tag:blogger.com,1999:blog-49663740462560899222024-03-27T07:38:07.501+01:00Different Perspectives In My Room...!Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.comBlogger673125tag:blogger.com,1999:blog-4966374046256089922.post-82017589414365452172023-03-06T17:36:00.000+01:002023-03-06T17:36:12.445+01:00WEATHER REPORT – Weather Report Live In Tokyo (SX68Sound / 2LP-1972)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSp0Uo1tjhA6Dc0QCmJfuiOjH5-ZIGMrligGp8J_dP5AfQmP4KCLSzWhQwPdPkbQb8ZxThaCVuI2FyHN7iTOj-THJvzaJ7AMR-HpFNRLuyBWubnLBCp-_AzLjeAEhZewblsrnb-TyoglzyX1F2IMGcz_gCb8Co3WN38F4rQFbUyvlgg-0qGB1YVBs9/s2500/01%20-%20A%20-%20WR%20(front).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSp0Uo1tjhA6Dc0QCmJfuiOjH5-ZIGMrligGp8J_dP5AfQmP4KCLSzWhQwPdPkbQb8ZxThaCVuI2FyHN7iTOj-THJvzaJ7AMR-HpFNRLuyBWubnLBCp-_AzLjeAEhZewblsrnb-TyoglzyX1F2IMGcz_gCb8Co3WN38F4rQFbUyvlgg-0qGB1YVBs9/w400-h400/01%20-%20A%20-%20WR%20(front).jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoZH90Zcd1VPKQAXkK7kTp8SsGFZARqOW1hK3TNqZrDrTvOBKMWkbtUb5Nf5P2XNUVX5oqA-gbzD6VFVqRq-wtBJ4G-mc4uEbwD5Nd1D_vnppT4YHT9PNHtzB4uTCb3EDDXgu_nUntKxtq6vPCmpH-JXHg4KHkwY8RXgTO3uyvFh6wTOfYf3qXT93x/s1720/02%20-%20CBS-Sony%20%E2%80%93%20SOPJ%2012~13-XR%20-%20A-B.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoZH90Zcd1VPKQAXkK7kTp8SsGFZARqOW1hK3TNqZrDrTvOBKMWkbtUb5Nf5P2XNUVX5oqA-gbzD6VFVqRq-wtBJ4G-mc4uEbwD5Nd1D_vnppT4YHT9PNHtzB4uTCb3EDDXgu_nUntKxtq6vPCmpH-JXHg4KHkwY8RXgTO3uyvFh6wTOfYf3qXT93x/w400-h200/02%20-%20CBS-Sony%20%E2%80%93%20SOPJ%2012~13-XR%20-%20A-B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzpbxkPexlr9qac7yml-fclZ6VZKP6PWPvlRo-Nfh3r42lB_IjzwZgpGkYvwIGL6IaphTtQeOmhqcUEW1KLBv0-sw4184FAw-08-nd23XGWzS7DZDiOM188eO9tqf1NoSWfTTdkB4fTvM3z3Hk9W_CYfGeQG7j7aXRGYwJRd54VXa9mlDo9RrdPO6a/s2500/03%20-%20B%20-%20WR%20(back).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzpbxkPexlr9qac7yml-fclZ6VZKP6PWPvlRo-Nfh3r42lB_IjzwZgpGkYvwIGL6IaphTtQeOmhqcUEW1KLBv0-sw4184FAw-08-nd23XGWzS7DZDiOM188eO9tqf1NoSWfTTdkB4fTvM3z3Hk9W_CYfGeQG7j7aXRGYwJRd54VXa9mlDo9RrdPO6a/w400-h400/03%20-%20B%20-%20WR%20(back).jpg" width="400" /></a></div><br /><span style="font-family: inherit;">Label: CBS/Sony – SOPJ 12~13-XR <br />Series: SX68Sound <br />CBS・ソニーレコード株式会社 <br />CBS/SONY Records Inc. ‹Tokyo Japan› <br />Format: 2 x Vinyl, LP, Album / Country: Japan / Released: May 1, 1972 <br />Style: Fusion, Jazz-Rock, Free Improvisation <br />Recorded Live at "Shibuya Kokaido Hall", Tokyo, Japan, January 13, 1972. <br />Design – Eiko Ishioka, Yoshio Nakanishi <br />Photography By – Tadayuki Naitoh <br />Engineer – Susumu Satoh <br />Producer – Kiyoshi Itoh <br />All selections published by Barometer Music (BMI) except "Doctor Honoris Causa" published by Zawinul Music (BMI) <br />Other (Cat# Disc 1): SOPJ-12-XR <br />Other (Cat# Disc 2): SOPJ-13-XR <br />Matrix / Runout (Side A, runout, etched): SOPJ-12A3 1 A 4 <br />Matrix / Runout (Side B, runout, etched): SOPJ-12B1 1 B 1 <br />Matrix / Runout (Side C, runout, etched): SOPJ-13A3 1 A 5 <br />Matrix / Runout (Side D, runout, etched): SOPJ-13B1 1 A 13 <br /><br /><span style="color: #e06666;">side 1 </span><br />A - <span style="color: #f6b26b;">Medley:</span> Vertical Invader - Seventh Arrow - T. H. - Doctor Honoris Causa ........... <span style="color: #f6b26b;">26:12 </span><br /><span style="color: #e06666;">side 2 </span><br />B - <span style="color: #f6b26b;">Medley:</span> Surucucu - Lost - Early Minor - Direction ............................................... <span style="color: #f6b26b;">19:08 </span><br /><br /><span style="color: #f6b26b;">side 3 </span><br />C - Orange Lady ........................................................................................................ <span style="color: #e06666;">18:10 </span><br /><span style="color: #f6b26b;">side 4 </span><br />D1 - <span style="color: #e06666;">Medley:</span> Eurydice - The Moors ........................................................................... <span style="color: #e06666;">13:42 </span><br />D2 - <span style="color: #e06666;">Medley:</span> Tears - Umbrellas ................................................................................. <span style="color: #e06666;">10:26 </span><br /><br /><span style="color: #f6b26b;">Personnel: </span><br />JOE ZAWINUL / piano, electric piano <br />WAYNE SHORTER / soprano saxophone & tenor saxophone <br />MIROSLAV VITOUS / double bass, electric bass <br />ERIC GRAVATT / drums, percussion <br />DOM UM ROMAO / percussion <br /><br />Very Rare Vinyl: <br />WEATHER REPORT Live In Tokyo (1972 / Original Japanese CBS Sony label 'SX68 Sound' issue 5-track double vinyl LP featuring the fushion outfit's first Live album, recorded at one of the five sold out concerts at the Shibuya Kokaido Philharmonic Hall in Tokyo. Comes with the Japanese sleevenotes printed insert plus the 'SX68' top obi-strip / SOPJ-12~13XR)</span><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo74CMXHU6-bfdwg3bp2X48y5hYp8OjHZKVnNTYMrUthosIs7jgkJMbYxKrJ69vATy5MBFq-p9i-yuAJq3ytj-j68CLNJXhmE8LGSq-fKmL7dJtRfjo1d3OVburzPfQ4LsWOuzyIPIUaoNcmnHMHEeO5_XB_ssDWjWIQmJ2lTJiKVEYo9Hpsk_5yGK/s1720/04%20-%20CBS-Sony%20%E2%80%93%20SOPJ%2012~13-XR%20-%20C-D.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo74CMXHU6-bfdwg3bp2X48y5hYp8OjHZKVnNTYMrUthosIs7jgkJMbYxKrJ69vATy5MBFq-p9i-yuAJq3ytj-j68CLNJXhmE8LGSq-fKmL7dJtRfjo1d3OVburzPfQ4LsWOuzyIPIUaoNcmnHMHEeO5_XB_ssDWjWIQmJ2lTJiKVEYo9Hpsk_5yGK/w400-h200/04%20-%20CBS-Sony%20%E2%80%93%20SOPJ%2012~13-XR%20-%20C-D.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju0HDkzrJCTO2okzNQFzTBdSV0lYNLwp0Hlrxo2jyBPX3R8yAypUEorFrrgw4399OyqbvUr8Sneh729lckngFHLYJ7CrMMOaE1ga28lGgosfXP6rD7p5LpFMKdD6-M_TviRUvQ2E93OGzypSw77BfZrqcBlgKPTCYfdd7vnKnIFbWvssVDFNPsQUnS/s5100/05%20-%20Inner%20-%20a-b.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="5100" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEju0HDkzrJCTO2okzNQFzTBdSV0lYNLwp0Hlrxo2jyBPX3R8yAypUEorFrrgw4399OyqbvUr8Sneh729lckngFHLYJ7CrMMOaE1ga28lGgosfXP6rD7p5LpFMKdD6-M_TviRUvQ2E93OGzypSw77BfZrqcBlgKPTCYfdd7vnKnIFbWvssVDFNPsQUnS/w400-h196/05%20-%20Inner%20-%20a-b.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />The only live release from the first era of WR, the Vitous-era, the one I consider the most essential and certainly the most adventuresome. Man, this is experimental with little in the way of melody, but with a lot of jazz. Brilliant..!!!...<br /><br />On January 4, 1972, Weather Report launched its first tour of Japan with a concert at Shibuya Public Hall in Tokyo. It was the one of eight performances on the tour, five of which took place in Tokyo. The last of those concerts (January 13th) was recorded and released in Japan as the double-LP Live in Tokyo, parts of which also comprise the second side of I Sing the Body Electric, released later in the year. <br /><br />Weather Report’s appearances were much anticipated by Japanese jazz fans. The group’s first album received several awards from Swing Journal (Japan’s leading jazz magazine), and CBS Sony rolled out the red carpet upon the band’s arrival at the airport, presenting each member with flowers and a limousine. At a press conference held the day of the first concert, the musicians were also given traditional Japanese umbrellas made of bamboo and oil paper—a nod to the band’s name.<br /></span><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv5nZfB-ibhwfJHgz8fkHIpOi9onkcHB_Hqk9GmFYVrCxbkUNHu-Ksxg0tr5yWipiZ7ox5f3u2mHxmh8-vlfRSNVUiiPcLfJssXLmIzZBNah379HH1QZeEALsZnmw5PzyYiS7Kr2y1p2bnr9k-vJQTki4g5B7wlPphzMqZgaTVYB451yeMqgenTtWR/s3488/x%20-%20Ongaku-Senka-March-1972_2-3.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2560" data-original-width="3488" height="294" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv5nZfB-ibhwfJHgz8fkHIpOi9onkcHB_Hqk9GmFYVrCxbkUNHu-Ksxg0tr5yWipiZ7ox5f3u2mHxmh8-vlfRSNVUiiPcLfJssXLmIzZBNah379HH1QZeEALsZnmw5PzyYiS7Kr2y1p2bnr9k-vJQTki4g5B7wlPphzMqZgaTVYB451yeMqgenTtWR/w400-h294/x%20-%20Ongaku-Senka-March-1972_2-3.jpg" width="400" /></span></a></div><div><span style="font-family: inherit;"><br /></span></div><span style="font-family: inherit;">Of course, one of the things the press wanted to know about was the band’s rather odd name. Wayne responded that it related to the their sound, which he said had no boundaries. Weather Report “can mean anything you want it to mean,” he said. “It’s sort of in neutral territory. It stretches and reaches into the imagination of the universe. It’s as boundless as the kind of music we play. It has a flow in the sound and it opens the doors for things to come. It’s not cramped.” <br /><br />Without question the band was inspired by the first-rate music halls and large, respectful audiences for which they performed. “When we went to Japan,” Zawinul recalled, “we didn’t know what kind of a response we would get, but I couldn’t believe what happened. We thought, ‘What are we gonna do with these Japanese people, man?’ They’re so beautiful, such wonderful listeners, but laid back. That was their culture. So we said, ‘Let’s hit ’em hard, right from the first note,’ and we hit ’em hard.” Joe later told future Weather Report band members that their gig in Sapporo was the best one the band ever played. <br /><br />In some sense jazz performances are always a bit of a ritual, but this seems like an immersive experience. A friend called this album “savage” Weather Report. And I always liked what Joe said later, “Let’s hit ’em hard, right from the first note.” Indeed, they did.</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJEFLGgGoYlHv3bCHldNo8k74H1JoVBaWhN6VQEs6xzmi86nrObKNM9kvSYAonPBKv35PpT0YUaEp7DpIWmg7HB6jFNKFNE7GaIXN_72qpZ9s3WDwc8Bv9eEwEqb0Ez0yRmdkisaUr-edmTlfJOeRK5knlIph0t8aLgEWhbPPRSlcNqbl_PZ-JzYh7/s5150/18%20-%20photoArt-9.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5150" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJEFLGgGoYlHv3bCHldNo8k74H1JoVBaWhN6VQEs6xzmi86nrObKNM9kvSYAonPBKv35PpT0YUaEp7DpIWmg7HB6jFNKFNE7GaIXN_72qpZ9s3WDwc8Bv9eEwEqb0Ez0yRmdkisaUr-edmTlfJOeRK5knlIph0t8aLgEWhbPPRSlcNqbl_PZ-JzYh7/w400-h259/18%20-%20photoArt-9.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinN9YNSOxHo9vY02-udMrGQj_3q0hcObjvK6ANxa4LUGLJB6GE52YYzSHSnQSj28zftzLvvhUsp5chNsN_uck6DrUCiUWXeneI-xhTRtxcaS1bWEqmy2fKgaTuGWhI2dIit374HyDjZtTz3PjpCxubcmOMScmPlxzfHCwXFwzyCo_hkWjuIopMKbIA/s5600/19%20-%20photoArt-10.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3348" data-original-width="5600" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinN9YNSOxHo9vY02-udMrGQj_3q0hcObjvK6ANxa4LUGLJB6GE52YYzSHSnQSj28zftzLvvhUsp5chNsN_uck6DrUCiUWXeneI-xhTRtxcaS1bWEqmy2fKgaTuGWhI2dIit374HyDjZtTz3PjpCxubcmOMScmPlxzfHCwXFwzyCo_hkWjuIopMKbIA/w400-h239/19%20-%20photoArt-10.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAXxHnwlrQyEfWgcy58MnFhLNijuElMPM0RGMxDOrZ2iPxBCffq0v1fzQ5gdO75mN_YhmzAiuzIZV4sEYZrKiryU_UzbHmek8Bh6Sdv5vieFFht28i_JKJ-J5LQCCDw-1deoV9B_wN0CiPlXsk1ciSECI5f2yOSbZTKFAPz9IzUR_YXOwrDw_FyCEq/s5150/20%20-%20photoArt-11.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5150" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAXxHnwlrQyEfWgcy58MnFhLNijuElMPM0RGMxDOrZ2iPxBCffq0v1fzQ5gdO75mN_YhmzAiuzIZV4sEYZrKiryU_UzbHmek8Bh6Sdv5vieFFht28i_JKJ-J5LQCCDw-1deoV9B_wN0CiPlXsk1ciSECI5f2yOSbZTKFAPz9IzUR_YXOwrDw_FyCEq/w400-h259/20%20-%20photoArt-11.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />This double vinyl, Japanese import, contains frenetic performance of the group from that concert -- and as such, it is a revelation. Now we can follow the wild, stream-of-consciousness evolution of early Weather Report workouts, taking the listener into all kinds of stylistic territory -- from Joe Zawinul's lone acoustic piano to dissonant free form and electronic explosions -- with lots of adjustments of tempo and texture. The pulse of jazz is more evident in their work here than on their American albums, and the example of Miles Davis circa the Fillmore concerts directs the fierce interplay. In his subsequent recordings with Weather Report, and as a leader, Wayne Shorter would rarely equal the manic intensity he displayed in Tokyo. All of the music is encapsulated in five lengthy "medleys" of WR's repertoire, three of which contain elongated versions of themes from the group's eponymously titled debut album from 1971. This would be the radical apogee of Weather Report on live records. <br />A masterpiece, surely Weather Report's best album ever. <br /><br /><span style="color: #e06666;">Note: </span><br />All in all, it was a far cry from the club scene where most of Weather Report’s early U.S. appearances took place. There’s more about this tour in book "Elegant People: A History of the Band Weather Report" (Curt Bianchi), which I recommend in a friendly way.</span><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #ffe599; font-family: inherit;">If you find it, buy this album!</span></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com37tag:blogger.com,1999:blog-4966374046256089922.post-53741018921863191372023-01-14T13:11:00.001+01:002023-01-14T13:11:25.092+01:00KONSTRUkT with PETER BRÖTZMANN – Eklisia Sunday (reissue LP-2016)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaW_j2YLHHbv_wdZKNxGrj82d818-4ixl5WniV7xCPIqDOEbSf2v6TgzFotpnW71zFMOiaqBLOP2nlDcaWDSOpA6MVcCr3LplHbiywyubZIrEnfxr41obA7mGOWJSA73BDhG6bjSdw4Bf-rcu_Kkey5ofIbYG51SMwm7FI1S-fIzSaDnszLGBiGh7S/s2500/01%20-%20A%20(front)%20+%20zrno%20-%20o%C5%A1trije.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaW_j2YLHHbv_wdZKNxGrj82d818-4ixl5WniV7xCPIqDOEbSf2v6TgzFotpnW71zFMOiaqBLOP2nlDcaWDSOpA6MVcCr3LplHbiywyubZIrEnfxr41obA7mGOWJSA73BDhG6bjSdw4Bf-rcu_Kkey5ofIbYG51SMwm7FI1S-fIzSaDnszLGBiGh7S/w400-h400/01%20-%20A%20(front)%20+%20zrno%20-%20o%C5%A1trije.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdjofYZevzFKbGjQLLWNgU1Hti4SEGV1QPfQCJPPu4lQWnDAtL1nORVCCLonOAQ6_K6f0vTfSwscrvQhYZ8sWsMvZ8BbJsymSYkYVzQtPFTpSdX28TLsDy428aajh_OiVcpQjY3l3RNSC5OSsA5rhNflCxTDm3cGYApZoLkoTt6Zbhd2hsugtQXbkH/s1720/02%20-%20Holidays%20Records%20%E2%80%93%20HOL-095%20-%20A-B.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdjofYZevzFKbGjQLLWNgU1Hti4SEGV1QPfQCJPPu4lQWnDAtL1nORVCCLonOAQ6_K6f0vTfSwscrvQhYZ8sWsMvZ8BbJsymSYkYVzQtPFTpSdX28TLsDy428aajh_OiVcpQjY3l3RNSC5OSsA5rhNflCxTDm3cGYApZoLkoTt6Zbhd2hsugtQXbkH/w400-h200/02%20-%20Holidays%20Records%20%E2%80%93%20HOL-095%20-%20A-B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5AKen4u7-uz4sj9s7N99ZWr98Y9zwIeM1azBa4GVE4Xg6rkV6QzSLH_PymfMX6BA45yiqFMwWETRg4ChZ0ijAEiLfOgsO2fg2WsX7gOItwxqr0Fs2Xy1yp83mjErN9_k5GCW9lr50lqYxFDlKGps3dJ17iiflZQfL1wtra4jsIfp6TEvutA4QSP6v/s2500/03%20-%20B%20(back)%20+%20zrno%20-%20podloga%20-%20popravak%20-%20OVO.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5AKen4u7-uz4sj9s7N99ZWr98Y9zwIeM1azBa4GVE4Xg6rkV6QzSLH_PymfMX6BA45yiqFMwWETRg4ChZ0ijAEiLfOgsO2fg2WsX7gOItwxqr0Fs2Xy1yp83mjErN9_k5GCW9lr50lqYxFDlKGps3dJ17iiflZQfL1wtra4jsIfp6TEvutA4QSP6v/w400-h400/03%20-%20B%20(back)%20+%20zrno%20-%20podloga%20-%20popravak%20-%20OVO.jpg" width="400" /></a></div><br /><span style="font-family: inherit;">Label: Holidays Records – HOL-095 <br />Format: Vinyl, LP, Album, Limited Edition / Country: Italy / Released: Jul 2016 <br />Style: Free Jazz, Free Improvisation <br />Recorded at Eklisia, Gümüşlük, Bodrum on the 15th of May, 2011. <br />Feat. Hüseyin Ertunç, Doğan Doğusel, Barlas Tan Özemek <br />Limited Edition of 350 copies <br />Artwork – Canedicoda <br />Mastered By – Rafal Drewniany <br />Recorded By – Barlas Tan Özemek, Umut Çağlar <br />Contact Info: Via Tolmezzo 12/4, 20132 Milano, Italia <br />Matrix / Runout (Side 1 runout, etched): HOL-095 A K PB <br />Matrix / Runout (Side 2 runout, etched): HOL-095 B K PB <br /><br /><span style="color: #e06666;">side 1</span><br />A1 - <span style="color: #f6b26b;">I, II</span> ................................................................................................................... <span style="color: #e06666;">14:13 </span><br />A2 - <span style="color: #f6b26b;">III</span> ....................................................................................................................... <span style="color: #e06666;">9:12 </span><br /><br /><span style="color: #f6b26b;">side 2</span><br />B1 - <span style="color: #e06666;">IV</span> .................................................................................................................... <span style="color: #f6b26b;">12:35 </span><br />B2 - <span style="color: #e06666;">V</span> ....................................................................................................................... <span style="color: #f6b26b;">9:41 </span><br /><br /><span style="color: #f6b26b;">Personnel: </span><br />Peter Brötzmann / tenor & alto saxophones, clarinet <br />Korhan Futaci / tenor & soprano saxophones <br />Hüseyin Ertunç / acoustic piano, küstüfon, gong <br />Barlas Tan Özemek / electric guitar <br />Umut Çağlar / electric guitar <br />Doğan Doğusel / double bass, küstüfon <br />Özün Usta / double bass, djembe, gong, bells </span><div><span style="font-family: inherit;">Korhan Argüden / drums, old k zildjian cymbals</span></div><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIpk08-b94yuAXehXM64kPZ8umlwNvXtvcq-7jyzH7i_TgePF557hv36vgTM7IuzYTGwiOcNGFgWhyYn1jSKZTK_Bd4jtaF5J9_u4M8TL9RbzY-Lqslp0EkWy4sy_yFhxo2TeGifI5x546tblowQHIz6fBLUStmk0KauWcpWS6oXNQSPhvJTkMX3Df/s5050/04%20-%20inner%20-%20a-b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="5050" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIpk08-b94yuAXehXM64kPZ8umlwNvXtvcq-7jyzH7i_TgePF557hv36vgTM7IuzYTGwiOcNGFgWhyYn1jSKZTK_Bd4jtaF5J9_u4M8TL9RbzY-Lqslp0EkWy4sy_yFhxo2TeGifI5x546tblowQHIz6fBLUStmk0KauWcpWS6oXNQSPhvJTkMX3Df/w400-h198/04%20-%20inner%20-%20a-b.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir_urm3mLPFdFuqyEZ7pnmbZ7u7OxmhLoXZJUh7V9Aj2J6RE3jD2xfm7f3JiJJdYNRnVgIDziIDjRpFX-wixPmhsNAb4hxtHfttGBaL3KEmQU7FIkAjjWZYEEL-kgDdV6ETyWgo3L7NVnw7mD_CeCdIqaUy1Q2QonZQCGu4pU7sWxKUUYRc-z_usG1/s2470/08%20-%20LP-side%20A%20-%20photo1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2470" data-original-width="2470" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEir_urm3mLPFdFuqyEZ7pnmbZ7u7OxmhLoXZJUh7V9Aj2J6RE3jD2xfm7f3JiJJdYNRnVgIDziIDjRpFX-wixPmhsNAb4hxtHfttGBaL3KEmQU7FIkAjjWZYEEL-kgDdV6ETyWgo3L7NVnw7mD_CeCdIqaUy1Q2QonZQCGu4pU7sWxKUUYRc-z_usG1/w400-h400/08%20-%20LP-side%20A%20-%20photo1.jpg" width="400" /></span></a></div><div><p class="MsoNoSpacing"><span style="font-family: inherit;">Free
jazz outfit KonstruKt might be considered the most evolved improvisational band
working in jazz today. They were founded in Istanbul, not in the hotbeds of
jazz, London, New York, Chicago, Wuppertal, or Krakow, their isolation is the
key to their success. Although
this band was formed in 2008, their free jazz ears date back to the 1960s. The
band has absorbed the lessons of John Coltrane's Interstellar Space (Impulse!,
1967), Peter Brötzmann's Machine Gun (FMP, 1968), and more recent works by Ivo
Perelman, William Parker, and Joe McPhee.</span></p><p class="MsoNoSpacing"><span style="font-family: inherit;">Eklisia
Sunday was recorded live in front of a small audience on May 15th, 2011 at
Eklisia - an old chapel built in the 17th century in Gümüşlük, a small village
near Bodrum. This improvisation features the KonstruKt collective with Peter
Brötzmann, their guest from a 2008 recording Dolunay (re:konstruKt, 2010). The
quartet's basic lineup of Korhan Futaci (saxophone), Umut Çağlar (electric guitar),
Özün Usta (bass), and Korhan Argüden (drums) is augmented here by an additional
bassist, guitar, piano, and saxophone.</span></p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2cjWTpyXxHJoSxUvKisbIYD9JfeWc7zQkPYjuQ8qmlkwyF240A34I13L7E8gbiSioAsbuHBMGdegw0Z_8EpY-j_weHD0gD4bwTE6H47jGzHXybMVkyVVEFXU6HIuFeS_KnD4EXbAquywFVUMp_ZM1W5xMgS3St8_eCvyplUFt2trDvIG3lz7BM5z1/s5150/10%20-%20photoArt-3%20-%20var%202.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5150" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2cjWTpyXxHJoSxUvKisbIYD9JfeWc7zQkPYjuQ8qmlkwyF240A34I13L7E8gbiSioAsbuHBMGdegw0Z_8EpY-j_weHD0gD4bwTE6H47jGzHXybMVkyVVEFXU6HIuFeS_KnD4EXbAquywFVUMp_ZM1W5xMgS3St8_eCvyplUFt2trDvIG3lz7BM5z1/w400-h259/10%20-%20photoArt-3%20-%20var%202.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4hcjXVbrydTeam6A3YDy7aDvFSFd3oeEFJhD1uX1e4swzMN90IQS8W2jNqANfZPgGf9jQDPYnA8QZjDp8INBVtXpd96DYN9akfM8v2Y83MXyxBeTj5TzZLUXCq8V7d2T_4ubnzdrNOH_ws5W3pElZEQOeQLB8y4a7NUWWZECPhgLucQoRgc5dauk-/s5600/11%20-%20photoArt-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3348" data-original-width="5600" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4hcjXVbrydTeam6A3YDy7aDvFSFd3oeEFJhD1uX1e4swzMN90IQS8W2jNqANfZPgGf9jQDPYnA8QZjDp8INBVtXpd96DYN9akfM8v2Y83MXyxBeTj5TzZLUXCq8V7d2T_4ubnzdrNOH_ws5W3pElZEQOeQLB8y4a7NUWWZECPhgLucQoRgc5dauk-/w400-h239/11%20-%20photoArt-4.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUCLov5UAcIA0PaP2aNeK3hafgvQgL6J3r5_UjFdjJ52OVcHh9zonRIm4pQVow2lBJKNW6Q_0MthIW5mtAoGNgIFrL2HrabGfkBLD7PDMhfGnB-M4fRFcgPM-xWYxwpe5xi1Z6sqzeJNCMnvlYoOy960AMTQpAgpYFufAZ6uMcOXBv3gecahvX_D-q/s5150/12%20-%20photoArt-5c.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5150" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUCLov5UAcIA0PaP2aNeK3hafgvQgL6J3r5_UjFdjJ52OVcHh9zonRIm4pQVow2lBJKNW6Q_0MthIW5mtAoGNgIFrL2HrabGfkBLD7PDMhfGnB-M4fRFcgPM-xWYxwpe5xi1Z6sqzeJNCMnvlYoOy960AMTQpAgpYFufAZ6uMcOXBv3gecahvX_D-q/w400-h259/12%20-%20photoArt-5c.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />This large-ish ensemble, to KonstruKt's credit, makes much more than noisy energy jazz. The music is presented in four lengthy parts, each with a nuggets (maybe blocks) of artful music making. The LP opens with a saxophone (it's Futaci) wandering among his quartet before Usta's djembe drum sets the pulse. While the large ensemble slowly joins in, the structure of the piece remains. A coherent groove and consistent energy is sustained, as the piece burns itself into exhaustion, some gentle guitar notes are played over delicate reed work. This recording is divided into five parts is a nomadic opus. The piece sustains a shamanistic energy through percussion, bells, double electric guitars, and ever-spiraling- upward saxophones. The rhapsodic vibe throughout organizes and highlights this excellent date. Peter Brötzmann is in top form... I recommend...!<br /></span></div><div><span style="font-family: inherit;"><br /></span></div><span style="color: #e06666; font-family: inherit;">(Review by M. C.)</span><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #ffe599; font-family: inherit;">If you find it, buy this album!</span></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com41tag:blogger.com,1999:blog-4966374046256089922.post-66520499133362606042023-01-14T13:11:00.000+01:002023-01-14T13:11:02.635+01:00KONSTRUkT and AKIRA SAKATA – Kaishi / 開始: Live At Kargart (2LP-2015)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqITG-rmqwLgGxkk8S3gOxZc7LV389Oe0rMAIRbmaVoVTP1vgLiKCMGRO6bLuy2Nlws2w5bScquPAE7KGSuAccLWQoYe9dYUryLRcqXGbOifTvPj5tWvWDqA6W3iMwhj0iu_iSdO00Rqqm9Vo934L9xMnnrVRTYNnzsMU8zC8LX3ADhC2KaY-90yaX/s2500/01%20-%20A%20(front)%20+%20zrno%20-%20OVO-OK%20-%20popravak.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqITG-rmqwLgGxkk8S3gOxZc7LV389Oe0rMAIRbmaVoVTP1vgLiKCMGRO6bLuy2Nlws2w5bScquPAE7KGSuAccLWQoYe9dYUryLRcqXGbOifTvPj5tWvWDqA6W3iMwhj0iu_iSdO00Rqqm9Vo934L9xMnnrVRTYNnzsMU8zC8LX3ADhC2KaY-90yaX/w400-h400/01%20-%20A%20(front)%20+%20zrno%20-%20OVO-OK%20-%20popravak.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiYjQWfGMnMeMxDIfHXuj9TBNf_Lg3fZLDR3kxGLS3cjgWjLXwalFCym19uysHu1tjU98CecGs92RA4R9dHjsefENob6QAPDcmaaivQMyusTFgTnKrIOMCey_cs_EAEOlJUCB52UueiBiRvPCVY83Vm1Oally85QkA_W8eElnaaBLGFxqFqCsVdwiK/s1720/02%20-%20Holidays%20Records%20%E2%80%93%20HOL%20085%20-%20A-B.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiYjQWfGMnMeMxDIfHXuj9TBNf_Lg3fZLDR3kxGLS3cjgWjLXwalFCym19uysHu1tjU98CecGs92RA4R9dHjsefENob6QAPDcmaaivQMyusTFgTnKrIOMCey_cs_EAEOlJUCB52UueiBiRvPCVY83Vm1Oally85QkA_W8eElnaaBLGFxqFqCsVdwiK/w400-h200/02%20-%20Holidays%20Records%20%E2%80%93%20HOL%20085%20-%20A-B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNIb0v5TahSq_xlWBwGBM8WPeVFj-ryk_7NdP5mFOCa4UQJVwa0RgrJJp8n4BWv8UA3ZzjaJVGUCH2ljbGrIWIuuPH-K-nz5dK50sS-wnDmut38wsnsfeSktVidOTgDaMFX6co0Lqv6oi7CjgJYrLhCdB35GJTb-WuZy3kuCkh7nIqfY6RBDGJ7OWa/s2500/03%20-%20B%20(back)%20+%20zrno%20-%20var%201%20-%20OVO-OK%20-%20ipak%20OVO.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNIb0v5TahSq_xlWBwGBM8WPeVFj-ryk_7NdP5mFOCa4UQJVwa0RgrJJp8n4BWv8UA3ZzjaJVGUCH2ljbGrIWIuuPH-K-nz5dK50sS-wnDmut38wsnsfeSktVidOTgDaMFX6co0Lqv6oi7CjgJYrLhCdB35GJTb-WuZy3kuCkh7nIqfY6RBDGJ7OWa/w400-h400/03%20-%20B%20(back)%20+%20zrno%20-%20var%201%20-%20OVO-OK%20-%20ipak%20OVO.jpg" width="400" /></a></div><br /><span style="font-family: inherit;">Label: Holidays Records – HOL 085<br />Format: 2 x Vinyl, LP, Limited Edition, Gatefold / Country: Italy / Released: Jul 1, 2015 <br />Style: Free Jazz, Space-Age, Free Improvisation <br />Recorded live at Kargart, Istanbul, Turkey / January 17th, 2015. <br />Edition of 200 copies <br />Illustration [Cover Drawing] – Canedicoda <br />Lacquer Cut By – Alessandro Di Guglielmo at Elettroformati, Milano <br />Recorded By – Rammy Roo <br />Mixed By, Mastered By – Korhan Futacı <br />All music improvised by KonstruKt and Akira Sakata <br />Contact Info: Via Tolmezzo 12/4, 20132 Milano, Italia <br />Matrix / Runout (Side 1 runout, etched): HOL-085 A K AS <br />Matrix / Runout (Side 2 runout, etched): HOL-085 B K AS <br />Matrix / Runout (Side 3 runout, etched): HOL-085 C K AS <br />Matrix / Runout (Side 4 runout, etched): HOL-085 D K AS <br /><br /><span style="color: #e06666;">side 1 </span><br />A - <span style="color: #f6b26b;">Part I</span> .................................................................................................................. <span style="color: #e06666;">18:12 </span><br /><span style="color: #e06666;">side 2 </span><br />B - <span style="color: #f6b26b;">Part II</span> ................................................................................................................. <span style="color: #e06666;">18:29 </span><br /><br /><span style="color: #f6b26b;">side 3 </span><br />C - <span style="color: #e06666;">Part III</span> ............................................................................................................... <span style="color: #f6b26b;">16:37 </span><br /><span style="color: #f6b26b;">side 4 </span><br />D - <span style="color: #e06666;">Part IV</span> ............................................................................................................... <span style="color: #f6b26b;">16:34 </span><br /><br /><span style="color: #f6b26b;">Line-up/Musicians: </span><br />Akira Sakata / alto saxophone, clarinet, voice <br />Korhan Futacı / tenor, alto and soprano saxophones, flute, loops [instant loops] <br />Umut Çağlar / el. guitar, violin, reeds [zurna, gralla], kalimba, percussion, tape echo <br />Özün Usta / double bass </span><div><span style="font-family: inherit;">Korhan Argüden / drums, cymbal [old K zildjian cymbals]</span><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3TqoqN2Z3h8u_Za7bjkLtyz8fv5yIUdKUZc3uE_WwxL_OGEXOEUjvKlaeFjVKOLk_TbrTzPAHSUTPnKXFu8qLqRowFSm4lRxEHRxGQ2AbTFo_LuuzUfGq0HCKEAy-EAPKgX3c3ACeMvigFLfH38-E-BsZ2peeHErhn8E-h8uZiCiUi4Zq8lbqeF0s/s1720/04%20-%20Holidays%20Records%20%E2%80%93%20HOL%20085%20-%20C-D.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3TqoqN2Z3h8u_Za7bjkLtyz8fv5yIUdKUZc3uE_WwxL_OGEXOEUjvKlaeFjVKOLk_TbrTzPAHSUTPnKXFu8qLqRowFSm4lRxEHRxGQ2AbTFo_LuuzUfGq0HCKEAy-EAPKgX3c3ACeMvigFLfH38-E-BsZ2peeHErhn8E-h8uZiCiUi4Zq8lbqeF0s/w400-h200/04%20-%20Holidays%20Records%20%E2%80%93%20HOL%20085%20-%20C-D.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2DgKZNbpBQcblRzaAzdlbHg2b3279iGcZeqv3Ju__Lue62XlsrAnJrGW9E895b8yutyW_hxC2JnLx8rYsGCtTnla6IuMNPvuiAF8DwxndUSd8H6p0MjtVRCFmbPvngnfLztETCdn-tAq8bq10kRxdaJhM-oWT-6rsXebgQcKVN5oroXRAE5jiDkdw/s5050/05%20-%20inner%20-%20a-b%20-%20popravak.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="5050" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2DgKZNbpBQcblRzaAzdlbHg2b3279iGcZeqv3Ju__Lue62XlsrAnJrGW9E895b8yutyW_hxC2JnLx8rYsGCtTnla6IuMNPvuiAF8DwxndUSd8H6p0MjtVRCFmbPvngnfLztETCdn-tAq8bq10kRxdaJhM-oWT-6rsXebgQcKVN5oroXRAE5jiDkdw/w400-h198/05%20-%20inner%20-%20a-b%20-%20popravak.jpg" width="400" /></span></a></div><p></p>Another chapter in the ongoing series of live recordings of the quartet KonstruKt. Islington Mill in Salford, Greater Manchester, is a hotbed of musical insurgency and invention. Resident analogue-synth expert Sam Weaver (who is an auxiliary member of psychedelic/exploratory rock/electronic group Gnod) is curating the Samarbeta music residency at the huge repurposed building in the summer of 2015. As part of this project, he has invited the blazing Turkish free jazz unit KonstruKt, over from Istanbul to stay at the Mill. Their visit culminates in two performances on 12 August 2015. There are also Bristol and London live dates planned. To give you a taste how brilliant those performances were, here is KonstruKt in action on home turf, earlier that year, playing with veteran Japanese free-jazz, a key figure of the Japanese Free Jazz movement since the 1970s saxophonist and marine biologist, Akira Sakata.<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrfv1AAYbKCWNR0o1TYIbEl4balO0nHa2ZbxMYnDvVGpaWSIaaFA_GfU1qu7dnTNuETakofsQccznxtH2gAZAYv1kFPfOlGelDdwZfP-S6SdBHmw98OG93PmPXBU41XcH_UcrdErXdQqc1u-8LQqcB6YVmRZbPodcp_r8Z5jF2ZUcAyrsOYQnKiqYl/s5150/12%20-%20photoArt-1%20-%20VAR%202.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3329" data-original-width="5150" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrfv1AAYbKCWNR0o1TYIbEl4balO0nHa2ZbxMYnDvVGpaWSIaaFA_GfU1qu7dnTNuETakofsQccznxtH2gAZAYv1kFPfOlGelDdwZfP-S6SdBHmw98OG93PmPXBU41XcH_UcrdErXdQqc1u-8LQqcB6YVmRZbPodcp_r8Z5jF2ZUcAyrsOYQnKiqYl/w400-h259/12%20-%20photoArt-1%20-%20VAR%202.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-cXJfCRA_4Tbenc_zl6Jomdo0vipqhkUGZKDXeS4XHkavu-D7VebjXPJFx5HaRPVRpMRGvzOR88Rgm6XFC9xsjIVT8VUHn4oalULjT4BPp8Yh5J4Uzbf4ufSOG-dym2AFUIleIuCxPrca6Zc41z4wTZN_wpKAbHSYLwkXq8DDG_oVnE66i5JkD4uO/s5600/13%20-%20photoArt-2%20-%20OK-OK-OK%20-%20popravak.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3348" data-original-width="5600" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-cXJfCRA_4Tbenc_zl6Jomdo0vipqhkUGZKDXeS4XHkavu-D7VebjXPJFx5HaRPVRpMRGvzOR88Rgm6XFC9xsjIVT8VUHn4oalULjT4BPp8Yh5J4Uzbf4ufSOG-dym2AFUIleIuCxPrca6Zc41z4wTZN_wpKAbHSYLwkXq8DDG_oVnE66i5JkD4uO/w400-h239/13%20-%20photoArt-2%20-%20OK-OK-OK%20-%20popravak.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin0VxiKBgH5HPm0XWcIKoBtEozIp8ITmNhi0Xe-8ub6TcqjWquXZTkwNpGYXWjQNu91lzNaelEi8k9tfAzOtaRIOIRxXNGobloL2WWNHADO2LaCVVHwlmE9dV1rG0VxFfZtNeFp-yjKZTs7ggkZhh1N2n-hhnd3CkgpqhhRQn28SkuHJAS46nNREIY/s5150/14%20-%20photoArt-3.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3329" data-original-width="5150" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin0VxiKBgH5HPm0XWcIKoBtEozIp8ITmNhi0Xe-8ub6TcqjWquXZTkwNpGYXWjQNu91lzNaelEi8k9tfAzOtaRIOIRxXNGobloL2WWNHADO2LaCVVHwlmE9dV1rG0VxFfZtNeFp-yjKZTs7ggkZhh1N2n-hhnd3CkgpqhhRQn28SkuHJAS46nNREIY/w400-h259/14%20-%20photoArt-3.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: inherit;"><br /></span></div>Konstrukt are a group dedicated to improvising not only within themselves, but with outside guests. Following records with Joe McPhee and Peter Brötzmann, Akira Sakata to join them Live at Kargart in Istanbul on January 17th 2015, where they played continuously for 70 minutes, improvising around psychedelic themes. This jam is one of the most psychedelic act of the band so far, with Sakata's growling shomyo-alike chant finding the perfect setting - like a snake charmer - in a jungle of constantly reinvented sound.</div><div><br /><span style="color: #e06666;">Double LP on Holidays Records.</span></div><div><br /></div><div><br /></div><div><br /></div><div><span style="color: #ffe599;">If you find it, buy this album!</span></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com27tag:blogger.com,1999:blog-4966374046256089922.post-516674664514720362023-01-14T13:10:00.000+01:002023-01-14T13:10:39.780+01:00KONSTRUkT & ALEXANDER HAWKINS – Live At Cafe Oto (2LP-2017)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixv6GR4JvKegc00BNYriqeOjR8Vj_wsCBhJBt371IpNBty3hoH9vkNrl3L_5czB00SNRGVcVDvTLVyt6ghpA-zMtH1UH4Pefp8fHeJq0Nk3TLcqJezoC3ElOudF23oRr2dKLUWcjauI0i3koucCzobUN0mlFgdmVAAgo-KlL7IkzS_7RG6mHwXlwTv/s2500/01%20-%20A%20(front)%20-%20reljef%20-%20popravak%20-%203%20-%20zrno.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixv6GR4JvKegc00BNYriqeOjR8Vj_wsCBhJBt371IpNBty3hoH9vkNrl3L_5czB00SNRGVcVDvTLVyt6ghpA-zMtH1UH4Pefp8fHeJq0Nk3TLcqJezoC3ElOudF23oRr2dKLUWcjauI0i3koucCzobUN0mlFgdmVAAgo-KlL7IkzS_7RG6mHwXlwTv/w400-h400/01%20-%20A%20(front)%20-%20reljef%20-%20popravak%20-%203%20-%20zrno.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMZwnVWF4FeH8ETWgSoTeJci65a87zVUDj5-1ZqSmzprI7Gt1_C0iYq_g9bn_e16XGOFbqGgJK4iI-Oyi9-G91M9YanrpwGu0Y7h_kmHMzquAUTB662_FtX95PbdZD0cfvYIMAAo42dNckwrctI5voXzG81sHuIyMp6UDl1zEKFN_hrD_PrFI1o15z/s1720/02%20-%20Holidays%20Records%20%E2%80%93%20HOL-103%20-%20A-B%20-%20popravak.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMZwnVWF4FeH8ETWgSoTeJci65a87zVUDj5-1ZqSmzprI7Gt1_C0iYq_g9bn_e16XGOFbqGgJK4iI-Oyi9-G91M9YanrpwGu0Y7h_kmHMzquAUTB662_FtX95PbdZD0cfvYIMAAo42dNckwrctI5voXzG81sHuIyMp6UDl1zEKFN_hrD_PrFI1o15z/w400-h200/02%20-%20Holidays%20Records%20%E2%80%93%20HOL-103%20-%20A-B%20-%20popravak.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJEnZu7DaMMO8brzuUfkggqCLKoVv39w9kMgdHFJ52uNfKeWaNz_eUtHiBaCgtjYNATJAqKR_ivgSlFKPO-FIfV1tXDHr0Y2XBr93AWNjfN5UmIn9zTFh3UG89BHzLPRHB_We8TzMex-qP1beD7FKIMhqVAyktlc30V9FJDKSu-KJ6vyhwAx0pjOOv/s2500/03%20-%20B%20(back)-1%20+%20-%20zrno%20-%20var%2044%20-%20OVO-OK-OK-%2011111.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJEnZu7DaMMO8brzuUfkggqCLKoVv39w9kMgdHFJ52uNfKeWaNz_eUtHiBaCgtjYNATJAqKR_ivgSlFKPO-FIfV1tXDHr0Y2XBr93AWNjfN5UmIn9zTFh3UG89BHzLPRHB_We8TzMex-qP1beD7FKIMhqVAyktlc30V9FJDKSu-KJ6vyhwAx0pjOOv/w400-h400/03%20-%20B%20(back)-1%20+%20-%20zrno%20-%20var%2044%20-%20OVO-OK-OK-%2011111.jpg" width="400" /></a></div><br /><span style="font-family: inherit;">Label: Holidays Records – HOL-103 <br />Format: 2 x Vinyl, LP, Album, Limited Edition / Country: Italy / Released: Mar 10, 2017 <br />Style: Avant-garde Jazz, Free improvisation, Free Jazz <br />Recorded on August 10th 2015 at Cafe Oto / London, UK <br />Limited Edition of 200 copies <br />Artwork – Canedicoda <br />Photography By – Dawid Laskowski <br />Recorded By – Luca Consonni <br />Mixed By, Mastered By – Barlas Tan Özemek <br />Contact Info: Via Tolmezzo 12/4, 20132 Milano, Italia <br />Matrix / Runout (Side 1 runout, etched): HOL-103 A K AH <br />Matrix / Runout (Side 2 runout, etched): HOL-103 B K AH <br />Matrix / Runout (Side 3 runout, etched): HOL-103 C K AH <br />Matrix / Runout (Side 4 runout, etched): HOL-103 D K AH <br /><br /><span style="color: #e06666;">side 1 </span><br />A - <span style="color: #f6b26b;">First Set Pt.1</span> ...................................................................................................... <span style="color: #e06666;">22:51 </span><br /><span style="color: #e06666;">side 2 </span><br />B - <span style="color: #f6b26b;">First Set Pt.2</span> ...................................................................................................... <span style="color: #e06666;">23:02 </span><br /><br /><span style="color: #f6b26b;">side 3 </span><br />C - <span style="color: #e06666;">Second Set Pt.1</span> ................................................................................................. <span style="color: #f6b26b;">19:34 </span><br /><span style="color: #f6b26b;">side 4 </span><br />D - <span style="color: #e06666;">Second Set Pt.2</span> ................................................................................................. <span style="color: #f6b26b;">19:35 </span><br /><br /><span style="color: #f6b26b;">Personnel: </span><br />Alexander Hawkins / acoustic piano, melodica <br />Korhan Futacı / alto & tenor saxophones, gralla, flutes, voice, loops <br />Umut Çağlar / electric guitar, zurna, gralla, flutes, tape echo, rythymbox <br />Barlas Tan Özemek / electric bass <br />Berke Can Özcan / drums, electric drum module</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRxFLzkTPaklKWfg0y1m5Uyd_Ln-3m7Cs6oeff_zW59J_wMfmbChC4f6-25UoBJuvjBi40EID7W-KINAlWUbbeEFzui93YERjO5QTFgB43wLgswiACImQlYz105pteD5oos56QBnLho1pAIj9Lnr3X3pHY9Z7tVLKZGJnbLqRkrw92vBBZDbJQKbxy/s5050/05%20-%20inner%20-%20a-b%20-%20OVO%20-%20OK_OK.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="5050" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRxFLzkTPaklKWfg0y1m5Uyd_Ln-3m7Cs6oeff_zW59J_wMfmbChC4f6-25UoBJuvjBi40EID7W-KINAlWUbbeEFzui93YERjO5QTFgB43wLgswiACImQlYz105pteD5oos56QBnLho1pAIj9Lnr3X3pHY9Z7tVLKZGJnbLqRkrw92vBBZDbJQKbxy/w400-h198/05%20-%20inner%20-%20a-b%20-%20OVO%20-%20OK_OK.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi18K4zxsKza4iDFdfjIzUOj65KGWpzWTXx0N7ZYn6eicwAi4aacOJ58PCf_fVL5UDH6UvzpQZvybCWBt5QcX8Gl5Qu42PCXI94Klk7BKG4e-8S2ISbX-G71P0wvBEGgz3YtZDpUnePmbIPCBIcZotruZ4ecZOpv1Wjx2L5vQ8SoZwguUpx3xTzHoTD/s1720/04%20-%20Holidays%20Records%20%E2%80%93%20HOL-103%20-%20C-D%20-%20popravak.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi18K4zxsKza4iDFdfjIzUOj65KGWpzWTXx0N7ZYn6eicwAi4aacOJ58PCf_fVL5UDH6UvzpQZvybCWBt5QcX8Gl5Qu42PCXI94Klk7BKG4e-8S2ISbX-G71P0wvBEGgz3YtZDpUnePmbIPCBIcZotruZ4ecZOpv1Wjx2L5vQ8SoZwguUpx3xTzHoTD/w400-h200/04%20-%20Holidays%20Records%20%E2%80%93%20HOL-103%20-%20C-D%20-%20popravak.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />KonstruKt and Café Oto are back with another release, this one being a live recording from 2015 featuring pianist Alexander Hawkins, a relatively young jazz pianist who has been cutting his teeth in the UK improv scene with the likes of Evan Parker and Louis Moholo, while also leading his own trio. <br /><br /></span><div><span style="font-family: inherit;">KonstruKt typically operate as a quartet with some of them taking on multiple instruments, but the typical set up is drums, electric bass, reeds, and electric guitar. Having a pianist like Hawkins adds a lot, then, and this recording offers a different type of sound than I am used to with KonstruKt releases. <br />As a group that is often hard to pin down in terms of genre, this album seems to me to be deeply rooted in the kind of ideas that Miles Davis was exploring when he originally went to “Electric Miles”, with albums like In A Silent Way, Bitches Brew, and A Tribute to Jack Johnson. While this particular release does not have the space or minimalism of In A Silent Way, it also doesn’t get quite as straightforward as releases like On The Corner either. In fact, it really is its own beast with its own voice, but I couldn’t help but to think of Miles own brand of electric jazz/funk/rock fusion while listening to this.</span></div><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx4w6EnuFWuquY7U5f0RHGWvULVjzyM96_hoNoDtRiDOB-R6XIhGoiegMcAWy9eAiqrweoy5nts83_reZx6NBSfkRgZQ77HrWcuVw6jdBbkch0GGfiDROuAhangNAlB6cMZVWui7HpqIuUkUj7JGZLwAsHv9-om7S31-tyWaDTagtW0mV_bgTziOdr/s2470/12%20-%20LP2-side%20D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2470" data-original-width="2470" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx4w6EnuFWuquY7U5f0RHGWvULVjzyM96_hoNoDtRiDOB-R6XIhGoiegMcAWy9eAiqrweoy5nts83_reZx6NBSfkRgZQ77HrWcuVw6jdBbkch0GGfiDROuAhangNAlB6cMZVWui7HpqIuUkUj7JGZLwAsHv9-om7S31-tyWaDTagtW0mV_bgTziOdr/w400-h400/12%20-%20LP2-side%20D.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />The recording has two tracks, or more specifically, two sets from the same night, each a single, 35 minute plus improvisation. The first set is an incongruous, vaguely hypnotic combination of psychedelic grooving and jazz technique. It sets down a disjointed and unpredictable groove, ambling along as a wall of sound. However, it seems content to just ooze along without direction, and It is wholly unobjectionable. The first set may seem a bit confusing at times, but in context it was a decent table setter for the second, more daring set. I highly recommend checking it out.</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjpjU43UWoPqEfHdAKOlIv1JRmA7rJNYBl24BTbP8qSgVUVHPPudp6_vIqun3CSbHAbyqahNzpCeliu2xg8_xFJvjDBN4KXDTSAN5t3-lwYfeuuqRmjTmtCalrfRnLO1xoeoHeocZwQD_5A9RaLyogOgOB8ExDoJ_CHApsF8IC0Rrhq5-axYM-08Ic/s5150/13%20-%20photoArt-5%20-%20var%203%20-%20tamnije%20OK.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5150" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjpjU43UWoPqEfHdAKOlIv1JRmA7rJNYBl24BTbP8qSgVUVHPPudp6_vIqun3CSbHAbyqahNzpCeliu2xg8_xFJvjDBN4KXDTSAN5t3-lwYfeuuqRmjTmtCalrfRnLO1xoeoHeocZwQD_5A9RaLyogOgOB8ExDoJ_CHApsF8IC0Rrhq5-axYM-08Ic/w400-h259/13%20-%20photoArt-5%20-%20var%203%20-%20tamnije%20OK.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcAMajQJn3zqwewnpJinDWB-vwlnUr15jgjb3_btVS3yHZE6ZKtQAoeygceO6kLukz6goUhacduaczuFKia-V3w1HSuGqp9WLWQiyTWUfmHQhfW3h6mvmhVwgw-xQyBw5WGmXUSBiH3nKEL3o-1OdEJ_LwnB_Zp5c7FeuZeudFQGuV6qhjdKmjyv3m/s5600/14%20-%20photoArt-6%20-%2022%20-%20tamnije.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3348" data-original-width="5600" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcAMajQJn3zqwewnpJinDWB-vwlnUr15jgjb3_btVS3yHZE6ZKtQAoeygceO6kLukz6goUhacduaczuFKia-V3w1HSuGqp9WLWQiyTWUfmHQhfW3h6mvmhVwgw-xQyBw5WGmXUSBiH3nKEL3o-1OdEJ_LwnB_Zp5c7FeuZeudFQGuV6qhjdKmjyv3m/w400-h239/14%20-%20photoArt-6%20-%2022%20-%20tamnije.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6tWfHGRGSvmaYMapy8hWSda1YRMsZAsYNF5As1WJhzAWaJKRpJfGRkWjb3N-f9wx8PjXwdcnsWGaeBID7fsYsBcTelIpK4ERnzqiIsQpqoa_Pvy2J-8tXB434FpXGltUMk8FaXddCBflQ0OMqzAh4NH0inKj-kFkNcMDm14ufCqqRwfrACeBBL3Iv/s5150/15%20-%20photoArt-6%20-%20tamnije%20OK.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5150" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6tWfHGRGSvmaYMapy8hWSda1YRMsZAsYNF5As1WJhzAWaJKRpJfGRkWjb3N-f9wx8PjXwdcnsWGaeBID7fsYsBcTelIpK4ERnzqiIsQpqoa_Pvy2J-8tXB434FpXGltUMk8FaXddCBflQ0OMqzAh4NH0inKj-kFkNcMDm14ufCqqRwfrACeBBL3Iv/w400-h259/15%20-%20photoArt-6%20-%20tamnije%20OK.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />On the other hand, the second set is miraculous in immediately and I was surprised that 35 minutes or so had passed when it ended, as it was that enjoyable. It starts silent and spacey, unidentifiable electronic sounds and droning with a trickling of Hawkins keys spilling into the emptiness, which eventually turns into a full on cascade of adept soloing across the entire range of the piano, while the rest of the musicians establish a fragmented but melodic groove that sucks you into foot-tapping and head nodding places before totally flipping into more odd time signatures and barely tethered rhythms. They still move like a juggernaut of sound, but there is more interesting interplay, less predictability, and more moments of sheer transcendence. Often times they work toward a crescendo, with Hawkins and Korhan Futaci (reeds) trading licks among the chaos, while the high register and strident sound of the gralla cuts through the noise in an impressive flurry of notes at times. They reach moments both dark and ecstatic, with quick changes that sometimes leave Hawkins plinking on his piano by himself, reveling in the wake of the massive wall of sound that just disappeared. They explore a full range of interesting ideas that span the gamut of their varied styles, and by the time it gets going it is a totally different beast from any electric Miles, more aggressive, immediate, and varied.</span><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #e06666; font-family: inherit;">(Review by J. B.)</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #ffe599; font-family: inherit;">If you find it, buy this album!</span></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com22tag:blogger.com,1999:blog-4966374046256089922.post-78001936545795729392022-08-05T23:23:00.000+02:002022-08-05T23:23:33.751+02:00BY ANY MEANS – Live At Crescendo (Unofficial Re. 077/078/079 / 3LP-2010)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNn8CfwEddstuB0g118WZ27pdDhuWWH28RFyRJsvwp6g_K9ZqPiV7HfsqGQ5RyaAw9T_QkDy1XBS2IsXeMMuBTbVqsbSZDF288hliDyaZHTBswycRdbK7Lmg0zi0MSYAZOj6RudShpgB6GuaVbo4dQFZ8sWEvQq7mvmwv0EAdluA3QEdpyJrF1xkD6/s2500/01%20-%20By%20Any%20Means%20-%20A%20(front).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNn8CfwEddstuB0g118WZ27pdDhuWWH28RFyRJsvwp6g_K9ZqPiV7HfsqGQ5RyaAw9T_QkDy1XBS2IsXeMMuBTbVqsbSZDF288hliDyaZHTBswycRdbK7Lmg0zi0MSYAZOj6RudShpgB6GuaVbo4dQFZ8sWEvQq7mvmwv0EAdluA3QEdpyJrF1xkD6/w400-h400/01%20-%20By%20Any%20Means%20-%20A%20(front).jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_NMtpAlV3w5LFYiRh4kg7g8bHFC2E-V_8SfWhp4TyUGaR75Vh-mdp00XnT_SKIeVCH4W4XhW0JmoTkKZoKlt64JTstxWHxzs3veVRPHj0jI7hYnudJHR-qa55TiM-BBAfktslV3QuFPXSp4Pew1CS8yNG84TsjqJSgmoa6OQw-Ahg9KQZ_4rQZ3Yr/s1720/02%20-%20AYVI-0770719-01%20-%20A-B.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_NMtpAlV3w5LFYiRh4kg7g8bHFC2E-V_8SfWhp4TyUGaR75Vh-mdp00XnT_SKIeVCH4W4XhW0JmoTkKZoKlt64JTstxWHxzs3veVRPHj0jI7hYnudJHR-qa55TiM-BBAfktslV3QuFPXSp4Pew1CS8yNG84TsjqJSgmoa6OQw-Ahg9KQZ_4rQZ3Yr/w400-h200/02%20-%20AYVI-0770719-01%20-%20A-B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxMSy7AHb4GwsmS7AkKMp_H8bc_YICQxINChglbHSKCfCfEjIQvxUG-lp6Gk9t71DRrxmm-KNmH9RgXLNHJG_GZh-BhaOEJyZ_69wNWQi_Bdzo8oDYyHQMcIgXbWENDnGSA0qsW5QS8vZrf2EepUYh9suhqzolzalZAEWSgksW2iTvN0MBbKtXEcFW/s2500/03%20-%20By%20Any%20Means%20-%20B%20(back).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxMSy7AHb4GwsmS7AkKMp_H8bc_YICQxINChglbHSKCfCfEjIQvxUG-lp6Gk9t71DRrxmm-KNmH9RgXLNHJG_GZh-BhaOEJyZ_69wNWQi_Bdzo8oDYyHQMcIgXbWENDnGSA0qsW5QS8vZrf2EepUYh9suhqzolzalZAEWSgksW2iTvN0MBbKtXEcFW/w400-h400/03%20-%20By%20Any%20Means%20-%20B%20(back).jpg" width="400" /></a></div><br /><span style="font-family: inherit;">Label: Private Press / Unofficial Release 077/078/079-3LP <br />Other: AYVI-0770719-01 / AYVI-0780719-02 / AYVI-0790719-03 <br />Format: 3 x Vinyl, Album / Country: Switzerland / Released: 2008/Re-2010 <br />Style: Free Jazz, Free Improvisation <br />Recorded on October 19, 2007 at Club Crescendo, Norrköping, Sweden <br />Cover – Åke Bjurhamn <br />Photography By – Lars Jönsson / Joacim Jönsson <br />Recorded By, Mixed By – Per Ruthström <br />Executive-Producer, Liner Notes – Jan Ström <br />Layout – Stéphane Berland <br />Composed By – Charles Gayle / Rashied Ali / William Parker <br />7 320470 068335 / Rights Society: BIEM/n©b <br />Matrix / Runout (LP-1, side A): Private AYVI-0770719-01 <br />Matrix / Runout (LP-1, side B): Private AYVI-0770719-01 <br />Matrix / Runout (LP-2, side C): Private AYVI-0780719-02 <br />Matrix / Runout (LP-2, side D): Private AYVI-0780719-02 <br />Matrix / Runout (LP-3, side E): Private AYVI-0790719-03 <br />Matrix / Runout (LP-3, side F): Private AYVI-0790719-03<br /><br /><span style="color: #e06666;">side 1: </span><br />A1 - Introduction ........................................................................................................ <span style="color: #f6b26b;">0:54 </span><br />A2 - Zero Blues ......................................................................................................... 7:25 <br />A3 - Hearts Joy ....................................................................................................... 13:23 <br /><span style="color: #e06666;">side 2: </span><br />B - We Three ........................................................................................................... <span style="color: #f6b26b;">14:37 </span><br /><br />side 3: <br /><span style="color: #f6b26b;">C1</span> - Different Stuff .................................................................................................... <span style="color: #e06666;">6:28 </span><br /><span style="color: #f6b26b;">C2</span> - Love One Another ........................................................................................... <span style="color: #f6b26b;">10:40 </span><br />side 4: <br /><span style="color: #f6b26b;">D1</span> - Straight Ahead Steps ........................................................................................ <span style="color: #f6b26b;">7:19 </span><br /><span style="color: #f6b26b;">D2</span> - Peace Inside ..................................................................................................... <span style="color: #e06666;">8:33 </span><br /><br /><span style="color: #e06666;">side 5: </span><br />E1 - Machu Picchu ................................................................................................. <span style="color: #f6b26b;">1</span><span style="color: #f6b26b;">0:46 </span><br />E2 - Cry Nu ............................................................................................................... 7:58 <br /><span style="color: #e06666;">side 6: </span><br />F1 - Eternal Voice ..................................................................................................... 9:08 <br />F2 - No Sorrow ......................................................................................................... <span style="color: #f6b26b;">7:38 </span><br /><br /><span style="color: #f6b26b;">Personnel: </span><br />CHARLES GAYLE – alto saxophone <br />WILLIAM PARKER – bass <br />RASHIED ALI – drums, percussion</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIVu1JcH992aqv_vkq3RMxCeoj54KH66vxs914CzD_wmHj7bMYqLX9jGxRqTHznR3Gw9WoLFyZVyM8KFLymaBDE_GzqE90ft1YipL8UBzWis-TF2EXdwMH0bBJL2obYjFamQqxKS35QMp_N4lpqnUnljYQ_aWxq7Sm8dlYyqAGfHOqFEMJIx762dfr/s1720/10%20-%20AYVI-0780719-02%20-%20C-D.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIVu1JcH992aqv_vkq3RMxCeoj54KH66vxs914CzD_wmHj7bMYqLX9jGxRqTHznR3Gw9WoLFyZVyM8KFLymaBDE_GzqE90ft1YipL8UBzWis-TF2EXdwMH0bBJL2obYjFamQqxKS35QMp_N4lpqnUnljYQ_aWxq7Sm8dlYyqAGfHOqFEMJIx762dfr/w400-h200/10%20-%20AYVI-0780719-02%20-%20C-D.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXV68r5wrQ4-710ZGg-SrEu3vDqPpjmAg4CXr0vfzgNoRpBwXepLyHEKXUKUV2BiUcZsS0bBxSREKSisDj05D_nQ4DIAy5HVZmDj388EvsrBRel19YvK-Oe0mkU3CkFCkJ81RJTqecM6gU2EPgeMZqs8ztJvD67vylxbm14o7jFk2Ad5dyl6ma-N_k/s2500/04%20-%20By%20Any%20Means%20-%20C%20(in2).jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXV68r5wrQ4-710ZGg-SrEu3vDqPpjmAg4CXr0vfzgNoRpBwXepLyHEKXUKUV2BiUcZsS0bBxSREKSisDj05D_nQ4DIAy5HVZmDj388EvsrBRel19YvK-Oe0mkU3CkFCkJ81RJTqecM6gU2EPgeMZqs8ztJvD67vylxbm14o7jFk2Ad5dyl6ma-N_k/w400-h400/04%20-%20By%20Any%20Means%20-%20C%20(in2).jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkQgiddg7bBG94QFeNejrxpwigG9r_ZQ6Kzi8Gx6ORGYVNdjgljvHFd8y9GQ7OfqVEitefOYtwD9D7kK7dznBD6Lh819EWzlXbJaHK1Dx39YqCQ7HvRost00Jf1RK6nHMpRxDQ0Td8HYo_1HnpUi3NZN_YNmSe74RS7EHPuV0XjALU5pN-oaAL0X7g/s7600/09%20-%20inner%20-%20a-b-c.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="7600" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkQgiddg7bBG94QFeNejrxpwigG9r_ZQ6Kzi8Gx6ORGYVNdjgljvHFd8y9GQ7OfqVEitefOYtwD9D7kK7dznBD6Lh819EWzlXbJaHK1Dx39YqCQ7HvRost00Jf1RK6nHMpRxDQ0Td8HYo_1HnpUi3NZN_YNmSe74RS7EHPuV0XjALU5pN-oaAL0X7g/w400-h131/09%20-%20inner%20-%20a-b-c.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />Given the group name and the personnel – wall-destroying saxophonist Charles Gayle, bassist William Parker and drummer Rashied Ali – you’d be forgiven for reaching for the seatbelt in anticipation of another obliterating slab of high energy instant composition. And you’d be half right. After all, this is the same group that cut the raging Touchin’ On Trane for FMP in 1991, still one of the most aggressively nuanced free jazz LPs to retain an umbilical connection to the New Thing. But the change of name also marks a slight change of tack. Live At Crescendo presents a 2007 concert from Sweden in its entirety. Gayle’s playing may not be any sweeter, but it immediately feels more informed by the eschatological gospel and blues that made up more traditionally ‘earthed’ Gayle sides like Ancient Of Days.</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ8zbL4J0humpm8JAWUJxYKJkui26GOUAybmrujjK1aqa_wMYnaVVIrNaGUyHwQcJdgN5flWgLnv5ij3BbO-FD5DcXVj2wkxG1mBWBY1ffptqReYl1AdkhcvLYssSzM5QqH0Ucu7LlvCBNOq2XKc3iGkkKMtryrWdn8dLjUN7iHyBhBFFuKNtVIC6O/s7600/05%20-%20cover%20-%20C-B-A.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="7600" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ8zbL4J0humpm8JAWUJxYKJkui26GOUAybmrujjK1aqa_wMYnaVVIrNaGUyHwQcJdgN5flWgLnv5ij3BbO-FD5DcXVj2wkxG1mBWBY1ffptqReYl1AdkhcvLYssSzM5QqH0Ucu7LlvCBNOq2XKc3iGkkKMtryrWdn8dLjUN7iHyBhBFFuKNtVIC6O/w400-h131/05%20-%20cover%20-%20C-B-A.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirPBWYg5Ucn4euhXDXcMYkINGELEKSPbtUWFLcfn45d5TyTmQgRBMsLDbZy_t9PwAcMdu3dLq65S_ZSuJjuQ2mc6yE2kQ_Pzm3Ukxu3BmCEn3qPXL_ibz0fNaGrvs681Xi1_x4bRf3K2e7CX2wb_SCVMzK2Mf0_kCpeqXbBU--KSNUA6WPNLawXI3u/s1720/11%20-%20AYVI-0790719-03%20-%20E-F.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirPBWYg5Ucn4euhXDXcMYkINGELEKSPbtUWFLcfn45d5TyTmQgRBMsLDbZy_t9PwAcMdu3dLq65S_ZSuJjuQ2mc6yE2kQ_Pzm3Ukxu3BmCEn3qPXL_ibz0fNaGrvs681Xi1_x4bRf3K2e7CX2wb_SCVMzK2Mf0_kCpeqXbBU--KSNUA6WPNLawXI3u/w400-h200/11%20-%20AYVI-0790719-03%20-%20E-F.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />The longest track is just over 14 minutes, a mere feather on the breath compared to the steel tongue athleticism of earlier releases, but Gayle’s playing is so hyper-focused, so exactingly executed, that he devours the minutes, bracketing accelerated, smeared scales with boppy heads and sudden invasions of the alto’s most phantom registers. <br />Rashied Ali has cut some fairly pedestrian sides over the past decade or so, but for the duration of this set his reactions are as lightning fast and tonally astute as anyone who came up in his shadow. His various solo spots combine an almost machine gun-style rapid attack with an uncanny feel for timbre that means at points you could almost mistake his floor tom for Parker’s bass. Indeed, Parker and Ali sound particularly good together and between them they generate the kind of precariously accelerated architecture that Gayle loves to take nosedives from.</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8bBFmMHj0rljiaXMZVMRKqvLu5P0Hf2pPcDE5Mmcz_xstk10DxFvLsvH4c-tF_7lQpyQCDV4CjG26AyzKVksc9y7zBfzfm6cLemLxjCUm9RGqGC4CXYId5mdOHkCJmb6skJmI71hRnnmEKbTf7Z50pkStD_Ahfx1rveawMmRH-m7a7odqK7dgNoZr/s5150/18%20-%20photoArt-1.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5150" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8bBFmMHj0rljiaXMZVMRKqvLu5P0Hf2pPcDE5Mmcz_xstk10DxFvLsvH4c-tF_7lQpyQCDV4CjG26AyzKVksc9y7zBfzfm6cLemLxjCUm9RGqGC4CXYId5mdOHkCJmb6skJmI71hRnnmEKbTf7Z50pkStD_Ahfx1rveawMmRH-m7a7odqK7dgNoZr/w400-h259/18%20-%20photoArt-1.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSgE8X1WfeO6dFCRZ52tvye8ahZcywSa76hgNm3SgLqo3HejNasFGbvk-JUbXF1k0NCnahnfle_pldfmPL3_oUp3hDuMZHTtcG1Ql470z2w7qjJh40zZ9LjgZu6bkxIqzNg7q5-dORK_WHTDdFwJQQG_0XkZFXT1OXhTf6YWS6y0qIrZACvEhc2qRf/s5600/19%20-%20photoArt-2.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3348" data-original-width="5600" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSgE8X1WfeO6dFCRZ52tvye8ahZcywSa76hgNm3SgLqo3HejNasFGbvk-JUbXF1k0NCnahnfle_pldfmPL3_oUp3hDuMZHTtcG1Ql470z2w7qjJh40zZ9LjgZu6bkxIqzNg7q5-dORK_WHTDdFwJQQG_0XkZFXT1OXhTf6YWS6y0qIrZACvEhc2qRf/w400-h239/19%20-%20photoArt-2.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8epjsxYY-EgXgdX73xwVH8870n5BTj9eOUhFEYFCrFjHENzycz8LI9fjNl8bsXqAppk9UqZIeKVx2oCJ39JxY2zcvRbV9y0RCNYSSsWsQLGA_liIlZgxezptkXXuwgzNNZWAc8jrfCk_bzEmEhaK1bZSF8awR-JHr3wMvfx59jncYqQ5SsEuozAI_/s5150/20%20-%20photoArt-3.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5150" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8epjsxYY-EgXgdX73xwVH8870n5BTj9eOUhFEYFCrFjHENzycz8LI9fjNl8bsXqAppk9UqZIeKVx2oCJ39JxY2zcvRbV9y0RCNYSSsWsQLGA_liIlZgxezptkXXuwgzNNZWAc8jrfCk_bzEmEhaK1bZSF8awR-JHr3wMvfx59jncYqQ5SsEuozAI_/w400-h259/20%20-%20photoArt-3.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />The first part of the show is slower, with tracks that feel more rigorously constructed, while the second is a little wilder, kicking off with a great vocal/horn piece by Gayle that feels like a more articulate take on the pan-African love cry of Arthur Doyle. <br />Parker’s “Eternal Voice” is another highlight, with Gayle picking out high, melodic complements to his singing arco work. <br /><br />It’s a fantastic set, one that explodes the tradition while simultaneously bolstering it, like all of the most ass-flattening free jazz dates.</span><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #e06666; font-family: inherit;">(By David Keenan / The Wire)</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #ffe599; font-family: inherit;">If you find it, buy this album!</span></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com47tag:blogger.com,1999:blog-4966374046256089922.post-64196315828606726532022-08-05T23:22:00.000+02:002022-08-05T23:22:20.982+02:00The CHARLES GAYLE TRIO – Live At Disobey 1994 (BFFP 100 2LP / Re-2000)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoRhu13_xLJi6xkaOOThpzDd1GoUqKnaXG8YvT7FW3Q5V88817Ovvw6EMlTDZk487bhnj8-fxquZrGn1lq37KkC_-O_t3LhbvUwkMCpKisfMBJg9N8EfEhUzaj_I-l4ja46CgoETgJZ-UxIB1BkmwSchOtJ5smJtC6F2TuRNnkrWrtWMo9YEPTZgsl/s2500/01%20-%20Disobey%20-%20A%20(front).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoRhu13_xLJi6xkaOOThpzDd1GoUqKnaXG8YvT7FW3Q5V88817Ovvw6EMlTDZk487bhnj8-fxquZrGn1lq37KkC_-O_t3LhbvUwkMCpKisfMBJg9N8EfEhUzaj_I-l4ja46CgoETgJZ-UxIB1BkmwSchOtJ5smJtC6F2TuRNnkrWrtWMo9YEPTZgsl/w400-h400/01%20-%20Disobey%20-%20A%20(front).jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1yK0ukkWoaYZKhNY41AJkGWDlyzqCEzXQLgGp8GVNt_2imefHm52dXCVN5y_wmStl-YNwI81wHddX0374skWqye7kVZwKCFqCshgMtG6GV13obOCFXlXuV2uwHL9lsGBwKJ4t77_s0F5FDlLiOVTIg7nhESxfUnBUn9iIiweHAKuA_mP8uHY8nWFv/s1720/02%20-%20Blast%20First%20%E2%80%93%20BFFP%20100%202LP%20-%20A-B.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1yK0ukkWoaYZKhNY41AJkGWDlyzqCEzXQLgGp8GVNt_2imefHm52dXCVN5y_wmStl-YNwI81wHddX0374skWqye7kVZwKCFqCshgMtG6GV13obOCFXlXuV2uwHL9lsGBwKJ4t77_s0F5FDlLiOVTIg7nhESxfUnBUn9iIiweHAKuA_mP8uHY8nWFv/w400-h200/02%20-%20Blast%20First%20%E2%80%93%20BFFP%20100%202LP%20-%20A-B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho8lYfni1nanoPw49AeJaoLJLydRvSekwAJKcOz3qp0Ff4U7QnvC2t2oxumnVQQiBEcSk5FvGbtTXFVOX-mmJC2PsmS37kCefNXDYQIRKKR82M2iUPUiRr-OFwz3m9FOdupXNq6OToSl3OTwRsYTESeeQ8C30uWCokjuD69mAxndttjyDEqlKZhg2O/s2500/03%20-%20%20Disobey%20-%20B%20(back).jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho8lYfni1nanoPw49AeJaoLJLydRvSekwAJKcOz3qp0Ff4U7QnvC2t2oxumnVQQiBEcSk5FvGbtTXFVOX-mmJC2PsmS37kCefNXDYQIRKKR82M2iUPUiRr-OFwz3m9FOdupXNq6OToSl3OTwRsYTESeeQ8C30uWCokjuD69mAxndttjyDEqlKZhg2O/w400-h400/03%20-%20%20Disobey%20-%20B%20(back).jpg" width="400" /></a></div><p></p><span style="font-family: inherit;">Label: Blast First – BFFP 100 2LP</span><div><span style="font-family: inherit;">Format: 2 x Vinyl, Album, Deluxe Limited Edition / Country: UK / ℗ + © Blast First<br />Released: 1994 / Re-2000<br />Style: Free Jazz, Free Improvisation<br />Recorded 23 March 1994 at "Disobey", Upstairs At The Garage, Highbury. London<br />Artwork – Slim Smith<br />Painting – Carlo Zinelli<br />Photography By – Bleddyn Butcher<br />Recorded By – R. Haswell<br />Mixed By – Paul Kendall<br />Written-By – The Charles Gayle Trio<br />Matrix / Runout (Side A, Hand etched): BFFP 100 2LP - A1 K III F<br />Matrix / Runout (Side B, Hand etched): BFFP 100 2LP - B1 K III FX<br />Matrix / Runout (Side C, Hand etched): BFFP 100 2LP - C1 K III H<br />Matrix / Runout (Side D, Hand etched): BFFP 100 2LP - D1 K III F<br />Through a special agreement with "The Wire" magazine in a limited edition of 500 copies.</span></div><div><span style="font-family: inherit;"><br /></span></div><span style="font-family: inherit;"><span style="color: #e06666;">side 1 </span><br />A - <span style="color: #f6b26b;">Holy Faith</span> .......................................................................................................... 17:50 <br /><br />side 2 <br />B1 - <span style="color: #f6b26b;">Holy Faith </span>(continued) ....................................................................................... 5:35 <br />B2 - <span style="color: #f6b26b;">Psalm Prayer</span> ................................................................................................... 11:50 <br /><br />side 3 <br />C - <span style="color: #e06666;">Hymn Of Redemption</span> ....................................................................................... 16:05 <br /><br /><span style="color: #f6b26b;">side 4 </span><br />D - <span style="color: #e06666;">Hymn Of Redemption </span>(continued) .................................................................... 16:20 <br /><br /></span><div><span style="font-family: inherit;"><span style="color: #f6b26b;">Personnel: </span><br />CHARLES GAYLE – tenor saxophone / bass clarinet / voice <br />HILLIARD GREEN – bass / voice <br />MICHAEL WIMBERLEY – drums / percussion</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOTosHVgfd6Xuis5f-m0jcAlhaTSXS1i7iaEqR1uOcIwkNUOSGPqxNfph-i4J-a8o8mUYz8_qL0WU_4eVO2zE6LHMfMlfuTWHj9rOvM9MKHSHZFGnh0gvGJk5teNGvRgFnh5MsUUA-6uQ4FLA5hK7bCxyoeMmzPZK_JQ6OE197DGn2FVMhnCBrZ5zY/s1720/10%20-%20Blast%20First%20%E2%80%93%20BFFP%20100%202LP%20-%20C-D.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOTosHVgfd6Xuis5f-m0jcAlhaTSXS1i7iaEqR1uOcIwkNUOSGPqxNfph-i4J-a8o8mUYz8_qL0WU_4eVO2zE6LHMfMlfuTWHj9rOvM9MKHSHZFGnh0gvGJk5teNGvRgFnh5MsUUA-6uQ4FLA5hK7bCxyoeMmzPZK_JQ6OE197DGn2FVMhnCBrZ5zY/w400-h200/10%20-%20Blast%20First%20%E2%80%93%20BFFP%20100%202LP%20-%20C-D.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcxXB3ZxLcbw9a1m6L8I6ZgdzWC2nDfheDp1nbvsW0I5_3qP3D39IqZ1UnjvsY5ecBKS9zmuOnsK_6fXcbbDbsh4T2VeSReMxuiTKTh-HtWyUgmY-p9CrK-brrWb3rqFIe3yMwoyvNS61Xsde_mNNE2PfCbMoLXB6dQA-CanJZq4zKM03Onl_xYVvf/s7600/18%20-%20inner%20-%20a-b-c%20++.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="7600" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcxXB3ZxLcbw9a1m6L8I6ZgdzWC2nDfheDp1nbvsW0I5_3qP3D39IqZ1UnjvsY5ecBKS9zmuOnsK_6fXcbbDbsh4T2VeSReMxuiTKTh-HtWyUgmY-p9CrK-brrWb3rqFIe3yMwoyvNS61Xsde_mNNE2PfCbMoLXB6dQA-CanJZq4zKM03Onl_xYVvf/w400-h131/18%20-%20inner%20-%20a-b-c%20++.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX1RL995uNHnETcCfMDwaY7IjUsKaeUKll-9x8BGaSdC0MITO5wXJx771nni91iU0CQi8CJHowF0psMI6hu997DAU4688XV8CjiYlU5mvot6IDeYaiNPAbpnzmqYZBiOw2od3pHJsM2h272MIUmd-gT7GrWVyUS2F42e1wGyrqHhhMVCwS3Uxl4QH6/s5051/17%20-%20inner%20-%20a-C%20+.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="5051" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX1RL995uNHnETcCfMDwaY7IjUsKaeUKll-9x8BGaSdC0MITO5wXJx771nni91iU0CQi8CJHowF0psMI6hu997DAU4688XV8CjiYlU5mvot6IDeYaiNPAbpnzmqYZBiOw2od3pHJsM2h272MIUmd-gT7GrWVyUS2F42e1wGyrqHhhMVCwS3Uxl4QH6/w400-h198/17%20-%20inner%20-%20a-C%20+.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div><span style="font-family: inherit;">You’ve probably heard about The Garage, a popular music venue in Highbury, London, still going on nowadays. For a few years in the mid 90’s, the room above The Garage hosted a smaller club-in-the-club kind of thing. It was called Disobey, and its emblem was a funny mock up of the Disney logo. Disobey was founded by Paul Smith, the man behind avant rock record label Blast First, and its events (usually more experimental than the shows hosted at The Garage) attracted a crowd of hip personalities ranging from Jarvis Cocker to Nick Cave and Brian Eno.</span></div><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdKP11uX3GoMq18Nlg9FHz15ks3YGaipLIwwmT0RySTVBLZiycqVw6DUeOcQrFmrXJCrSQF3rV3LIbiYOCHdwR-GDEqYEdNhniK1C_qLmr_9ykhHNWD9IYyvJtVfuqH_3ezG80FIYz35omUIieUgleqoP20C_LZMsm1B_DqwhsaCTQ_pCgsCLIboKd/s5051/15%20-%20inner%20-%20a-b.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="5051" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdKP11uX3GoMq18Nlg9FHz15ks3YGaipLIwwmT0RySTVBLZiycqVw6DUeOcQrFmrXJCrSQF3rV3LIbiYOCHdwR-GDEqYEdNhniK1C_qLmr_9ykhHNWD9IYyvJtVfuqH_3ezG80FIYz35omUIieUgleqoP20C_LZMsm1B_DqwhsaCTQ_pCgsCLIboKd/w400-h198/15%20-%20inner%20-%20a-b.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5h6C-0R6RkfYVt4oDcXy5ZpX0njdkS7xi26vV1bOoYIYhhGgDG5vZ-d-aSyHcJxpy-Mk6xGWnh_MJsbfZyZIAWMCxWZBELHSEG3fFmJzR5ROLWhZ9qpPzyrWm4vRGJfFsez1om7nrgOVZP2-fpCiPHgz_3Oodt0u8y5g1C78YV8xmXt5GZbL5cBPK/s7600/05%20-%20Cover%20-%20C-B-A.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="7600" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5h6C-0R6RkfYVt4oDcXy5ZpX0njdkS7xi26vV1bOoYIYhhGgDG5vZ-d-aSyHcJxpy-Mk6xGWnh_MJsbfZyZIAWMCxWZBELHSEG3fFmJzR5ROLWhZ9qpPzyrWm4vRGJfFsez1om7nrgOVZP2-fpCiPHgz_3Oodt0u8y5g1C78YV8xmXt5GZbL5cBPK/w400-h131/05%20-%20Cover%20-%20C-B-A.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho5qc_Z7Goggw10QozmX7_Vdj8zfcjL3gQI3C7UFGTo1FqAqA2CQ6DzNjXyD-TTof3wEuTIR1BMrzCqxwv3yrXgg2VlRjDR0YcS46sUcISnKbfq07hH79I3RxZt21dEbk5MZtu3aO5F3t9ZyrK8PmQGBRxuvBDBzp5wSl9lrZG723wCDL4Oiq1j_Ws/s5046/21%20-%20inner%20-%20A-c%20+.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="5046" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho5qc_Z7Goggw10QozmX7_Vdj8zfcjL3gQI3C7UFGTo1FqAqA2CQ6DzNjXyD-TTof3wEuTIR1BMrzCqxwv3yrXgg2VlRjDR0YcS46sUcISnKbfq07hH79I3RxZt21dEbk5MZtu3aO5F3t9ZyrK8PmQGBRxuvBDBzp5wSl9lrZG723wCDL4Oiq1j_Ws/w400-h199/21%20-%20inner%20-%20A-c%20+.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />That’s the environment where Charles Gayle recorded one of the best albums of his career. Aptly titled ‘Live At Disobey’, it sounds like the perfect companion to his free jazz masterpiece ‘Repent’: trio setting (though the rhythm section is Hilliard Green on bass and Michael Wimberley on drums here), same fury and intensity, extensively long tracks. Besides his usual tenor sax, Gayle sprinkles a little bit of bass clarinet again, but that doesn’t make much of a difference for the final result. If Gayle’s playing at his fiercest is your thing, look no further. Other than the obvious musical merits, ‘Live At Disobey’ is also pivotal because it marks the time Charles Gayle started to transcend the jazz scene and attract interest among the more open minded parts of the rock crowd, including features on a magazine like The Wire, which contributed to the release of cd (and later double LP) on a rock label like the aforementioned Blast First.</span></div><div><span style="font-family: inherit;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg9009OQ4bLbMGDYJjArnBTrT6tMe5ZY-xWPgMqgXjjyIBzSIeWaVpf_Xf2UIGKYB6oCGOKXSjcqq1Qz6MNDHPQL1czBbMyGiBK-EfFj6jdsaLybpBbwEaUm6TioFKPiMBtLCQvVlF9b3Hq742s85oHgh5eFh9aWS3qJCsXQL3QX2BmyDwMB9xwXbq/s5150/22%20-%20photoArt-1.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5150" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg9009OQ4bLbMGDYJjArnBTrT6tMe5ZY-xWPgMqgXjjyIBzSIeWaVpf_Xf2UIGKYB6oCGOKXSjcqq1Qz6MNDHPQL1czBbMyGiBK-EfFj6jdsaLybpBbwEaUm6TioFKPiMBtLCQvVlF9b3Hq742s85oHgh5eFh9aWS3qJCsXQL3QX2BmyDwMB9xwXbq/w400-h259/22%20-%20photoArt-1.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZDXK8tg4-AvF1dvMRGyHA6B6cLNhAoqq-Jwx8t639rr2kK1ev7A0HDeAXi7aVCdinrdFUuxi6vO7Jhgo3XsdMn-ejS87JE84uHx0SYat_C9Wr5Yjdk7Zjt2NiY9DseHY5FHxoByeErqcJ598m53BKsio1JuNl-ieVh-TPracz4Msk5h3-t7QQ3CMy/s5600/23%20-%20photoArt-2.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3348" data-original-width="5600" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZDXK8tg4-AvF1dvMRGyHA6B6cLNhAoqq-Jwx8t639rr2kK1ev7A0HDeAXi7aVCdinrdFUuxi6vO7Jhgo3XsdMn-ejS87JE84uHx0SYat_C9Wr5Yjdk7Zjt2NiY9DseHY5FHxoByeErqcJ598m53BKsio1JuNl-ieVh-TPracz4Msk5h3-t7QQ3CMy/w400-h239/23%20-%20photoArt-2.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ6E5bFTTtfPyynNEG4moZ9q4Xwbd2v6SPSX_MLQaes2yFVsTiY_kqpZha-ilcP2iBYqmeR_kTO6OH5MIJxz4Clvc4qQlHPeT4XZvxr95OB_MRrlMKJcNTq-XMn_ii4upCOpmygEFQTMOIeLcTmqo8skNydLRz1LIki2x62fqL5OkFOQVycwkwIELw/s5150/24%20-%20photoArt-3.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5150" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ6E5bFTTtfPyynNEG4moZ9q4Xwbd2v6SPSX_MLQaes2yFVsTiY_kqpZha-ilcP2iBYqmeR_kTO6OH5MIJxz4Clvc4qQlHPeT4XZvxr95OB_MRrlMKJcNTq-XMn_ii4upCOpmygEFQTMOIeLcTmqo8skNydLRz1LIki2x62fqL5OkFOQVycwkwIELw/w400-h259/24%20-%20photoArt-3.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /> No wonder this renewed interest in his music would soon lead to some other unexpected and interesting collaborations. <br /><br /><span style="color: #e06666;">Note: </span><br />The Garage, Highbury. London: <br />https://www.thegarage.london/live/ <br />https://www.thegarage.london/ <br />Address: 20-22 Highbury Corner, London, N5 1RD</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #ffe599; font-family: inherit;">If you find it, buy this album!</span> </div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com31tag:blogger.com,1999:blog-4966374046256089922.post-66732704464852486002022-08-05T23:21:00.000+02:002022-08-05T23:21:21.114+02:00DAVID S. WARE – Onecept (Rank & File - RFS 33-203 / AUM064-LP / 2LP-2011)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYdiFr2LSzGYU6ApfHKYzpA2qH6Zyrl5cxw_4rYPgE7C0-mXwfHP7eGJoio6j43snZ-A5yFVM3kkbBe1r1sQjeNWkHomyDmMtA7XNGM_ZIuXCVIy3g8E_ljb8blU2c3QkMgnoYBndVHnCMgAVW2Nl2eDZCm11kEPYWMqYfyCRkwquEbvfkBBtkzvlt/s2500/01%20-%20Onecept%20-%20A%20(front).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYdiFr2LSzGYU6ApfHKYzpA2qH6Zyrl5cxw_4rYPgE7C0-mXwfHP7eGJoio6j43snZ-A5yFVM3kkbBe1r1sQjeNWkHomyDmMtA7XNGM_ZIuXCVIy3g8E_ljb8blU2c3QkMgnoYBndVHnCMgAVW2Nl2eDZCm11kEPYWMqYfyCRkwquEbvfkBBtkzvlt/w400-h400/01%20-%20Onecept%20-%20A%20(front).jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPaNln5uLm-z-vJQ1ZvaoIj9B9OEqkRd0TllXZsEzMPH1cnplX3JJq65_UIZOMNqPshFnWXXaE810aeXr40QZ_XtP3KipcqCaTFZAHWYedu7skuH2Kn2GaZUS_4XrdEVbWSHELyXbBh4x3ObMcJKgSycwQqdUSTCikVnwwI0toaDqAM2Ge--xlCHxg/s1720/02%20-%20RFS%2033-203%20-%20A-B.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPaNln5uLm-z-vJQ1ZvaoIj9B9OEqkRd0TllXZsEzMPH1cnplX3JJq65_UIZOMNqPshFnWXXaE810aeXr40QZ_XtP3KipcqCaTFZAHWYedu7skuH2Kn2GaZUS_4XrdEVbWSHELyXbBh4x3ObMcJKgSycwQqdUSTCikVnwwI0toaDqAM2Ge--xlCHxg/w400-h200/02%20-%20RFS%2033-203%20-%20A-B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7HQa29tEHufQGyMb2vEltXBnC-47Wv77VbRNTpy2En7gTFAdmSXXpx_Xe7V0Cu14ypzteMi4UM_i8jv1-VzQS-MXN31uSzwxuOopkMSBUqRGdWklG1jFCU2dBPEdU_ZeKGSc8Mex9kxvW8mDfQTOPujhsZqyBuD0OYvzuuS19vzGbHoDreG4Grwql/s2500/03%20-%20Onecept%20-%20B%20(back).jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7HQa29tEHufQGyMb2vEltXBnC-47Wv77VbRNTpy2En7gTFAdmSXXpx_Xe7V0Cu14ypzteMi4UM_i8jv1-VzQS-MXN31uSzwxuOopkMSBUqRGdWklG1jFCU2dBPEdU_ZeKGSc8Mex9kxvW8mDfQTOPujhsZqyBuD0OYvzuuS19vzGbHoDreG4Grwql/w400-h400/03%20-%20Onecept%20-%20B%20(back).jpg" width="400" /></a></div><br /><span style="font-family: inherit;">Label: Rank And File – RFS 33-203 / Aum Fidelity – AUM064-LP <br />Format: 2 x Vinyl, LP, Album, Limited Edition, Gatefold <br />Country: Germany / Released: 2011 <br />Style: Free Jazz, Avant-garde Jazz <br />Recorded live (December 2, 2009) in '3D Sound' at Systems Two Studio, Brooklyn, NY. <br />Pressed By – A to Z Media <br />Artwork [Cover] – Richard Cohen <br />Design, Layout – Ming@409 <br />Photography By [Session Photography] – John Rogers <br />Recorded By, Mixed By, Mastered By – Michael Marciano <br />Producer [Produced By] – David S. Ware, Steven Joerg <br />Liner Notes – Steven Joerg <br />Composed By – Ware / Smith / Parker <br />Published By – Gandharvasphere/ Daswa <br />Matrix / Runout (Side A): RFS 33-203 - A / AUM064-LP A <br />Matrix / Runout (Side B): RFS 33-203 - B / AUM064-LP B <br /><br /><span style="color: #e06666;">side 1 </span><br />A1 - <span style="color: #f6b26b;">Book Of Krittika</span> ................................................................................................ 7:53 <br />A2 - <span style="color: #f6b26b;">Wheel Of Life</span> ................................................................................................... 6:31 <br />A3 - <span style="color: #f6b26b;">Celestial</span> ........................................................................................................... 6:24 <br /><br /><span style="color: #f6b26b;">side 2 </span><br /><span style="color: #e06666;">B1</span> - Desire Worlds .................................................................................................. <span style="color: #e06666;">6:56 </span><br /><span style="color: #e06666;">B2</span> - Astral Earth .................................................................................................... <span style="color: #e06666;">14:54 </span><br /><br /><span style="color: #e06666;">side 3 </span><br />C1 - <span style="color: #f6b26b;">Savaka</span> ............................................................................................................ 4:35 <br />C2 - <span style="color: #f6b26b;">Bardo</span> ............................................................................................................... 6:43 <br />C3 - <span style="color: #f6b26b;">Anagami</span> .......................................................................................................... 6:50 <br /><br /><span style="color: #f6b26b;">side 4 </span><br /><span style="color: #e06666;">D1</span> - Vata ................................................................................................................. <span style="color: #e06666;">4:27 </span><br /><span style="color: #e06666;">D2</span> - Virtue ............................................................................................................... <span style="color: #e06666;">6:47 </span><br /><span style="color: #e06666;">D3</span> - Gnavah ............................................................................................................ <span style="color: #e06666;">9:06 </span><br /><br /><span style="color: #f6b26b;">Personnel: </span><br />DAVID S. WARE – tenor sax (A2,A3,C2,D3), stritch (A1,B2,C3), saxello (B1,C1,D1,D2) <br />WILLIAM PARKER – double bass <br />WARREN SMITH – drums / tympani / percussion <br /><br />Under exclusive license from AUM Fidelity this alpha omega 2xLP edition of 500 produced by rank & file / AUM / ℗+© 2011 <br />Vinyl edition features two exclusive bonus tracks (D2/D3) from Onecept session unavailable elsewhere.</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxsqYQBB0-OikJNK-DSkrbiGseH3KPbNbOCrRi9fOdMHLCm82MgoRId8kCcUZ437Eyly8-8lEuCpt1dCijjMgoRDXvdOokwU8OZnZE2-UAkK1YrM4DT3-xkjMZOq6VPUZla09BmuOuqM7yrvakLi7shfayDwr0kRkj8Kwt6bSM3hamE5NetpljCizR/s5050/05%20-%20inner%20-%20a-b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="5050" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxsqYQBB0-OikJNK-DSkrbiGseH3KPbNbOCrRi9fOdMHLCm82MgoRId8kCcUZ437Eyly8-8lEuCpt1dCijjMgoRDXvdOokwU8OZnZE2-UAkK1YrM4DT3-xkjMZOq6VPUZla09BmuOuqM7yrvakLi7shfayDwr0kRkj8Kwt6bSM3hamE5NetpljCizR/w400-h198/05%20-%20inner%20-%20a-b.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_pvzrRiyDTfjo4LcNAQguWzRa0XYVTye9z88UuizJh0ZsIVB0ovngXeez3sKxBztoeePqmiuA4Qwzfh5c59rialFA-jfOLCEAhB6CWuIJhyUmvDvLAQppsVKF0sfJHv455jz7_v-zd3yS6A5cNvT-w78PzTLMzjEC9r3cJvNdPEIKtu_rYYcjM-Nx/s1720/04%20-%20RFS%2033-203%20-%20C-D.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_pvzrRiyDTfjo4LcNAQguWzRa0XYVTye9z88UuizJh0ZsIVB0ovngXeez3sKxBztoeePqmiuA4Qwzfh5c59rialFA-jfOLCEAhB6CWuIJhyUmvDvLAQppsVKF0sfJHv455jz7_v-zd3yS6A5cNvT-w78PzTLMzjEC9r3cJvNdPEIKtu_rYYcjM-Nx/w400-h200/04%20-%20RFS%2033-203%20-%20C-D.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />David S. Ware's Onecept was recorded to celebrate his 50th year of playing saxophone; the sessions took place a year after the session's initially planned recording date due to his undergoing a kidney transplant. It follows Saturnian, the 2009 album of a completely improvised solo concert that Ware played using his tenor, a stritch, and a saxello. Those horns are present here too, and like that live date, this studio session is completely improvised on the spot with no previous rehearsal with bassist William Parker and drummer Warren Smith. It marks the first time in his career he's recorded this way.Ware introduces the date with "Book of Krittika" unaccompanied for 53 seconds before Parker enters playing arco elegantly, as Smith employs a timpani, playing sparely, quietly, before bringing a cymbal into play. This is truly free jazz, spontaneous, collectively envisioned, and played with an integrity of spirit that is almost entirely free of overindulgence. On "Celestial" and "Bardo," Ware searches for something out of earshot of the other players momentarily. The rhythm section, rather than trying to fill in the gap in that understanding, simply begins to react to the way his soloing develops, then articulates what he eventually finds. Smith in particular does an outstanding job of finding a place not behind but between Ware and Parker, adjusting his idea flow, and extending it into dialogue. Force, momentum, and dynamic shift around that collectively new voice and something is born into a previously unimagined sound. "Astral Earth" is an extended blues meditation with Ware on stritch where everything is in perfect balance; it's the most beautiful thing here. He begins "Desire Worlds" with an insistent flurry of notes on saxello that is not furious, but busy. Parker adds ballast by bowing a series of deep-register phrases that underscore the frenetic speech; because of the repetitive nature of his playing, he anchors it in mantra-like articulation. Smith finds accent points at the expulsion of Ware's breath, and then uses his notes not to fill, but to push the conversation further in that direction. This is the beauty in this kind of improvisation, when it works as it does here. Far from being a mere blowing session, it is instead a listening session, where everything centers around what these players hear individually and collectively.</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8xpF6xub46I6XPi1bp8ay6LPXEp7KpzZmgDUBL1l0edHsUGf4-9O3vNlzYI_VqwAMY_uPodt-4XLfBjfqf__Vmq3WDb0FR009dH7DT6UYEZj5pQc15RHZaC_HM5S79hhG7HP8RtDzxZOC3RZVB4MFMBD5q5O2ok84ITPFdZ0Rv2B2Yd3Mh1_tDhOL/s5150/18%20-%20photoArt-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5150" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8xpF6xub46I6XPi1bp8ay6LPXEp7KpzZmgDUBL1l0edHsUGf4-9O3vNlzYI_VqwAMY_uPodt-4XLfBjfqf__Vmq3WDb0FR009dH7DT6UYEZj5pQc15RHZaC_HM5S79hhG7HP8RtDzxZOC3RZVB4MFMBD5q5O2ok84ITPFdZ0Rv2B2Yd3Mh1_tDhOL/w400-h259/18%20-%20photoArt-1.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUHlRrmL7B38xfOa4ZMdx7CeT-FVvwUITiZx7dIUGcVNBht1PfvvJtuDtPmD_t0fvH7E0h4m6gh6oWdtdUncj6GkuT6ziKgJf0CPRct9wTAQAmQmn-zEHAB1U9lyVPPR2IE-rOzFHf10hD3AsOVjqWju-DTmQQ-wjJ7RfezczY_YVC-8bjANE63y1Y/s5600/19%20-%20photoArt-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3348" data-original-width="5600" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUHlRrmL7B38xfOa4ZMdx7CeT-FVvwUITiZx7dIUGcVNBht1PfvvJtuDtPmD_t0fvH7E0h4m6gh6oWdtdUncj6GkuT6ziKgJf0CPRct9wTAQAmQmn-zEHAB1U9lyVPPR2IE-rOzFHf10hD3AsOVjqWju-DTmQQ-wjJ7RfezczY_YVC-8bjANE63y1Y/w400-h239/19%20-%20photoArt-2.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd78PoLhIXI0oSr3HAayS4r6H6u64v345TdyOntas4jOSsCCpIJ5mq8nIdjhnRwNurr7zXrux8CTYSBLNGxNWabFbnKvvm_S7IeAaZxjMjghMHlTHLAQMyb5F_dn4YT6XUCXdnOcQ3ObXgZc3qMoJIybUnJuU2QDDffl_BUdnpOYD_ihM5s-xys_Ho/s5150/20%20-%20photoArt-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5150" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd78PoLhIXI0oSr3HAayS4r6H6u64v345TdyOntas4jOSsCCpIJ5mq8nIdjhnRwNurr7zXrux8CTYSBLNGxNWabFbnKvvm_S7IeAaZxjMjghMHlTHLAQMyb5F_dn4YT6XUCXdnOcQ3ObXgZc3qMoJIybUnJuU2QDDffl_BUdnpOYD_ihM5s-xys_Ho/w400-h259/20%20-%20photoArt-3.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />Certainly there are moments when the dialogue gets a little bottlenecked, but it frees itself with movement and space rather than just force. Ware's development as a player is no longer reliant on his physicality -- though he still possesses it in abundance. Rather, it's his centering on that collective voice, which offers so many dimensions and textures to explore, where he expresses his creativity and mastery of his horns. Onecept is an exciting next step in Ware's musical evolution. <br /><br /><span style="color: #e06666;"> (By Thom Jurek)</span></span><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #ffe599; font-family: inherit;">If you find it, buy this album!</span></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com25tag:blogger.com,1999:blog-4966374046256089922.post-41512003890175840122022-08-05T23:20:00.000+02:002022-08-05T23:20:32.238+02:00DAVID S. WARE TRIO – Live In New York 2010 (Private / DSW ARC03 – 3LP)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBkHksfv8zVNL4DgkOrFWeTlP8pnoK9hhE45wlJgpQmgyxndlPchEFFuyZSIsDGvMMpmEu7Neli0AsbH62nbv4hQVN8WFleQZwWFQHB53f9ioGjIz4jU-Kz9OrJxAEw050_D1CGB-s6tCuxjD9wvKoQrrVNK8oSIcWn_2G7LvBiWorZKj_sYKvFvQh/s2500/01%20-%20A%20(front)%20deluxe%20edition.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBkHksfv8zVNL4DgkOrFWeTlP8pnoK9hhE45wlJgpQmgyxndlPchEFFuyZSIsDGvMMpmEu7Neli0AsbH62nbv4hQVN8WFleQZwWFQHB53f9ioGjIz4jU-Kz9OrJxAEw050_D1CGB-s6tCuxjD9wvKoQrrVNK8oSIcWn_2G7LvBiWorZKj_sYKvFvQh/w400-h400/01%20-%20A%20(front)%20deluxe%20edition.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS1y06pAT3t1Y2b1qWP-f94uFKjsUCuucvbN-niBGdJtA0SR2tSeWtqS05HoB9DSP0Xd4xPnRTOC-aG1XopmSDT6ncjFMUOCvAuufFFDfxtrt86z1QpnEhH5sXlXhHzoZneurzlpfztEyDshTSi2w5R0-tvB5LpSVrgDU8jDLDwF1EuzbX1Q9ptT1V/s1720/02%20-%20AUM%20102%20%E2%80%93%2001%20-%20A-B.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS1y06pAT3t1Y2b1qWP-f94uFKjsUCuucvbN-niBGdJtA0SR2tSeWtqS05HoB9DSP0Xd4xPnRTOC-aG1XopmSDT6ncjFMUOCvAuufFFDfxtrt86z1QpnEhH5sXlXhHzoZneurzlpfztEyDshTSi2w5R0-tvB5LpSVrgDU8jDLDwF1EuzbX1Q9ptT1V/w400-h200/02%20-%20AUM%20102%20%E2%80%93%2001%20-%20A-B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo1rTN_9xUQvofmlWJodTDWIlx0FkP4Ga-NfyCDOwjj4iu4vESCiclyOo36evV99QZAmvOp7LnIJfex6vf-heDMV_F-phXo2lz3TwVK5s41Cpndwk-eGlGtt9qymg-Zdhjybpi0vOb98JSnVQcGAsX3DwAtrev_Z6HvQtz3QVd32gv_gDAc2YL6UzQ/s2500/03%20-%20B%20(back)%20deluxe%20edition.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo1rTN_9xUQvofmlWJodTDWIlx0FkP4Ga-NfyCDOwjj4iu4vESCiclyOo36evV99QZAmvOp7LnIJfex6vf-heDMV_F-phXo2lz3TwVK5s41Cpndwk-eGlGtt9qymg-Zdhjybpi0vOb98JSnVQcGAsX3DwAtrev_Z6HvQtz3QVd32gv_gDAc2YL6UzQ/w400-h400/03%20-%20B%20(back)%20deluxe%20edition.jpg" width="400" /></a></div><br /><span style="font-family: inherit;">Label: Private Press / Unofficial Release / AUM102/103/104-3LP <br />Series: David S. Ware Archive Series – DSW ARC03 <br />Format: 3 x Vinyl, Album / Country: Switzerland / Deluxe Limited Edition <br />Style: Free Jazz, Free Improvisation <br />Recorded live in performance at the Blue Note, NYC on the night of October 4, 2010. <br />Artwork – Jeff Schlanger <br />Multi-track recording by Jimmy Katz <br />Mixed with & final mastering by Michael Marciano at Systems Two Studios, Brooklyn, NYC <br />Produced by Steven Joerg <br />All compositions by David S. Ware with William Parker & Warren Smith <br />© Gandharvasphere/Daswa <br />Matrix / Runout (LP-1, side A): </span>DSW ARC03 <span style="font-family: inherit;">Private AUM102 – 01 <br />Matrix / Runout (LP-1, side B): </span>DSW ARC03 <span style="font-family: inherit;">Private AUM102 – 01 <br />Matrix / Runout (LP-2, side C): </span>DSW ARC03 <span style="font-family: inherit;">Private AUM103 – 02 <br />Matrix / Runout (LP-2, side D): </span>DSW ARC03 <span style="font-family: inherit;">Private AUM103 – 02 <br />Matrix / Runout (LP-3, side E): </span>DSW ARC03 <span style="font-family: inherit;">Private AUM104 – 03 <br />Matrix / Runout (LP-3, side F): </span>DSW ARC03 <span style="font-family: inherit;">Private AUM104 – 03 <br /><br /><span style="color: #e06666;">side 1</span> <span style="color: #f6b26b;">SET ONE</span><br />A - 1-A ...................................................................................................................... 15:41 <br /><br /></span><div><span style="font-family: inherit;"><span style="color: #e06666;">side 2</span><br />B1 - 1-B ................................................................................................................... 14:27 <br />B2 - 1-C ..................................................................................................................... 6:42 <br /><br /></span></div><div><span style="font-family: inherit;"><span style="color: #f6b26b;">side 3</span><br />C - 2-A ..................................................................................................................... 17:40 <br /><br /></span></div><div><span style="font-family: inherit;"><span style="color: #f6b26b;">side 4</span><br />D1 - 2-B ..................................................................................................................... 9:04 <br /> <span style="color: #f6b26b;">SET TWO</span><br />D2 - 3 ...................................................................................................................... 14:47 <br /><br /></span></div><div><span style="font-family: inherit;"><span style="color: #e06666;">side 5</span><br />E1 - 4-A ................................................................................................................... 14:40 <br />E2 - 4-B ..................................................................................................................... 3:58 <br />E3 - 4-C .................................................................................................................... 5:25</span><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><span style="color: #e06666;">side 6</span><br />F1 - 5 ....................................................................................................................... 10:21 <br />F2 - 6-A ..................................................................................................................... 8:38 <br />F3 - 6-B ..................................................................................................................... 8:40</span></div><br /><span style="color: #f6b26b;">Personnel: </span><br />DAVID S. WARE – alto saxophone [stritch] / tenor saxophone <br />WILLIAM PARKER – acoustic bass <br />WARREN SMITH – drums / percussion</div><div><br /><div><span style="font-family: inherit;">''The fluency and fluidity with which he rapidly unspools ideas is startling. Whether alone or joined by Parker and Smith, Ware unfurls long expository statements with virtuosity and a mastery over phrasing, rhythm, and accent in ways that are exemplified by literary giants such as Thomas Pynchon. Breathtaking.'' – Point of Departure</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdgeNMbF0nm8rZRa1uvdAPuFfdDbgrwAY1JSi6sdOgQ-X8Yuvfy80E_fugrAzLfVZlnKkOQaJpIGKTSSSL7RRDwTrI7OWR8Dt6-s43nn3EFUF6KClhOOJ1g3jc42DDjrwtjYPuBDqIwrxbHngwzByXATrjZFIpsaux59XDF9tHGbFjkCkf5l4Szfgd/s1720/08%20-%20AUM%20103%20%E2%80%93%2002%20-%20C-D.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdgeNMbF0nm8rZRa1uvdAPuFfdDbgrwAY1JSi6sdOgQ-X8Yuvfy80E_fugrAzLfVZlnKkOQaJpIGKTSSSL7RRDwTrI7OWR8Dt6-s43nn3EFUF6KClhOOJ1g3jc42DDjrwtjYPuBDqIwrxbHngwzByXATrjZFIpsaux59XDF9tHGbFjkCkf5l4Szfgd/w400-h200/08%20-%20AUM%20103%20%E2%80%93%2002%20-%20C-D.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEB5fe22VMiv9xmWolzNCZv-xH1pogIibWBIMg0wRX3I2tXF-_crFAC294rt5TMPpO6x6ovIml1_i07hwvOQsHNsSWwGBQIiCHTWgmrlBDl1F9ZcaQZuAR5ILazbTefF2tYa3nR-tG4KkItlAm7WhJvekXN34Ksru1ZDYbiPo-CdHWVPr3yCZ4GuZu/s7600/05%20-%20Cover%20-%20C-B-A.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="7600" height="131" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiEB5fe22VMiv9xmWolzNCZv-xH1pogIibWBIMg0wRX3I2tXF-_crFAC294rt5TMPpO6x6ovIml1_i07hwvOQsHNsSWwGBQIiCHTWgmrlBDl1F9ZcaQZuAR5ILazbTefF2tYa3nR-tG4KkItlAm7WhJvekXN34Ksru1ZDYbiPo-CdHWVPr3yCZ4GuZu/w400-h131/05%20-%20Cover%20-%20C-B-A.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />Live in New York, 2010 presents a tremendous one-night engagement by saxophone colossus David S. Ware and his latter day Trio in an intimate club setting – the Blue Note on October 4, 2010. With his perennially steadfast musical partner William Parker on bass, and equally incomparable Warren Smith on drums, they were celebrating the recent release of the studio album, Onecept. Having played an electrifying set at Vision Festival in June, this extended night in October was the third and final magnificent time on which this trio convened. <br />The two hour+ sets, with repast in-between, allowed him and group to inhabit the space; afforded more time to stretch out and breathe with the music. As Ware was exclusively dealing with spontaneous forms during this period in his creative life, the six extended suites here were newly created on that night. None of these fantastic multi-track recordings have been previously released.</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdXYm4EUkHkGOZVmBctwZIRSkdOqcYQlCY3Pz8yPvWkM9Egu0i4rqvyjX5NoMcI2ae-RGm70y4IVJuxFDdPUnmJkLnaAsNXodIw075Ad9nLwwmWQYrT2xndL_NDAZWmrH7iFY7rgpXVGckQjcs-kWLjBRJwJKGqTmSS8q5yR9IPdCncxR_3sThLD_x/s1720/11%20-%20AUM%20104%20%E2%80%93%2003%20-%20E-F.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdXYm4EUkHkGOZVmBctwZIRSkdOqcYQlCY3Pz8yPvWkM9Egu0i4rqvyjX5NoMcI2ae-RGm70y4IVJuxFDdPUnmJkLnaAsNXodIw075Ad9nLwwmWQYrT2xndL_NDAZWmrH7iFY7rgpXVGckQjcs-kWLjBRJwJKGqTmSS8q5yR9IPdCncxR_3sThLD_x/w400-h200/11%20-%20AUM%20104%20%E2%80%93%2003%20-%20E-F.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf_ik3TbK9tsGZ6yZGUqnWwNRUHA8YOmPBPYbmXFV-BBjK8EzH9eYpuN2pOr4GTh4W6ijEb8BVLq42zIwO85lT4yCGoVbAchbsxj5aGiYMUKZd2wz-7AYccTsKuFQg3WwEwMQkPwnLC1B0EWSASGHY4UpIUNb-aWdqdFEI_bzthc2Bd6d_P9g9hq-k/s5099/16%20-%20(fold)%20-%20A-c%20(innner)%20+.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="5099" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf_ik3TbK9tsGZ6yZGUqnWwNRUHA8YOmPBPYbmXFV-BBjK8EzH9eYpuN2pOr4GTh4W6ijEb8BVLq42zIwO85lT4yCGoVbAchbsxj5aGiYMUKZd2wz-7AYccTsKuFQg3WwEwMQkPwnLC1B0EWSASGHY4UpIUNb-aWdqdFEI_bzthc2Bd6d_P9g9hq-k/w400-h196/16%20-%20(fold)%20-%20A-c%20(innner)%20+.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcvjQyPkGC3Q5UsOhTHqbojtmzrEZEw2VgU9-waS_xpvhRLkO2GAhW_6W5dTqkWuxUa1m8e08Eh7ZgfPRc3xSUYGeIJX7KiV4u5GwW7vVc_MIGhM7z4MCz4oNykR35Sf1jgcctFdi_A6CtP35YjZvYv9pSgAiHBlqdL0QPdKwHK-EzafS9oixPWmrT/s5090/18%20-%20inner%20(fold)%20-%20a-C%20+.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="5090" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcvjQyPkGC3Q5UsOhTHqbojtmzrEZEw2VgU9-waS_xpvhRLkO2GAhW_6W5dTqkWuxUa1m8e08Eh7ZgfPRc3xSUYGeIJX7KiV4u5GwW7vVc_MIGhM7z4MCz4oNykR35Sf1jgcctFdi_A6CtP35YjZvYv9pSgAiHBlqdL0QPdKwHK-EzafS9oixPWmrT/w400-h196/18%20-%20inner%20(fold)%20-%20a-C%20+.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />The more highly distinctive aspect of this performance was Ware’s use of his Beuscher straight alto saxophone, or stritch, which features on four of the six pieces. While compositions featuring this instrument appear on three albums recorded & released in the last years before his passing, this recording is by a great measure the most extensive documentation that exists of David S. Ware on alto. Further to his absolute command & control, he brought forth Middle & Far Eastern sonorities on the instrument, which served his modus operandi of music as a transcendental experience very well indeed. The final pieces of each set here feature him on his trademark tenor sax, upon which he earned–and then some–his status as a saxophone colossus.</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUfqQUpIgn_fvykpZUghDacuIC0OPYFmPyhCdtAU1j5pF5gyMAlaekDoLJ7nza7DC0Qs3j7zQg0pl8tjOI2RdkfSZer-b9bmFkizLPweHIBvnBaqD-fmQxZBF9CicO3ytTDNumBaAn9ukdO5ca0FRzWbZeFf0jxkMKErmxjXSYf1XG84IKHUmo4a4a/s5150/19%20-%20photoArt-1.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5150" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUfqQUpIgn_fvykpZUghDacuIC0OPYFmPyhCdtAU1j5pF5gyMAlaekDoLJ7nza7DC0Qs3j7zQg0pl8tjOI2RdkfSZer-b9bmFkizLPweHIBvnBaqD-fmQxZBF9CicO3ytTDNumBaAn9ukdO5ca0FRzWbZeFf0jxkMKErmxjXSYf1XG84IKHUmo4a4a/w400-h259/19%20-%20photoArt-1.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdlKm8qMZLue6xpYuPHrl5W3H-bUxjhFp4Wm7GCEfirnc9csrfoJIfKnFU25enNbB2JroJiJ45UH2zlQI9DxEaMuqIVQpE1b0F9QBf-tYzi5WlpmUO59O-1rtcmYk7XNnJVMqTmhtAG2sOlp5ydjNpqChm6-atQTyCEHYaq5r8PPa6kB4NV8Ij6jDR/s5600/20%20-%20photoArt-2.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3348" data-original-width="5600" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdlKm8qMZLue6xpYuPHrl5W3H-bUxjhFp4Wm7GCEfirnc9csrfoJIfKnFU25enNbB2JroJiJ45UH2zlQI9DxEaMuqIVQpE1b0F9QBf-tYzi5WlpmUO59O-1rtcmYk7XNnJVMqTmhtAG2sOlp5ydjNpqChm6-atQTyCEHYaq5r8PPa6kB4NV8Ij6jDR/w400-h239/20%20-%20photoArt-2.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI6_zx1ocpzSe7iyd3tHj2cMCzadAACCFgeqd8g67_yF9Rv9QpriLpEK3lJLLsJr5TLGg0cOToRSVsuktPNKNutGLi3Kn1DUtOlE93UZOCAdZLIF4Ovk6xhFtAs0knpKQ_aVaT9HGM3vU1ApTCSDCSI3h6dMFvvRVOmrkTV0O-TCCY4OzSrJVuAxp5/s5150/21%20-%20photoArt-3.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5150" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI6_zx1ocpzSe7iyd3tHj2cMCzadAACCFgeqd8g67_yF9Rv9QpriLpEK3lJLLsJr5TLGg0cOToRSVsuktPNKNutGLi3Kn1DUtOlE93UZOCAdZLIF4Ovk6xhFtAs0knpKQ_aVaT9HGM3vU1ApTCSDCSI3h6dMFvvRVOmrkTV0O-TCCY4OzSrJVuAxp5/w400-h259/21%20-%20photoArt-3.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />This is the third edition in the David S. Ware Archive Series, preceded by the Birth of a Being (Expanded) set and the Live in Sant’Anna Arresi, 2004 duo with Matthew Shipp. This set is a musical treat for those who are already fans of his work, and a bountifully potent entry point for new converts. <br /><br /><span style="color: #e06666;">A note on the track titles: </span><br />During this last phase of his creative arc, David would give titles to compositions after listening to final mixes of the recordings thereof. In his absence, AUM did not take latitude to do so, beyond the elemental.</span><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #ffe599; font-family: inherit;">If you find it, buy this album!</span></div></div></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com25tag:blogger.com,1999:blog-4966374046256089922.post-67832020645585279652022-01-27T00:06:00.000+01:002022-01-27T00:06:47.655+01:00STEVE COLEMAN and FIVE ELEMENTS – Resistance Is Futile / Live (3LP-2005)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjb2r9mMSZMhyVJbBvLyoOLf9adG7rHZyPUeU-fVhJG6N8kuedaGKrOpS8tckoxrjDch3n05b4xZ4sCJW8u-3RUXHQ7XyjckJp07RNLwX0VCrdmOOc5ZI0WB9y_i32wufdHT76pjJ_zfH84zKKBw_u2j9JTC4OM8BSqnwVVtbfb_gGzuuaLoErbC9We=s2500" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEjb2r9mMSZMhyVJbBvLyoOLf9adG7rHZyPUeU-fVhJG6N8kuedaGKrOpS8tckoxrjDch3n05b4xZ4sCJW8u-3RUXHQ7XyjckJp07RNLwX0VCrdmOOc5ZI0WB9y_i32wufdHT76pjJ_zfH84zKKBw_u2j9JTC4OM8BSqnwVVtbfb_gGzuuaLoErbC9We=w400-h400" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjvP9uBQyPrE_KosRDupOGEZDvbompSWouv9tSj0Q84CzA8NHY2F2XJ51KCnKI43qDyQ2jDsTkmoZUwE-8JZC1WQDgFht3tWsQ5li9RtEvmD6CV7tOAD1awEGt2gIIhC-xJirZ8QBzyyDfqQVnSS8pGnSIpim4NtGTEEheFXLpCB6_PwxcB5_f_T4Do=s1720" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEjvP9uBQyPrE_KosRDupOGEZDvbompSWouv9tSj0Q84CzA8NHY2F2XJ51KCnKI43qDyQ2jDsTkmoZUwE-8JZC1WQDgFht3tWsQ5li9RtEvmD6CV7tOAD1awEGt2gIIhC-xJirZ8QBzyyDfqQVnSS8pGnSIpim4NtGTEEheFXLpCB6_PwxcB5_f_T4Do=w400-h200" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhUvQPY0lQf9UVXqoTKUpsCsFSQ8-hcjrYhHMenF4Lf2ivvV6-lf-kMDoHLj34JE2H5ry0fvtPlTb7Y8_TnFxLpZz3YhBPFd-_P43qCRLlrli46HqenMn5pGla641ianwUGwNW08UpdIcFJzQXuE8tfgFlKY-z1dxlc4MwbjTshbOHJPslf9BqrxqS5=s2500" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEhUvQPY0lQf9UVXqoTKUpsCsFSQ8-hcjrYhHMenF4Lf2ivvV6-lf-kMDoHLj34JE2H5ry0fvtPlTb7Y8_TnFxLpZz3YhBPFd-_P43qCRLlrli46HqenMn5pGla641ianwUGwNW08UpdIcFJzQXuE8tfgFlKY-z1dxlc4MwbjTshbOHJPslf9BqrxqS5=w400-h400" width="400" /></a></div><p></p><span style="font-family: inherit;">Label: Private Press / Unofficial Release / LBLC6643/44/45-3LP<br />Format: 3 x Vinyl, Album / Country: Switzerland / Released: 2001/Re-2005<br />Style: Experimental Jazz, Free Jazz<br />Live concert recordings made at Jam, Montpellier, France, July 12-13, 2001.<br />Mixed July/August 2001 (By – Joseph Marciano, Steve Coleman)<br />Mastered August 21, 2001 (By – Nicholas Prout)<br />Engineer – Hervé Martin, Vincent Mahey<br />Design – Jérôme Witz<br />Photography By – Guy Le Querrec<br />Producer – Steve Coleman<br />Co-producer [Assistant] – Geoffroy De Masure<br />Executive-Producer – Pierre Walfisz<br />Liner Notes – Steve Coleman<br />Matrix / Runout (LP-1, side A): Private LBLC6643 – 01<br />Matrix / Runout (LP-1, side B): Private LBLC6643 – 01b<br />Matrix / Runout (LP-2, side C): Private LBLC6644 – 02<br />Matrix / Runout (LP-2, side D): Private LBLC6644 – 02b<br />Matrix / Runout (LP-3, side E): Private LBLC6645 – 03<br />Matrix / Runout (LP-3, side F): Private LBLC6645 – 03b<br /><br /><b><span style="color: #f6b26b;">SET 1 - ABUNDANCE (FULLNESS)</span></b><br /><span style="color: #e06666;">side 1:</span><br />A1 - <span style="color: #f6b26b;">Wheel Of Nature</span> ............................................................................................ <span style="color: #e06666;">18:54</span><br />A2 - <span style="color: #f6b26b;">Beyond All We Know</span> ....................................................................................... <span style="color: #e06666;">6:05</span><br /><br /><span style="color: #e06666;">side 2:</span><br />B1 - <span style="color: #f6b26b;">9 To 5</span> ............................................................................................................ 14:42<br />B2 - <span style="color: #f6b26b;">Change The Guard</span> ......................................................................................... 8:57<br /><br /><span style="color: #e06666;">side 3:</span><br />C1 - Ah-Leu-Cha .................................................................................................... <span style="color: #f6b26b;">5:28</span><br />C2 - Law Of Balance / Figit Time ......................................................................... <span style="color: #f6b26b;">13:50</span><br /><br /><b><span style="color: #f6b26b;">SET 2 - THE WANDERER</span></b><br /><span style="color: #f6b26b;">side 4:</span><br />D1 - Resistance Is Futile (Limitation) ................................................................... <span style="color: #e06666;">15:14</span><br />D2 - Hits / Straight No Chaser ............................................................................... <span style="color: #e06666;">6:10</span><br />D3 - Pad Thai ......................................................................................................... <span style="color: #e06666;">2:55</span><br /><br /><span style="color: #f6b26b;">side 5:</span><br />E1 - <span style="color: #e06666;">Easy Living</span> ..................................................................................................... 7:15<br />E2 - <span style="color: #e06666;">Flint</span> ............................................................................................................... 12:25<br /><br /><span style="color: #f6b26b;">side 6:</span><br />F1 - <span style="color: #e06666;">Urban</span> .............................................................................................................. <span style="color: #f6b26b;">7:37</span><br />F2 - <span style="color: #e06666;">Straight Ahead</span> ................................................................................................ <span style="color: #f6b26b;">5:46</span><br />F3 - <span style="color: #e06666;">Reflex</span> ............................................................................................................ <span style="color: #f6b26b;">10:04</span><br /><br /><span style="color: #f6b26b;">Personnel:</span><br />Steve Coleman – alto saxophone, vocals<br />Jonathan Finlayson – trumpet<br />Ambrose Campbell-Akinmusire – trumpet<br />Andy Milne – piano, keyboards<br />Anthony Tidd – bass<br />Jesús Diaz – percussion, vocals<br />Sean Rickman – drums<br />Geoffroy DeMasure – trombone (guest)</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhzUgBetYdU3aHeDkumJ7DJE4SfnVEEGNsdVU56mj-onfHxAlvlmWxZI6_jyUhBuYKIw8Jkqnzt898bYgKm1GKUhd2ulmrZmuSAVsQu8V_muEQCDkjgqVvLlYJMxOLoi_2HFTBHJRkz-zRrKlFXg9XVZCS2xctnefIwW9mcWwyIJ4MP5e8NGmRm_8S0=s1720" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEhzUgBetYdU3aHeDkumJ7DJE4SfnVEEGNsdVU56mj-onfHxAlvlmWxZI6_jyUhBuYKIw8Jkqnzt898bYgKm1GKUhd2ulmrZmuSAVsQu8V_muEQCDkjgqVvLlYJMxOLoi_2HFTBHJRkz-zRrKlFXg9XVZCS2xctnefIwW9mcWwyIJ4MP5e8NGmRm_8S0=w400-h200" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgcOdl2VRCg0yI1BWcGi-bWITR4baifOC6OPVuXzwQQNR__nuPuPm-WSL9Uk_cROhqSkdZuYjo8piB2kGGTFDMXYQmSDy4w4J1-sGYTHCQ8cdjWbqt4LZdNLL1GlFy9jgYdybLbk3j6cGZQ2rlPnN57Q2Dnf9CNRCPW3xfIacqG19CFZwqZ7o3MUTnU=s2500" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEgcOdl2VRCg0yI1BWcGi-bWITR4baifOC6OPVuXzwQQNR__nuPuPm-WSL9Uk_cROhqSkdZuYjo8piB2kGGTFDMXYQmSDy4w4J1-sGYTHCQ8cdjWbqt4LZdNLL1GlFy9jgYdybLbk3j6cGZQ2rlPnN57Q2Dnf9CNRCPW3xfIacqG19CFZwqZ7o3MUTnU=w400-h400" width="400" /></span></a></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;">The high-concept recordings of saxophonist, composer, and bandleader Steve Coleman are often confrontational, always provocative, and thoroughly engaging. Still, one cannot help but feel that something gets lost in the translation process in the recording studio. This triple-LP live package, recorded in France in 2001 from two concerts, showcases the Five Elements at their most ambitious, yet subtle best.</span><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjo-0uQobsPQppdoEQZ6QYx9C3dQhKPCl4nCaD6mVcUBLPBflUZIfp04ZT4tGXSI3MBzc4dNOZrwEjVjL-LQ6v3OPjdssXpXNOWO8zOKQ05BAKTx73kAE98K6ZC9b9-CCg84YubSfZoceXXPnTwJGQ_duPRvujLKvwpGDv568HcMcVbwpstR-bpjo2_=s7570" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="7570" height="133" src="https://blogger.googleusercontent.com/img/a/AVvXsEjo-0uQobsPQppdoEQZ6QYx9C3dQhKPCl4nCaD6mVcUBLPBflUZIfp04ZT4tGXSI3MBzc4dNOZrwEjVjL-LQ6v3OPjdssXpXNOWO8zOKQ05BAKTx73kAE98K6ZC9b9-CCg84YubSfZoceXXPnTwJGQ_duPRvujLKvwpGDv568HcMcVbwpstR-bpjo2_=w400-h133" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiYj1SxzH8XqYFZeW41H3u4bbXQ3go8aR28qRD6ZCnUihKBCsExo8B3HgCxCHLCjYkk_wilLQ8U4FFv7h97o7Gp1Uj7RdDr5UVtafkDEzp_I8KeI_9idjh1mPdmAEOuOv284onDQ55nrsGELL4u4vhBvFhQKcI57ab5anNiPVW2yskPYgPSTW-YzFk2=s1720" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEiYj1SxzH8XqYFZeW41H3u4bbXQ3go8aR28qRD6ZCnUihKBCsExo8B3HgCxCHLCjYkk_wilLQ8U4FFv7h97o7Gp1Uj7RdDr5UVtafkDEzp_I8KeI_9idjh1mPdmAEOuOv284onDQ55nrsGELL4u4vhBvFhQKcI57ab5anNiPVW2yskPYgPSTW-YzFk2=w400-h200" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjp0fg_IYHFgeuW31vn1K2rs4EVgw5D5Kh7H8Qw-3b_yL9vgrxVxI-6AUCARJqv4mBAlO9jWzSVXPezk-YTdE6RMRsSIgbbQgjLFaejxkS3nTASiqTdEZwXOGROc5UqoHAlCWNscXP3D0hBnXcYG6_qEUZNLb4YdgSIUdWsKvuYqL4QeUCVzUFYrg2H=s7570" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="7570" height="133" src="https://blogger.googleusercontent.com/img/a/AVvXsEjp0fg_IYHFgeuW31vn1K2rs4EVgw5D5Kh7H8Qw-3b_yL9vgrxVxI-6AUCARJqv4mBAlO9jWzSVXPezk-YTdE6RMRsSIgbbQgjLFaejxkS3nTASiqTdEZwXOGROc5UqoHAlCWNscXP3D0hBnXcYG6_qEUZNLb4YdgSIUdWsKvuYqL4QeUCVzUFYrg2H=w400-h133" width="400" /></span></a></div><p><span style="font-family: inherit;">Coleman's lineup features trumpeters Jonathan Finlayson and Ambrose Akinmusire, pianist Andy Milne, Anthony Tidd on bass, Jesús Diaz on percussion, drummer Sean Rickman, and trombonist Geoffroy DeMasure. While it's true that most of these musicians are not well known, it's all for the better. Coleman's vision is pure, and the strengths of his collaborators shine through as part of the ensemble, according to plan. Set one is for the most part subdued and meditative, though there are moments of joyous, raucous energy that burst from the seams of the music, such as on "9 to 5," where a long, nearly classical opening is augmented by a Bulgarian dance band melodic line that gives way to a funky overdriven modal chart allowing the front-line players short solos that interchange at a rapid pace. Likewise, the cover of Mingus' "Ah-Leu-Cha" is saturated in deep, greasy blues and gutbucket funk. The way in which Coleman moves the band through the intervals in the bridge is simply stunning.</span></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEijxeqLAUW6-Q8_wDzz2FccFpzsNWXLES8U8IpeClUbmW4NNGqjPlBM8JqbLwuGn6aKSMk_RpwZfI0Nkd7muWG90v0kUcwoXQ5R2J9laLfPZtHyy0KMpF_VTHIWlf4aoslp0AubUCGFkO0XwU9bTP8-7m0-pbRecpi_YEemrc0Ju5ngY00si9kCpOYa=s5000" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5000" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEijxeqLAUW6-Q8_wDzz2FccFpzsNWXLES8U8IpeClUbmW4NNGqjPlBM8JqbLwuGn6aKSMk_RpwZfI0Nkd7muWG90v0kUcwoXQ5R2J9laLfPZtHyy0KMpF_VTHIWlf4aoslp0AubUCGFkO0XwU9bTP8-7m0-pbRecpi_YEemrc0Ju5ngY00si9kCpOYa=w400-h266" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgDxK9dSmHMSM2dNwmTzxAiwugzTZUa1tVQGjFQ1wtCMmHCCdF-1N7eN87twjJrxTASoajMATyW-hKEmTdyHWipX6ZkpwWLTdd95mE-Mv05U5yQy3VsLVBkHhtm_TMfV69Uf7CDJaTU5tJEICyVRAiVl9fjexLeJ3ls9zROqgNkb0EP1hTt2HxKT-Mr=s5600" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3348" data-original-width="5600" height="239" src="https://blogger.googleusercontent.com/img/a/AVvXsEgDxK9dSmHMSM2dNwmTzxAiwugzTZUa1tVQGjFQ1wtCMmHCCdF-1N7eN87twjJrxTASoajMATyW-hKEmTdyHWipX6ZkpwWLTdd95mE-Mv05U5yQy3VsLVBkHhtm_TMfV69Uf7CDJaTU5tJEICyVRAiVl9fjexLeJ3ls9zROqgNkb0EP1hTt2HxKT-Mr=w400-h239" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgvqoT1hNFb5aZEaltxEFuitjs2newYnrP9jnr5DqtS4Lqk_67dDj8raGye7qClZls7t7J1MZcpNWvt8JUTOqsNzp5vPsT-95xGrxUxA_vriBy5bZyNJ9XgTtkp2GPptW2ByRV7fgDARKzNmNC7MhRBscKNI6lJ3cLWhO4RSICYA0q1zsAM0iKgUOr3=s5000" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5000" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEgvqoT1hNFb5aZEaltxEFuitjs2newYnrP9jnr5DqtS4Lqk_67dDj8raGye7qClZls7t7J1MZcpNWvt8JUTOqsNzp5vPsT-95xGrxUxA_vriBy5bZyNJ9XgTtkp2GPptW2ByRV7fgDARKzNmNC7MhRBscKNI6lJ3cLWhO4RSICYA0q1zsAM0iKgUOr3=w400-h266" width="400" /></span></a></div><span style="font-family: inherit;"><div><span style="font-family: inherit;"><br /></span></div>Second set, which kicks off with the title track, offers a melodic line that is Latin in root, modal in step, and Sun Ra-ish in articulation. The front line shows great discipline in playing just behind the beat with long lines; they angle around a chord figure that is continually refracted against the dissonance by Milne, until the tune breaks open into improvisation with Coleman taking the lead. Track two, the funky "Hits," feels like an Ornette tune coming out of P-Funk, until it breaks down into "Straight, No Chaser" and then "Easy Living." But that's the beginning, really, as Coleman and company tear into a tune by Jerry Goldsmith, a few originals, and one of the finest renditions of Mal Waldron's "Straight Ahead" ever played. Ending with Coleman's "Reflex," the saxophonist moves the edges to the margin and concentrates all of his organizational energies on bringing the band down into the heart of the strange and beautiful melody, accenting the polyrhythms with flurries of notes that open the doors wider and allow everybody to settle into a space that gradually pushes out into the realm of silence. This is one of those rare performances where everything works, and comes across to the listener as an actual concert experience.</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #e06666; font-family: inherit;">(Review by Thom Jurek)</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #ffe599;">If you find it, buy this album!</span></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com54tag:blogger.com,1999:blog-4966374046256089922.post-1231561247961517702022-01-27T00:04:00.000+01:002022-01-27T00:04:49.203+01:00ANGLES 9 – Injuries (Clean Feed – CF303LP / 2LP-2014)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgXz4UrP4bIPwG8OwiBbSaV4aVHO8FeVOLImjp7V4-uYNBgvt7PT-WXajvUDIPsakbSPNbaWkY8LoZ57Kmf4SCKsUIP6erw7EepxAYisiiTLA43KTTGtnIMGAfe3Q5UrMhe-5RY--3oJ_a3qPw5KIXylUQrQ7g_eISQAospYpSUn3gEsKwmbVzLAkVn=s2500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEgXz4UrP4bIPwG8OwiBbSaV4aVHO8FeVOLImjp7V4-uYNBgvt7PT-WXajvUDIPsakbSPNbaWkY8LoZ57Kmf4SCKsUIP6erw7EepxAYisiiTLA43KTTGtnIMGAfe3Q5UrMhe-5RY--3oJ_a3qPw5KIXylUQrQ7g_eISQAospYpSUn3gEsKwmbVzLAkVn=w400-h400" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgJcdYHlWeJQ7hq_JIk3zgbmEg7EliI9OT6oj4SLyPyn0epI8uPJtkxkrP1U2z7xQLRxCuBuIycdCVyLCtcngs4dpVW6U9t0m3vxW49bhmKfqD3jLAfvA4UHeel9uxgIUickvIJM6gyyyEFKUkqdnWl6Redb4YvSfZnYDQVW-9mjCAaWqMyULpeLpru=s1720" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEgJcdYHlWeJQ7hq_JIk3zgbmEg7EliI9OT6oj4SLyPyn0epI8uPJtkxkrP1U2z7xQLRxCuBuIycdCVyLCtcngs4dpVW6U9t0m3vxW49bhmKfqD3jLAfvA4UHeel9uxgIUickvIJM6gyyyEFKUkqdnWl6Redb4YvSfZnYDQVW-9mjCAaWqMyULpeLpru=w400-h200" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiDw-DrDfo24-QXCYH7Y1QJoCmD1pPkL7qk6cqwhQSC8JB4O_thlWmqRk2ZSTzxMbHmI3XxaRUydqI00WIAbgiP15CerUJc9HhmA1h-MTx1vl9kY_gLmzPZvQ99PdLUUf6SVw74J8AXEMaxPvOTntnBs9nuRQ7a-ljtOk1tuj6AfgM7A9debEkEN22C=s2500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEiDw-DrDfo24-QXCYH7Y1QJoCmD1pPkL7qk6cqwhQSC8JB4O_thlWmqRk2ZSTzxMbHmI3XxaRUydqI00WIAbgiP15CerUJc9HhmA1h-MTx1vl9kY_gLmzPZvQ99PdLUUf6SVw74J8AXEMaxPvOTntnBs9nuRQ7a-ljtOk1tuj6AfgM7A9debEkEN22C=w400-h400" width="400" /></a></div><p></p><span style="font-family: inherit;">Label: Clean Feed – CF303LP<br />Format: 2 x Vinyl, LP, Album / Country: Portugal / Released: 2014<br />Style: Contemporary Jazz, Avant-garde Jazz<br />Recorded at Atlantis, Stockholm the 15th and 16th of December 2013<br />Design – Travassos<br />Photography By – Fridtjof Nansen<br />Arranged By – Angles 9<br />Executive-Producer – Trem Azul<br />Producer, Liner Notes – Martin Küchen<br />Lacquer Cut By – LvC<br />Mastered By – Håkan Åkesson<br />Mixed By – Mats Äleklint<br /></span><div>Recorded By – Janne Hansson</div><div>Composed By – Martin Küchen</div><div>Matrix / Runout (Side A runout, hand-etched): CF303 -A- -LvC- MPO<span style="font-family: inherit;"><br />Matrix / Runout (Side B runout, hand-etched): CF303 -B- -LvC- MPO<br />Matrix / Runout (Side C runout, hand-etched): CF303 -C- -LvC- MPO<br />Matrix / Runout (Side D runout, hand-etched): CF303 -D- -LvC- MPO<br /><br /><span style="color: #e06666;">side A</span><br />A1 - <span style="color: #f6b26b;">European Boogie</span> ........................................................................................... <span style="color: #e06666;">7:09</span><br />A2 - <span style="color: #f6b26b;">Eti </span>................................................................................................................. <span style="color: #e06666;">10:51</span><br /><br /><span style="color: #e06666;">side B </span><br />B - <span style="color: #f6b26b;">A Desert On Fire</span>, <span style="color: #f6b26b;">A Forest</span> / <span style="color: #f6b26b;">I've Been Lied To</span> ............................................. 22:40<br /><br /><span style="color: #f6b26b;">side C </span><br />C1 - <span style="color: #e06666;">Ubabba</span> .......................................................................................................... 6:53<br />C2 - <span style="color: #e06666;">In Our Midst</span> ................................................................................................. <span style="color: #f6b26b;">10:36</span><br /><br /><span style="color: #f6b26b;">side D </span><br />D1 - <span style="color: #e06666;">Injuries</span> ......................................................................................................... <span style="color: #f6b26b;">12:42</span><br />D2 - <span style="color: #e06666;">Compartmentalization</span> .................................................................................... <span style="color: #f6b26b;">5:39</span><br /><br /><span style="color: #f6b26b;">Personnel:</span><br />MAGNUS BROO, trumpet<br />MATS ÄLEKLINT, trombone<br />MARTIN KÜCHEN, alto and tenor sax <br />EIRIK HEGDAL, baritone and soprano sax<br />GORAN KAJFES, cornet<br />JOHAN BERTHLING, bass<br />MATTIAS STÅHL, vibes<br />ALEXANDER ZETHSON, upright and grand piano<br />ANDREAS WERLIIN, drums<br /><br />Martin Küchen and his cohorts present us with big band music that frames grand and expansive moments within minimalist and quite improvisational borders. It is exhilarating, shiver-inducing music, but with a contemplative and spiritual thread passing through it...</span></div><div><span style="font-family: inherit;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiGDRP0TXzkorYk36w5di-NiotYeref1K0AsaBEeU4Gg3nhv_elEi8wRz2gbwhxNbajg3peKAp-EjFPmJQH-me9kr4ddWTl8GCVPGL5SyViNl1HdWIWDPFPGE0vkrdzupUF_s-AUhXNqQ5d4zW91X62TvtbW-WOI3LEhdT2ro3zQvQknbgGyVMD8vGB=s1720" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEiGDRP0TXzkorYk36w5di-NiotYeref1K0AsaBEeU4Gg3nhv_elEi8wRz2gbwhxNbajg3peKAp-EjFPmJQH-me9kr4ddWTl8GCVPGL5SyViNl1HdWIWDPFPGE0vkrdzupUF_s-AUhXNqQ5d4zW91X62TvtbW-WOI3LEhdT2ro3zQvQknbgGyVMD8vGB=w400-h200" width="400" /></a></div><span style="font-family: inherit;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiB7vbgGdofSKWZYw251Mxffoyl5reRw175Nn8OWuq7RKqzsMuFdYbu2oEHZnCv7sL3bcLXsADmt8B1QUprbDy07yrM6ny0CPwU7Ug0Z_ZxXyj3LPM0AupRgRBaFth78czYmYXE-TJtz_kdeAjIQxS_Yrhw5kn3Dgh0Sf8e8gcTfBsanxtuYYut2oVB=s3000" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1916" data-original-width="3000" height="255" src="https://blogger.googleusercontent.com/img/a/AVvXsEiB7vbgGdofSKWZYw251Mxffoyl5reRw175Nn8OWuq7RKqzsMuFdYbu2oEHZnCv7sL3bcLXsADmt8B1QUprbDy07yrM6ny0CPwU7Ug0Z_ZxXyj3LPM0AupRgRBaFth78czYmYXE-TJtz_kdeAjIQxS_Yrhw5kn3Dgh0Sf8e8gcTfBsanxtuYYut2oVB=w400-h255" width="400" /></a></div><span style="font-family: inherit;"><br /></span>Angles 9 is edition of the ensemble convened by saxophonist Martin Küchen in 2007 as Angles 6 which, by 2011, had expanded to Angles 8. It is a stunning nonet of some of Scandinavia's finest improvising players, including Küchen himself on alto and tenor saxes, Eirik Hegdal on baritone and sopranino saxes, double bassist Johan Berthling and drummer Andreas Werliin. Injuries is the second recording by this incarnation of Angles, following In Our Midst (Clean Feed, 2013) the beautiful title track of which is reprised here. That album was only released on vinyl, while Injuries is available either as a gatefold double vinyl album or on CD. It features seven Küchen compositions, all arranged by the entire ensemble, imbuing them with an appealingly loose collective feel. The front line of two saxophones, cornet, trumpet and trombone packs a hefty punch and is ably supported by the rhythm section of bass, drums and piano — plus the crucial inclusion of Mattias Ståhl on vibraphone, which gives the music a lightness reminiscent of Bobby Hutcherson's role with Eric Dolphy.</div><div><span style="font-family: inherit;"><br />Across the album, there is great variety in the music, with extreme changes of mood between tracks, seemingly corresponding to the different sides of the vinyl edition. So, side one is upbeat and energetic: the opener "European Boogie", underpinned throughout by Ståhl, is driven along by powerful ensemble horn riffs interspersed with some fine free blowing, notably from trumpeter Magnus Broo; "Efi", also propelled by a riff overlaid with criss-cross soloing, effortlessly sustains the high energy level. The transition to side two's single extended track, "A Desert on Fire, a Forest / I've Been Lied To", is dramatic as it is more sedately paced and atmospheric, spotlighting the rhythm section rather than the front line, with pianist Alexander Zethson in fine form. Although radically different, taken together these two sides emphasise the ingredients that are key to the success of Injuries — there is not a wasted note or ounce of flab in evidence, with every single member of the ensemble being a first-rate instrumentalist who is full of ideas.<br /></span><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgIPK4KlqWsy-D0sziNVhK7ywyfvzxv9JKZIca70hiq5PUXe-xAvWm9VxZ8u61n0RxMKIDfC2pWvSL6fwtI0XGRBV-oLf8_CJ4ai6alJlpod6njSwKAABN6m8y2_t9roX8Zsvpya9qPQBwt8JzatOMWVYMMsV2iVg-rc-Tpf16BF4mgbCiA4haNNZI1=s5000" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5000" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEgIPK4KlqWsy-D0sziNVhK7ywyfvzxv9JKZIca70hiq5PUXe-xAvWm9VxZ8u61n0RxMKIDfC2pWvSL6fwtI0XGRBV-oLf8_CJ4ai6alJlpod6njSwKAABN6m8y2_t9roX8Zsvpya9qPQBwt8JzatOMWVYMMsV2iVg-rc-Tpf16BF4mgbCiA4haNNZI1=w400-h266" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjbobSPkKRQ2fTIzJCZ6W4-H-98-Fwn9-Xghj2aCGNBS9N8cy_fYRI0M5TIwEtaigwfotRnrqYq_4m9iSwykwTY_0cL-NTaru7oz5OH-F5c5MS0uhY9-kX23ta1JUM1noo9PdKcqKW92tHRPNJvHiEA8lmoaJN6C29CTaaanUScczcTNh9OtrgD94KI=s5600" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3348" data-original-width="5600" height="239" src="https://blogger.googleusercontent.com/img/a/AVvXsEjbobSPkKRQ2fTIzJCZ6W4-H-98-Fwn9-Xghj2aCGNBS9N8cy_fYRI0M5TIwEtaigwfotRnrqYq_4m9iSwykwTY_0cL-NTaru7oz5OH-F5c5MS0uhY9-kX23ta1JUM1noo9PdKcqKW92tHRPNJvHiEA8lmoaJN6C29CTaaanUScczcTNh9OtrgD94KI=w400-h239" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgynUucl2QW0KqRU7zWFNb8NmhUsFeB6wXrPiFxck9G0eAKAblanVF7ySMOscb2URDelgbIkRlXnNy-UU6nHOW5Ry0hj6AD0E-yzngXrAm3-BSBlgc3fg7lENFzciiUvJWY73DS16NuhLjFQWsvU7FQ-ctEDAthNr0rqt6ye_cxDRbhunVvPDba9ADA=s5000" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5000" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEgynUucl2QW0KqRU7zWFNb8NmhUsFeB6wXrPiFxck9G0eAKAblanVF7ySMOscb2URDelgbIkRlXnNy-UU6nHOW5Ry0hj6AD0E-yzngXrAm3-BSBlgc3fg7lENFzciiUvJWY73DS16NuhLjFQWsvU7FQ-ctEDAthNr0rqt6ye_cxDRbhunVvPDba9ADA=w400-h266" width="400" /></span></a></div><span style="font-family: inherit;"><br />Berthling and Werliin are also two thirds of the renowned Fire! Trio (with saxophonist Mats Gustafsson) and that trio are at the heart of the created — and much praised — Fire! Orchestra, where they were also joined by Küchen on the orchestra's 2014 release Enter; Broo and trombonist Mats Äleklint are also members — making a total of five Angles 9 members who are in the Fire! Orchestra. While comparing contrasting ensembles can frequently be deceptive, in this case the shared membership makes comparison irresistible. Despite being one third the size of the orchestra, by comparison Angles 9 does not lack firepower. Rather, the nine-piece seems lighter on its feet than the orchestra of twenty-plus members and it fizzes with the energy and exuberance that the Fire! Orchestra can occasionally miss. Altogether, Injuries demonstrates that, while size undoubtedly does matter, bigger is not always better. End result: it is one of 2014's very best albums. Stunning.</span><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #e06666; font-family: inherit;">(Review by John Eyles)</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #ffe599; font-family: inherit;">If you find it, buy this album!</span></div></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com29tag:blogger.com,1999:blog-4966374046256089922.post-9916294224633755202022-01-26T23:40:00.003+01:002022-01-29T00:45:49.432+01:00WILLIAM HOOKER – Earth's Orbit (NBLP 10/11 / Numbered / 2LP-2010)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhz7AaOFkjB7IfxG_zbBRFafPIYGlqrz9C-_eM0AbW_D6jXGRatQ2g9Jna2juekCJoGNGi5tuR5h7l2pxzlD9OYZZOLm7QemMqcPTJl3QIwyn2shR-vNzYnnPtK_svNOApXezkkukP4FLWwY3F5Gr2kSHtcT1uqtuoduW4P6WgazxaUocxW3A4DYsTh=s2500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEhz7AaOFkjB7IfxG_zbBRFafPIYGlqrz9C-_eM0AbW_D6jXGRatQ2g9Jna2juekCJoGNGi5tuR5h7l2pxzlD9OYZZOLm7QemMqcPTJl3QIwyn2shR-vNzYnnPtK_svNOApXezkkukP4FLWwY3F5Gr2kSHtcT1uqtuoduW4P6WgazxaUocxW3A4DYsTh=w400-h400" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEidWPU-WcSQjYMh6uSsMpgcihex4xCiTCThndHi6RllelrPVrRuyXNfzJE5VyTita7WWeSqRa7l_7zdvPXwKdSJBxNGnCV1Ew6IVjlWJMZJRXIciBnDRkjD2dQoFa68NIp5jloiQ744Wlc9BAatFqXhZvPrkzSfuXUHyBmxP2QzVcMv5k4Ya8SfwRbu=s1720" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEidWPU-WcSQjYMh6uSsMpgcihex4xCiTCThndHi6RllelrPVrRuyXNfzJE5VyTita7WWeSqRa7l_7zdvPXwKdSJBxNGnCV1Ew6IVjlWJMZJRXIciBnDRkjD2dQoFa68NIp5jloiQ744Wlc9BAatFqXhZvPrkzSfuXUHyBmxP2QzVcMv5k4Ya8SfwRbu=w400-h200" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjllAuo5Um7xa1rqVsA8iZcpthiE1kXnWiC8Ybef1KkCgOmq8QD_uKRctl27kCVQ0MId5cYCLqxu5pQ2zfgwZAif-3VIak9iVGME9aOTCNZsXwYUQ5TcyHmbKg8dIAZ71VaUsKhqRIDkhZbIL7lsf_RD5HuFzxcRpRv7vk08WJSw15_6NNRCNagtheZ=s2500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEjllAuo5Um7xa1rqVsA8iZcpthiE1kXnWiC8Ybef1KkCgOmq8QD_uKRctl27kCVQ0MId5cYCLqxu5pQ2zfgwZAif-3VIak9iVGME9aOTCNZsXwYUQ5TcyHmbKg8dIAZ71VaUsKhqRIDkhZbIL7lsf_RD5HuFzxcRpRv7vk08WJSw15_6NNRCNagtheZ=w400-h400" width="400" /></a></div><p></p><span style="font-family: inherit;">Label: NoBusiness Records – NBLP 10/11<br />Format: 2 x Vinyl, Limited edition [hand-written number] of 500 records<br />Country: Lithuania / Released: 2010<br />Style: Free Jazz<br />Bliss (east): 25th March, 2007 at The Stone, New York City.<br />Bliss (west): 20th July, 2009 at The Hemlock Tavern, San Francisco, California.<br />Mastered By – Paul Zinman<br />Recorded By – Robert O'Haire (tracks: A1 to B2), Weasel Walter (tracks: C, D)<br />Design – Oskaras Anosovas<br />Co-producer – Valerij Anosov<br />Producer – William Hooker<br />Executive-Producer – Danas Mikailionis<br />Composed By – William Hooker<br />Printed By – UAB "Garsu Pasaulis"<br />Records made in Germany<br /><br /><span style="color: #f6b26b;"><b>BLISS (EAST)</b></span><br /><span style="color: #e06666;">side 1:</span></span><div><span style="font-family: inherit;">A - <span style="color: #f6b26b;">Chronofiles</span>><br /> <span style="color: #f6b26b;">Tensegrity</span>><br /> <span style="color: #f6b26b;">Tetrahedron</span> .................................................................................................. <span style="color: #e06666;">20:59</span><br /><br /><span style="color: #e06666;">side 2:</span><br />B1 - <span style="color: #f6b26b;">Streamlined Unit</span> ........................................................................................... 11:29<br />B2 - <span style="color: #f6b26b;">4d To Dymaxion</span> ............................................................................................ 11:14<br /><br /><span style="color: #f6b26b;">Personnel:</span><br />William Hooker – drums<br />Darius Jones – alto saxophone<br />Adam Lane – bass<br /><br /><span style="color: #e06666;"><b>BLISS (WEST) </b></span><br /><span style="color: #f6b26b;">side 3:</span><br />C - <span style="color: #e06666;">Tensegrity (4d) </span>–<span style="color: #e06666;"> Part 1</span> ................................................................................ 19:50<br /><br /><span style="color: #f6b26b;">side 4:</span><br />D - <span style="color: #e06666;">Tensegrity (4d) </span>–<span style="color: #e06666;"> Part 2</span> ................................................................................ <span style="color: #f6b26b;">19:24</span><br /><br /><span style="color: #f6b26b;">Personnel:</span><br />William Hooker – drums<br />Aaron Bennett – tenor saxophone<br />Weasel Walter – guitar<br />Damon Smith – bass<br /><br />Hooker leads from the front on both discs, molding and shaping the flow with his finely honed, almost orchestral sense of sound placement, density and dynamics imparting form and purpose to even the freest moments. Hooker's compositional frameworks are slight, acting as signposts rather than routemaps, signaling direction but not the precise means to reach the destination. As a consequence frequent daredevil diversions are unpredictable and rewarding.</span></div><div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEiplblD3fPcz51W4dDrV0_ijRWxi5wjpoqiF4aMjpyGX0WmwJ_8U20DbG36IotUeK7hIPhShqT3OIxBlFFnrZThe1m-qtrSzdc4zMfMinUIp0QgXA0e3b36ueAh7-nIPUrioXfq3CHRo2WWGz3lovTJ8B52qBw4fpm6NaVOpcGy7kLxWw75Mt10x3S-=s5050" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="5050" height="198" src="https://blogger.googleusercontent.com/img/a/AVvXsEiplblD3fPcz51W4dDrV0_ijRWxi5wjpoqiF4aMjpyGX0WmwJ_8U20DbG36IotUeK7hIPhShqT3OIxBlFFnrZThe1m-qtrSzdc4zMfMinUIp0QgXA0e3b36ueAh7-nIPUrioXfq3CHRo2WWGz3lovTJ8B52qBw4fpm6NaVOpcGy7kLxWw75Mt10x3S-=w400-h198" width="400" /></span></a></div><p></p></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi-DSUkqnXBzqQp0olheWjMLUddiDkzuqgRIBz5msNI8zBG2cjFdlgBaB1gt4pXPhkbm2UB6r6KdaUijXOMn8xQV8pAqBneps1LpTfNuQmucRNPD3THVt7nIbtEqK-4pudHvxzs7Lk8xdvWoq9HtbU3q3pR3ak-eqx6nbjnIJ6VFxqx8m3MF2GTQEmp=s1720" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEi-DSUkqnXBzqQp0olheWjMLUddiDkzuqgRIBz5msNI8zBG2cjFdlgBaB1gt4pXPhkbm2UB6r6KdaUijXOMn8xQV8pAqBneps1LpTfNuQmucRNPD3THVt7nIbtEqK-4pudHvxzs7Lk8xdvWoq9HtbU3q3pR3ak-eqx6nbjnIJ6VFxqx8m3MF2GTQEmp=w400-h200" width="400" /></span></a></div><p class="MsoNoSpacing"><span style="font-family: inherit;">Free
jazz drummer William Hooker has led and participated in some very interesting
ensembles during his lengthy career on the free jazz scene, none more so than
the fascinating and exciting group assembled for this recording. The first part
of this limited edition LP set is a suite entitled "Bliss (east)"
with Hooker on drums, Darius Jones on alto sax and Adam Lane on bass. This is a
very powerful performance recorded at The Stone in New York City in 2007. The
group makes for a lean and powerful trio with Hooker's free ranging drums and
Lane's rock solid and dependable bass making a perfect launching pad for
Jones's extraordinary saxophone flight. Jones has a raw and thrilling tone on
his instrument and the same energy that he brought to his solo album Man'ish
Boy and the collective Little Women is on display here. With the immediate and
caustic tone of the saxophone combined the elastic bass and ever shifting
drums, tracks like the lengthy "Chronofiles" develop a powerful and
visceral presence that is continually compelling. <o:p></o:p></span></p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEipbZ7EaaFC1h34BQPB8viP08W6frtubphOXkSkoBiY0X4nR9g4OvVKEZbatEjWkZcuE9ts8TdZfdSCCBjNSAw93dy4SSLCUaEWFwG2_UM9ZUqAhpQZ25i_eXvktgfjEElNHxqQGFH5CaG4-E6Et2iyD9YQfOj9Ovf5M9LOcLLozctcV42aMMhZRVK5=s5000" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5000" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEipbZ7EaaFC1h34BQPB8viP08W6frtubphOXkSkoBiY0X4nR9g4OvVKEZbatEjWkZcuE9ts8TdZfdSCCBjNSAw93dy4SSLCUaEWFwG2_UM9ZUqAhpQZ25i_eXvktgfjEElNHxqQGFH5CaG4-E6Et2iyD9YQfOj9Ovf5M9LOcLLozctcV42aMMhZRVK5=w400-h266" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhLrMhMyL_WzBQQg-GdzqMtoyhJ2H_wzyQCyPlNzAxk7Oi-IP9NwNTsGW2ZrXwlUBBqKrIJOGLEG8q3OxJ6HhoNCAqVhvCrZZtv3uHCY-xNezhZI4KChIzuMA7cvVJzOLkmEY8zoXKioRac9VXAVLvr2cVXy7kuCV-vsjwed1QzKaY2vYMCYCR7xdn3=s5600" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3348" data-original-width="5600" height="239" src="https://blogger.googleusercontent.com/img/a/AVvXsEhLrMhMyL_WzBQQg-GdzqMtoyhJ2H_wzyQCyPlNzAxk7Oi-IP9NwNTsGW2ZrXwlUBBqKrIJOGLEG8q3OxJ6HhoNCAqVhvCrZZtv3uHCY-xNezhZI4KChIzuMA7cvVJzOLkmEY8zoXKioRac9VXAVLvr2cVXy7kuCV-vsjwed1QzKaY2vYMCYCR7xdn3=w400-h239" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgamADspY0GSNejpKC2mr-xVWZHx6p3FKgY9373ljH-nYNsd8WVprrEed-_o-5mKJKNA2lqvps4Tm4LFBuIVRM1MJtbvS-ayfvi5TjyJOLKdtC2800qKvJuWNhE9Ai2oQhylH_EQiMLxfsT1SQFTzhvwxcmCeVQ7PscXqholldaVt4i9NcovQntRevn=s5000" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="3329" data-original-width="5000" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEgamADspY0GSNejpKC2mr-xVWZHx6p3FKgY9373ljH-nYNsd8WVprrEed-_o-5mKJKNA2lqvps4Tm4LFBuIVRM1MJtbvS-ayfvi5TjyJOLKdtC2800qKvJuWNhE9Ai2oQhylH_EQiMLxfsT1SQFTzhvwxcmCeVQ7PscXqholldaVt4i9NcovQntRevn=w400-h266" width="400" /></span></a></div><div><span style="font-family: inherit;"><br /></span></div><span style="font-family: inherit;">The second section entitled "Bliss (west)" has a different band with Hooker on drums, Aaron Bennett on tenor saxophone, Weasel Walter on guitar, and Damon Smith on bass. At nearly 40 minutes in length, the two part "Tensegrity(4d)" is a wild and thrilling ride. The addition of Walter makes for a more vividly textured recording and the live audience at The Hemlock Tavern, San Francisco is deeply engaged and supportive of the band. The performance builds to a very exciting and dramatic conclusion, the all the musicians locked in and driving to the finish. This was a very exciting and enjoyable album, free jazz fans with a functioning turntable are advised to pick up a copy before they disappear. Hopefully there will be a digital version soon, so that the this music can get the wider audience it deserves.</span><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #e06666; font-family: inherit;">(Tim Niland - Jazz and Blues Blog)</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #ffe599; font-family: inherit;">If you find it, buy this album!</span><br /></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com27tag:blogger.com,1999:blog-4966374046256089922.post-88654827608811250242022-01-26T23:39:00.044+01:002022-01-28T17:18:36.225+01:00ADAM LANE TRIO – Absolute Horizon (NB2LP 68-I / Extended / 2LP-2013)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhtHW3zLGbI6iBEH6sw5W-pbbb7R_Md6v_E7NRAdqH2MuTHB3Z_LGBnkqR3M6tA_opJP6f3SAaQF744GPjiqOXwUFmDSj_7nXGbKOugU7j70u9T2I9wSW2Fmb4CXuQanhHclTpK1sv94tMdEH3Htf3bZrLUlMkSqFoxXU2GhFrP5691E2jafAeHjbNE=s2500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEhtHW3zLGbI6iBEH6sw5W-pbbb7R_Md6v_E7NRAdqH2MuTHB3Z_LGBnkqR3M6tA_opJP6f3SAaQF744GPjiqOXwUFmDSj_7nXGbKOugU7j70u9T2I9wSW2Fmb4CXuQanhHclTpK1sv94tMdEH3Htf3bZrLUlMkSqFoxXU2GhFrP5691E2jafAeHjbNE=w400-h400" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEjXs-7GPt5TX86fyDAFic87TwRr132L6NOIlxNBiwZAg3Mgt4DYYB3IwBrGwvrSxiFTF5rdKJvRpXL69_RGSG45I-q45BI8AepK1nsgsrdoaVdndqjEFRkcZ-Fug6AWasEOiu9rxMqN1pEE6-eE5k10iCC--W2NTKxIdNbVibu0_NzLAI7uZ-3vS6IW=s1720" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEjXs-7GPt5TX86fyDAFic87TwRr132L6NOIlxNBiwZAg3Mgt4DYYB3IwBrGwvrSxiFTF5rdKJvRpXL69_RGSG45I-q45BI8AepK1nsgsrdoaVdndqjEFRkcZ-Fug6AWasEOiu9rxMqN1pEE6-eE5k10iCC--W2NTKxIdNbVibu0_NzLAI7uZ-3vS6IW=w400-h200" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEhajqmAn1OWX0lYZCicYjYvQlzMKUCPiLTxDm8SqxWIppo4gbw7doZakCWGSTtBLynaBdxTEPx_F7lxClU2ByiQHjhksqu4A2afUL3O4flOVy9oifYaVSixRHFirHkro6MJU5wAM_jzqmJfTT_f1XQsB3g43QwK9RpTzsDv-X0BOk3CO5Oc6EpN1u5S=s2500" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2500" data-original-width="2500" height="400" src="https://blogger.googleusercontent.com/img/a/AVvXsEhajqmAn1OWX0lYZCicYjYvQlzMKUCPiLTxDm8SqxWIppo4gbw7doZakCWGSTtBLynaBdxTEPx_F7lxClU2ByiQHjhksqu4A2afUL3O4flOVy9oifYaVSixRHFirHkro6MJU5wAM_jzqmJfTT_f1XQsB3g43QwK9RpTzsDv-X0BOk3CO5Oc6EpN1u5S=w400-h400" width="400" /></a></div><p></p><span style="font-family: inherit;">Label: NoBusiness Records – NB2LP 68-I / Extended Edition<br />Limited to 200 copies<br />Format: 2x Vinyl, LP / Country: Lithuania / Released: 2013<br />Style: Avant-garde Jazz, Free Jazz<br />Recorded June 10, 2010 at Wombat Recording Company, Brooklyn, NY<br />Mixed in Brooklyn, NY July 31, 2012 – by Jon Rosenberg<br />Recorded By – Ross Bonadonna<br />Design – Oskaras Anosovas<br />Photography By [Cover] – Peter Gannushkin<br />Co-producer – Valerij Anosov<br />Producer – Danas Mikailionis<br />Liner Notes – Adam Lane<br />Music By – Lane, Jones, Anderson<br />Matrix / Runout: 13-07/5488-0004 NB2LP 68-I <br /><br /><span style="color: #e06666;"> side 1:</span><br />A1 - <span style="color: #f6b26b;">Absolute Horizon</span> ............................................................................................ <span style="color: #e06666;">8:57</span><br />A2 - <span style="color: #f6b26b;">Stars</span> ............................................................................................................... 6:54<br /><br /><span style="color: #e06666;">side 2:</span><br />B1 - <span style="color: #f6b26b;">The Great Glass Elevator</span> .............................................................................. 7:48<br />B2 - <span style="color: #f6b26b;">Run To Infinity</span> ................................................................................................ 9:52<br /><br /><span style="color: #f6b26b;">side 3:</span><br />C - <span style="color: #e06666;">Apparent Horizon</span> ........................................................................................... <span style="color: #f6b26b;">10:14</span><br /><br /><span style="color: #f6b26b;">side 4:</span><br />D1 - <span style="color: #e06666;">Bioluminescence</span> ............................................................................................ 7:23<br />D2 - <span style="color: #e06666;">Light</span> ............................................................................................................. <span style="color: #f6b26b;">10:50</span><br /><br /><span style="color: #f6b26b;">Personnel:</span><br />Adam Lane – bass<br />Darius Jones – alto saxophone<br />Vijay Anderson – drums, percussion</span><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;">After
listening to the album, it's somewhat mystifying that the program was
constructed entirely on improvisation. This attribute alone serves as a
testament to the artists' stunning interactions and reformulations, evidenced
within each ensuing development.</span><div><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEi0Xa0fjZPaYd2yXuRpAtU2khypEDIkcfrEt8kK--ps11xbdr9Ukvmdl6jfWj5mgsSscMU7EuzRCflI7AywnTSQ_Pw2GlZ_wJB5aUw-wipCCcRyluuw1sPKdHom5VSbCuvrOnAHVNBk2fYC5dk2BrHRT8JyXwptVvjVk2Il89z8L9ZcNBoDkEZI6bEH=s5050" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2500" data-original-width="5050" height="198" src="https://blogger.googleusercontent.com/img/a/AVvXsEi0Xa0fjZPaYd2yXuRpAtU2khypEDIkcfrEt8kK--ps11xbdr9Ukvmdl6jfWj5mgsSscMU7EuzRCflI7AywnTSQ_Pw2GlZ_wJB5aUw-wipCCcRyluuw1sPKdHom5VSbCuvrOnAHVNBk2fYC5dk2BrHRT8JyXwptVvjVk2Il89z8L9ZcNBoDkEZI6bEH=w400-h198" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgAthUP0efbo81yBTqszBbQZCMeJfa2kFQihHucKn27CRNU6x1OxeUP9R_BQngIHzAsqLe4h3EtwxwE8HcGuIvn4T3P4mDF6teRfLCNt-le8ITdQUjYg9vwxI0HLurk2ZKNzqL0-Qrnhi57iYjrfKfILwriL2cZ29S3R_4WQjTR4OZxQvMUSUUhyVp4=s1720" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/a/AVvXsEgAthUP0efbo81yBTqszBbQZCMeJfa2kFQihHucKn27CRNU6x1OxeUP9R_BQngIHzAsqLe4h3EtwxwE8HcGuIvn4T3P4mDF6teRfLCNt-le8ITdQUjYg9vwxI0HLurk2ZKNzqL0-Qrnhi57iYjrfKfILwriL2cZ29S3R_4WQjTR4OZxQvMUSUUhyVp4=w400-h200" width="400" /></span></a></div><p></p><p></p><p class="MsoNoSpacing"><span style="font-family: inherit;">I’m
a sucker for the thick, bluesy tone of Adam Lane’s bass—somehow, he always
manages to convey its grittiest, most grounded side. Absolute Horizon kicks off
with a track of the same name,<span style="mso-spacerun: yes;"> </span>a slow
tattoo rising from drummer Vijay Anderson and Lane stumbling into a bass line
that can’t help but give off a little swagger. Slowly, a groove coalesces, just
the sort of low-end ride to best deliver Darius Jones’s sickly-sweet saxophone.
Within minutes, you realize: this is what I want in a saxophone trio. There’s
an edge for sure, but also the piece that fits perfectly into the well-worn
rhythmic folds of your brain. Things heat up, but the trio never breaks a
sweat. They ease out of the track just a coolly and calmly as they brought it
into being.</span></p>The rest of Absolute Horizon can be typified by a track like “The Great Glass Elevator,” which breaks out a slick bassline about halfway through, the rhythm section working its way to a place where Jones gets everything he needs to go to town. And he does, getting such a deep, soulful sound out his alto that it sounds far more substantial, like a tenor. Elsewhere, “Stars” finds Lane bowing the hell out of his effects-laden bass. It’s not the most effective track, but it showcases a different side of the group as they move away from bluesy, heavily rhythmic improvisation and work towards continuously molding and remolding a unified slab of sound. “Run to Infinity” sounds just as it should, a driving rhythm over which Jones continually accelerates, the gaps between notes becoming ever shorter, the melodic line <br />further and further compressed. Absolute Horizon closes on “Light,” which has a walking bassline that would be better characterized as sprinting, complete with racing high-hat and uncontainable shouts of exhilaration in the background.<br /><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEimAo4CselVK_8x12fTOpT75ZV37mHZMvpkbDOESL2e-ehSs4GwJfJ9AQAYzrqlpAhKY3yMGM0-ct6govkLSr-sCQPI3dXfATYIS2Dhr8s5jcqLx-ic3xxfht852vDWoEgP4_5w37kY2A_qhx4b0-tA7N_yuBaIWpt4OcrEB2NgxwPnXeMmRbaI2QSY=s5000" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3329" data-original-width="5000" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEimAo4CselVK_8x12fTOpT75ZV37mHZMvpkbDOESL2e-ehSs4GwJfJ9AQAYzrqlpAhKY3yMGM0-ct6govkLSr-sCQPI3dXfATYIS2Dhr8s5jcqLx-ic3xxfht852vDWoEgP4_5w37kY2A_qhx4b0-tA7N_yuBaIWpt4OcrEB2NgxwPnXeMmRbaI2QSY=w400-h266" width="400" /></a></div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgmo_ibXbLOXHMHvO3nICxXiSFoa1p28OxyPlHOyY5eJ0qJU7AjnoCgYTfQTXyxPApw7CCKyw3a9qDmx9Gw4_WDmzlB2vvedASMxWPofrEx73cenKMyVp1BMy6eGdFwOr4GaG0w_6UJe2l1aAc-inA42oZt8ArISFossQstDZQrKsT-8optsqO1_mul=s5600" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3348" data-original-width="5600" height="239" src="https://blogger.googleusercontent.com/img/a/AVvXsEgmo_ibXbLOXHMHvO3nICxXiSFoa1p28OxyPlHOyY5eJ0qJU7AjnoCgYTfQTXyxPApw7CCKyw3a9qDmx9Gw4_WDmzlB2vvedASMxWPofrEx73cenKMyVp1BMy6eGdFwOr4GaG0w_6UJe2l1aAc-inA42oZt8ArISFossQstDZQrKsT-8optsqO1_mul=w400-h239" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEgmXdxV3p1hM-FlxW9621G-WgwsF7HaLN6KdAAj4fA9xsb1OwwFInv8lnMu-kHiPinl2wsYo367iLx1srvx5HRoqLvHv_KJ2SFqxQaZ76ykFOBcuuff5Ux9QcCjwL8QpixBuCbcW9IWzK-M9fHfxuqt9G7k-XJYXOIBtb4UN_pO4qOoxzPC1Y7pB5lD=s5000" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3329" data-original-width="5000" height="266" src="https://blogger.googleusercontent.com/img/a/AVvXsEgmXdxV3p1hM-FlxW9621G-WgwsF7HaLN6KdAAj4fA9xsb1OwwFInv8lnMu-kHiPinl2wsYo367iLx1srvx5HRoqLvHv_KJ2SFqxQaZ76ykFOBcuuff5Ux9QcCjwL8QpixBuCbcW9IWzK-M9fHfxuqt9G7k-XJYXOIBtb4UN_pO4qOoxzPC1Y7pB5lD=w400-h266" width="400" /></a></div><br /><div>The CD version of Absolute Horizon is nearly twice the length of the LP, and for gourmets, an extended LP release is available too, a double album in a very limited edition of just 200 copies. All tracks are worth your time (“Apparent Horizon” has a particularly tasty bit of drum and bass). Basically, Absolute Horizon is the usual NoBusiness story: above-average musicians making above-average music. A little something for fans of Lane’s rawer side after the more straight-ahead sounds of the Blue Spirit Band releases.</div><div><div><span style="color: #e06666; font-family: inherit;">(Review by Dan Sorrells)</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #ffe599; font-family: inherit;">If you find it, buy this album!</span></div></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com17tag:blogger.com,1999:blog-4966374046256089922.post-78615192533106235812021-05-15T19:09:00.000+02:002021-05-15T19:09:25.763+02:00NAKATANI / TINER / DRAKE – Ritual Inscription (Epigraph Rec. / LP-2012)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPdGuQrzrpGd5FBeoAWWRGPPKjkJ4AG8w36fF4n5fGbya1X1a2tfeOJEWnhZyXweP2jeZWxxFq9FYvKhwLFjXGA4L64artHQy1UWcGN9DsP67IoBjm1-QosuU6u73Kiy0zpae5QsD0iec/s2048/01+-+Ritual+Inscription+-+A+%2528front%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPdGuQrzrpGd5FBeoAWWRGPPKjkJ4AG8w36fF4n5fGbya1X1a2tfeOJEWnhZyXweP2jeZWxxFq9FYvKhwLFjXGA4L64artHQy1UWcGN9DsP67IoBjm1-QosuU6u73Kiy0zpae5QsD0iec/w400-h400/01+-+Ritual+Inscription+-+A+%2528front%2529.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkuiZ2LxdaNqCTGJ9pr2Hqdwy2cnvbCY-tqiXduVi4YYeI6zcPO-UJHruplkZxTni8xmgbh-hhovSS5SL3RZlaZUKI0SGA2RCwWUEIwrzT9ujJtWaicmm0gH1V1D-oOsze0Y3JxQUbyok/s1720/02+-+Epigraph+Records+%25E2%2580%2593+lp-001+-+A-B.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkuiZ2LxdaNqCTGJ9pr2Hqdwy2cnvbCY-tqiXduVi4YYeI6zcPO-UJHruplkZxTni8xmgbh-hhovSS5SL3RZlaZUKI0SGA2RCwWUEIwrzT9ujJtWaicmm0gH1V1D-oOsze0Y3JxQUbyok/w400-h200/02+-+Epigraph+Records+%25E2%2580%2593+lp-001+-+A-B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE2wxL4n13a4EhbB9po69QNJpJbh7Lm8K21ooPEU_cWt3xWpT4vqQvJC8OpdQ5CApHo757mSLfKbHeU0_-m4eDRTVhZbONMPIxRW9y3oOBO5wgqxuOrhLOYHPJeoFpOCt2uBXZGZp_ijI/s2048/03+-+Ritual+Inscription+-+B+%2528back%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE2wxL4n13a4EhbB9po69QNJpJbh7Lm8K21ooPEU_cWt3xWpT4vqQvJC8OpdQ5CApHo757mSLfKbHeU0_-m4eDRTVhZbONMPIxRW9y3oOBO5wgqxuOrhLOYHPJeoFpOCt2uBXZGZp_ijI/w400-h400/03+-+Ritual+Inscription+-+B+%2528back%2529.jpg" width="400" /></a></div><p></p><span style="font-family: inherit;">Label: Epigraph Records – lp-001<br />Format: Vinyl, LP, Limited Edition, Numbered / Country: US / Released: Jan 17, 2012<br />Style: Free Improvisation<br />Recorded live at Metro Galleries, Bakersfield, California on May 13, 2010.<br />Artwork [Cover], Design – Alex Sarad<br />Engineer, Mixed By – Brian Boozer (Aum Studio, Bakersfield)<br />Mastered By – Richard Simpson (Aum Studio, Bakersfield)<br />Copyright © – Epigraph Records<br />Matrix / Runout (Side A runout): EPIGRAPH-001-A<br />Matrix / Runout (Side B runout): EPIGRAPH-001-B<br /><br /><span style="color: #e06666;">side 1:</span><br />A - <span style="color: #f6b26b;">Ritual</span> ................................................................................................................. <span style="color: #e06666;">18:38</span><br /><br /><span style="color: #f6b26b;">side 2:</span><br />B - <span style="color: #e06666;">Inscription</span> .......................................................................................................... <span style="color: #e06666;">13:07</span><br /><br /><span style="color: #f6b26b;">Personnel:</span><br />Tatsuya Nakatani – percussion<br />Kris Tiner – trumpet, flugelhorn<br />Jeremy Drake – electric guitar<br /><br /></span>Limited edition of 500 hand numbered copies.<span style="font-family: inherit;"><br /></span><div><span style="font-family: inherit;">First 100 copies were pressed on clear vinyl. All copies have one of 5 different screen printed designs on the bottom right corner of the back cover.</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6yXNncSt1ffAM-LRRzbXxEHcUEYk4MpK2N2pbGfbJQTJwu3sO42nvQu5CnU-RBPotkXnoOmL9aG-uo1tFN9Ciz5Ie94Zp8jLJZBbD35_eaWAjMOam3A6073IAe0WSql0K_mDdSOWijbQ/s2508/08+-+LP-A-B+-+photo5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1254" data-original-width="2508" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6yXNncSt1ffAM-LRRzbXxEHcUEYk4MpK2N2pbGfbJQTJwu3sO42nvQu5CnU-RBPotkXnoOmL9aG-uo1tFN9Ciz5Ie94Zp8jLJZBbD35_eaWAjMOam3A6073IAe0WSql0K_mDdSOWijbQ/w400-h200/08+-+LP-A-B+-+photo5.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />Epigraph Records first release, Ritual Inscription, documents live, improvised creative music in Bakersfield, California, Epigraph's home base. Renowned Japanese percussionist Tatsuya Nakatani meets two local comrades, trumpeter Kris Tiner (the founder of the label) and guitarist Jeremy Drake for two intense improvisations.<br />Chaotic sounds of gongs and assorted percussion merge with serene lines from the trumpet and the rubbing and strumming of the guitar strings on the first improvisation, "Ritual." These elastic, kinetic sounds mutate constantly, coloring a broad canvas through tight and thick interplay. No sound is obvious; the trio deserts common instrumental roles for inventive and challenging ones. The narrative of the improvisation is loose, but the fierce, intense sonic alchemy is arresting—an idiosyncratic language outlined spontaneously.<br /></span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1oNJ7jfnN38Hy9oojwYPSuydEIloXaq8A6UK24hXDJ5ggNZbH4PJ3U9BZmO70NKuYMXPqvY4RKBt_PXQnH9GAGAAIAF3nVocUAgFUYE1-LqRa_LCfFY5i6SytWTh5ZaUqyvC0bttrgjI/s2048/06+photoArt-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1oNJ7jfnN38Hy9oojwYPSuydEIloXaq8A6UK24hXDJ5ggNZbH4PJ3U9BZmO70NKuYMXPqvY4RKBt_PXQnH9GAGAAIAF3nVocUAgFUYE1-LqRa_LCfFY5i6SytWTh5ZaUqyvC0bttrgjI/w400-h266/06+photoArt-3.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGhVGun2aeiCBZOQDxuBItpPOD_xz5Ef9mOMCbD2omiAnnBdLP9C-cJfSoeeysXcTMkmn5v-J4mhqJq3kyJK4c5sYWJQB0D8mwkG2R3hYOj335IAAS828RstSdhQK_pVvvyI9Tzgs3FUQ/s2048/07+photoArt-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGhVGun2aeiCBZOQDxuBItpPOD_xz5Ef9mOMCbD2omiAnnBdLP9C-cJfSoeeysXcTMkmn5v-J4mhqJq3kyJK4c5sYWJQB0D8mwkG2R3hYOj335IAAS828RstSdhQK_pVvvyI9Tzgs3FUQ/w400-h266/07+photoArt-4.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />The second improvisation, "Inscription," is shorter and more peaceful. Tiner sets a tone of serenity, while the resourceful Nakatani and Drake embrace him with imaginative sounds. Here, Nakatani demonstrates true magic with his set of percussion instruments. His rich vocabulary of sounds and his highly personal concept of rhythm and pulse gain volume and endless power. His ideas become more disciplined and coherent as the improvisation develops, and he carries it through to the quiet coda. <br /><br />This limited edition with five different original designs printed on the back, contains brilliant and masterful improvisations. <br /><br />Highly recommended ...!!!........................ <span style="color: #e06666;">(By Eyal Hareuveni / AAJ-2012) </span><br /><br /> <br /><br /><span style="color: #ffe599;">If you find it, buy this album!</span></span></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com33tag:blogger.com,1999:blog-4966374046256089922.post-28987632855426413262021-05-15T19:08:00.000+02:002021-05-15T19:08:48.892+02:00NAKATANI / PARISH / ROWDEN – Live At Static Age Records (cassette-2020)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo-Ioeb0df9fXfOU755gQHoL4Hv9UtWZbSOL-irS2qL19SbJDRKwox7IKri29uLpEpf0DEhHiQV7ORvnt-R_kp_sjXzy7dwRr4jpvihQW96EEwHNAv2HuI-9CJLjwkJRTrpFsDn1RVKXs/s2048/01+-+Nakatani%252C+Parish%252C+Rowden+-+cover+-+B-A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1974" data-original-width="2048" height="385" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo-Ioeb0df9fXfOU755gQHoL4Hv9UtWZbSOL-irS2qL19SbJDRKwox7IKri29uLpEpf0DEhHiQV7ORvnt-R_kp_sjXzy7dwRr4jpvihQW96EEwHNAv2HuI-9CJLjwkJRTrpFsDn1RVKXs/w400-h385/01+-+Nakatani%252C+Parish%252C+Rowden+-+cover+-+B-A.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxg4hRQsE4Z7iDNpxZbHg7IRq9PQKqGbawMHGYfjZkr11q4dPZ3c_EI4efe9y1A6EfF0U_OPqYWv1EbouWVyaB7W9GD55faf2jSxudhTNo81sWoTGgEtyy8IAJGb67uvFnllSNH7ezvUY/s1720/05+-+Astral+Spirits+%25E2%2580%258E%25E2%2580%2593+AS146+-+A-B.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxg4hRQsE4Z7iDNpxZbHg7IRq9PQKqGbawMHGYfjZkr11q4dPZ3c_EI4efe9y1A6EfF0U_OPqYWv1EbouWVyaB7W9GD55faf2jSxudhTNo81sWoTGgEtyy8IAJGb67uvFnllSNH7ezvUY/w400-h200/05+-+Astral+Spirits+%25E2%2580%258E%25E2%2580%2593+AS146+-+A-B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJnImt21Um25YyCMBR_dH6fAptz5DtkoJ33azDkOoOHEUbbY1i9wcVTGTSAVfKjV4YIeg1JvLPrZD6K6wG7MbwrjvIzsBIbf-BwSHs8sHtxcSlSUriF-HhlfBKjcr4_Pg7I_WM6BCV3-M/s2048/03+-+Nakatani%252C+Parish%252C+Rowden+-+cover+-+B-A-C.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1230" data-original-width="2048" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJnImt21Um25YyCMBR_dH6fAptz5DtkoJ33azDkOoOHEUbbY1i9wcVTGTSAVfKjV4YIeg1JvLPrZD6K6wG7MbwrjvIzsBIbf-BwSHs8sHtxcSlSUriF-HhlfBKjcr4_Pg7I_WM6BCV3-M/w400-h240/03+-+Nakatani%252C+Parish%252C+Rowden+-+cover+-+B-A-C.jpg" width="400" /></a></div><p></p><span style="font-family: inherit;">Label: Astral Spirits – AS146<br />Format: Cassette, Album, Limited Edition, Blue<br />Land: US / Veröffentlicht: 18 Sep 2020<br />Stil: Free Improvisation<br />Recorded at Static Age Records in Asheville, North Carolina June 10, 2018.<br />Mixed in Truth or Consequences, New Mexico Summer 2019.<br />Mixed By – Tatsuya Nakatani<br />Recorded By – Dylan Jordan<br />Copyright Tatsuya Nakatani / Shane Parish / Zach Rowden 2020<br /><br /><span style="color: #e06666;">side 1:</span><br />A - <span style="color: #f6b26b;">In</span> ......................................................................................................................... <span style="color: #e06666;">16:32</span><br /><br /></span><div><span style="font-family: inherit;"><span style="color: #f6b26b;">side2:</span><br />B1 - <span style="color: #e06666;">Ter</span> ..................................................................................................................... <span style="color: #f6b26b;">10:16</span><br />B2 - <span style="color: #e06666;">Stice</span> .................................................................................................................. <span style="color: #f6b26b;">11:50</span><br /><br /><span style="color: #f6b26b;">Personnel:</span><br />Tatsuya Nakatani – percussion<br />Shane Parish – nylon string guitar<br />Zach Rowden – double bass<br /><br />Specially edition, press of 200 copies on solid blue shell with white text and different design.</span></div><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEu5ZT2KVCJmnH5jNqkl3KhpnAoFHOuy4yrTQJZo8m2ilHji79p0mWWv0eJcsd183Fw_kOppzKuO8L7I6p_ls-p6yEWpvYDq6dT2rF_rcsy0TE8fd5hvPhD3g6pkEDKn0N7lyFw8Xria8/s2048/07+-+photoArt-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEu5ZT2KVCJmnH5jNqkl3KhpnAoFHOuy4yrTQJZo8m2ilHji79p0mWWv0eJcsd183Fw_kOppzKuO8L7I6p_ls-p6yEWpvYDq6dT2rF_rcsy0TE8fd5hvPhD3g6pkEDKn0N7lyFw8Xria8/w400-h266/07+-+photoArt-1.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ4MnAFYO0mmEZ0FxFtJ0dLcEsswAoew9_mxwF_jPOLKWeQuiaXj9jY2_HM8MMh5gY0tmr0VKfWzM9MX7F0WEBWG8_Sa5-dfwbYODemqruFHhj3IgbhZ5rQjYSfSHUqXUCRetjP-FABk8/s2048/08+-+photoArt-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZ4MnAFYO0mmEZ0FxFtJ0dLcEsswAoew9_mxwF_jPOLKWeQuiaXj9jY2_HM8MMh5gY0tmr0VKfWzM9MX7F0WEBWG8_Sa5-dfwbYODemqruFHhj3IgbhZ5rQjYSfSHUqXUCRetjP-FABk8/w400-h266/08+-+photoArt-2.jpg" width="400" /></span></a></div><div><p class="MsoNoSpacing"><span style="font-family: inherit;">An
exhilarating set of three improvisations between percussionist Tatsuya
Nakatani, guitarist Shane Parish (Ahleuchatistas) and double bassist Zach
Rowden, recorded live at Static Age Records in Asheville, NC in 2018 while
Nakatani was on tour, his inventive mix of drumming and tumultuously ringing
percussion perfectly complementing the introspectively energetic trio
interaction. The three improvisations spell out the word
"Interstice", the first two sections of 16 & 10 minutes in length
the most ferociously powerful, the final "Stice" introverting their
playing to a steady boil of almost Arabic guitar riffs, with Arco bass lines
from Rowden as Nakatani's drums deeply roll and resound. An absolutely
impressive performance.</span></p><br /><br /><span style="color: #ffe599;">If you find it, buy this album!</span></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com23tag:blogger.com,1999:blog-4966374046256089922.post-47652175567903103132021-02-01T11:48:00.000+01:002021-02-01T11:48:36.919+01:00MICHEL REDOLFI / ANDRÉ JAUME – Hardscore (Côte D'Azur / LP-1981...?)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4I1iP8pBcqeyuM_7PDYl8eLx2la-Wse45-a4JMkBxUepsPAE4-rFExMVXl2qpvlvMVadDGQQgFwEQcJXUmBqc1e03nSwoPQG8oDrXX6TstrOzM9rKojbYJ06q_RwL4ZhCd-Sq6jRK_wM/s2048/01+-+Hardscore+-+A+%2528front%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4I1iP8pBcqeyuM_7PDYl8eLx2la-Wse45-a4JMkBxUepsPAE4-rFExMVXl2qpvlvMVadDGQQgFwEQcJXUmBqc1e03nSwoPQG8oDrXX6TstrOzM9rKojbYJ06q_RwL4ZhCd-Sq6jRK_wM/w400-h400/01+-+Hardscore+-+A+%2528front%2529.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtQPHdlfmF54n2c0lNq7jvugUt7_g3bbOSeYYrNds5_yIg-obmIL_sQX07Deo59zTH5PTbAXlPUiWB3f1WdEEsWeGGUr0YUJUX2GhVvtbrNHboKH2OLrZxZRs2XrrIozDwjumQMm_LaMM/s1720/02+-+C%25C3%25B4te+D%2527Azur+%25E2%2580%258E%25E2%2580%2593+CDA+02+-+A-B.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtQPHdlfmF54n2c0lNq7jvugUt7_g3bbOSeYYrNds5_yIg-obmIL_sQX07Deo59zTH5PTbAXlPUiWB3f1WdEEsWeGGUr0YUJUX2GhVvtbrNHboKH2OLrZxZRs2XrrIozDwjumQMm_LaMM/w400-h200/02+-+C%25C3%25B4te+D%2527Azur+%25E2%2580%258E%25E2%2580%2593+CDA+02+-+A-B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_iLgDO3K9FU59oaLwHlHcLQ_4KDW4LhSwMYl6iwchUgZEbbv1X8t-fMe6Jv56_icUjLYazmC4FMRWwDOIhMsEUBx2gW3JL-i1461_zOw-HQaELrNrharCJlC9-Z8j1UGlksPZJOSFDW4/s2048/03+-+Hardscore+-+B+%2528back%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_iLgDO3K9FU59oaLwHlHcLQ_4KDW4LhSwMYl6iwchUgZEbbv1X8t-fMe6Jv56_icUjLYazmC4FMRWwDOIhMsEUBx2gW3JL-i1461_zOw-HQaELrNrharCJlC9-Z8j1UGlksPZJOSFDW4/w400-h400/03+-+Hardscore+-+B+%2528back%2529.jpg" width="400" /></a></div><br /><span style="font-family: inherit;">Label: Côte D'Azur – CDA 02 <br />Format: Vinyl, LP, Album / Country: France / Released: 1981 <br />Style: Free Jazz, Musique Concrète, Experimental <br />Recorded and Mixed by Michel Redolfi in Marseille at GMEM Studios. <br />Artwork / Re-Design By [Cover Design] – V. Salvarica <br />Photography – Bragoni, Canavaggio, Pajot <br />Recorded By, Mixed By – Michel Redolfi <br />Producer – Philippe Conrath <br />Executive Producer – D. Buscail, Ph. Caviglio <br />Composed By – André Jaume / Michel Redolfi <br />Matrix / Runout (Side A): CDA 02 A- I <br />Matrix / Runout (Side B): CDA 02 B-II <br /><br /><span style="color: #e06666;">side 1 </span><br /><span style="color: #f6b26b;">A1</span> - André Jaume – <span style="color: #f6b26b;">Cupabia</span> .................................................................................. <span style="color: #e06666;">10:15 </span><br /> part 1 Asciuma <br /> part 2 Ventitellu <br /> part 3 Timporale <br /><br /><span style="color: #f6b26b;">A2</span> - André Jaume – <span style="color: #f6b26b;">Opalescence</span> ........................................................................... <span style="color: #e06666;">4:45 </span><br /><span style="color: #f6b26b;">A3</span> - André Jaume – <span style="color: #f6b26b;">Ballade Pour Hector</span> ................................................................ <span style="color: #e06666;">4:42 </span><br /><br /><span style="color: #f6b26b;">side 2 </span><br /><span style="color: #e06666;">B1</span> - Michel Redolfi – <span style="color: #e06666;">Naissance Et Agonie De Ma Lampe De Chevet</span> .................... <span style="color: #f6b26b;">9:45 </span><br /><span style="color: #e06666;">B2</span> - Michel Redolfi – <span style="color: #e06666;">Hardscore</span> ............................................................................. <span style="color: #f6b26b;">10:37 </span><br /> (text by – Lanie Goodman) <br /><br /><span style="color: #f6b26b;">Personnel: </span><br />André Jaume – bass larinet / tenor saxophone <br />Michel Redolfi – synthesizer [synclavier digital synthesizer] <br />Jean-Marc Montera – guitar <br />Jacques Diennet – keyboards <br />Frank Royon Le Mée – vocals <br /><br />Much more known for his aquatic electroacoustic environments including albums for that genre's landmark Ina/GRM imprint, it seems Michel Redolfi's association with the largely free music-focused imprint Hat Hut which issued his first album had the knock-on effect of bringing him together with both sax and clarinet improvisor Jaume (whose CV includes recordings with Joe Mcphee, Raymond Boni and Charlie Mariano) and the passel of improvisors more readily associated with the label during the early 80's, including guitarist Marc Montera and second keyboardist Jacques Diennet, who'd later join forces again for Diennet's 1987 Hat Hut-issued LP boxset Mante, though Hardscore itself wasn't actually issued on that label.</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd9Zxq-nwvNFjYC8GyaWCy2bEXyvLorSPUOs5pF6P46BsZ5J7LGeMm9EqXluIrHClgFQj24PUA_IJvPaWJKvmqBxDATAGziU0vPAk5cRHncV19iR6uohwBCY7S54GOxv5lModTzWCUIQA/s2048/06+-+photoArt-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd9Zxq-nwvNFjYC8GyaWCy2bEXyvLorSPUOs5pF6P46BsZ5J7LGeMm9EqXluIrHClgFQj24PUA_IJvPaWJKvmqBxDATAGziU0vPAk5cRHncV19iR6uohwBCY7S54GOxv5lModTzWCUIQA/w400-h266/06+-+photoArt-3.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMK-iTVU_jCn-4vC3Ybn9C9-LoL8SHf5oAe54QfBHxMni16KZroq9fjhpyMSjTPntj2ZlsLdEvs5P7PGZ654Zi7fhyphenhyphenPTtyvVcV8NdSDgA9lArUJGW2tRtbiqmVTGhDbFrl_nzm8Oei3v8/s2048/07+photoArt-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMK-iTVU_jCn-4vC3Ybn9C9-LoL8SHf5oAe54QfBHxMni16KZroq9fjhpyMSjTPntj2ZlsLdEvs5P7PGZ654Zi7fhyphenhyphenPTtyvVcV8NdSDgA9lArUJGW2tRtbiqmVTGhDbFrl_nzm8Oei3v8/w400-h266/07+photoArt-4.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />Jaume's compositions comprise side A, Redolfi's side B, though both appear throughout. The Jaume-penned outing on side A is splendid: a rambunctious and splutteringly digestive cartoonish sound clash akin to that deployed by the Un Drame Musical Instantane/GRRR crew that pits Jaume's bass clarinet and tenor sax against playfully gurgling atmospheres from Redolfi which are then cross-hatched and perforated by the fits and spits emitted from guitarist Jean-Marc Montera, second keyboardist Jacques Diennet and vocalist Frank Royon Le Mee. Redolfi's two B-side compositions are things of confounding beauty, stepping away from his understood identity far more than the surges of Michel Waisvisz-like free synth splatter that be brings to bear on Jaume behalf on the A Side. On Naissance Et Agonie De Ma Lampe De Chevet, Redolfi sticks to a background scrim of droning coloration while Frank Royon Le Mee and Jaume use clarinets, sax, delicate acoustic guitar and and vocals of bird-like delicacy and sensitivity to evoke a ritualistic summoning on the spirits, while the title track teases a candy floss of atonal synthetic unguent around Jaume's moist emissions 'til they both explode in a polyphonically saturated and tonally ripe burst of synthetically smeared sax love.</span><div><br /><div><span style="font-family: inherit;"><span style="color: #e06666;">(Review By VDOANDSOUND)</span></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;">This two-part suite is actually a hidden gem of rogue Acoustic-Electronic interplay & tight, blocky Concrète moves, heavily featuring Redolfi's Synclavier interjections.</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #ffe599; font-family: inherit;">If you find it, buy this album!</span></div></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com49tag:blogger.com,1999:blog-4966374046256089922.post-80326409661386235952021-02-01T11:47:00.001+01:002021-02-01T11:47:53.398+01:00"A" TRIO and AMM – AAMM (Unrock – UnrockLP012 / LP-2018 + 7" Single)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOGKCR6VjWiAfSXCimt2JD-UXxejeUfMSwr4Kjw8TPAJP6UADhSXCNOeHlsFZuJSl9s-bxWDfciy8EqgVXnYDPFGJarb-7hrv1JsjoFuyu4omimJYybqEK4ed6hCU1vy2BQrgHSW36XBM/s2048/01+-+AAMM+-+A+%2528front%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOGKCR6VjWiAfSXCimt2JD-UXxejeUfMSwr4Kjw8TPAJP6UADhSXCNOeHlsFZuJSl9s-bxWDfciy8EqgVXnYDPFGJarb-7hrv1JsjoFuyu4omimJYybqEK4ed6hCU1vy2BQrgHSW36XBM/w400-h400/01+-+AAMM+-+A+%2528front%2529.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNwIGGC0-FN0odGNCE68QGx0Azr5_3cBJT7Ip3ZTFSnOsWRuNehJbi3jdc_yrL67yt69DTBPw7Ax-RzUHPNGIKR4yrHUNzlO4cwicVzjiCJVoFT5e8c9U4dE7tmwGXgAD4YjbhspJfdkI/s1720/02+-+Unrock+%25E2%2580%258E%25E2%2580%2593+UnrockLP012+-+A-B.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNwIGGC0-FN0odGNCE68QGx0Azr5_3cBJT7Ip3ZTFSnOsWRuNehJbi3jdc_yrL67yt69DTBPw7Ax-RzUHPNGIKR4yrHUNzlO4cwicVzjiCJVoFT5e8c9U4dE7tmwGXgAD4YjbhspJfdkI/w400-h200/02+-+Unrock+%25E2%2580%258E%25E2%2580%2593+UnrockLP012+-+A-B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc-8rPoUlN_tIz4lBKwfkSE6dZ2CXAPgGJ5YkI_VHF3oVYh9Ss23G2KmWdLGfJKLAJw64x6CF6zKwz1DKeFRcbRAhXXKXszbQupDh9RnaHoMjzfgzz4MuYqcUit0VNQ3oVa2xuD36KXVA/s2048/03+-+AAMM+-+B+%2528back%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc-8rPoUlN_tIz4lBKwfkSE6dZ2CXAPgGJ5YkI_VHF3oVYh9Ss23G2KmWdLGfJKLAJw64x6CF6zKwz1DKeFRcbRAhXXKXszbQupDh9RnaHoMjzfgzz4MuYqcUit0VNQ3oVa2xuD36KXVA/w400-h400/03+-+AAMM+-+B+%2528back%2529.jpg" width="400" /></a></div><br /><span style="font-family: inherit;">Label: Unrock – UnrockLP012 <br />Format: Vinyl, LP, Album + Vinyl, 7", Single / Limited Edition <br />Country: Netherlands / Released: 15 May 2018 <br />Style: Free Improvisation, Free Jazz <br />Recorded by Andreas Pysiewicz at St. Elisabeth Kirche, Berlin on August 27, 2015 in the context of DAAD's Mikromusik Festival <br />Artwork, Design – Mazen Kerbaj <br />Mixed abd Mastered By – Fadi Tabbal, Peter Koerfer at Tunefork Studios, Beirut, Lebanon <br />Producer [Produced By] – Al Maslakh <br />Recorded By – Andreas Pysiewicz <br />Matrix / Runout (Side A Etched): UNROCKLP012 - I <br />Matrix / Runout (Side B Etched): UNROCKLP012 - II <br /><br /><span style="color: #e06666;">side 1 </span><br />A - <span style="color: #f6b26b;">Unholy Elisabeth (Part 1)</span> ................................................................................... 20:34 <br /><br /><span style="color: #f6b26b;">side 2 </span><br />B - <span style="color: #e06666;">Unholy Elisabeth (Part 2)</span> ................................................................................... 21:26 <br /><br /><span style="color: #f6b26b;">AMM: </span><br />Eddie </span>Prévost<span style="font-family: inherit;"> – percussion <br />John Tilbury – piano <br /><br /><span style="color: #e06666;">“A” TRIO: </span><br />Mazen Kerbaj – trumpet <br />Sharif Sehnaoui – acoustic guitar <br />Raed Yassin – double bass <br /><br />All music improvised by Kerbaj, Prevost, Sehnaoui, Tilbury & Yassin. <br />No cuts, no overdubs, no use of electronics.</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEityKSJRtUbYVI1vu6B-KmI5ebTE_Q7GKIuo1_9-rRk2yDWEpANJ0HRT7C3mGi-xOgkHVH87ml8E8xGEIYeEArEI7Jmhrwl8-pYSAX4PA_c2CHHLU9FS4de3QMsfgDDWseHdspFg9E7xqU/s2520/04+-+inside+-+a-b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1248" data-original-width="2520" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEityKSJRtUbYVI1vu6B-KmI5ebTE_Q7GKIuo1_9-rRk2yDWEpANJ0HRT7C3mGi-xOgkHVH87ml8E8xGEIYeEArEI7Jmhrwl8-pYSAX4PA_c2CHHLU9FS4de3QMsfgDDWseHdspFg9E7xqU/w400-h198/04+-+inside+-+a-b.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />I always see an album cover as an extension of the album itself; the artists intentionally chose a visual component that they wanted to represent their music. When I look at this cover I think of the moon, cave paintings, and plants cells all packed together. All of these images are ancient, organic and an important part of our humanity. The Lebanese "A" Trio and now AMM duo team up in a release that channels that long-lasting energy. The "A" Trio is a group that is composed of Mazen Kerbaj on trumpet, Sharif Sehnaoui on acoustic guitar, and Raed Yassin on double bass. The AMM, now being sustained by veterans Eddie Prévost and John Tilbury, serve as partial mentors to the young improvisers. But thankfully this live recording is not just an example of a master-apprentice relationship, rather it's the joining of two different worlds through the power of improvised music. Tilbury and Prévost serve as a sort of enhanced rhythm section that provides a lot of interesting moments, yet the "A" Trio actually supplies the most flavor and substance throughout the whole piece. This isn't to discredit AMM; they perform fantastically, and I think they really bolster the performance of the other players. There's a real sense of cohesion and fluidity that is brought by these two clashing worlds, the East and West. Just recently released, this performance was over three years ago, completed without any cuts, overdubs, or use of electronics. This just provides further emphasis on the improvisational method of these musicians and helps us understand the development of their music in the moment. <br /><br /> The beginning minutes of "Unholy Elisabeth" are evocative of a quiet night, with the full moon shining down and rain drops falling from leaves above. Tilbury's piano playing is soft and melodic, almost like nature's own improvised nursery rhyme. The general calmness of the music during this introduction can be viewed as either the calm before the storm, or the silent aftermath. Either way, one's anxiety can build up as only the sterile scraping of guitar strings is present. As more musicians join in the tension can truly be felt, while each instrument adds a vital layer to the music that are like gusts of wind felt on the ground and through the branches. During the first quarter of this fifty-one minute piece my attention was almost solely focused Tilbury's serene notes cutting through. The AMM members provide the most obvious instrumentation and sounds, but it may be hard at times to distinguish what instrument is being played. More accurately which instrument is being tested and operated on. The bowed bass is the framework on which all other sounds are being added onto, and there sure are a lot of sounds. I prefer the duos or trio sections within the piece that pop up; a few elements that serve as a playful back-and-forth between musicians. This facet, along with the organic nature of the instruments, makes for a very wild and raw exposition of sound.</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkwpACwZ1aDhM5RxsFMc5q6v1r97vebkO83W0FNyRuXdlnafIfaXKlueXDauuaBMK6kumaGXz80Blq9QQHsV7hs8s2xJBQmLK6jbOa8_qU0PuSbW7Dwwp4GxwBRp2x-R9ktZnEUQEkU44/s2048/09+-+photoArt-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkwpACwZ1aDhM5RxsFMc5q6v1r97vebkO83W0FNyRuXdlnafIfaXKlueXDauuaBMK6kumaGXz80Blq9QQHsV7hs8s2xJBQmLK6jbOa8_qU0PuSbW7Dwwp4GxwBRp2x-R9ktZnEUQEkU44/w400-h266/09+-+photoArt-3.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG4GsK6I0LsHolG06_T-LzdFDF8-R21uaE5E3pJHt9er1CqHMI-KpWO1d6D2HTjT20sCxvAR0bIAbg4SjfQeeL-0KrBgVXH8bJRT78wQox6Gj2a27z3qy221b5Hdi4h707KLt6-FFJcho/s2048/10+-+photoArt-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1247" data-original-width="2048" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG4GsK6I0LsHolG06_T-LzdFDF8-R21uaE5E3pJHt9er1CqHMI-KpWO1d6D2HTjT20sCxvAR0bIAbg4SjfQeeL-0KrBgVXH8bJRT78wQox6Gj2a27z3qy221b5Hdi4h707KLt6-FFJcho/w400-h244/10+-+photoArt-4.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH4tqHPFX7YVTfHEcXR5fWCjsVgw-OYiaJ8MI6VyiBciwvI5vALLRxaYXfBjOYJl6KYSE9283pkB-FBSGWN_a_vEwe_0KxxezTYmbxQAffEkkedZItqx1l5b7q_NKwVv_t5abZIYJAXeE/s2048/11+-+photoArt-5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH4tqHPFX7YVTfHEcXR5fWCjsVgw-OYiaJ8MI6VyiBciwvI5vALLRxaYXfBjOYJl6KYSE9283pkB-FBSGWN_a_vEwe_0KxxezTYmbxQAffEkkedZItqx1l5b7q_NKwVv_t5abZIYJAXeE/w400-h266/11+-+photoArt-5.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />Mazen Kerbaj's trumpet is one of the most versatile instruments in the group; acting as a bubbling bog or a pleading prayer voice. The trumpet represents the human relationship with nature. We are always at its mercy but our connection to it is stronger than we think. The pauses in music and return to silence helps clear the mind and allows starting points that flesh out new ideas. Prévost's percussion style is scattered and muted to a degree, it's a hint at something sinister and underlying. About thirty-five minutes in, this playing is joined with steely strings and a beat which seems to be either finger tapping or airy breathing out of the trumpet. The trumpet exposes itself anyways and suddenly goes silent, only starting again with Tilbury's habitual peaceful playing. Kerbaj's playing turns into a true cry for help, an exasperated groan that is a last-ditch effort for an answer. Sharif Sehnaoui's guitar picking is pretty absent until near the end where he enters a mostly duo setting with Tilbury, as the vibrating trumpet serves as the background. Sehnaoui's playing is dusty and in an Eastern style, drawn out notes that sound like they've traveled across miles of sand dunes just to reach your ears. The trumpet moves forward and then everyone else joins in for one last burst of energy, just before dissipating into blowing sand...</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9eSy0KNXq9FSzIDzr8vW88txMumEL_dTwL7C0N9NOw7iiRWsN7BgKsFyZmn8ZBgsYPvSTJgu2x3fvo-sMD35cY6txrXRTlivXSe7FR7rnlhsY2vtOQ05Lnd8lvn2e701QjQintR_8GIM/s2048/12+-+AAMM+-+A+%2528fromt+-+single%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9eSy0KNXq9FSzIDzr8vW88txMumEL_dTwL7C0N9NOw7iiRWsN7BgKsFyZmn8ZBgsYPvSTJgu2x3fvo-sMD35cY6txrXRTlivXSe7FR7rnlhsY2vtOQ05Lnd8lvn2e701QjQintR_8GIM/w400-h400/12+-+AAMM+-+A+%2528fromt+-+single%2529.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_k5fwT8S1rGMv_O4Sw36OoYGmDze0rRKUKYn3I7z8SxzvPx8jqBQEzT69ZqNMloCwEJ-Xk69AzWkKX9ZRFrR3fbamYhoagVWh0X17rBXvLw3vBaEfXnxUJi6hyphenhyphen80wZT6dKWeEYo1hKkI/s1720/13+-+UnrockLP012+single+-+A-B.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_k5fwT8S1rGMv_O4Sw36OoYGmDze0rRKUKYn3I7z8SxzvPx8jqBQEzT69ZqNMloCwEJ-Xk69AzWkKX9ZRFrR3fbamYhoagVWh0X17rBXvLw3vBaEfXnxUJi6hyphenhyphen80wZT6dKWeEYo1hKkI/w400-h200/13+-+UnrockLP012+single+-+A-B.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQMee8NySismZxhqezr-Hitj7Xr9VYHM-QOkFYodJy8QTokznv0z5kjEQsXRFFqcosipASNLpbvwRG5749Q_3PeFMNKCv2DFVp0FnsLHpmUDIO-8CU0sty7iz0h_Wuwo8E6xvL2E4jXxw/s2048/14+-+AAMM+-+B+%2528back+-+single%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQMee8NySismZxhqezr-Hitj7Xr9VYHM-QOkFYodJy8QTokznv0z5kjEQsXRFFqcosipASNLpbvwRG5749Q_3PeFMNKCv2DFVp0FnsLHpmUDIO-8CU0sty7iz0h_Wuwo8E6xvL2E4jXxw/w400-h400/14+-+AAMM+-+B+%2528back+-+single%2529.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />Label: Unrock – UnrockLP012 single <br />Format: Vinyl, 7", Single / Limited Edition <br />Recorded by Andreas Pysiewicz at St. Elisabeth Kirche, Berlin on August 27, 2015 in the context of DAAD's Mikromusik Festival <br />Matrix / Runout (Side A Etched): UNROCKLP012 – I single <br />Matrix / Runout (Side B Etched): UNROCKLP012 – II single <br /><br /><span style="color: #e06666;">single </span>/ <span style="color: #e06666;">side A </span><br />C - <span style="color: #f6b26b;">In The House Of No Lord (Part1)</span> ........................................................................ 5:54 <br /><br /><span style="color: #f6b26b;">single </span>/ <span style="color: #f6b26b;">side B </span><br />D - <span style="color: #e06666;">In The House Of No Lord (Part 2)</span> ....................................................................... 3:19 <br /><br />All music improvised by Kerbaj, Prevost, Sehnaoui, Tilbury & Yassin. <br />No cuts, no overdubs, no use of electronics.</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7aQZNBXoeTClVh9pLDQFWhVw8QnHJCb0TaPgM9NjIhHaiMSoDAUrjiQ5b7uHaoN9QgmVPzbunnMAgE4cZX0nIBaZveu8jcOcILJuZHS7et1lCQ5F4j42GrieHgql3xdYmJ9jctFCgznA/s2048/17+-+photoArt-8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7aQZNBXoeTClVh9pLDQFWhVw8QnHJCb0TaPgM9NjIhHaiMSoDAUrjiQ5b7uHaoN9QgmVPzbunnMAgE4cZX0nIBaZveu8jcOcILJuZHS7et1lCQ5F4j42GrieHgql3xdYmJ9jctFCgznA/w400-h266/17+-+photoArt-8.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />This uninterrupted live story is surely an adventurous treat, not only for the ears but for the mind. A prehistorical narrative is formed, concerning all humans and pointed towards the world around us. Including all the turmoil and peace that finds its way into our lives. It's puzzling as to why this was just released; either way it's an important release in the AMM catalog and a kindling agent to check out the rest of "A" Trio's releases. There's no doubt that a certain amount of clout is given to this release due to the inclusion of the AMM but besides the memorable playing of its members there is still a lot to absorb. Even in its improvisational style the "A" Trio brings it's Middle Eastern and Arabic music influences into the mix. There are hints of these melodies and playing styles that are projected onto their western instruments. It adheres quite well with the playing of Prévost and Tilbury, to assist in creating a unique and interesting addition to the AMM discography. It's not as harsh as some might expect, and I might even recommend this as a starting point for someone looking to peep into the AMM catalog. I wish more collaborations like this would occur; people of completely different backgrounds coming together through similar medium in order to create compassionate, natural music. <br /><br /><span style="color: #e06666;">(Review By Kian Banihashemi / The Free Jazz Collective)</span></span><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #ffe599; font-family: inherit;">If you find it, buy this album!</span></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com32tag:blogger.com,1999:blog-4966374046256089922.post-58240418076653192102021-02-01T11:47:00.000+01:002021-02-01T11:47:00.283+01:00JAN BERAN – Aniseikonia - Zeitsplitter - 4 Etüden (Bison – BIS LP 010 / LP-1986)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrKE-QNfGma3v-KTV_rXoO6AmUGzdKLJ4AIt-o6bT_h-zmR7DvExAQ1XAQD2YxObYri1ltu9pHUFsvQb5UsS8TYl85KQKWvLrAtMzFU59DFr92M43bkDn0A4UwJ8sEg_ctwarNWSg6P38/s2048/01+-+Jan+Beran+-+A+%2528front%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrKE-QNfGma3v-KTV_rXoO6AmUGzdKLJ4AIt-o6bT_h-zmR7DvExAQ1XAQD2YxObYri1ltu9pHUFsvQb5UsS8TYl85KQKWvLrAtMzFU59DFr92M43bkDn0A4UwJ8sEg_ctwarNWSg6P38/w400-h400/01+-+Jan+Beran+-+A+%2528front%2529.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Nr6ucaFXKdcSOztHHmTAzhY-1K5fKtFzH8l52OH8TBk_4_VeEApOSsFHBobEbz-h11wgiYEHTILn53spli3V9xBF8vCBzGB8v5iu6iTDLIJVjFKVePy70ZfkLCBmshCs1vVfiNf_274/s1720/02+-+Bison+Records+%25E2%2580%258E%25E2%2580%2593+BIS+LP+010+-+A-B.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6Nr6ucaFXKdcSOztHHmTAzhY-1K5fKtFzH8l52OH8TBk_4_VeEApOSsFHBobEbz-h11wgiYEHTILn53spli3V9xBF8vCBzGB8v5iu6iTDLIJVjFKVePy70ZfkLCBmshCs1vVfiNf_274/w400-h200/02+-+Bison+Records+%25E2%2580%258E%25E2%2580%2593+BIS+LP+010+-+A-B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-xexZeZoObIfTPrtSf_iUkQRQUoBRi_EHY9wHmLPLybObKm8Zam0OJOruTMYdpDXrbS-Ka_8soRUQSPAqLboTfDfOHudaTkb8XzynlFoj9aMOFhyphenhyphencpovh6AUgrV4gRVoGtZ9Gys1qM44/s2048/03+-++Jan+Beran+-+B+%2528back%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-xexZeZoObIfTPrtSf_iUkQRQUoBRi_EHY9wHmLPLybObKm8Zam0OJOruTMYdpDXrbS-Ka_8soRUQSPAqLboTfDfOHudaTkb8XzynlFoj9aMOFhyphenhyphencpovh6AUgrV4gRVoGtZ9Gys1qM44/w400-h400/03+-++Jan+Beran+-+B+%2528back%2529.jpg" width="400" /></a></div><p></p><span style="font-family: inherit;">Label: Bison Records – BIS LP 010<br />Format: Vinyl, LP / Country: Switzerland / Released: 1986<br />Style: Avant-garde, Electronic<br />Recorded and Mixed at Tonstudio WETTER Winterthur, Switzerland, 1985.<br />Artwork By [Titelbild] – Maria Schüppen<br />Lacquer Cut By – SONDEREGGER<br />Mastered At – Tonstudio Rico Sonderegger<br />Distributed By – H.O.E. Zürich CH<br />Matrix / Runout (On Label): BISL P010<br />Matrix / Runout (Runout side A): LP BISP 010 A SWISS MADE [Crossbow logo]<br />Matrix / Runout (Runout side B): BISL P 010 B2 SWISS MADE [Crossbow logo]<br /><br /><span style="color: #e06666;">side 1</span><br />A1 - <span style="color: #f6b26b;">Aniseikonia</span> ....................................................................................................... <span style="color: #e06666;">19:10</span><br />A2 - <span style="color: #f6b26b;">Etüde Nr. 1</span> ......................................................................................................... 2:15<br />A3 - <span style="color: #f6b26b;">Etüde Nr. 2</span> ......................................................................................................... 5:36<br /><br /><span style="color: #f6b26b;">side 2</span><br />B1 - <span style="color: #e06666;">Etüde Nr. 3</span> ......................................................................................................... 3:24<br />B2 - <span style="color: #e06666;">Etüde Nr. 4</span> ......................................................................................................... 5:10<br />B3 - <span style="color: #e06666;">Zeitsplitter1</span> ....................................................................................................... <span style="color: #f6b26b;">14:10</span><br /><br />JAN BERAN – electronics<br /><br /><span style="color: #f6b26b;">The devices used for the composition:</span><br />Yamaha DX 7, Yamaha TX 816, Oberheim Expander<br />Yamaha RX 11, Yamaha QX 1, Yamaha CX 5<br /> </span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE7OMBwTQxZJMNC11R65C3fE2rkrVgr29LAt9WJmMBhDMP6oJcuq8t25KAMp2F7wJFHgjfJEVU7sT5k7FI6_LttDNp382MMdnvoI4lhXKCt4LVgZTHJ8lct6daBO1NwCnaPi-zXeH_pVA/s2048/06+-+photoArt-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE7OMBwTQxZJMNC11R65C3fE2rkrVgr29LAt9WJmMBhDMP6oJcuq8t25KAMp2F7wJFHgjfJEVU7sT5k7FI6_LttDNp382MMdnvoI4lhXKCt4LVgZTHJ8lct6daBO1NwCnaPi-zXeH_pVA/w400-h266/06+-+photoArt-3.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfSrrowHnZzu055eh0JO8IeOzhZOvSwrl1p4ritBUWSi9HT7AzRyt1g845jpB0Cs_hqNFDfYb5U6ZRT6j8FgL2l0JHYfjnecrvSRxeJRXYxsAxpNA5zHlamsoMitPncCvOfjk8gvPYqCg/s2048/07+-+photoArt-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1197" data-original-width="2048" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfSrrowHnZzu055eh0JO8IeOzhZOvSwrl1p4ritBUWSi9HT7AzRyt1g845jpB0Cs_hqNFDfYb5U6ZRT6j8FgL2l0JHYfjnecrvSRxeJRXYxsAxpNA5zHlamsoMitPncCvOfjk8gvPYqCg/w400-h234/07+-+photoArt-4.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyXfud7jjZ9dEcr9GiWVkoIa__dJ50ihItXrKVQqRSP4SxONl11Leij-GaDE4FnlEW93DsOaKJiW7ve5FqZeAJxB9RqQL-pUXcAFjO0mHHoJDmuEpXzcvbLGxMl-wugQzRDAEN-yNCw1k/s2048/08+-+photoArt-5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyXfud7jjZ9dEcr9GiWVkoIa__dJ50ihItXrKVQqRSP4SxONl11Leij-GaDE4FnlEW93DsOaKJiW7ve5FqZeAJxB9RqQL-pUXcAFjO0mHHoJDmuEpXzcvbLGxMl-wugQzRDAEN-yNCw1k/w400-h266/08+-+photoArt-5.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />Warped, asynchronous, mid-80s FM Synthesis assemblages, captured at the absolute cusp of the Analogue-Digital transition, from Czech-Swiss Composer Jan Beran. <br />But ah, the times, the times. After a few careful listens & a decade+ of consistently softened sensibilities I've relented..... I give you a multitude of small sounds, 6-operator particles, each with their own distinct trajectories. I get why this was such a mystery to so many that sought it, and how unlike anything from its era, before, or beyond it truly is. <br />Four short "Etüdes", each with their own personality and timbral spec, bookended by the lengthier "Aniseikonia" & "Zeitsplitter".</span><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #ffe599; font-family: inherit;">If you find it, buy this album!</span></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com21tag:blogger.com,1999:blog-4966374046256089922.post-27710673561937767702021-02-01T11:46:00.000+01:002021-02-01T11:46:20.026+01:00RUSSELL / KONDO / TURNER – Artless Sky (CAW Records – CAW 001 / LP-1980)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1FfUtbO4oogUEt85nJMKwWJ8t4YEt0RQIrUo345Aop4fu-j9ro7fuOXHZW2IvM6PbAGwfzR9ElRnIEbUCrNpz2qTzixiagYLWBVlpITzERTPp4VqaKDyr8KbPL9gNaWEAwgBKS-8YIvg/s2048/01+-+Artless+Sky+-+A+%2528front%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1FfUtbO4oogUEt85nJMKwWJ8t4YEt0RQIrUo345Aop4fu-j9ro7fuOXHZW2IvM6PbAGwfzR9ElRnIEbUCrNpz2qTzixiagYLWBVlpITzERTPp4VqaKDyr8KbPL9gNaWEAwgBKS-8YIvg/w400-h400/01+-+Artless+Sky+-+A+%2528front%2529.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5XJGFW4jTZfoHNVOVasatoFKYnHdlxLAGAfEU1gNWhyphenhyphenaxnmWEipdxwqD81NxCNTH-tSeKKu_oeWdqu5-Iq88m8IMcCJqf55-oMtfrzBW-wCaSjC_HdWQR0O83n3RR1lzGZ58LFyj_H3M/s1720/02+-+Caw+Records+%25E2%2580%2593+CAW+001+-+A-B.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5XJGFW4jTZfoHNVOVasatoFKYnHdlxLAGAfEU1gNWhyphenhyphenaxnmWEipdxwqD81NxCNTH-tSeKKu_oeWdqu5-Iq88m8IMcCJqf55-oMtfrzBW-wCaSjC_HdWQR0O83n3RR1lzGZ58LFyj_H3M/w400-h200/02+-+Caw+Records+%25E2%2580%2593+CAW+001+-+A-B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6AXIx2p-yGuQ1PheKLwJTskTsPaHPq4GU-zthoj3XaDaYwOQo89EFFwZ2HpyKFwJfBkSKhwg1R9gqB1ARUbWhJevOisfpw7yd6cccZb-sKv2BlIgb4WMZHPZmk2zIDYkBStUmofV1mCo/s2048/03+-+Artless+Sky+-+B+%2528back%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6AXIx2p-yGuQ1PheKLwJTskTsPaHPq4GU-zthoj3XaDaYwOQo89EFFwZ2HpyKFwJfBkSKhwg1R9gqB1ARUbWhJevOisfpw7yd6cccZb-sKv2BlIgb4WMZHPZmk2zIDYkBStUmofV1mCo/w400-h400/03+-+Artless+Sky+-+B+%2528back%2529.jpg" width="400" /></a></div><br /><span style="font-family: inherit;">Label: CAW Records – CAW 001<br />Format: Vinyl, LP, Album / Country: UK / Released: 1980<br />Style: Free Improvisation<br />Recorded live in Luton 19 Oct. 1979 on J.V.C. dummy head & Revox.<br />Design – Geoff Matthews<br />Photography By [Back Cover Photos] – Russell, Turner, Kondo<br />Photography By [Front Cover Photo] – Steve Francis<br />Composed By [All Compositions] – Russell, Turner, Kondo<br />Engineer – Tim Powell<br />Printed By – Senol Printing Ltd.<br />Pressed By – Nimbus Records Limited<br />Extra Rare Vinyl LP<br />Matrix / Runout (Side A Label): CAW 001 A<br />Matrix / Runout (Side B Label): CAW 001 B<br /><br /><span style="color: #e06666;">side 1:</span><br />A - <span style="color: #f6b26b;">Artless Sky</span> ......................................................................................................... <span style="color: #e06666;">23:25</span><br /><br /><span style="color: #f6b26b;">side 2:</span><br />B1 - <span style="color: #e06666;">Dear Listeners</span> ................................................................................................... 3:30<br />B2 - <span style="color: #e06666;">When Crime Becomes An Option</span> ...................................................................... 2:28<br />B3 - <span style="color: #e06666;">Pies</span> .................................................................................................................... 6:10<br />B4 - <span style="color: #e06666;">Mounting On The Wind</span> ...................................................................................... 5:02<br />B5 - <span style="color: #e06666;">Marcel Waves</span> .................................................................................................... <span style="color: #f6b26b;">2:59</span><br /><br /><span style="color: #f6b26b;">Personnel:</span><br />John RUSSELL – guitar [plectrum]<br />Toshinori KONDO – trumpet, alto horn, effects [small amp & mutes]<br />Roger TURNER – drums, percussion<br /><br /><span style="color: #e06666;">Note:</span><br />This album was made by Russell and Turner’s own label, CAW Records (not to be confused with Caw Records, no matter what Discogs claims).<br /> </span><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtyPdNelMYLmWiDjoVCd5WGZL4l0Lt_6K1phCmuKGMGjvGJO63focnqoD3r421JeX4X34w2lctiCUGkA2sFRYazCa7f4sFnt3ExcygSZoRtyIF6c6KixwmB5Fe0Dr4nZ-sOX6Rqx8Qqgg/s2048/russell+4.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1307" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtyPdNelMYLmWiDjoVCd5WGZL4l0Lt_6K1phCmuKGMGjvGJO63focnqoD3r421JeX4X34w2lctiCUGkA2sFRYazCa7f4sFnt3ExcygSZoRtyIF6c6KixwmB5Fe0Dr4nZ-sOX6Rqx8Qqgg/s320/russell+4.jpg" width="320" /></span></a></div><span style="color: #f6b26b; font-family: inherit;">In memory of the great guitarist John Russell (19 December 1954 - 18 January 2021)</span><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;">It
was German saxophonist Stefan Keune who told me in March 2020 that John Russell
was dying of cancer and that he - depending on how well chemotherapy worked -
didn’t know how long he would live. Now, the great British guitarist has passed
away.</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;">John
Russell began to play in and around London from 1971 onwards. He soon connected
with the emerging free improvisation scene and became a student of Derek
Bailey's. Although he was obviously influenced by the legendary guitarist,
Russell found his unique musical personality, he was highly abstract and
unpredictable. Or, as my colleague Stuart Broomer once put it: “Where Bailey
disrupted the idiomatic gesture, Russell sometimes invokes it; where Bailey
practiced discontinuity, Russell can create alternative order“. Sometimes his
improvisations seemed to resonate blues or swing patterns, but Russell used
them extraordinarily freely, as if they had been carried by a gust of wind and
moved on immediately. Another distinctive feature has to do with his
instrument, a 1936 Zenith archtop acoustic guitar. It’s an unamplified but loud
instrument, which was often used by swing band guitarists, who needed to compete
with the brass section. This instrument allowed him to make use of harmonics in
a genuinely significant way.</span></div><div><span style="font-family: inherit;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJCJI_0-8B4k4K7_40QlK7waNfpX2OYIKcCsJDyQC-ZILDU9zpNk_odKnKObRCnMQ2cp_u-_o9BjnSwEzQSvuuj_ih9hBfL_WAej9ViWIa7dTVCpE3IFb-3zg1p-hLRCP3IlyUH7XCYMI/s2048/06+-+photoArt-3.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJCJI_0-8B4k4K7_40QlK7waNfpX2OYIKcCsJDyQC-ZILDU9zpNk_odKnKObRCnMQ2cp_u-_o9BjnSwEzQSvuuj_ih9hBfL_WAej9ViWIa7dTVCpE3IFb-3zg1p-hLRCP3IlyUH7XCYMI/w400-h266/06+-+photoArt-3.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQCsFMkaw9pYkp5KrDBGI6_9AsE0XFX5TvmW2aWoS953ikc_xCUQj0C2zAOSHqmmmovwKEsRH95H4tcvSYH_5IXDFRkVJ_7DbTf-0xWN3zm3yK5yoKAupU5ezR6CmPVke1uiHVKKyx3iU/s2048/07+-+photoArt-4.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQCsFMkaw9pYkp5KrDBGI6_9AsE0XFX5TvmW2aWoS953ikc_xCUQj0C2zAOSHqmmmovwKEsRH95H4tcvSYH_5IXDFRkVJ_7DbTf-0xWN3zm3yK5yoKAupU5ezR6CmPVke1uiHVKKyx3iU/w400-h266/07+-+photoArt-4.jpg" width="400" /></span></a></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;">John
Russell has played with almost everyone who’s important in the worldwide improv
scene and his work can be heard on many albums. There’s a lot of his music
which is really to be recommended, starting with his trio album Artless Sky
(Caw Records, 1980) featuring Toshinori Kondo on trumpet and his longtime
collaborator Roger Turner on drums. The album I became aware of him for the
first time was News From The Shed (Acta, 1987) with John Butcher (sax), Phil
Durant (violin, electronics), Radu Malfatti (trombone) and Paul Lovens (drums),
a real masterpiece of improvised music, maybe the best FMP album which was
never released on the seminal German label. London Air Lift (FMP, 1991) with
Evan Parker (sax), John Edwards (bass) and Mark Sanders (drums) must be
mentioned here, as well as his duos with Stefan Keune. Recently Stuart Broomer
has reviewed Nothing Particularly Horrible (FMR, 2019) enthusiastically,
another collaboration with Keune, Lovens and bassist Hans Schneider.</span></div><span style="font-family: inherit;"><br />However, Russell was more than just a musician. In 1981, he founded Quaqua, a large bank of improvisers put together in different combinations for specific projects and in 1991 he started Mopomoso, which has become the UK’s longest running concert series featuring mainly improvised music. <br /><br />A true gentleman, a master of subtlety, an excellent musician has left the stage. He will truly be missed. <br /><br /><span style="color: #e06666;">(By Martin Schray / The Free Jazz Collective) </span><br /><br /> <br /><span style="color: #f6b26b;">Note: </span><br />Downloading this album you also get the complete issue of EARTRIP Magazine No. 4 in which you can read a great interview with John Russell.</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #ffe599; font-family: inherit;">If you find it, buy this album!</span></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com26tag:blogger.com,1999:blog-4966374046256089922.post-75420765768162935212020-12-31T04:27:00.001+01:002020-12-31T04:27:34.385+01:00YUJI TAKAHASHI – Seasons (ALM Records – AL-14 / LP-1977)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK9S7Ha8XmogB1fWOimad_7mCSjeibtDjyoejHITYVc67cbwcPXrOmXMP3czPbnG2eoKGrslEOQ6OJLs-8vpnIr0tkTCmpLe7NqFnmxeirdzCokQzuNlaZFK6cottY5NDTSW4JtqXX5Nk/s2048/01+-+Seasons+-+A+%2528front%2529+%252BOBI.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK9S7Ha8XmogB1fWOimad_7mCSjeibtDjyoejHITYVc67cbwcPXrOmXMP3czPbnG2eoKGrslEOQ6OJLs-8vpnIr0tkTCmpLe7NqFnmxeirdzCokQzuNlaZFK6cottY5NDTSW4JtqXX5Nk/w400-h400/01+-+Seasons+-+A+%2528front%2529+%252BOBI.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj-sBLyN8wj72o4uZoovkb0aOp92LssqJRpcOnC56uzcWiqLADhGtKYdiv9sXb70e5BQO1tRoj2w88op7bkvOThUDXU-c-ZANJUp5Ediz78JnC5Y9rG-BM6AwwvFUktzxBmqNh9cJ29aU/s1720/03+ALM+Records+%25E2%2580%258E%25E2%2580%2593+AL-14+-+A-B.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj-sBLyN8wj72o4uZoovkb0aOp92LssqJRpcOnC56uzcWiqLADhGtKYdiv9sXb70e5BQO1tRoj2w88op7bkvOThUDXU-c-ZANJUp5Ediz78JnC5Y9rG-BM6AwwvFUktzxBmqNh9cJ29aU/w400-h200/03+ALM+Records+%25E2%2580%258E%25E2%2580%2593+AL-14+-+A-B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6kYAibykn0S6USOyYqEA5iMmkFjDqqM1uQ6UIOc6-lVxQwzgWvvGobdpkW2yOiX0GH-PEboEMiFpT5qe2XKyk7dj28xHvY5iT_LAp6deXUmlclVT8S14QVEPO2wuiOk1xpAR8hLOb_cI/s2048/04+-+Seasons+-+A+%2528front%2529+%252B+OBI.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6kYAibykn0S6USOyYqEA5iMmkFjDqqM1uQ6UIOc6-lVxQwzgWvvGobdpkW2yOiX0GH-PEboEMiFpT5qe2XKyk7dj28xHvY5iT_LAp6deXUmlclVT8S14QVEPO2wuiOk1xpAR8hLOb_cI/w400-h400/04+-+Seasons+-+A+%2528front%2529+%252B+OBI.jpg" width="400" /></a></div><br /><span style="font-family: inherit;">Label: ALM Records – AL-14 <br />Format: Vinyl, LP / Country: Japan / Released: 1977 <br />Style: Post-Modern, Avant-garde, Experimental <br />Live concert "Yuji Takahashi plays J.S. Bach & J. Cage", May 30. 1974. <br />Art Direction – Nobukage Torii <br />Artwork – Tatsuya Yamaguchi <br />Engineer – Kousaku Urano <br />Other [Concert Planner, Promoter] – Tost <br />Producer – Yukio Kojima <br />Composed By – J.S. Bach (tracks: B2), John Cage (tracks: A1 to B1) <br />Comes with insert in japanese language. <br />Matrix / Runout (Side A runout, stamped): AL-14-A 1S 2 <br />Matrix / Runout (Side B runout, stamped): AL-14-B 1S 2 <br /><br /><span style="color: #e06666;">side 1:</span> <br /><span style="color: #f6b26b;">A1</span> - (John Cage) - <span style="color: #f6b26b;">Cheap Imitation [Excerpts]</span> ......................................................... <span style="color: #e06666;">6:40</span> <br /><span style="color: #f6b26b;">A2</span> – (John Cage) - <span style="color: #f6b26b;">Metamorphosis</span> ........................................................................ <span style="color: #e06666;">16:43 </span><br /><br /><span style="color: #f6b26b;">side 2:</span> <br /><span style="color: #e06666;">B1</span> - (John Cage) - <span style="color: #e06666;">The Seasons, Ballet In One Act</span> ................................................ <span style="color: #f6b26b;">15:26</span> <br /><span style="color: #e06666;">B2</span> - (J.S. Bach) - <span style="color: #e06666;">Toccata No. 2 In C-Minor BWV911</span> .............................................. <span style="color: #f6b26b;">11:12 </span><br /><br /><span style="color: #f6b26b;">YUJI TAKAHASHI</span> – piano <br /><br />Cheap Imitation written in 1969. <br />Metamorphosis written in 1938. <br />The Seasons, Ballet In One Act written in 1947. <br /><br />All pieces recorded from the live concert "Yuji Takahashi plays J.S. Bach & J. Cage", May 30. 1974.</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZHI7kraWFCOT0SUk0ZY29hwuyeSQM_buUT5KV4m455gfMuCvMRW7_7Wn2W2k0cPbvnFChblJTryWVeEY6Vz-2_YMDO-cqhclIPSuE4uGS-YDSwhLetHZvl9j7ooy7UNbgDmCjj_AdsTs/s2048/09+-+photoArt-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZHI7kraWFCOT0SUk0ZY29hwuyeSQM_buUT5KV4m455gfMuCvMRW7_7Wn2W2k0cPbvnFChblJTryWVeEY6Vz-2_YMDO-cqhclIPSuE4uGS-YDSwhLetHZvl9j7ooy7UNbgDmCjj_AdsTs/w400-h266/09+-+photoArt-3.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6fiEz52uEFXzPcpzORO75Nvz4xbIB7-NzfW3vQaYsknZbcxa_ZFRYhaLx-_6DVvXMuxheLlaSVEe_xcre4gIynkrTDkuYbfwF15ZR8yan_9pnbFxWwya3eHlylK9S6LirQETd2MoKdeI/s2048/10+-+photoArt-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1197" data-original-width="2048" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6fiEz52uEFXzPcpzORO75Nvz4xbIB7-NzfW3vQaYsknZbcxa_ZFRYhaLx-_6DVvXMuxheLlaSVEe_xcre4gIynkrTDkuYbfwF15ZR8yan_9pnbFxWwya3eHlylK9S6LirQETd2MoKdeI/w400-h234/10+-+photoArt-4.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq1AjI5gZscb0hwZxvwEYBI9ax_2gkg3BnquQEh1R6A1f44D4fL1m-0rkeODk3Qc0BxTu-NYWm45wo5vNlinWp_PDNDC5yylrfgQ21SM1SSRk5Q1PFDXuZDcOtyuNovBbaEuAZrWEm0ic/s2048/11+-+photoArt-5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq1AjI5gZscb0hwZxvwEYBI9ax_2gkg3BnquQEh1R6A1f44D4fL1m-0rkeODk3Qc0BxTu-NYWm45wo5vNlinWp_PDNDC5yylrfgQ21SM1SSRk5Q1PFDXuZDcOtyuNovBbaEuAZrWEm0ic/w400-h266/11+-+photoArt-5.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /><span style="color: #e06666;">Note:</span> <br />Track B1 - The Seasons, Ballet In One Act, is stated on both the back cover and the label to last 14:40, however, the actual duration is 15:26. </span><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #ffe599;">If you find it, buy this album!</span></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com47tag:blogger.com,1999:blog-4966374046256089922.post-75577593319096910562020-12-31T04:27:00.000+01:002020-12-31T04:27:02.412+01:00MASAHIKO TOGASHI – Voice From Yonder (Denon – YX-7519-ND / LP-1978)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXS2FT5vaL5Jw18Yz-fAH1lBQprbSE9Qd3M2PzgkY3XB_Bmmw8IFOqlAUunqCqOAp5hGBynQ4-2ksLl7ETpNn4ZrDVnQKwvj4a9cvpHPYIA2j2Vb9Zco0iqL39n9H8_wPYdtoHcjOfcYc/s2048/01+-+Voice+-+A+%2528front%2529+%252B+OBI.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXS2FT5vaL5Jw18Yz-fAH1lBQprbSE9Qd3M2PzgkY3XB_Bmmw8IFOqlAUunqCqOAp5hGBynQ4-2ksLl7ETpNn4ZrDVnQKwvj4a9cvpHPYIA2j2Vb9Zco0iqL39n9H8_wPYdtoHcjOfcYc/w400-h400/01+-+Voice+-+A+%2528front%2529+%252B+OBI.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5N-_bdg6eKFM576mH1bsARIIUBHHqAPHLI7caPd2dDiW3LZxo7p4ndYpM0cOrPW6VZ6LEFn62SncpRbxLEonwInnwo3kxSsw3YowBF4xfHNv6lkQ3f7KsMw8q4KZpftD4U_znnNFxQb0/s1720/03+-+Denon+%25E2%2580%258E%25E2%2580%2593+YX-7519-ND+-+A-B.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5N-_bdg6eKFM576mH1bsARIIUBHHqAPHLI7caPd2dDiW3LZxo7p4ndYpM0cOrPW6VZ6LEFn62SncpRbxLEonwInnwo3kxSsw3YowBF4xfHNv6lkQ3f7KsMw8q4KZpftD4U_znnNFxQb0/w400-h200/03+-+Denon+%25E2%2580%258E%25E2%2580%2593+YX-7519-ND+-+A-B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPd_VPgiewOyCb4rzisTXYibkNX2WLuq1a2Bb2e1mtatGI4vyCpUvl9imlQ5jIv_uXRdVOUe7NhhTkzbw2_-lU9WdgJCKaBUv4baukL28RhJ_JjipGEFypoWHFyeSOkNNev1xL1HFue6M/s2048/04+-+Voice+-+B+%2528back%2529+%252BOBI.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPd_VPgiewOyCb4rzisTXYibkNX2WLuq1a2Bb2e1mtatGI4vyCpUvl9imlQ5jIv_uXRdVOUe7NhhTkzbw2_-lU9WdgJCKaBUv4baukL28RhJ_JjipGEFypoWHFyeSOkNNev1xL1HFue6M/w400-h400/04+-+Voice+-+B+%2528back%2529+%252BOBI.jpg" width="400" /></a></div><br />Label: Denon – YX-7519-ND <br />Format: Vinyl, LP / Country: Japan / Released: Jul 1978 <br />Style: Free Jazz, Free Improvisation <br />Recorded on 2-3 February 1978, at Nippon Columbia's 1st Studio, Tokyo. <br />Japanese Original Press <br />Illustration [Cover] – Shozo Shinoda <br />Design [Cover] – Sign <br />Engineer – Masao Hayashi <br />Recording Supervisor – Yoshiharu Kawaguchi <br />Translated By [Poems] – Tom Oshidari <br />Composed By – Masahiko Togashi <br />Matrix / Runout (Side A, etched): YX-7519-ND – A <br />Matrix / Runout (Side B, etched): YX-7519-ND – B <br /><br /><span style="color: #e06666;">side 1: </span><br />A1 - <span style="color: #f6b26b;">Voice From Yonder</span> .......................................................................................... <span style="color: #e06666;">13:40</span> <br />A2 - <span style="color: #f6b26b;">Silence</span> ............................................................................................................... <span style="color: #e06666;">2:20</span> <br />A3 - <span style="color: #f6b26b;">Welcome</span> ............................................................................................................ <span style="color: #e06666;">3:01</span> <br /><br /><span style="color: #f6b26b;">side 2:</span> <br />B1 - <span style="color: #e06666;">Travelers</span> .......................................................................................................... <span style="color: #f6b26b;">12:13</span> <br />B2 - <span style="color: #e06666;">It's Time</span> ............................................................................................................. <span style="color: #f6b26b;">3:34</span> <br />B3 - <span style="color: #e06666;">Farewell</span> ............................................................................................................. <span style="color: #f6b26b;">2:35</span> <br /><br /><span style="color: #f6b26b;">Personnel:</span> <br />Masahiko Togashi – percussion <br />Yoshiaki Fujikawa – reed, percussion <br />Takashi Kako – piano, percussion <br />Keiki Midorikawa – bass, cello, percussion <br /><br /><span style="color: #e06666;">Note:</span> <br />Recorded on 2-3 February 1978. <br />Production date on the record label says June 1978. <br />Production date on the sleeve says July 1978. <br />Liner notes (Japanese) written in May 1978. <br />Backside of the sleeve listed Personel as Masahiko Togashi Quartet. The album however is published with Masahiko Togashi as artist. <br /><br /><span style="color: #f6b26b;">Masahiko Togashi </span>(富樫 雅彦, Togashi Masahiko), March 22, 1940, Tokyo - August 22, 2007, Kanagawa) was a Japanese jazz percussionist and composer.<div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFooT_SZKITSuWrYeCQh8b3G-OOe4CpuI8J20hKhN06joUVQYjoxzbWXjRzE1XERVyjf9KJ4IAzdjcqpz9GOMib_1P1Tvg9uiKSj4Hh-dfLlPvBFzWec4bLVUoz3qWrMgTSGQ28UtSGW4/s2048/09+-+photoArt-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFooT_SZKITSuWrYeCQh8b3G-OOe4CpuI8J20hKhN06joUVQYjoxzbWXjRzE1XERVyjf9KJ4IAzdjcqpz9GOMib_1P1Tvg9uiKSj4Hh-dfLlPvBFzWec4bLVUoz3qWrMgTSGQ28UtSGW4/w400-h266/09+-+photoArt-3.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiThuwLrga5b-2fh9SFydXlHBchD9UcWhmiezAfW5vFRRVqnPXoyFM_UM-RqwD5ebG4FgaywSlmNyXu548l9Z9TUsCtwz1ZJ3ngSBWfI7RJBAS628NZ6XJL62-T2hM9o2YnJjTTrrzBV1M/s2048/10+-+photoArt-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1206" data-original-width="2048" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiThuwLrga5b-2fh9SFydXlHBchD9UcWhmiezAfW5vFRRVqnPXoyFM_UM-RqwD5ebG4FgaywSlmNyXu548l9Z9TUsCtwz1ZJ3ngSBWfI7RJBAS628NZ6XJL62-T2hM9o2YnJjTTrrzBV1M/w400-h235/10+-+photoArt-4.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnb7AL3l7fC0xiHmyWnyl6qo_mkPuPj4Wnyg0GpEIo9FnYAJkkpHcEvaQquyX45lsBOJNOTld5M_R9wVxCEOmrnSC8T_ZwIFCeXVJOnMlCTTQLVZpIsdUpY2fyTmqNOZoah7Aog_I-pf0/s2048/11+-+photoArt-5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnb7AL3l7fC0xiHmyWnyl6qo_mkPuPj4Wnyg0GpEIo9FnYAJkkpHcEvaQquyX45lsBOJNOTld5M_R9wVxCEOmrnSC8T_ZwIFCeXVJOnMlCTTQLVZpIsdUpY2fyTmqNOZoah7Aog_I-pf0/w400-h266/11+-+photoArt-5.jpg" width="400" /></a></div><br />Togashi grew up in a musical household; his father was a double-bassist in a swing jazz ensemble, and Togashi learned violin and drums, playing the latter in his father's band. He worked with Sadao Watanabe, Toshiko Akiyoshi, and Tony Scott in the 1950s, then founded the ensemble Jazz Academy in 1961 with Hideto Kanai, Masabumi Kikuchi, and Masayuki Takayanagi. He was an early free jazz leader in Japan, playing in this idiom with Yosuke Yamashita and performing with American musicians such as Ornette Coleman, Blue Mitchell, Lee Morgan, and Sonny Rollins on Japanese tours. <br /><br />Togashi lost the use of his legs in an accident in 1969, and designed a new kit that would allow him to continue playing. Togashi’s technical expertise on a wide range of percussion instruments allows him to introduce into his performances telling effects that add intriguingly exotic undertones. <br />Later associations included performing or recording with Paul Bley, Don Cherry, Jack DeJohnette, Charlie Haden, Steve Lacy, Gary Peacock, Masahiko Sato, and Yuji Takahashi. <div><br /></div><div><br /></div><div><br /></div><div><span style="color: #ffe599;">If you find it, buy this album!</span></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com36tag:blogger.com,1999:blog-4966374046256089922.post-25838617756144021212020-12-31T04:26:00.000+01:002020-12-31T04:26:32.677+01:00MASAHIKO TOGASHI & MASAYUKI TAKAYANAGI – Pulsation (LP-1983)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAHtPQOnm6-oSA3Z-U1qPDtjTYUr_Y3U3XsfrHCbCTQjSJMnCKvuvkfnZLI9Fn2jiC9PVUjl-9wMwT3JuXRrUllut68lWaCWo0hliep11OLD4ywUNW0dYfKM_zLqqYA1x_RZvvJuxeKMg/s2048/01+-+Pulsation+-+A+%2528front%2529+%252B+OBI.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAHtPQOnm6-oSA3Z-U1qPDtjTYUr_Y3U3XsfrHCbCTQjSJMnCKvuvkfnZLI9Fn2jiC9PVUjl-9wMwT3JuXRrUllut68lWaCWo0hliep11OLD4ywUNW0dYfKM_zLqqYA1x_RZvvJuxeKMg/w400-h400/01+-+Pulsation+-+A+%2528front%2529+%252B+OBI.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZO2AIyUAHqnYcXQz9GAZDKSdF9erFE1r0uGuxPXLJjWbcyfGQbvz7zleEs1hIZKzJehw3GbynERJs_kAok3DeryFy711RxENJhSQ7eUu-iwQkpzhoZYPdJDbWDtzaMPPp3a4iEv2EHCQ/s1720/03+Paddle+Wheel+%25E2%2580%258E%25E2%2580%2593+K28P+6244+-+A-B.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZO2AIyUAHqnYcXQz9GAZDKSdF9erFE1r0uGuxPXLJjWbcyfGQbvz7zleEs1hIZKzJehw3GbynERJs_kAok3DeryFy711RxENJhSQ7eUu-iwQkpzhoZYPdJDbWDtzaMPPp3a4iEv2EHCQ/w400-h200/03+Paddle+Wheel+%25E2%2580%258E%25E2%2580%2593+K28P+6244+-+A-B.png" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1qlvvg7mpeG3GINdvnWa4npYN6v_t2K9YUga3RlcQzNFQu_7qb_YReIhyyBC-6duZAT3FD4p6MN8_wRHzDZAnVkxxhSn_93tfeyhWOecsIK0DPqwVWafy-yPNjuiU1Y5B7PFB_aninho/s2048/04+-+Pulsation+-+B+%2528back%2529+%252B+OBI.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1qlvvg7mpeG3GINdvnWa4npYN6v_t2K9YUga3RlcQzNFQu_7qb_YReIhyyBC-6duZAT3FD4p6MN8_wRHzDZAnVkxxhSn_93tfeyhWOecsIK0DPqwVWafy-yPNjuiU1Y5B7PFB_aninho/w400-h400/04+-+Pulsation+-+B+%2528back%2529+%252B+OBI.png" width="400" /></a></div><br /><span style="font-family: inherit;">Label: Paddle Wheel – K28P 6244<br />Format: Vinyl, LP / Country: Japan / Released: 1983 <br />Style: Free Jazz, Free Improvisation <br />A live performance: Masahiko Togashi Zojoji Concert No.13. <br />Recorded May 27, 1983 at Zojoji Hall, Tokyo. <br />Artwork – Masahiko Togashi <br />Photography By – Mieko Togashi, Tatsuo Minami, Toshihiro Asakura <br />Engineer – Hatsuro Takanami <br />Engineer [Assistant] – Seiji Kaneko <br />Mastered By – Akira Makino <br />Liner Notes [in Japanese] – Toshihiko Shimizu <br />Producer – Motohiko Takawa <br />Composed By – Masahiko Togashi <br />Manufactured By – King Record Co. Ltd <br />Matrix / Runout (Side A label): K28P 6244 A <br />Matrix / Runout (Side B label): K28P 6244 B <br /><br /><span style="color: #e06666;">side 1: </span><br /><span style="color: #e06666;">A</span> - <span style="color: #f6b26b;">Inner Pulsation</span> ................................................................................................... <span style="color: #e06666;">22:05</span> <br /><br /><span style="color: #f6b26b;">side 2:</span> <br /><span style="color: #f6b26b;">B</span> - <span style="color: #e06666;">Outer Pulsation</span> .................................................................................................. <span style="color: #f6b26b;">22:47</span> <br /><br /><span style="color: #f6b26b;">Personnel:</span> <br />Masahiko Togashi – percussion, pearl drums <br />Masayuki Takayanagi – guitar, Ren Hayashi's sound effecters</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR19F5i-U7Z5TZQM3JSguicxTYBcLbR2nRloHbdSwWmicwM-WboSahyphenhyphenpTbmrWrFtGO_LQnXPs1lLf8EB7-snr6RCvBFFeJFDUTgbt2QD6sS6cX3wZTVmMCkRqskWQ0jEOqudu-qL4Ogds/s2519/06+-+Pulsation+-+inner+-+a-b.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1249" data-original-width="2519" height="199" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgR19F5i-U7Z5TZQM3JSguicxTYBcLbR2nRloHbdSwWmicwM-WboSahyphenhyphenpTbmrWrFtGO_LQnXPs1lLf8EB7-snr6RCvBFFeJFDUTgbt2QD6sS6cX3wZTVmMCkRqskWQ0jEOqudu-qL4Ogds/w400-h199/06+-+Pulsation+-+inner+-+a-b.png" width="400" /></span></a></div><span style="font-family: inherit;"><br />Virtually unnoticed in the West, the Japanese free jazz scene in the 1970s was bursting with creativity. The musicians shared a strong sense of adventure, as they welcomed the developments of creative music and free improvisation from USA and Europe while trying to find their own voice with a completely personal approach to improvised music. One of the main protagonists of that season was Masayuki Takayanagi, a strikingly original guitarist and musical thinker with a strong passion for both mainstream jazz and extreme noise. A generation younger but equally important was Masahiko Togashi, a drummer that, also due to an accident that forced him on a wheelchair after 1970, developed a unique approach to drums and percussions, using silence as an integral part of music making. <br /><br />Originally released by Paddle Wheel in 1983, Pulsation documents a live concert at Zojoji Hall in Tokyo, and is the first record Togashi and Takayanagi made as a duo, even if they had worked together since the 1960s. The record is divided in two tracks ("Inner Pulsation" and "Outer Pulsation"), each one about 22 minutes in length, mirroring the original LP sides. The performance can be regarded as a single piece though, with a clearly symmetrical structure, even if the musicians cover much musical ground over the course of the album. The opening and closing sections are reserved to Togashi, that alternates between deeply resonating gongs and a relentless activity on the toms. Takayanagi enters the picture with sparse scratching sounds, slowly building an intense dialogue with the drummer, moving through a series of sections characterized by different approaches to both acoustic and electric guitars, with bowed strings, fast arpeggios, rumbling drones or heavily filtered electronic sounds, often opting to treat the guitar as an object to be manipulated more than a proper musical instrument. Throughout the performance Togashi tries different colors on the drum kit, adding bells, chains, shakers and tin cans, always returning to the toms in a mostly arhythmic percussive activity that maintains an intriguing, almost ritualistic dimension.<br /></span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii6PwKD69gwTeVpz47O0HCItalSEwub01XJeqF2N93pMYtVVKyFBSyH2XrHzst-vK_m8JhNQTRNBYPBVtygaL-0Ieu39D9235nyENUlYi5CKHkz7z0ssbpXgRR2BU1sAnxb1bpkCKWiCk/s2048/10+photoArt-3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEii6PwKD69gwTeVpz47O0HCItalSEwub01XJeqF2N93pMYtVVKyFBSyH2XrHzst-vK_m8JhNQTRNBYPBVtygaL-0Ieu39D9235nyENUlYi5CKHkz7z0ssbpXgRR2BU1sAnxb1bpkCKWiCk/w400-h266/10+photoArt-3.png" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhECC0T7-aDYWpSkNF-TYM2QX-b3XzA01PKgC58QtkfBAei3ClDjiQzz_Wh4SERvS0HLSWJFMfSp-PG29L_eEwbyGQCgdUVSK56p24lvByxqxMqzwxCzzlWD6A3FR5hxUA2F_A8o3i5hpo/s2048/11+photoArt-4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1266" data-original-width="2048" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhECC0T7-aDYWpSkNF-TYM2QX-b3XzA01PKgC58QtkfBAei3ClDjiQzz_Wh4SERvS0HLSWJFMfSp-PG29L_eEwbyGQCgdUVSK56p24lvByxqxMqzwxCzzlWD6A3FR5hxUA2F_A8o3i5hpo/w400-h248/11+photoArt-4.png" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx1ujPzmjviNCPwvs4wZoff5DyfGaooJsAmgLqxAvQZk1-dwjFTjwqQCP-qaOxy1dpN3y6sg0Zc2srpun70FyHmpJbKijzSqCUTxXHHpwzoaZdwqH3r421rK42_DvTCTVh7EcLawROFZU/s2048/12+photoArt-5.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx1ujPzmjviNCPwvs4wZoff5DyfGaooJsAmgLqxAvQZk1-dwjFTjwqQCP-qaOxy1dpN3y6sg0Zc2srpun70FyHmpJbKijzSqCUTxXHHpwzoaZdwqH3r421rK42_DvTCTVh7EcLawROFZU/w400-h266/12+photoArt-5.png" width="400" /></span></a></div><span style="font-family: inherit;"><br />The extreme abstractness of the music guarantees many possibilities, but the main themes here are pure sound and space, investigated through a massive use of silence, ever-changing dynamics and slow structural developments unfolding with a mysterious musical logic. The improvisational process is always on full display, with the musicians constantly listening and responding to each other, and when the music opens up to more readable materials the effect is powerful: a few seconds of melodic statements from the guitar have the impact of a fully formed solo; a couple of minutes of insisting patterns on the drums achieves an almost hypnotic effect.<br /><br /><span style="color: #e06666;">(Review By Nicola Negri, AAJ) </span></span><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><span style="color: #ffe599;">If you find it, buy this album!</span></span></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com30tag:blogger.com,1999:blog-4966374046256089922.post-7022030377055578602020-12-31T04:25:00.000+01:002020-12-31T04:25:57.036+01:00MASAHIKO TOGASHI QUARTET – Sketch (Denon – YX-7516-ND / LP-1977)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKuptg3rzvEv1jrndHKZ2Sqwcepb5FDyTRiEKqmsIUiU1GQiZpgQOReak1_7D2KFh5H0uZCI5kc8xmYZDoc_bkcdmNbZ9sViq7rPaU06iY1UXS6ay51nXP6K0SvrCC-Iv9jMvxaXpCXLo/s2048/01+-+Sketch+-+A+%2528front%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKuptg3rzvEv1jrndHKZ2Sqwcepb5FDyTRiEKqmsIUiU1GQiZpgQOReak1_7D2KFh5H0uZCI5kc8xmYZDoc_bkcdmNbZ9sViq7rPaU06iY1UXS6ay51nXP6K0SvrCC-Iv9jMvxaXpCXLo/w400-h400/01+-+Sketch+-+A+%2528front%2529.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhncUVFEKVQ0Yut72PSGhS7yr-Ge26azF4UDUIRcndtrnRHMneCwOfmS-CVO2ztEkJVmycIfT35N7lLzMLz5wLbDLsV5a1ISnek5nHDeV4batB3dYLr3PtQmJfkV0R-S7kAr_Rq4LENlYA/s1720/02+-+Denon+Jazz+%25E2%2580%258E%25E2%2580%2593+YX-7516-ND.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhncUVFEKVQ0Yut72PSGhS7yr-Ge26azF4UDUIRcndtrnRHMneCwOfmS-CVO2ztEkJVmycIfT35N7lLzMLz5wLbDLsV5a1ISnek5nHDeV4batB3dYLr3PtQmJfkV0R-S7kAr_Rq4LENlYA/w400-h200/02+-+Denon+Jazz+%25E2%2580%258E%25E2%2580%2593+YX-7516-ND.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjha3wgDADlgvTWPUoADULCbrsah8u098zb5VZm_vEA9Njfo7sXgSffR0Jc5jzVUOjLsW-KIBmJcUIJkhpGwCPSxmclzDD9k_UqHpRVTdJe6B5cXbGJ8pUWpwSxLBL7TDz9XaW-_B3KR_Q/s2048/03+-+Sketch+-+B+%2528back%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjha3wgDADlgvTWPUoADULCbrsah8u098zb5VZm_vEA9Njfo7sXgSffR0Jc5jzVUOjLsW-KIBmJcUIJkhpGwCPSxmclzDD9k_UqHpRVTdJe6B5cXbGJ8pUWpwSxLBL7TDz9XaW-_B3KR_Q/w400-h400/03+-+Sketch+-+B+%2528back%2529.jpg" width="400" /></a></div><br /><span style="font-family: inherit;">Label: Denon Jazz – YX-7516-ND <br />Format: Vinyl, LP / Country: Japan / Released: Nov 1977 <br />Style: Free Jazz, Free Improvisation <br />Recorded at Nippon Columbia's 1st Studio, Tokyo, June 7, 8 & 9, 1977. <br />Design [Cover Design] – Masahiko Togashi <br />Photography By [Cover Photo] – Masahiko Togashi <br />Engineer – Masao Hayashi <br />Producer [Recording Direction] – Tsutomu Ueno, Yoshiharu Kawaguchi <br />Composed By – Masahiko Togashi <br />Matrix / Runout (Side A, etched): - YX-7516-ND – A <br />Matrix / Runout (Side B, etched): - YX-7516-ND – B <br /><br /><span style="color: #e06666;">side 1:</span> <br />A1 - <span style="color: #f6b26b;">Sketch 3</span> ............................................................................................................ <span style="color: #e06666;">10:02</span> <br />A2 - <span style="color: #f6b26b;">Sketch 4</span> .............................................................................................................. <span style="color: #e06666;">6:43</span> <br /><br /><span style="color: #f6b26b;">side 2:</span> <br />B1 - <span style="color: #e06666;">Sketch 2</span> .............................................................................................................. <span style="color: #f6b26b;">7:01</span> <br />B2 - <span style="color: #e06666;">Sketch 1</span> ............................................................................................................ <span style="color: #f6b26b;">10:54</span> <br /><br /><span style="color: #f6b26b;">Personnel:</span> <br />Masahiko Togashi – percussion <br />Masami Nakagawa – alto saxophone, flute, percussion <br />Takashi Kako – piano, percussion <br />Keiki Midorikawa – bass, cello, percussion</span><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8KYTwRR_oBMr_v9IiKfFAdSLJkRjMI7YhaWmV8qp-tR687eWnL2gpuW93HkHmF9K7xogLksznQIl0eqLK3z3piE3wfjLGA21bHfn2U9W_6OTj-xUvESfkpI5elLT4K4X2fPbyFv16Twc/s2048/M+Tagashi.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1434" data-original-width="2048" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8KYTwRR_oBMr_v9IiKfFAdSLJkRjMI7YhaWmV8qp-tR687eWnL2gpuW93HkHmF9K7xogLksznQIl0eqLK3z3piE3wfjLGA21bHfn2U9W_6OTj-xUvESfkpI5elLT4K4X2fPbyFv16Twc/w400-h280/M+Tagashi.jpg" width="400" /></span></a></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;">I
picked up "Sketch" (LP-1977) a rarity - it happens to be considered
one of the three very important free-jazz LP's (avant, creative music,
regardless...) in the country's (Japan) musical index on Quartet. Otherwise,
Togashi seems a prolific composer, with this album being one of the best, if
still a non notable one, or an all-over-the-place collaborator, with the
Quartet as a particular condition. Quartet itself isn't really a designative
term, since on all three such albums - this one, and two earlier "Speed
& Space" from 1969 and also from 1969 "We Now Create" - the
only constant presence is Togashi himself.</span></div><div><span style="font-family: inherit;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinoJCOurn93K2s9RRdStT4KEQrGk_E4OWe5RQ3gLfkjJv3QM0MKy85TTJtZvkeRdv6vXNQJTwnw-vcm5OY02MVGBCo2sWhWwsQwgxEO3XKPcmpy-Ttv0IiqsXNwEMIwNflCSZyioEqF-c/s2048/08+-+photoArt-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinoJCOurn93K2s9RRdStT4KEQrGk_E4OWe5RQ3gLfkjJv3QM0MKy85TTJtZvkeRdv6vXNQJTwnw-vcm5OY02MVGBCo2sWhWwsQwgxEO3XKPcmpy-Ttv0IiqsXNwEMIwNflCSZyioEqF-c/w400-h266/08+-+photoArt-3.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7cVcpgvATu6uP8E4Xr4aZ5syUehprZERhJhkG_cY0b8KRyePkzVH6mj6Yp5JnWQwQYvdaoncAzVJTeakjBvGk8szzUwOaBMJRp_plsEitRLtbxQN9rDH-VbT6G40b_0PW8PHZU44FgUY/s2048/09+-+photoArt-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1208" data-original-width="2048" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7cVcpgvATu6uP8E4Xr4aZ5syUehprZERhJhkG_cY0b8KRyePkzVH6mj6Yp5JnWQwQYvdaoncAzVJTeakjBvGk8szzUwOaBMJRp_plsEitRLtbxQN9rDH-VbT6G40b_0PW8PHZU44FgUY/w400-h236/09+-+photoArt-4.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWLU6_zLKDen4yonF4LqCoEktmglM7keAxWtEjl6sguEreK4sqmK1mDHK1Aot7p1InIT2wS-DenyYOKvfjNZ7emtcYrNa5-hTsyjHp5-bzSZQPx80KjlF8yUt1TYmaK3iBN4zn6B4QqFA/s2048/10+-+photoArt-5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWLU6_zLKDen4yonF4LqCoEktmglM7keAxWtEjl6sguEreK4sqmK1mDHK1Aot7p1InIT2wS-DenyYOKvfjNZ7emtcYrNa5-hTsyjHp5-bzSZQPx80KjlF8yUt1TYmaK3iBN4zn6B4QqFA/w400-h266/10+-+photoArt-5.jpg" width="400" /></span></a></div></div><div><p class="MsoNoSpacing"><span style="font-family: inherit;">Not
sure if the album, based on its title, is supposed to be a work-in-progress,
with no final character whatsoever, or driven by some kind of desire to give
shape to things at some point while performing. Togashi tends to overwhelm his
fellow musicians and make it even more percussion-centric than expected, but
here he queues, or builds up, significantly. Variations features a mixture of
warm, reverberating, but isolated chords and pizzicato serialism at the alto
sax and flute (I do recognize Masami Nakagawa, having listened to some of his
albums). "Sketch" is the folkloric-inspired, rubato and boldly
improvised - sounds amazing. "Sketch" is a fantasy for strings,
flute, piano and percussion, airy and fragmented, alludes more to modern
classical. Album "Sketch" is as traditionally conceived, even with
Togashi forcing his bassist (Keiki Midorikawa) to remain in ostinato throughout
his long improvisations, only to get himself moved in his own expressions later
on. These are pretty serious and evolved free jazz compositions,<span style="mso-spacerun: yes;"> </span>worth listening to after some unstable
strident acts.<o:p></o:p></span></p>
<span style="color: #e06666;">(Review by M. D)</span></div><div><br /></div><div><br /></div><div><br /></div><div><span style="color: #ffe599;">If you find it, buy this album!</span></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com25tag:blogger.com,1999:blog-4966374046256089922.post-81756618276006976282020-11-02T21:26:00.002+01:002020-11-15T14:25:31.336+01:00KONDO / KAISER / OSWALD – Moose And Salmon (mge30 / LP-1979)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBIKzEL0amJkfKFYiJoLvw_N1cfuvdrY2A3ytgu9XcPKS-0ai0eMoKqfQS63bKtFdsAA17pq9TdQtl64Neyo_qgp8It8_yuF53Gdi4_mMKGNzhzq8zpy9lICI5fsp4e60H4T4DXv264E4/s2048/01+-+Moose+and+Salmon+-+A+%2528front%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBIKzEL0amJkfKFYiJoLvw_N1cfuvdrY2A3ytgu9XcPKS-0ai0eMoKqfQS63bKtFdsAA17pq9TdQtl64Neyo_qgp8It8_yuF53Gdi4_mMKGNzhzq8zpy9lICI5fsp4e60H4T4DXv264E4/w400-h400/01+-+Moose+and+Salmon+-+A+%2528front%2529.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYunspjlxjjOFfHC6SZyVWG_RznIsJ0b8g-0y7bbvDp-QuiI5Jgl4IOjT5rVVu873iRzWOrklb2afdvQaO5xswarQ-OBkhDB7swU5cxWP8hqWNxBOBTes8jsS7LURSDPUa0P-13Wvws_I/s1720/02+-+Music+Gallery+Editions+%25E2%2580%258E%25E2%2580%2593+mge30+-+A-B.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYunspjlxjjOFfHC6SZyVWG_RznIsJ0b8g-0y7bbvDp-QuiI5Jgl4IOjT5rVVu873iRzWOrklb2afdvQaO5xswarQ-OBkhDB7swU5cxWP8hqWNxBOBTes8jsS7LURSDPUa0P-13Wvws_I/w400-h200/02+-+Music+Gallery+Editions+%25E2%2580%258E%25E2%2580%2593+mge30+-+A-B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzF9IumipowcdYerATV8Q42CfILVKw2fzfbKlPs6sNy1wiF1Y_McSuhyphenhyphencmMqK-6uixMh5z2rnDVFAjs5iX69p9lmffV_nWgf7jJ66Pi-ysBFIsB9zkl2UoxYritTifID2wWzvypyYFZeI/s2048/03+-+Moose+and+Salmon+-+B+%2528back%2529.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzF9IumipowcdYerATV8Q42CfILVKw2fzfbKlPs6sNy1wiF1Y_McSuhyphenhyphencmMqK-6uixMh5z2rnDVFAjs5iX69p9lmffV_nWgf7jJ66Pi-ysBFIsB9zkl2UoxYritTifID2wWzvypyYFZeI/w400-h400/03+-+Moose+and+Salmon+-+B+%2528back%2529.jpg" width="400" /></a></div><br /><span style="font-family: inherit;">Label: Music Gallery Editions – mge30 <br />Format: Vinyl, LP, Album / Country: Canada / Released: 1979 <br />Style: Free jazz, Free Improvisation <br />Recorded live 1978 <br />Mixed By [Mixdown] – Henry Kaiser, John Oswald <br />Selections from seven to eleven takes (a-k) plus guitar solo excerpt. <br />Lacquer Cut At – The Lacquer Channel Limited / derived from matrix <br />Matrix / Runout (Side A, etched): MGE 30 - MOOSE THREE TLC-T <br />Matrix / Runout (Side B, etched): MGE 30 - SALMON TLC-A <br /><br /><span style="color: #e06666;">side 1: </span><br /><span style="color: #f6b26b;">A</span> - <span style="color: #f6b26b;">Moose</span> ............................................................................................................... <span style="color: #f6b26b;">26:16</span> <br /> c .............................. 7:06 <br /> a ............................ 16:07 <br /> b .............................. 3:40 <br /><br /><span style="color: #f6b26b;">side 2:</span><br /><span style="color: #e06666;">B</span> - <span style="color: #e06666;">Salmon</span> ............................................................................................................. <span style="color: #e06666;">26:12</span> <br /> h .............................. 1:26 <br /> d .............................. 5:46 <br /> b .............................. 2:51 <br /> HK ........................... 1:57 <br /> g .............................. 5:45 <br /> i ............................... 3:40 <br /> b .............................. 5:03 <br /></span><p></p><p><span style="font-family: inherit;"><span style="color: #e06666;">Personnel:</span> <br />John OSWALD – performer [player], alto saxophone (Toronto, Canada) <br />Henry KAISER – performer [player], electric guitar (Oakland, USA) <br />Toshinori KONDO – performer [player], trumpet, Horn [alto horn] (Tokyo, Japan) <br /><br /><span style="color: #f6b26b;">Musician Toshinori Kondo recently left us...... This post is in his honor, and for eternal memory.....</span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0vOQFsRv3A0sxU5N4VmDff9cqN7UQgqz6I4h0mIDe9PGHf3nVKTaeBqpfqhFOhtkHEHFRTBcOlRyaOsRQP8q31gPj5rvmvI09OJlrdk09TnfxPfMKNeeHeCci4OgNmjawMzcKNwbA3og/s2048/08+-+photo6.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1259" data-original-width="2048" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0vOQFsRv3A0sxU5N4VmDff9cqN7UQgqz6I4h0mIDe9PGHf3nVKTaeBqpfqhFOhtkHEHFRTBcOlRyaOsRQP8q31gPj5rvmvI09OJlrdk09TnfxPfMKNeeHeCci4OgNmjawMzcKNwbA3og/w400-h246/08+-+photo6.jpg" width="400" /></span></a></div><span style="color: #e06666; font-family: inherit;">Note:</span><div><span style="font-family: inherit;">The material is out takes and reiterations from 2 LP records, "Improvised" (Music Gallery Editions 12), and "Moose And Salmon" (Music Gallery Editions 30). There are some technical problems with over modulating, print thru, and, in the case of the trio tracks and TK 24/02/79, modulation of hum by DBX coding. For the record Moose And Salmon this latter problem was somewhat alleviated by notch filtering and compression, but at the cost of regeneration noise compounded with a low level signal on LP, necessitated by cutting long sides. <br />Tracks from the Moose And Salmon sessions are coded with letters A-L (12 takes 24, 25 Feb 1979) and sub numbered 0-25 indicating the initial minute of the selection within the take. Each instrument was recorded stereo onto 6 tracks of a Teac 80-8. Mixdown to 2 track stereo by HK & JO. <br />On this program the selection HK is an excerpt from a longer solo as is the dual horn solo that follows it. Ice Death is HK x 5, California early 1978, and JO (Calgary) is from a session for "Improvised" 23 Jan 78. <br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWj20vt5_8ojD8fee2EUnNS_9ZkORTWfojc3NCgbBP0CbNkiMK1NbuMj072QdK8WiZzGUnI8KNBrnje7MSX9iJDyiAaqCjxbtt0NSlQxXuASbYM9h3F54id3Rgd3HjFWxbk_WDqXwlbaE/s2048/05+photoArt-3.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWj20vt5_8ojD8fee2EUnNS_9ZkORTWfojc3NCgbBP0CbNkiMK1NbuMj072QdK8WiZzGUnI8KNBrnje7MSX9iJDyiAaqCjxbtt0NSlQxXuASbYM9h3F54id3Rgd3HjFWxbk_WDqXwlbaE/w400-h266/05+photoArt-3.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyiax1vuv6vCWCVKAOJ8YQqkxuRpH8NBJhDyyDB5ctO07dUCEBmqAOELnuBqsBxMu1bDztZDcS3jVrMoUSMm4Lj29qLZDxnPS5Dr1KttUmBFulVpNA8Wep6oL6MQCv5XI7WvpghhVpk20/s2048/06+photoArt-4.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1197" data-original-width="2048" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyiax1vuv6vCWCVKAOJ8YQqkxuRpH8NBJhDyyDB5ctO07dUCEBmqAOELnuBqsBxMu1bDztZDcS3jVrMoUSMm4Lj29qLZDxnPS5Dr1KttUmBFulVpNA8Wep6oL6MQCv5XI7WvpghhVpk20/w400-h234/06+photoArt-4.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKxdL_DkjzwuBiuNh_X8tbNCiGmYXvCnO1hnfVqw0R4QTfDrXgaGZo1GZ9ufNanhhx1YWOaKqdnSgzU4ON9LpEsEEkqTN-7jrP4P7mCodOmkMrA3weC7XOIY3eT5rgk25_x16zXI0AbRw/s2048/07+photoArt-5.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKxdL_DkjzwuBiuNh_X8tbNCiGmYXvCnO1hnfVqw0R4QTfDrXgaGZo1GZ9ufNanhhx1YWOaKqdnSgzU4ON9LpEsEEkqTN-7jrP4P7mCodOmkMrA3weC7XOIY3eT5rgk25_x16zXI0AbRw/w400-h266/07+photoArt-5.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />Canadian alto saxophonist John Oswald began as a post-jazz improvisor, accompanying Henry Kaiser on "Improvised" (february 1978 - Music Gallery, 1978).Moose And Salmon (february 1979 - Music Gallery, 1979) was a trio with Kaiser on electric guitar and trumpet player Toshinori Kondo. In Moose Kondo's minimalist, viscid and clownesque trumpet forces Kaiser to restrain his acid/psychotic soliloquies and lets Oswald's youthful madness overflow. Salmon is even noisier and even less structured, with the horns squeaking against subliminal guitar drones.</span><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #e06666;"><span style="font-family: inherit;">Out Of Stock ...... </span><span style="font-family: inherit;">Very hard to find.</span></span><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #ffe599; font-family: inherit;">If you find it, buy this album!</span></div></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com53tag:blogger.com,1999:blog-4966374046256089922.post-71152848621819644112020-10-24T01:28:00.001+02:002020-10-24T01:28:58.245+02:00SOMEI SATOH – Mandala / Sumeru (ALM Records - AL-26 / LP-1982)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAe9tF3OT9kGL2tDr_XtwTspkUMH0VRJx1ZkEiiAYIN4poB0EgLc1C0c8XajeGmOnFpLh-gX44JqK55fOBV8sXgH4Xrnhq26ncOOxnX-S0iGNsvQ9rRJaPCma3TGUdRzddhG5s_EoCd5A/s2048/01+-A+fata+55+-+o%25C5%25A1trije+-+popravak.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAe9tF3OT9kGL2tDr_XtwTspkUMH0VRJx1ZkEiiAYIN4poB0EgLc1C0c8XajeGmOnFpLh-gX44JqK55fOBV8sXgH4Xrnhq26ncOOxnX-S0iGNsvQ9rRJaPCma3TGUdRzddhG5s_EoCd5A/w400-h400/01+-A+fata+55+-+o%25C5%25A1trije+-+popravak.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw7Knxg30_361Y1XFKNACP9j_tekKo8wBzabSkgEOj9yKINJQbETRVhBFtUfnW9PdwWIhyphenhyphenc34ZmSdM9ePPSxydbEKFB84pfBeA0wBWhBDFePPOJir9k9JXQx_tBZYHkXaRdp4MagO6mC4/s1720/02+-+ALM+Records+-+AL-26+-+A-B.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw7Knxg30_361Y1XFKNACP9j_tekKo8wBzabSkgEOj9yKINJQbETRVhBFtUfnW9PdwWIhyphenhyphenc34ZmSdM9ePPSxydbEKFB84pfBeA0wBWhBDFePPOJir9k9JXQx_tBZYHkXaRdp4MagO6mC4/w400-h200/02+-+ALM+Records+-+AL-26+-+A-B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8J0YZpC_0qf_S46fOAgnlka-_hZvhRd4H5TdiGTEYfjm7SxuQRGreM3ya2FhFYd8sCprQ2G0IVUL8GW0EIVr7gV2HqReVsg0e1McW4yaHKrb9ACQ5zwlKGybdXOrXbVElY8Dj43swyfs/s2048/03+-+B+-+faza+44.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8J0YZpC_0qf_S46fOAgnlka-_hZvhRd4H5TdiGTEYfjm7SxuQRGreM3ya2FhFYd8sCprQ2G0IVUL8GW0EIVr7gV2HqReVsg0e1McW4yaHKrb9ACQ5zwlKGybdXOrXbVElY8Dj43swyfs/w400-h400/03+-+B+-+faza+44.jpg" width="400" /></a></div><p></p><span style="font-family: inherit;">Label: ALM Records - AL-26<br />Format: Vinyl , LP, Album / Country: Japan / Released: 1982<br />Style: Contemporary<br />Recorded At - NHK Electronic Music Studio<br />Mandala for vocal drones and electronics recorded at NHK Electronic Music Studio in October 1982.<br />Sumeru was recorded in December 1982.<br />Comes with insert<br />Cover [Design] </span>–<span style="font-family: inherit;"> Hitoshi Susuki , Kohei Sugiura<br />Illustration </span>–<span style="font-family: inherit;"> Fujio Watanabe<br />Liner Notes </span>–<span style="font-family: inherit;"> Ishida Kazushi 石田 一 志 , Sato Clever 佐藤 聰明 <br />Producer Yukio Kojima</span><div>Matrix / Runout (Side A runout, stamped): AL 26 A ⁜ Y 1 <br />Matrix / Runout (Side B runout, stamped): AL 26 B ⁜</div><div><span style="font-family: inherit;"><br /><span style="color: #e06666;">side 1:</span><br />A - <span style="color: #f6b26b;">Mandala</span> ............................................................................................................. <span style="color: #e06666;">19:00</span><br /> (for vocal drones and electronics) <br /> Special thanks to Wataru Uenami<br /><br /><span style="color: #f6b26b;">side 2:</span><br />B - <span style="color: #e06666;">Sumeru</span> .............................................................................................................. <span style="color: #f6b26b;">28:00</span></span><div><span style="font-family: inherit;"> conductor – Hiroshi Kumagai<br /> cello – Masaharu Kanda, Tadao Takahashi<br /> viola – Hiroshi Nakayama, Takashi Satoh<br /> violin – Kazuo Yageta, Kenji Kobayashi, Masanobu Hirao, Michiko Yageta<br /> double bass – Akira Imamura , Kensuke Inomata<br /> percussion – Midori Takada<br /><br />RARE ORIGINAL FIRST PRESS ISSUE FROM 1982 of this Minimal / Electronic music & Drone masterpiece.<br /><span style="color: #f6b26b;">Released on the collectible ALM / KOJIMA RECORDS imprint.</span></span></div><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRSfe5fLw_0Yiw0ue4o8EiYrR8JVaoVhefa8NWzApZ8-6s5DC39Y6bIPD7hV8Jqvm6Xq56znYbxyVw_PwyYUt-p0WOcN3Ht2iX0TAuBN4Et9drh2Jq2WaBjCFN-ygQReAF8GkWt6ku_X0/s2048/05+-+LP1-side+A.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRSfe5fLw_0Yiw0ue4o8EiYrR8JVaoVhefa8NWzApZ8-6s5DC39Y6bIPD7hV8Jqvm6Xq56znYbxyVw_PwyYUt-p0WOcN3Ht2iX0TAuBN4Et9drh2Jq2WaBjCFN-ygQReAF8GkWt6ku_X0/w400-h400/05+-+LP1-side+A.jpg" width="400" /></a></div><br /><span style="font-family: inherit;">MANDALA or MANDARA 曼荼羅<br />Especially important to Japan’s Esoteric Sects <br /><br />Origin = India <br />Sanskrit = Maṇḍala, मण्डल <br />Chinese = Màntúluó <br />Japanese = Mandara<br />English = Mandala<br /><br />The mandala, Hindu in origin, is a graphic depiction of the spiritual universe and its myriad realms and deities. Much later, first in Tibet and China then Japan, the mandala was adopted as a powerful religious icon among practitioners of Esoteric Buddhism (Skt. = Vajrayana). In Japan, the mandala rose to great prominence as a “living entity,” one that ensured the efficacy of esoteric rituals performed in its presence. The original Sanskrit term “maṇḍala” comes from India, and is sometimes translated as circle, essence, or hitch (as when connecting an ox to a cart). The Sino-Japanese spelling of mandala (曼荼羅 or 曼拏羅 or 曼陀羅) is a transliteration of the Sanskrit term. But these transliterations have no inherent meaning -- they simply resemble the sound of the original Indian term.</span><div><p class="MsoNoSpacing"><span style="font-family: inherit;"><span style="line-height: 115%;">Mandala scrolls and
paintings became popular in Japan in the 9th century onward with the growth of
the Shingon </span><span lang="EN-US" style="line-height: 115%;">真言</span><span style="line-height: 115%;"> and Tendai </span><span lang="EN-US" style="line-height: 115%;">天台</span><span style="line-height: 115%;"> sects of Esoteric Buddhism (Jp. = Mikkyō </span><span lang="EN-US" style="line-height: 115%;">密教</span><span style="line-height: 115%;">; Skt. = Vajrayana), which arose in part as a
reaction against the power and wealth of court-sponsored Buddhism. The founders
of Esoteric Buddhism in Japan were the monks Kūkai </span><span lang="EN-US" style="line-height: 115%;">空海</span><span style="line-height: 115%;"> (774 - 835 AD) and Saichō </span><span lang="EN-US" style="line-height: 115%;">最澄</span><span style="line-height: 115%;"> (767 - 822 AD). Kūkai, aka Kōbō Daishi </span><span lang="EN-US" style="line-height: 115%;">弘法大師</span><span style="line-height: 115%;"> (his posthumous name), founded the Shingon Sect
of Esoteric Buddhism, while Saichō founded the Tendai Sect. Both traveled to
China to study and learn the esoteric secrets, and both returned to Japan with
numerous artworks and sutras to help spread the teachings. Yet, the oldest
surviving color mandala in Japan is thought to be a copy of the Ryōkai Mandara
(from China) which was brought to Japan in 859 AD by the Tendai priest Enchin </span><span lang="EN-US" style="line-height: 115%;">円珍</span><span style="line-height: 115%;"> (814-891).</span></span></p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjabZlry2H5XC2-m1iD4jENBuWww9rChPCLjlLniU_TnzDtyDMBiHIgoiTxIy3bjPQtrhUnTKWgoVTiIjlYD5CKUJ_g5BUqEFRcQTmqLoYIv0_PZ_vwr5l229HQyUKaqyHEbnFyPO0sCvA/s2048/04+-+C+-+insert+-+var+1+-+o%25C5%25A1trije+-+22.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjabZlry2H5XC2-m1iD4jENBuWww9rChPCLjlLniU_TnzDtyDMBiHIgoiTxIy3bjPQtrhUnTKWgoVTiIjlYD5CKUJ_g5BUqEFRcQTmqLoYIv0_PZ_vwr5l229HQyUKaqyHEbnFyPO0sCvA/w400-h400/04+-+C+-+insert+-+var+1+-+o%25C5%25A1trije+-+22.jpg" width="400" /></a></div><br /><span style="font-family: inherit;">Somei Satoh (SATOH Somei 佐藤聰明) was born in 1947 in Sendai (northern Honshu), Japan. He began his career in 1969 with "Tone Field," an experimental, mixed media group based in Tokyo. In 1972 he produced "Global Vision," a multimedia arts festival, that encompassed musical events, works by visual artists and improvisational performance groups. In one of his most interesting projects held at a hot springs resort in Tochigi Prefecture in 1981, Satoh places eight speakers approximately one kilometer apart on mountain tops overlooking a huge valley. As a man-made fog rose from below, the music from the speakers combined with laser beams and moved the clouds into various formations. Satoh has collaborated twice since 1985 with theater designer, Manuel Luetgenhorst in dramatic stagings of his music at The Arts at St. Ann's in Brooklyn, New York.</span><br /></div><div><span style="font-family: inherit;"><br /></span></div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirPXi_ftUGeJIJ1Xv3FVzV6JUduPMFWtoT6POoH6OiTnx7YEEYlRExS90Bpfr-uKm8QH3OQ8X9H2DLjRtoAqOozvwaviDTtC2EE79p776Mx4xt5B1rtY4yDT8_ccqvzjrfJl_7X1sGPuo/s2693/08+-+photo4.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1167" data-original-width="2693" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirPXi_ftUGeJIJ1Xv3FVzV6JUduPMFWtoT6POoH6OiTnx7YEEYlRExS90Bpfr-uKm8QH3OQ8X9H2DLjRtoAqOozvwaviDTtC2EE79p776Mx4xt5B1rtY4yDT8_ccqvzjrfJl_7X1sGPuo/w400-h174/08+-+photo4.jpg" width="400" /></span></a></div><p></p></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFofpEj4eiVsEQmHTOH3J8NFh0YUhaByP4fV733z0dc0488Tw4CPMBjtcQTxOrrJ9MPe68iOvVlRwzGZxccqN2pUBTlLrLGDMvax76oQS6Mc3daadaRKTgON0RzFeRmTL58t2ar3xJAfE/s2771/09+-+photo5.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1135" data-original-width="2771" height="164" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFofpEj4eiVsEQmHTOH3J8NFh0YUhaByP4fV733z0dc0488Tw4CPMBjtcQTxOrrJ9MPe68iOvVlRwzGZxccqN2pUBTlLrLGDMvax76oQS6Mc3daadaRKTgON0RzFeRmTL58t2ar3xJAfE/w400-h164/09+-+photo5.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />Satoh was awarded the Japan Arts Festival prize in 1980 and received a visiting artist grant from the Asian Cultural Council in 1983, enabling him to spend one year in the United States.He has written more than thirty compositions, including works for piano, orchestra, chamber music, choral and electronic music, theater pieces and music for traditional Japanese instruments.<br />Somei Satoh is a composer of the post-war generation whose hauntingly evocative musical language is a curious fusion of Japanese timbral sensibilities with 19th century Romanticism and electronic technology. He has been deeply influenced by Shintoism, the writings of the Zen Buddhist scholar DT Suzuki, his Japanese cultural heritage as well as the multimedia art forms of the sixties. Satoh's elegant and passionate style convincingly integrates these diverse elements into an inimitably individual approach to contemporary Japanese music. <br /><br />Like Toshiro Mayazumi an Toru Takemitsu, the most well-known of contemporaryJapanese composers outside Japan today, Satoh has succeeded in reshaping his native musical resources in synthesis with Western forms and instrumental sonorities. His work cannot, however, be considered within the mainstream of contemporary Japanese art music, for he writes in an unreservedly non- international style, remarkably free from any constraints of academism. This may be attributed to the fact that being primarily self-taught, he has never been subjected to a formal musical education. Satoh has on occasion, been referred to as a composer of gendai hogaku (contemporary traditional music). Much as Satoh is reluctant to be so classified, this assessment of his writing has some validity if one views him as reworking the traditional Japanese musical aesthetic in a broader, abstract context infusing it with a new vitality.</span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyJ1phzK1QYviR9Tr4MgyFSLvSDGi1d4wn5AE-utvhIbw14K_JcFo5Q0kklRXTcvK7QBF-T7wWifbAgVhyphenhyphen5py0FUVlp1xpSo09F4gTf7cdZLb_PFD9y1uvIp-Qd9AxYcCu1haGklcQsTs/s2048/10+photoArt-6+-+o%25C5%25A1trije+-+var+444+-+OVO.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyJ1phzK1QYviR9Tr4MgyFSLvSDGi1d4wn5AE-utvhIbw14K_JcFo5Q0kklRXTcvK7QBF-T7wWifbAgVhyphenhyphen5py0FUVlp1xpSo09F4gTf7cdZLb_PFD9y1uvIp-Qd9AxYcCu1haGklcQsTs/w400-h266/10+photoArt-6+-+o%25C5%25A1trije+-+var+444+-+OVO.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIVN-s_Hjm_5D76_47pSnhvjaZY7xfkMUBcvl37qV3LsK-cpZ0UG5j17Jz3qIj2X6KVd6pxUhAXFPwBt4sSNhx6uEEx9H0hk3MlmtuL2mIz4xKnh7ntupWrgSyiNEVtwyC58EhaNzFtFA/s2048/11+photoArt-7.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1215" data-original-width="2048" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIVN-s_Hjm_5D76_47pSnhvjaZY7xfkMUBcvl37qV3LsK-cpZ0UG5j17Jz3qIj2X6KVd6pxUhAXFPwBt4sSNhx6uEEx9H0hk3MlmtuL2mIz4xKnh7ntupWrgSyiNEVtwyC58EhaNzFtFA/w400-h238/11+photoArt-7.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv8ArYQDM3PV4-BX-CIfmFE2leXDr35gm74c_vIWmOjembUU0j89xK6wOfNEPvFO8a4_e6gi6J0jjhyLVS08geVtHRNYNvMsV1PuBCE2UtHUmECgJngS0rvInkgt6Swjw5SeWiFEDSzDc/s2048/12+photoArt-8+-+OK+-+o%25C5%25A1trija+slova.jpg" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhv8ArYQDM3PV4-BX-CIfmFE2leXDr35gm74c_vIWmOjembUU0j89xK6wOfNEPvFO8a4_e6gi6J0jjhyLVS08geVtHRNYNvMsV1PuBCE2UtHUmECgJngS0rvInkgt6Swjw5SeWiFEDSzDc/w400-h266/12+photoArt-8+-+OK+-+o%25C5%25A1trija+slova.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br />Minimalism, that Eastern-derived Western phenomenon born of the sixties, has much in common with the hypnotic, regular pulsations of rock. In Satoh's case, however, the repetitions are perceived more as vibrations because of the rapidity of the individual beats in conjunction with an extremely slow overall pulse. This creates the sensation of being in a rhythmic limbo, caught in a framework of suspended time which is typically Japanese. This experience can be summed up in the Japanese word 'ma' which may be defined as the natural distance between two or more events existing in a continuity. In contrast to the West's perception of time and space as separate entities, in Japanese thinking both time and space are measured in terms of intervals. It is the coincidental conceptualization of these elements which is perhaps the main feature distinguishing Japan's artistic expression from that of the West. </span><div><span style="font-family: inherit;"><br />In Satoh's own words: <br />"My music is limited to certain elements of sound and there are many calm repetitions. There is also much prolongation of a single sound. I think silence and the prolongation of sound is the same thing in terms of space. The only difference is that there is either the presence or absence of sound. More important is whether the space is "living" or not. Our sense of time and space is different from that of the West. For example, in the Shinto religion, there is the term 'imanaka' which is not just the present moment which lies between the stretch of past eternity and future immortality, but also the manifestation of the moment of all time which is multi-layered and multi-dimensional …. I would like it if the listener could abandon all previous conceptions of time and experience a new sense of time presented in this music as if eternal time can be lived in a single moment."</span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="font-family: inherit;"><br /></span></div><div><span style="color: #ffe599; font-family: inherit;">If you find it, buy this album!</span></div></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com76tag:blogger.com,1999:blog-4966374046256089922.post-1878025730402051672020-10-24T01:28:00.000+02:002020-10-24T01:28:20.013+02:00TAKEHISA KOSUGI – Improvisations In The Studio, Tokyo, 1974. (Re-LP-2011)<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDI2Z131b7UHnv03Df39FrSwnQFQHKZFlZlNM5ECNH1tExIeWYg-DqQC0BurIV8gI5WoxBC-_kvy9oOHRK39twx4xFPCy5j-SUqkC6lWx4jXZbP20JSRZ9IpT7qeDEP5C9kWnCkcRiyZ0/s2048/01+-+Kosugi+-+A+%2528front%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDI2Z131b7UHnv03Df39FrSwnQFQHKZFlZlNM5ECNH1tExIeWYg-DqQC0BurIV8gI5WoxBC-_kvy9oOHRK39twx4xFPCy5j-SUqkC6lWx4jXZbP20JSRZ9IpT7qeDEP5C9kWnCkcRiyZ0/w400-h400/01+-+Kosugi+-+A+%2528front%2529.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKKb9SSJjv47kq77XM2yikMutZ1ZMgdLNdNogaEScubrIlR54hFlhODy8_sAJJzABidNwHEEqdXsYTViGeVq1GWlKzvGWhl5nNhkPRQL4cIIXx72lP-Bf9NJgrgLxRaw-yeKX1Vn_oMEw/s1720/02+-+B+13+%25E2%2580%258E%25E2%2580%2593+B146+-+A-B.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="860" data-original-width="1720" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKKb9SSJjv47kq77XM2yikMutZ1ZMgdLNdNogaEScubrIlR54hFlhODy8_sAJJzABidNwHEEqdXsYTViGeVq1GWlKzvGWhl5nNhkPRQL4cIIXx72lP-Bf9NJgrgLxRaw-yeKX1Vn_oMEw/w400-h200/02+-+B+13+%25E2%2580%258E%25E2%2580%2593+B146+-+A-B.jpg" width="400" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv5P5dgMiCCD2O23wGBsuKKBjNwHVvkK7HXMbr8iSMbwZByGmu4CZgfiRKLg9SdGEffzt0n6uBz6QEHUUCjC4Q7RdqAJSM1WOmtsfGUbGwUp4BJmFJNueJaxPI2rbb7FN8C-kpPAwC8Eg/s2048/03+-+Kosugi+-+B+%2528back%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgv5P5dgMiCCD2O23wGBsuKKBjNwHVvkK7HXMbr8iSMbwZByGmu4CZgfiRKLg9SdGEffzt0n6uBz6QEHUUCjC4Q7RdqAJSM1WOmtsfGUbGwUp4BJmFJNueJaxPI2rbb7FN8C-kpPAwC8Eg/w400-h400/03+-+Kosugi+-+B+%2528back%2529.jpg" width="400" /></a></div><div><br /></div><span style="font-family: inherit;">Label: B 13 – B146 <br />Format: Vinyl, LP, Limited Edition, Reissue, Unofficial Release, Red <br />Country: Italy / Released: 2011 <br />Style: Modern Classical, Experimental <br />Recorded Date : September 16, 17, 1974 Location : CBS/Sony Studio No. 1 <br />Engineer – Satoru Tsuji, Tomoo Suzuki <br />Producer – Akiko Yoshimura <br />Licensed From – Alfa/RVI, Tokyo <br />Pressed By – GZ Digital Media – 93240E <br />© & ℗ 2011 publishing house "Mirumir" / Ltd edition of 500 copies <br />Transparent PVC sleeve containing pressing on red vinyl and transparent PVC insert with black lettering. <br />Matrix / Runout (Side A runout stamped): 93240E1/A <br />Matrix / Runout (Side B runout stamped): 93240E2/A <br /><br /><span style="color: #e06666;">side 1:</span> <br /><span style="color: #e06666;">A</span> - <span style="color: #f6b26b;">Mano Dharma '74</span> ..................................................................................................... <span style="color: #e06666;">26:30</span> </span><div><span style="font-family: inherit;"> (excerpt from a meta-media solo improvisation perforemed by Takehisa Kosugi) <br /><br /><span style="color: #f6b26b;">side 2: </span><br /><span style="color: #f6b26b;">B</span> - <span style="color: #e06666;">Wave Code #E-1</span> ...................................................................................................... <span style="color: #f6b26b;">22:30</span> <br /> (triple performance by solo vocalist; Takehisa Kosugi) <br /><br />TAKEHISA KOSUGI – composer, performer, all instruments <br /><br /><span style="color: #f6b26b;">"the deaf listen to sounds touching, watching,…… <br />the blind watch sight listening, smelling,……"</span><br /></span><div><span style="font-family: inherit;"><br /></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVaVlwZIRYmR3wCVQiABHMvoiQ0AK8fcovMZoYzJgqBJZQYqFPFt_Mb6BAQ2wRVcK6ycWOMfiQFDpxg0duczwFtsA5z0fSGG6j-_IpdjabQRV7f63aDYKmWJkjYO6xe-XDnjMFMk00oHU/s2508/11+-+photo5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1254" data-original-width="2508" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVaVlwZIRYmR3wCVQiABHMvoiQ0AK8fcovMZoYzJgqBJZQYqFPFt_Mb6BAQ2wRVcK6ycWOMfiQFDpxg0duczwFtsA5z0fSGG6j-_IpdjabQRV7f63aDYKmWJkjYO6xe-XDnjMFMk00oHU/w400-h200/11+-+photo5.jpg" width="400" /></span></a></div><div><p class="MsoNoSpacing"><span style="font-family: inherit;">Originally
released on CBS Japan in 1975, this solo album by the godfather of Japanese
avant-garde music was called one of the top ten 'Japrock' albums of all time in
Julian Cope's Japrock Sampler." Red vinyl LP in clear plastic sleeve with
black lettering. Limited edition 500 copies.</span></p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPZMTHmT9vBLbrvGm4APYf_sOMHAGcWSiwIItjQJ8ZeTA-5JMCR-KB2rpkOqc_SkOXMRHawjHPjEmA6-nOspZhFtpeIyYcshke7yjjXUBaZyG0KvA-UeBm0FEdSiwQ_94kpCD0w6C1xEE/s2048/05+-+LP-side+B+%2528back%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="2048" data-original-width="2048" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPZMTHmT9vBLbrvGm4APYf_sOMHAGcWSiwIItjQJ8ZeTA-5JMCR-KB2rpkOqc_SkOXMRHawjHPjEmA6-nOspZhFtpeIyYcshke7yjjXUBaZyG0KvA-UeBm0FEdSiwQ_94kpCD0w6C1xEE/w400-h400/05+-+LP-side+B+%2528back%2529.jpg" width="400" /></span></a></div><p class="MsoNoSpacing"><span style="font-family: inherit;">Composer,
multi-instrumentalist and mixed-media artist, Takehisa Kosugi has stood on the
forefront of the Japanese avant-garde for over six decades. In the 1960s, he
was part of Japan's first improvisational music collective, Group Ongaku, and
contributed to Fluxus in New York. In 1969, he founded the influential,
experimental ensemble The Taj Mahal Travellers, and in 1975 he would release
his first solo album, Catch-Wave.<o:p></o:p></span></p>
<p class="MsoNoSpacing"><span style="font-family: inherit;">"Mano-Dharma
'74" features improvised violin drones and voice with various oscillators,
echo delays and layered tape experiments that the artist made in New York in
1967. While Kosugi's continuously changing spectrum of sound shifts gradually
(almost imperceptibly), photocell synthesizers create ultra-low frequencies to
disturb the crestless sound waves. The brighter the light is, the harsher the
noise becomes.<o:p></o:p></span></p><p class="MsoNoSpacing"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoosKPJZWeno-w3gQFWBMJMXVcx5ujdfde1xsgReV6YCIkRC0s3rrRx2Cj5jAvm9IcatRqZWN98r7YQsk_MXkgKBQstVvJ3N1IjIysssZOnxbfGbK3DbjrwczZFYtnMU4BYFMVzrBa8u8/s2048/08+photoArt-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoosKPJZWeno-w3gQFWBMJMXVcx5ujdfde1xsgReV6YCIkRC0s3rrRx2Cj5jAvm9IcatRqZWN98r7YQsk_MXkgKBQstVvJ3N1IjIysssZOnxbfGbK3DbjrwczZFYtnMU4BYFMVzrBa8u8/w400-h266/08+photoArt-2.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBKgCLl_x5m_tMqMm0mRGT96wS8ZAp9qcIjf849kF194WF2dkM18HBDke4gu74cpIUdVtBXiiy-jPW4hda91JmKFC1VT8CPKasoM8k6cnhSUNXIDJEidbTKOznuMHzcs-sgofSx2D-rss/s2048/09+photoArt-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1271" data-original-width="2048" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBKgCLl_x5m_tMqMm0mRGT96wS8ZAp9qcIjf849kF194WF2dkM18HBDke4gu74cpIUdVtBXiiy-jPW4hda91JmKFC1VT8CPKasoM8k6cnhSUNXIDJEidbTKOznuMHzcs-sgofSx2D-rss/w400-h249/09+photoArt-3.jpg" width="400" /></span></a></div><span style="font-family: inherit;"><br /></span><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfkplbvURuP3wg4YleuHfox8AGxmCiimMpZZMowDzU0kiNspYFhpN-SH7WsV4sHv1A_KG1uKA0gtsuPyH3mqAyz7Ogg2eNCX2kWrfd5hK4gCC87Ug54z1fH-j_y_TBCfR5YPjDeaiXEuw/s2048/10+photoArt-4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: inherit;"><img border="0" data-original-height="1364" data-original-width="2048" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfkplbvURuP3wg4YleuHfox8AGxmCiimMpZZMowDzU0kiNspYFhpN-SH7WsV4sHv1A_KG1uKA0gtsuPyH3mqAyz7Ogg2eNCX2kWrfd5hK4gCC87Ug54z1fH-j_y_TBCfR5YPjDeaiXEuw/w400-h266/10+photoArt-4.jpg" width="400" /></span></a></div><p class="MsoNoSpacing"><span style="font-family: inherit;">Catch-Wave's second sidelong piece, "Wave Code #E-1," is a three-part performance for solo vocalist. As Kosugi describes in the liner notes (translated into English for this edition), the concept of onomatopoeia played an essential role in the type of sounds he generates with his voice, manipulated through customized electronic circuits and at times recalling Gregorian chant, throat singing and cosmic soundscapes.</span></p><p class="MsoNoSpacing"><span style="color: #e06666; font-family: inherit;">Fascinating
album ....!</span><span style="font-family: Times New Roman, serif; font-size: 12pt;"><o:p></o:p></span></p><p class="MsoNoSpacing"><br /></p><div><br /></div><span style="color: #ffe599;">If you find it, buy this album!</span><p></p></div></div>Vitkohttp://www.blogger.com/profile/02006029632141381061noreply@blogger.com43