrument itself and is in dialog with a broader milieu of guitarists who operate in the New York orbit and beyond. He deploys a galactic array of forms that include jazz, various species of metal, palettes of sonic texture from inside and outside the instrument’s techniques, experimental guitar which we can trace emerging in part from the 70s NYC downtown scene [and in Alvaro’s other collaborations with a key protagonist in that NYC scene, the magister ludi Elliott Sharp]. Domene joins a project which has been underway for many decades and accelerates it forward.

There is an underlying engagement both across the music and in his thinking. Beyond transport through joy, intricate formal unfoldings, ecstasy: how can sound take on a set of ethical, moral and political responsibilities? Perhaps by an openness to pure chance in the midst of an articulate structure; a commitment to texture, timbre; a set of extended techniques conjuring vast spaces dancing through the boundaries of carefully programmed delay matrices. Across and beyond a terrain of post-minimalism and the aesthetic positions minimalism held, Domene’s work jumps epochs, fusing myriad styles and an epic, almost symphonic form with his personal vocabulary of guitar. It exists in a tension between the given and the discovered, a structure and the evolving patterns and living sound. Like the scintillation of life itself.

And in this life-sound a core is revealed. Electromagnetic flux wrings it out, flattens it, folds it back upon itself. Layer upon layer rewrought. A core capture, a heat birth, an edge a molecule wide and a parsec long arcs out across our system. Information cascades, swarms again, dancing blades warding off the energy. Bow shock. A bubble. Inside, the denser matter becomes an encoding system. 
A position. A gesture, a supplication. The bubble grows. The bubble is gone, and we float in emptiness. Silence. The dark. And then a sudden light. All flows down. The roots of the ash tree. Æ. Star food, light, blood. The leaves burst forth.

Fiat Lux

The Sword Still Hangs Upon the Wall 18:12
Cascading ice in nacreous, luminescent sunlight. Light from an evening star, a falling star.

A Great Filter. A transmission. A halo of refractions, crystal revelation, sound writ large on the skies. Crumbling, smoldering. A thousand arms thrown up, swarming, to block the heat and light. Time lost; Starless we coast as the future wraps around us. Lensed unto the end. The end of all things. The end of all. Things themselves. The core again. Mother. Core resistance. Uplift against a fallen angel. A slight wingbeat, a feather in the void.

Moving Beyond the Misnomer of Chaos 11:38
A falls falling, as the falls falling. A hand grasping at signals. A wave, a wave. Metallic foam on the crest, a wave of liquid light. In the deeps, the refrain holds. A shadow casts its own diamond shadow. The waves race across themselves. The abyssal. Crystals tumbling down the slope, free fall into darkness.

Albatera 07:39
A saccade across the surface of the sun. Time compression. Stutter, We. Why, the below, the above, the hum sawtoothed upon itself. Iridescence, putrefaction, rebirth. The core returns. I, Thou. We. The saw-edge. Force. I turn to face the sun. My eyes run black. Seeing within sight, I see again. I turn to myself. My eyes run white. A swarm, an arc, a blade against the plasma saws. Devour all. Kali, your arms swarm. Your foot holds the enemy. Darkest mother, your necklace. Fire. 
I, Thou. We. Our water on the barkless branch. Only faith. Only faith for life. ‘Love is the law, love under will.’

The Veriest Delusion 06:06
A walk forward and backward. A falling, falls falling. The transmission again, a deep rumble below. A whirling. Hands blur. A thread of blood through the depths. The geometry of the phrase is liquefied. A bell in motion. The clay. The ore. The furnace cold. The bell cools. The bell’s architecture flows. Time. The crack. A liquid whistle, a hum.

Unsheathed Again 11:26
Axiom. Echo. A Law. The waves intersect. Axiom. Echo. A desert fire, a wind, a tornado, a whirlwind lifting dust. Explosion of the forward wave. Dust in our eyes, the wave behind. A river of glittering dust. A flame upheld. A core breach. A pressure inversion. The dust scatters. Wings afire, we hold the cup high. Dust. On fire. Dust whirling in glittering flame. A pillar of gold in the conflagration. Unity. Echo. A Law. A body laying in the desert snow. An eye slowly blinks. The cave. The bell.

Puerta al Sur 09:21
Seeking. Seeking. An attempt to articulate. A whirlwind, a lashing. The bodies in phase.

A gate standing. Sleeting hail of electrons. Time compression, orbit. An attempt to articulate. A whirlwind, a lashing. The bodies phase again. Phase shift, sleeting light. Erosion, torsion, flux.

Seeking, seeking, the point of collapse. A tight coil, a glittering. An eye forms… electron flux. The eye collapses in. A position. A gesture, a supplication. The bubble grows. The bubble is gone, and we float in emptiness. Silence. The dark. And then a sudden light. All flows down. The roots of the ash tree. Æ. Star food, light, blood. The leaves burst forth.

Fiat Lux - Ed Keller

Álvaro Domene: compositions, seven string electric guitar, live electronics.
Recorded (January-March 2021), mixed, and mastered by Domene at Singularity Studio, Kingston (New York).
Ed Keller: liner notes
Published by Dometone Music BMI 2021
High quality audio files, 24-bit/96kHz. Better than CD.

Dean Granros / Zacc Harris / Chris Bates / Jay Epstein - Taller Tales (July 2021 Shifting Paradigm Records)

After what was supposed to be a one off gig in 2014, with long time trio of Dean Granros, Chris Bates Jay Epstein being joined by a second guitarist, Zacc Harris, an audience member offered to pay for that lineup to record in the studio. In early 2015, the band did just that, spending two days at the Terrarium in Minneapolis, tracking around 15 tunes. Seven of those resulted in the 2015 release TALL TALES. During the months of isolation from the pandemic, Harris tracked down the unreleased takes and mixed and mastered them, resulting in this new release, TALLER TALES. Thanks to Jason Orris of the Terrarium for taking the time to find these tracks in their archives, and to Dylan Nau of Rocket Snake Records for his incredible guidance during the mixing process.

1. Blue Sparrow
2. Boats
3. Miss America 1983
4. Cowboy Hat
5. I Mean You
6. Wingless Transportation

Dean Granros - guitar and compositions
Zacc Harris - guitar
Chris Bates - bass
Jay Epstein - drums

Recorded February 2015 at The Terrarium, Minneapolis, MN
Engineered by Rob Oesterlin
Mixed and Mastered by Zacc Harris
Cover Design and Photo by Zacc Harris
All compositions by Dean Granros, except "I Mean You" by Thelonious Monk

Kippie Moketsi & Hal Singer - Blue Stompin' (July 2021 We Are Busy Bodies)

Reissue of Kippie Moketsi and Hal Singer’s collaborative album, Blue Stompin’. This release is in partnership with the legendary As-Shams/The Sun Records. Remastered by Noah Mintz at Lacquer Channel Mastering. Artwork and text restoration by Steve Lewin.

1. Blue Stompin' 11:19
2. Hang On There 06:39
3. Scrap Iron 10:53
4. Yes Baby 12:38

Národní Divadlo - Antropocén (July 2021 Stoned To Death)

"The photo used on the cover comes from the demolition of a never completed miner's hostel belonging to the coal mines in Frenštát, which has long been a threat to the Beskydy landscape and a symbol of the arrogance with which we treat our surroundings. But the end of coal is just a tiny fragment in the kaleidoscope of what we must do to make the anthropocene not just an age of destruction, but a time that will leave behind the anthropocentric worldview and allow us to truly coexist with the other species with whom we share our living space."

Národní Divadlo - Antropocén

-----

Přemýšlím, jestli vůbec nějak zvládnu mapovat tradici volné improvizace v Čechách mimo metropolis. Kolik se asi v okresních a menších městech nachází individuií, kteří jsou ochotni zalézt do zkušebny, chvíli se neřídit absolutně ničím a jen podlehnout pocitu a euforií z formující se masy chaosu, který vypustili na cestu, ovšem všemi směry? A kolik z nich pak ještě někdy vleze do studia nebo zapne na zkušebně rekordér a tohle svoje počínání nějak zaznamená?

Eviduji aktivní scénu na Ostravsku (Massola, aktivity Martina Režného), severočeské Eine Stunde Merzbauten, budějovickou scénu, která tlačí improv skrz rockové tendence (Microvomit, Rek atd.), věci kolem herr majora Čundi, Zabloudila apod. Národní Divadlo do téhle skládačky pasuje též, ale podobně jako pardubičtí Frisk se vymykají nižším zatížením noisových vlivů a většímu tíhnutí k tradiční formě. Trochu vlnobití na hladině, ale nepříliš daleko od břehu, takže by se z toho dalo ještě vyplavat trochu intenzivním kraulem. Anebo se nechat na chvíli stáhnout pod hladinu a doufat, že mě na konci vyhodí polonahý Poseidon trojzubcem na pláž.

Na frenštátské Národní Divadlo mě upozornil odběratel a suportér Stoned to Death extraordinaire Petr Jahoda a děkuji mu za to. V českém prostředí jsem si jen těžko dokázal představit trio muzikantů, z jejichž zvuku sálá inspirace Fredem Frithem, Derekem Bailey nebo štěpivou atonalitou Anthonyho Braxtona. Hudební abstrakci naopak rozrážejí konkrétním vizuálem, ve kterém upomínají na destruktivní plán minulého režimu, který plánoval rozšířit uhelnou těžbu ve Frenštátě až pod severní svah Beskyd.

Pokud jste zrovna dojedli pozdní oběd, tak vám přeji hezké trávení, tady máte zhruba sedmdesát minut kvalitní pohody. 

Národní Divadlo - Antropocén

1. Vítr v remízkách, kde ptáci 07:45
2. Za dobou středník 01:39
3. Z jakého dřeva jsou ostrévky 05:20
4. Pravý hák Arthura Cravana 04:22
5. Torza mostů 07:13
6. Stožáry vysokého napětí 06:06
7. Vysychání 00:51
8. Vodojemy 07:24
9. Archeologie (Josefu Bláhovi) 10:53
10. Skleněná louka 05:19
11. Rýhy v březích 09:22
12. Šipky k rozvalínám města UR 07:31

Národní Divadlo
Marek Tragan – acoustic guitar
Lukáš Fojtík – drums
Jiří Štěpán – bass

Recorded April 25th, 2020, Frenštát pod Radhoštěm

Recorded, mixed and mastered by Lukáš Fojtík

Polymetrum Ensemble - Eastern Influence (July 2021)

Eastern Influence is a suite in 4 parts composed by Rasmus Henriksen, and played by Polymetrum Ensemble. A jazz septet from Odense, Denmark featuring some of the best players from the area.

Composers note:
The inspiration for this album comes from the many great jazz recordings made behind the Iron Curtain in the 60s and 70s. A composers imaginary travel through time, picking up inspiration for his own music.

My intention has not been to imitate the music, but rather to use it as a starting point for my own compositions. The result is a suite in 4 parts that pays tribute to my favorite East European musicians and composers. Enjoy listening. Rasmus Henriksen

1. Metamorphosen 15:48
2. Radiant Sunset
3. Junctions for Restlessness
4. Bewegung

Kasper Wagner (alto & soprano saxes, flute)
Andreas Bøttiger (tenor & baritone saxes)
Mads la Cour (trumpet & flugelhorn)
Rasmus Henriksen (trombone)
Łukasz Borowicki (guitar)
Mariusz Praśniewski (double bass)
Anders Mogensen (drums)

Recorded at Peak Productions, Odense, on December 4th & 5th 2020 by Jesper Malling

Mixed and Mastered at Pelles Room, Copenhagen, by Pelle Fridell

U F G - Up For Grabs (July 2011 Simlas Produksjoner)

1. Snömos 15:06
2. Sediment 04:12
3. Kris 04:41
4. Geggamoja 01:28
5. Sideboard 04:30
6. Much More 05:55
7. Kennelhosta 07:17
8. Jazz 06:12
9. Up For Grabs 05:15

Peter Thörn reeds
Anders Anderssson drums
Gunnar Backman guitar (banjo track 2)
Anders Berg bass
Morgan Ågren drums (track 3,9)

Sam Gendel & Sam Wilkes - Music for Saxofone and Bass Guitar More Songs (July 2021 Leaving Records)

The follow-up to 2018's underground jazz milestone from Los Angeles-based musicians Sam Gendel & Sam Wilkes. Music for Saxofone & Bass Guitar More Songs collects nine additional tracks from the duo's live performance archive.

1. THEEM PROTOTYPE
2. WELCOME VIBE
3. I SING HIGH
4. COLD POCKET
5. STREETLEVEL
6. SG'S PRIUS
7. FLAMETOP GREEN
8. CAROLINE, NO
9. GREETINGS TO IDRIS MORE SONGS

Performed, recorded, mixed and produced by
Sam Gendel + Sam Wilkes
additional bass by Daniel Aged on THEEM PROTOTYPE, COLD POCKET, FLAMETOP GREEN
Mastered by Matthewdavid McQueen
Recorded on location at Mh Zh + Daniel's Basement + etc.
2017-2021

Wednesday, July 28, 2021

George Fenton - The United Way (2021 Gearbox Records)

Five-time Oscar nominated composer George Fenton is comfortably one of today’s most prolific and acclaimed British composers, having worked on numerous Ken Loach films including ‘I, Daniel Blake’, Hollywood moderns classics like ‘Groundhog Day’ and ‘Hitch’, and written the iconic TV theme for Newsnight. He is also a lifelong Manchester United fan, leading to his scoring of a new historical documentary, ‘The United Way’, which tells the epic story of one of the world’s most successful football clubs ever.

Fenton’s musical underscoring adds gravitas and a sense of spiritual awakening to the film, which begins its journey in the early days of the club, in post-war, industrial Manchester. Recent events have shown that the history and city behind an organisation as powerful and global as Manchester United are what matter to people most, and Fenton’s inspiring soundtrack to ‘The United Way’ emphasises this whilst showcasing the club’s core narrative in all its glory.

1. Curtain Up 03:03
2. The Busby Babes 03:15
3. Munich and Roll Call 03:59
4. 1968 For Them 02:41
5. Say What You Like 02:07
6. A Disaster 02:02
7. Game Changer 02:51
8. Manchester Marseilles 01:30
9. Winter of Discontent 02:01
10. Time for a Change 02:06
11. More Change 02:10
12. This is Different 01:17
13. Battle Begins 02:46
14. Palace 03:03
15. Media Circus 01:53
16. Rebuilding 03:30
17. Breaking News 01:52
18. Talking in Paris 01:51
19. Miracles 02:35
20. Stepping Aside 02:42
21. Digging Deep 02:07
22. The Final Push 04:08
23. May 26 1999 03:23
24. Deansgate 03:02
25. The United Way Credits 03:31

Altus - Riot Cycle (July 2021)

Riot Cycle is a series of collaborative compositions and improvisational pieces written and recorded entirely remotely. In March of 2020, having only recently witnessed the potential of our musical bond, we, like the rest of the world, were separated from each other. Over the following year, we found ourselves gathering remotely to reflect, share our inspirations, and encourage one another during an incredibly difficult time.

These meetings were our anchor.

Our conversations inspired composition: Nathan Reising suggested that Dave Adewumi, Neta Raanan, Isaac Levien and himself compose individual pieces under the same restrictions. “Utopia Adjacent” was based on one of Olivier Messiaen’s modes of limited transposition, which Nathan had been experimenting with at the time. In an attempt to break compositional habits and as a substitute for live musical communication, we began to compose collaboratively. One of us would compose a musical sketch, and it would not be finished until Nathan, Dave, Neta, and Isaac had all contributed equally to it. “Axis,” “The Merchant, Tertius,” “Hexagonal Hawk,” and “Riot Cycle Repeats” are the results of this process.

Dave Adewumi suggested that we document our creations in the form of an album, and in September of 2020 we began the process of remote recording. Our intent was to make an album that embraced the circumstances we found ourselves in. We considered the limitations of remote recording carefully, and sought creative ways to use these barriers to our advantage. By recording on our own time we had the opportunity to manipulate and transform every performance.

Ryan Sands was the missing element in our universe. With Ryan on board, we began recording. One at a time. Alone in our rooms.

In the months that followed, Nathan prompted improvisational sketches among the horns, leading to “Blind Contour” and “Negative Space”. Isaac dug deep into a special moment from a pre-pandemic rehearsal, manipulating it into “Meditation”. Neta wrote and recorded the poem featured in “Riot Cycle Repeats,” with Sarah Rossy contributing her voice as well. All arrangements were collaborative.

As members of the band became vaccinated and some semblance of normalcy could be found in New York City, we partnered with Jack Broza on production, mixing, and mastering. Just as Ryan had invigorated Altus, Jack brought an entirely new dimension to our music, giving a live and organic quality to a project otherwise recorded in total isolation.

Riot Cycle is a reflection of our own experiences during the first year of the COVID-19 pandemic. It is the unlikely first chapter in what promises to be an enduring and prolific musical alliance.

A special thank you to Amir Bar Akiva for his contribution on “Meditation” and for being present for the genesis of this band.

Riot Cycle Repeats

Sunlight ebbs and flows
The glow rolls across the floor
like a breath,
Fills the house with warmth then recedes

Eery sparkle, the same images gleam through the screens
around the house, the town, the nation

The present came chasing out

Clash the crashing cycles present now and future

Ghosts reemerge, chanting for justice
From mouths fly chants, songs of sorrow cross generations
Tragedy rippling through layers of time

The possibility to exist in a brief moment
To bare joy when justice has yet to return homebound

Acidity of sun
Rolling through the moments to afford bliss, despite
Welcomes joy
not as contrast but reaffirms
To anchor purpose 

1. Blind Contour 01:04
2. Axis 03:14
3. The Merchant, Tertius 03:47
4. Utopia Adjacent 06:07
5. Negative Space 02:14
6. Hexagonal Hawk 03:40
7. Meditation 03:59
8. Riot Cycle Repeats 05:11

David Adewumi - Trumpet
Isaac Levien - Bass
Neta Raanan - Tenor Saxophone, Voice on Riot Cycle Repeats
Nathan Reising - Alto Saxophone
Ryan Sands - Drums
Sarah Rossy - Voice on Riot Cycle Repeats

Recorded by Everyone at home
Mixed, Mastered, and Produced by Jack Broza

Guitarist, composer and oud master Gordon Grdina launches Attaboygirl Records with a wide-ranging trio of adventurous new albums

The label, created in partnership with his partner, photographer and visual artist Genevieve Monro, will make its debut with its first two releases on October 22, 2021
 
Inaugural releases include a new solo album for classical guitar and oud along with 
the studio debut of the quartet Square Peg with Mat Maneri, Shahzad Ismaily, and drummer Christian Lillinger
 
In early 2022, Attaboygirl will release the new album by Grdina’s Arabic music ensemble Haram with special guest Marc Ribot, while Astral Spirits will unveil the second album by the Nomad Trio with pianist Matt Mitchell and drummer Jim Black

“Gordon Grdina Makes Music that is Important for Humanity.” 
— Eyal Hareuveni, The Free Jazz Collective

“(Nomad) presents the restless spirit of jazz that refuses to be still, searching for a home 
and never settling down…”
— Jon Davis, EXPOSE

“The prevailing ambience is one of dark mystery, but the ruggedness of Grdina’s tone makes for a palette of rich contrast.”
— David R. Adler, JazzTimes (review of Think Like the Waves)

The prolific Vancouver-based guitarist, composer, improviser, and master oud player Gordon Grdina has longbeen tireless in his pursuit of new possibilities and partnerships for his expansive musical imagination. Seeking a new outlet that can keep pace with his ever-expanding roster of ongoing projects and new collaborations, Grdina has announced the launch of Attaboygirl Records. The endeavor is being undertaken in collaboration with his partner, photographer Genevieve Monro, who will curate the distinctive visual style of the label. At the outset Attaboygirl will begin strictly as an imprint for Grdina’s own efforts, though the founders have plans to eventuallyexpand to include other artists as well.
 
Attaboygirl Records will make its official debut on October 22, 2021, with the simultaneous release of the first two entries in its catalogue. Pendulum is Grdina’s third solo album and the second composed for classical guitar and oud. Klotski, meanwhile, marks the studio debut of Gordon Grdina’s Square Peg, an exploratory quartet featuring Grdina on guitar and oud, Mat Maneri on viola, Shahzad Ismaily on bass and Moog, and Christian Lillinger on drums.
 
A third new release will follow in January 2022, with the meeting of guitar innovator Marc Ribot with Grdina’s Arabic music ensemble Haram. Grdina will also continue to record for other labels in the new year; in May 2022 the much anticipated second outing by Grdina’s explosive Nomad Trio with pianist Matt Mitchell and drummer Jim Black will be released via Astral Spirits.

“I seem to be putting out more music than other labels can handle,” jokes Grdina about the new effort. “The labelis a project that Genevieve and I have wanted to take on for a while now. It allows us to release projects when we want and to create a cohesive visual style for these disparate releases.”
 
The label’s name stems from a favorite saying of Monro’s late father, serving as a personal dedication while alluding to the two partners at the helm. “It's also a positive, encouraging sentiment,” Grdina adds, “which is important when taking on something new like this.”
Pendulum builds upon the success of Grdina’s previous solo releases. The first, 2018’s China Cloud, featured his usual arsenal – electric guitar and oud – won a Juno Award (the Canadian equivalent of the Grammy) for Instrumental Album of the Year. His Juno-nominated 2020 follow-up, Prior Street, shifted into more of a chamber-jazz concentration with pieces designed for classical guitar and oud. The new album continues in that vein, intricately exploring the harmonic possibilities of the instruments in ways that bridge their Western and Arabic origins.
 
Square Peg brings Grdina together with Ismaily and Maneri, both longtime members of New York’s downtown scene, and German drummer Christian Lillinger, an award winning player in the European avant- jazz and improvised music world. For Klotski, Grdina penned a number of short, modular compositions that could fit together like puzzle pieces to form a free-ranging but focused setlist. The album’s single, nearly hour-long piece moves through eight of these cellular pieces, each able to be initiated by any member of the group and bridged by captivating improvisations, vividly blurring the lines between the written and the spontaneous.
 
Grdina founded Haram in 2008 with two purposes in mind: to further evolve his work with traditional Iraqi and Arabic folk music, and to convene several of his favorite Vancouver improvisers into one large ensemble. The follow-up to the ensemble’s 2012 debut, Her Eyes Illuminate, features the addition of legendary guitar wizard Marc Ribot, whose fabled career has included influential work with Tom Waits, Elvis Costello, Robert Plant and John Zorn among countless others, as well as his own projects like Ceramic Dog, Los Cubanos Postizos, Spiritual Unity and the Rootless Cosmopolitans.
 
“Ribot's been a hero of mine for a long time,” Grdina says. “He added a whole lot of energy and excitement as well as a punk rock aesthetic to these pieces.”
 
Finally, next May will bring the release of Boiling Point, the second outing for Grdina’s Nomad Trio with Matt Mitchell and Jim Black, two of the most inventive and technically audacious artists in modern jazz. “I can write anything for this band,” Grdina touts. “It's very complex music, rhythmically, harmonically, melodically, and in the way every piece fits together, those guys really can do anything. Since the last album, the group has solidified its unique sound, which is exciting to hear develop on this second record.”

Tuesday, July 27, 2021

KIMBROUGH – 67 musicians pay tribute to Frank Kimbrough to benefit scholarship in his name (July 2021 Newvelle Records)

Introducing KIMBROUGH:
A 61 Track Collection of Jazz Composer and Teacher Frank Kimbrough’s Compositions, Featuring 67 World-Class Artists

Newvelle Records is proud to release this 61-track digital anthology of Frank’s original compositions, recorded as the New York jazz scene reopened in May 2021

Newvelle Records today is releasing KIMBROUGH, a collection of 61 original compositions by jazz artist and educator Frank Kimbrough, who passed away in December 2020. Featuring tributes from 67 of Frank’s former bandmates, students, and friends across multiple generations, KIMBROUGH was recorded over three and a half days in New York as the musical world began reawakening in May 2021. All proceeds from this definitive collection of Frank’s music, available on high-quality digital download on Bandcamp, will benefit the Frank Kimbrough Jazz Scholarship at The Juilliard School.

“Frank was a genuine ‘musician’s musician’ whose talent as a player, composer, and teacher fueled generations of artists in the New York jazz community,” said Elan Mehler, cofounder and artistic director of Newvelle Records, and a student of Frank’s at New York University in the 1990s. “There is something miraculous about attracting 67 world-class artists together in a studio, just as the world began emerging from the pandemic. Only someone of Frank’s impact could inspire such an ambitious project.”

Frank famously never practiced piano and wrote nearly all of his compositions wandering through New York. He implored students to spend less time in the practice rooms and more time on the subway platforms, bar stools, and park benches that sparked so much of his own musical inspiration. 

Blending four generations of jazz musicians – from artists who played with him in his earliest years in North Carolina, to students he taught over Zoom during the pandemic – KIMBROUGH features 55 different bands across 61 tracks. Some had begun playing together 40 years ago, while others were meeting in the studio for the first time. All volunteered their time as tribute to a man they knew for his generosity, perspective, and creativity.

“Every moment with him on the stage was just beautiful,” said Steve Wilson, who appears on tenor saxophone on four tracks. “Not only was he supporting you, he was collaborating with you in the moment.”
Clockwise from top: 1) Frank Kimbrough, Immanuel Wilkins, Dezron Douglas, Glenn Zeleski and Allan Mednard, Scott Robinson, Joe Lovano and Donny McCaslin
Photos courtesy of Newvelle Records. (c) Anna Yatskevich
1. The Call 07:34
2. C Minor Waltz 04:58
3. Kudzu 07:24
4. Elegy for P.M. 04:35
5. Falling Waltz 05:13
6. Forsythia 06:49
7. Quickening 04:04
8. Whirl 03:32
9. Wings 04:15
10. Hope 06:41
11. Clara's Room 05:34
12. For Duke (Instrumental) 04:15
13. Lullabluebye 07:26
14. For Jimmy G. 05:54
15. November 06:49
16. Adrian's Way 05:42
17. Sadness 05:13
18. Helix 05:59
19. The Breaks 05:06
20. 20 Bars 07:30
21. Ancestors 06:12
22. Kids Stuff 04:57
23. Meantime 05:37
24. Capricorn Lady 05:37
25. Waltz for Lee 04:43
26. 727 04:52
27. Beginning 04:47
28. Southern Lights 04:56
29. Regeneration 07:08
30. A & J 05:48
31. Eventualities 06:15
32. Moonflower 02:24
33. Just Suppose 05:01
34. Reluctance (Quartet) 06:55
35. Areas (Trumpet, Piano, Bass) 03:36
36. The Spins 05:31
37. Sanibel Island 05:04
38. Fubu 06:55
39. Cascade Rising 05:14
40. Over 03:57
41. Blue Smoke 03:47
42. Air 04:22
43. Affirmation 04:17
44. Quiet as it's Kept 06:09
45. TMI 07:57
46. Time Will Tell 06:42
47. Areas (Piano, Bass, Drums) 04:41
48. Noumena 05:15
49. Sloppy Seconds 05:20
50. Reluctance (Solo Piano) 04:11
51. Grass Valley 06:20
52. Questions the Answer 05:28
53. Lucent 06:06
54. No Radio 04:26
55. For Carla 03:24
56. Ode 03:40
57. St. Mark's Place 05:24
58. Ca'lina 05:56
59. Hymn 04:05
60. Svengali 11:05
61. For Duke (Vocals) 04:56

Artists

Piano: Addison Frei, Fred Hersch, Sean Mason, Elan Mehler, Samora Pinderhughes, Ben Rosenblum, Jacob Sacks, Scott Spivak, Helen Sung, Craig Taborn, Isaiah J. Thompson, Dan Tepfer, Micah Thomas, Gary Versace, Elio Villafranca, Joel Wenhardt, Glenn Zaleski

Bass: Ben Allison, Jay Anderson, Alexis Cuadrado, Dezron Douglas, Michael Formanek, John Hébert, Marty Jaffe, Rob Jost, Rufus Reid, Tony Scherr, Martin Wind, Ben Wolfe

Guitar: Steve Cardenas, Ben Monder, Todd Neufeld

Drums: Jeff Cosgrove, Billy Drummond, Jeff Hirshfield, Tim Horner, Douglas Marriner, Allan Mednard, Francisco Mela, Tony Moreno, Clarence Penn, Rich Rosenzweig, Satoshi Takeishi, Dave Treut, Jeff Williams, Matt Wilson

Clarinet: Ted Nash

Alto Saxophone: Allan Chase, Patrick Cornelius, Alexa Tarantino, Immanuel Wilkins, Steve Wilson

Baritone Saxophone: Allan Chase

Soprano Saxophone: Steve Wilson

Tenor Saxophone: Michael Blake, Evan Harris, Joe Lovano, Donny McCaslin, Ted Nash, Rich Perry, Noah Preminger, Scott Robinson

Trumpet: Dave Douglas, Noah Halpern, Ron Horton, Kirk Knuffke, Riley Mulherkar, Jesse Neuman

Trombone: Ryan Keberle

Vocals: Olivia Chindamo

Arrangement (on "Waltz for Lee" and "Svengali"): Ryan Truesdell

The album, available on Bandcamp for $20.00 and streaming everywhere , was recorded and mixed by Marc Urselli on May 10-14, 2021 at EastSide Sound, mastered by Colin Bryson at The Bunker Studios, and produced by Elan Mehler. All songs were written by Frank Kimbrough, Kimbrough Music BMI.  Executive produced by Maitland Jones, Jim Harvey, Steve Satterfield, Matt Steinfeld and JC Morisseau.

Pianist/Composer Fred Hersch earns multiple DownBeat Critics Poll accolades, tours Europe, and announces new album

Fred Hersch: Refuge, due out January 7, 2022 via Palmetto Records, features Hersch with Drew Gress, Jochen Rueckert & The Hudson String Quartet
 
“Fred Hersch belongs to the jazz piano aristocracy, that small elite called to leave a lasting mark.”
– Louis-Julien Nicolaou, Télérama, June 2021
 
“Fred Hersch is always on target. Right in the heart. By playing ‘Songs from Home.’ Fred Hersch makes Bal Blomet his home. The audience's silence is worthy of that of the forest that surrounds the house where this album was recorded…. Fred Hersch makes the piano sing…. The public does not want to leave. Fred Hersch either.”
– Guillaume Lagrée, Le jars jase jazz, June 2021

Iconic pianist/composer Fred Hersch – one of the first to find a new way forward in the pandemic both through his Facebook Tune of the Day performances and via his reflective solo album Songs from Home – heads to the studio in August to record Fred Hersch: Refuge, his first-ever album with rhythm section and string quartet.  It will be released January 7, 2022 via Palmetto Records.
 
Featuring Hersch with Drew Gress, Jochen Rueckert and the all-female NYC-based Hudson String Quartet: Joyce Hammann and Laura Seaton-Finn, violins; Lois Martin, viola; and Jody Redhage Ferber, cello, the album was inspired by Hersch’s Buddhism and his 20-year insight mindfulness meditation practice. The bulk of the album is an eight-movement suite that reflects on different aspects of that practice
 
“In Buddhism, there are the three refuges: refuge in the Buddha, refuge in the sangha (community of practitioners) and refuge in the dhamma (the teachings),” says Hersch. “At this time of global impermanence, I have found some degree of comfort in these refuges – places that I can turn to and feel somewhat less affected by it all of the suffering and toxicity around me. And these refuges also give me some strength to stay in the present and know that there are many things that are out of my control – but I can call upon my practice to be with my experiences instead of reacting to them.”
Hersch recently earned accolades in DownBeat Magazine’s 2021 Critics Poll as #2 Jazz Artist, #3 Pianist, and #4 Jazz Album of the Year for Songs From Home. Hersch also earned a spot as one of the best pianists of 2020 in the JazzTimes Readers Poll.  He is currently on tour in Europe where he’s earning wide critical acclaim for his over a dozen shows – his first concerts before an audience in 14 months. Reviewing his concert in Paris, Guillaume Lagrée wrote “Fred Hersch is always on target… The public does not want to leave. Fred Hersch either.” Hersch also performed in Recklinghausen, Rome, Carpi, Vicenza, Pescara, Bari, Perugia, Umbria, Montreux, and Brescia – as a solo pianist, with trio and duo in a new partnership with Italian jazz legend trumpeter Enrico Rava. 
 
Hersch will continuing touring both the U.S. and Europe throughout the fall. His dates include a week at the Village Vanguard in a duo with Julian Lage October 19-25, and a series of duo shows in Europe with Enrico Rava in October and November. Click HERE for upcoming tour dates.

Monday, July 26, 2021

Wandering The Sound Quintet - What Is...? (2021 Not Two)

The first Wandering The Sound album in 2018 was the trio of Argentinian reedist Guillermo Gregorio, Spanish drummer Ramón López and Polish bassist Rafał Mazur, here extended to a quintet with pianist Satoko Fujii and trumpeter Natsuki Tamura for a 2019 concert at Alchemia in Poland, a masterful example of free improv based on a poem by Ikkyu Sojun, a Zen master from the 15th century.

"The joint project of Argentinian clarinetist, saxophonist and composer Guillermo Gregorio, Spanish drummer and composer Ramón López and Polish bassist Rafał Mazur resulted in the album Wandering The Sound in 2018. The LP, released by Fundacja Słuchaj!, was recorded in the B&B Records studio in Niepołomice. Piotr Wojdat writes about the album on the Jazzarium website: "Wandering The Sound will surely disappoint those who want to hear motifs, melodies or artistic stylizations tailored to their needs. Rafał Mazur on acoustic bass guitar, Guillermo Gregorio on clarinet and Ramon Lopez on drums take us into the unknown and do they do not pretend otherwise. They improvise, interact, but do not plan their next steps. They listen to each other and wander through sounds together, get to know them in a spontaneous creative act and bring the listener closer to what's playing in their souls." Considering that the album was a record of the first meeting of these three brilliant improvisers, it will probably not be that difficult for them to expand their line-up with new bold personalities. On stage at Alchemia they will be joined by the extraordinary Satoko Fujii and Natsuki Tamura.

Satoko Fujii is one of the most renowned and recognized figures in contemporary jazz. She graduated from the prestigious Berklee College of Music in Boston and the New England Conservatory of Music. Fujii leads many ensembles in Japan, Europe and the United States. Her collaborators include Tatsuya Yoshida, Joe Fonda, Carla Kihlstedt, Myra Melford, Christian Pruvost and Peter Orins. Together with her husband, Natsuki Tamura, she has recorded a series of duets. The two also collaborated on numerous other projects, including big bands and orchestras. Tamura was probably best summed up by François Couture at Allmusic: "Now we can officially say there are two Natsuki Tamuras: The one playing angular jazz-rock or ferocious free improv and the one writing simple melodies of stunning beauty. How the two of them live in the same body and breathe through the same trumpet might remain a mystery."

"The quintet perform[ed] a comprovisation (composition for improvisers) by Rafał Mazur based on a poem by Ikkyu Sojun, a Zen master from the 15th century." -Krakow Jazz Autumn listing

1. ...Sound 44:11
2. ...Wind 11:57
3. ...Mind 8:45

Satoko Fujii - piano
Guillermo Gregorio - clarinet
Natsuki Tamura - trumpet, voice
Rafal Mazur - acoustic bass guitar
Ramon Lopez - drums

Michael Marcus - Stone Jump (July 2021 Not Two)

Michael Marcus composed these lyrical jazz works to create a message about "New York City realities", recorded in two studio sessions with Marcus on soprano & tenor sax, octavin, A clarinet & tarogato, along with Denton Darien on piano, John Austria on Fender Rhodes, Tyler Mitchell on bass, Warren Smith on drums & percussion, and Lawrence Feldman on alto flute.

01. Stone Jump
02. The World Street
03. Dawn at Qumran
04. Fusion Anatomy
05. Baja
06. Involution
07. Flowering Optics
08. The T Man
09. Foreverness
10. Where Flamingos Dance

Michael Marcus - soprano saxophone, tenor saxophone, octavin, "A" clarinet, tarogato
Denton Darien - piano
John Austria - Fender Rhodes piano
Tyler Mitchell - acoustic bass
Warren Smith - drums, percussion
Lawrence Feldman - alto flute



 

Natsuki Tamura - Koki Solo (July 2021 on Libra Records)

Trumpeter-composer Natsuki Tamura Celebrates his 70th Birthday with striking new album, KOKI SOLO 

“Tamura tempers his avant-garde antics with an innate lyricism.”
— Steve Smith, Time Out New York

“You’ll never fit trumpeter Natsuki Tamura into any pre-fab category, he creates his own, then pulls you into them with him.”
—Dan McClenaghan, All About Jazz 

Trumpeter-composer Natsuki Tamura has spent more than five decades doing the unexpected with a sense of adventure, good humor, and lyricism. His latest album KOKI SOLO (July, Libra Records), which gets its title from the Japanese term for one’s 70th birthday, is no exception. His fourth recorded excursion into unaccompanied music-making naturally features his dazzling trumpet technique and imagination, but he throws in a few surprises, making his recorded debut on piano and playing a percussion set up consisting of pots and pans from his kitchen. The result is quintessential Tamura—by turns whimsical, focused, lyrical, abstract, and always surprising.

“When I play, I enjoy myself first. I am even more happy if the audience enjoys it, too,” Tamura says. “I don’t analyze what I do or what I think, I just pursue my feelings. I’m just like a child.”

Indeed, a child-like sense of playfulness and curiosity seems to underlie even the most moody and serious moments of the album. Tamura pushes ideas to see what he can do with them, to see if anything unexpected crops up. He deliberately interrupts and sidetracks himself, so see if a digression turns up something new. There’s a whimsical quality to the experimenting, but there’s always a serious intent to discover and explore, to express something in a new way. During the trumpet piece,“Sekirei,” Tamura interrupts fast, rippling lines with more spacious ones. He plays melodic lines with a clear, pure tone, then with a growling, buzzy sound. Another trumpet solo, “Sagi” is an abstract sound piece that is similarly diverse. Working with a sound pallet of strangled cries, buzzes, shrieks, hisses, and raspberries, Tamura challenges himself to create new sounds.

As Tamura explains in the liner notes to the CD, as a young musician, he would play drums in a band during last set when their regular drummer had to leave early. And at one time he was practicing piano every day as he prepared for music school entrance exams. These memories prompted him to return to those instruments for this CD. However he couldn’t fit a drum kit into the room in the apartment where he recorded the disc, so he substituted a wok and some other pots and pans. “My skill on the piano and percussion is poor compared to the trumpet, Tamura says. “But after more than 50 years playing as a professional musician, I thought that I could express my own music without any technique.”

Tamura’s musical personality and intelligence comes through loud and clear on the percussion and piano tracks. On “Karugamo,” for instance, he playfully explores the sonic potential of his assembled kitchen implements, curiously examining and combining high hollow rings, repeated taps, and dry scrapes into sequences of odd, but lovely, sounds. At the piano on “Bora,” he creates a wandering rumination as he moves thoughtfully between long rambling single note lines and carefully placed chords and note clusters, and uses the sustain pedal to create color and texture. 

In Japan, the 70th birthday is a milestone. The word for it, “koki,” derived from a Chinese poem written in the eighth century, when reaching the age was uncommon, is roughly translated as “rare in ancient times.”  Today, it’s not rare to reach one’s seventh decade, but Tamura still says, I'm surprised that I got to 70 years old.” To celebrate, he says, “I want to do only what I like to do without doing anything I don't like.” This CD is evidence he’s doing exactly that. 
Japanese trumpeter and composer Natsuki Tamura is internationally recognized for his unique musical vocabulary blending extended techniques with jazz lyricism. This unpredictable virtuoso “has some of the stark, melancholy lyricism of Miles, the bristling rage of late ’60s Freddie Hubbard and a dollop of the extended techniques of Wadada Leo Smith and Lester Bowie,” according to Mark Keresman of JazzReview.com. 

Throughout his career, Tamura has led bands with radically different approaches. Peter Marsh of the BBC had this to say of the 2003 Natsuki Tamura Quartet release Hada Hada: “Imagine Don Cherry woke up one morning, found he'd joined an avant goth-rock band and was booked to score an Italian horror movie. It might be an unlikely scenario, but it goes some way to describing this magnificent sprawl of a record.”

In contrast, Tamura has focused on the intersection of European folk music and sound abstraction with Gato Libre since 2003. The band’s poetic, quietly surreal performances have been praised for their “surprisingly soft and lyrical beauty that at times borders on flat-out impressionism,” by Rick Anderson in CD Hotlist. Originally a quartet that featured Tamura with Fujii on accordion, Kazuhiko Tsumura on guitar, and Norikatsu Koreyasu on bass, after the tragic passing of the group’s original guitarist and bassist, Gato Libre morphed into its current configuration, a trio with Tamura, Fujii, and trombonist Yasuko Kaneko. 

Since 1997, Tamura has recorded seven CDs with his ongoing duo with pianist (and wife) Satoko Fujii and won accolades from critics and audiences alike. In addition to their intimate duo performances, Tamura collaborates on many of Fujii’s own projects, including her big bands in New York, Tokyo, Nagoya, Kobe, and elsewhere.

Tamura has released three CDs as an unaccompanied soloist, including Dragon Nat (2014). He and Fujii are also members of Kaze, a collaborative quartet with French musicians, trumpeter Christian Pruvost and drummer Peter Orins.

1. Sekirei 6:15
2. Karugamo 8:17
3. Kawau 6:36
4. Bora 9:43
5. Sagi 5:18
6. Kamome 7:14
7. Chidori 8:24
8. Isoshigi 2:46