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snobb 
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 Posted: 07 Mar 2015 at 6:34am |
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Merzbow / Pandi / Gustafsson Join Forces With Guitarist Thurston Moore For Mind-Blowing Second CUTS Project On RareNoiseRecords  How did renowned Japanese noisemaker Merzbow (aka Masami Akita), Swedish saxophonist Mats Gustafsson and Hungarian drummer Balazs Pandi follow up their majorly intense statement made on their tumultuous debut album, Cuts,
which was released in 2013' By adding another ingredient to the
volatile mix, in the person of skronking guitar hero and Sonic Youth
founder Thurston Moore they’ve taken things up a notch or two on the
Richter scale on their RareNoiseRecords follow-up recording. With
Gustaffson’s roaring baritone sax blending with Moore’s shriekback
guitar, Pandi’s intensely throbbing beats and Merzbow’s subversive white
noise barrages, it all adds up to a sonic pummeling of epic proportions
on the remarkable two CD-set, Cuts of Guilt, Cuts Deeper. In a post-Cage-ian world where there are no wrong notes – in fact, no notes at all, just silence and the absence of silence – the enigmatic Merzbow is a Magellan of sound, fearlessly traveling uncharted waters on each new project he undertakes (he has made over 350 recordings since 1979). Born on December 19, 1956 in Tokyo, he was originally attracted to rock guitarists like Jimi Hendrix, Lou Reed and Robert Fripp, and later was influenced by free jazz icons Albert Ayler, Cecil Taylor and Frank Wright as well as electronic music pioneers like Karlheinz Stockhausen and Iannis Xenakis. “Then I found the forum for mixing these influences into pure electronic noise,” he said in a 1999 interview with EsoTerra Magazine: The Journal of Extreme Culture. “I was trying to create an extreme form of music.” Merzbow has found true kindred spirits in Pandi, who has collaborated with him since 2009, and Gustafsson, a stalwart on the Scandinavian free jazz scene. Pandi’s explosive drumming has propelled such other experimental bands as Blood of Heroes, Red Hill featuring Wadada Leo Smith (on RareNoiseRecords), Zu and two other groups also from the RareNoise roster – Obake (featuring guitarist and vocalist Lorenzo Fornasari) and Metallic Taste of Blood (featuring guitarist Eraldo Bernocchi, Porcupine Tree bassist Colin Edwin and keyboardist Jamie Saft). Gustafsson is a member of the Fire! Orchestra, the Barry Guy New Orchestra and The Thing with drummer Paal Nilssen-Love and bassist Ingebrigt Håker Flaten. He has also worked with many free jazz musicians including German drummer Paul Lovens, Dutch pianist Misha Mengelberg, Chicago-based saxophonist Ken Vandermark, New York-based trumpeter/saxophonist Joe McPhee, New York-based drummer Hamid Drake and the Italian experimental band Zu. He claims Little Richard, The Cramps and Entombed as early inspirations in his musical development. “I started off playing electric piano in a local punk band in my home town Umeå when I was 13,” he says. “I was lucky to grow up in northern Sweden in a small university town that actually had a jazz club and a very active music scene. I heard Steve Lacy, Sonny Rollins, Derek Bailey and Per Henrik Wallin really early as my main jazz kicks. But as Evan Parker used to say, ‘My roots are in my record player.’ Thurston Moore, a ferocious axe-mangler from the Sonny Sharrock “shards of splintered glass” school, formed the alternative rock group Sonic Youth with bassist-vocalist Kim Gordon in 1981. They were later married in 1984. Alongside fellow guitarist Lee Ranaldo, Moore made extensive use of unusual tunings and feedback, straddling the inside-outside divide on 16 studio albums, including influential recordings like 1990’s Goo, 1992’s Dirty, 1994’s Experimental Jet Set, Trash and No Star and 2004’s Sonic Nurse. Since disbanding Sonic Youth in 2011, Moore has recorded solo projects, including 2011’s Demolished Thoughts and 2014’s The Best Day. In 2014, he performed a searing duet with fellow experimental guitarist Nels Cline as part of an Ornette Coleman 84th birthday celebration in Brooklyn’s Prospect Park. “The original trio was initiated by Balazs,” says Gustafsson. “He and Masami have played some together before. I played together with Masami and Sonic Youth and also made various recordings with him and Jim O’Rourke in Japan. I had never played with Balazs before, so I was delighted to work with him on the first Cuts project.” The three free spirits forged an indelible chemistry on a tour together prior to recording Cuts. “This group really hit something amazing during that tour and we took that energy into the studio.” For Cuts of Guilt, Cuts Deeper, the four kindred spirits went into the studio and came up with four extended tracks. CD 1 is comprised of the 20-minute “replaced by shame, only two left” and the 18-minute “divided by steel, falling gracefully.” CD 2 contains the dynamic 21-minute jam “too late, too sharp -- it is over” and the extreme anthem “all his teeth in hand, asking her once more.” Drummer Pandi calls it ‘mystery in sound.’ As saxophonist Gustafsson said of their purely improvised session, “We had no game plan. That usually does not work so well. It all depends on the day, the energy and of course the room. And oh boy, that room was freakin’ spectacular! It actually had a skateboard ramp! It was a truly spectacular recording. It went super-fast -- just a wall of noise-poetry with layers and perspectives changing all the time. And to have Thurston Moore in the mix just added colours, layers, energies and sound. It was a very inspired sharing with the others.” Pandi provides a bit of history on the evolution of this Cuts quartet. “There is a legendary Roskilde live recording of Sonic Youth with Mats and Masami called ‘Andre Sider of Sonic Youth’ and as a combination of that record and my longstanding duo with Masami, the idea came to try and play a quartet. Those were the days of the last couple Sonic Youth shows in South America, around 2012. Following that, Masami, Mats and I continued to work as a trio. Meanwhile, in 2013 I got invited to join Porn for a string of gigs. Porn masterminded by Tim Moss and Bill Gould from Faith No More and for the London shows Thurston joined us on stage - it was great fun to play together. When we hung out backstage, we were talking about trying to hook up a quartet session sometime with Mats and Masami again. We already had a gig planned with the trio in London, where Thurston currently lives, so we figured the only day he is spending around that time in London is the one we had for recording the follow up album to Cuts. So he was on board immediately.” As for how this new Cuts project with Moore may differ from their first Cuts outing, Pandi remains philosophical. “From my side, I can’t really talk about differences. I don’t approach anything differently. There are no tactics, concepts, nothing. Only deep listening and playing accordingly. I learned that from Masami early on. The night of our very first show, I approached him backstage, introducing myself. As it was the first time we met, I thought we would sit down and discuss any concept he may have wanted to talk through. But when I asked him about it, he only said one word -- ‘improvisation.’ That’s how it always is with Masami. And that’s how we approached this new recording in the studio. TRACKS Disc 1 1. Replaced by shame – only two left 2. Divided by steel. Falling gracefully. Disc 2 3. Too late, too sharp – it is over 4. All his teeth in hand, asking her once more Merzbow (a.k.a. Masami Akita) - noise, power electronics Mats Gustafsson - saxophones, g clarinet, power electronics Thurston Moore - guitars Balazs Pandi - drums OUT ON APRIL 7, 2015. from www.jazzcorner.com |
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snobb
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Posted: 07 Mar 2015 at 6:30am |
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Guitarist JOE MORRIS Joins Forces With Keyboardist JAMIE SAFT & Drummer MIKE PRIDE On Microtonal Blues Project Raoul  The sound of Joe Morris’ electric guitar, with distortion pedal set on stun and wah-wah pedal fully engaged, colliding with Jamie Saft’s droning, microtonal organ and Mike Pride’s thunderous free drumming approach to the kit creates a mind-numbing maelstrom on The Spanish Donkey's RAOUL, the improvising trio’s debut on RareNoiseRecords. A follow-up to XYX, their 2011 album, which was released on Northern Spy Records. The album consists of three throbbing tracks -- the brutal 32-minute title track ‘Raoul, the 22-minute “Behavioral Sink” and 16-minute Echoplex piano feature “Dragon Fly Jones” -- that showcase The Spanish Donkey's remarkable group-think as well as the individual player’s uncanny intuition on their respective instruments. More intensely cathartic, startlingly original and compelling than anything you’ve ever heard -- imagine a mash-up of John Coltrane’s Interstellar Space and Lou Reed’s Metal Machine Music -- RAOUL stands as a hellacious manifesto by one of the most formidable improvising trios around today. “We’re not trying to sound like anything that anyone expects,” says Morris. “We’re trying to come up with something that surprises us and fulfills the musical expectation that we have for ourselves. So in that whole realm of big loud screaming guitar, what we do sounds unique.” “To me, The Spanish Donkey is deeply rooted in the blues,” says Saft. “In terms of my concept for going into the studio for this record, it really was this idea of creating a monolithic, microtonal blues vibe and having Joe react to that. Joe is one of the few musicians that can really work within a deep microtonal environment. He is on such a high level with his intuitive approach to microtones and improvising within that space, creating in that ‘glacial time feel,’ as he puts it. And so this record essentially is us applying that microtonal blues thing to our free improvising path, and trusting that path completely.” Drummer Pride, who has collaborated with saxophonist-composer Anthony Braxton, Millions of Dead Cops and the Boredoms, is the perfect complement to Morris’ caustic intensity and Saft’s microtonal explorations on RAOUL. “For me, Mike also has a freedom and a level of trust in the path that is unique,” says Saft. “He is able to shape these larger form compositions while still staying deeply involved in the micro levels of rhythmic division and harmonic color. In the smaller trio format with these particular improvisers it’s much easier to create something that’s loud and brutal while keeping the intensity going throughout an entire 32-minute tune. There are not many musicians in this world that can keep that intensity of focus for that long. Mike is certainly one of them and Joe is a master at that. It’s something that you only find in a really rarefied group of musicians. So I feel incredibly fortunate to play with musicians like that.” Morris describes his modus operandi on RAOUL: “In The Spanish Donkey, I blend a lot of different effects together and actually improvise with effects. I don’t usually set effects like a rock guitar player; I improvise with a whole sonic palette. So I am constantly switching effects on and off, whether it’s delay, fuzz, ring modulator or whatever. There are a lot of different things going on but it’s a very narrow range that we’re working in, in terms of time and harmony. It’s trying to do a lot with very little. It’s about making a very intense thing happen with a slow time feel and a very tight tonal range.“ As a guitarist, Morris, who turns 60 this year, is a legend within free jazz or new music circles, having released over 40 records as a leader since 1983 and appearing as a sideman on another 50 or so albums. He has previous collaborated with keyboardist Saft on the RareNoise Records Plymouth, Red Hill and Slobber Pup’s Black Aces. Morris describes his approach to playing the guitar over the past three decades of recordings. “I try to be as legitimate and sincere and as thorough and outrageous as I can with every one of them. And sometimes being outrageous means that you don’t do things that are flashy or what anybody else expects. I’d say that’s all I’ve ever tried to do on guitar. I never wanted to be a fusion guitar player or a jazz guitar player or country guitar player or heavy metal guitar player. Every time I pick up the thing, I’m trying to be myself, no matter what the situation is. And that means I have to follow very closely to what my knowledge is of everything and to try to always be completely sincere in the way that I deal with everything.” Says Saft, “Joe is able to deal with the fluidity of time, pitch, harmony, tonality, tone color in a way that very few guitarists I’ve ever heard can do. It’s something really special. And so, for me, to put that in a blues context with this sort of strong tone center that we focus on for each tune and build around, and then apply all those same ideas of the micro levels of pitch, tone, rhythm to putting together our tracks, this is something unique and seldom heard. That’s really the approach to the composition, in my mind. And there’s nothing that really needs to be spoken between us, because when you play with people like Joe Morris, you’re playing with a master. I don’t need to say anything to him. He can react immediately to all these little shadings in a way that few other musicians can.” From track to track, Morris, Saft and Pride defy all expectations with their balance between complete abandon and refined control on RAOUL. “I’m trying to make what I think is unique music, and that’s not easy,” says Morris. “You have to work really hard and sometimes you have to make decisions that draw people in in a new way rather than play to what they expect. Some people might listen to this record and say, ‘You’re just playing to the energy and it’s out of control.’ But it’s a really delicate process, almost like sculpting marble, to get that kind of intensity there. And I think that’s one of the things that Spanish Donkey does really well is that we can hold to this very, very tight precision and keep it there. And to go there and keep it there requires a tremendous precision and, above all, listening.” “The world doesn’t need more free-I like to plat with myself records,” adds Saft. “And I think this record is actually the furthest thing from that in that it’s a very carefully crafted monolith, large form improvisation based in the microtonal blues world. You have to be open to finding something new, and you hear that search in this record. Joe is redefining what the blues guitar could even conceive of being on this record. It’s not just something that you see and you grab and you put on the tape, it’s something that you’re constantly looking for. To borrow Joe Morris' term, it’s the 'perpetual frontier'.” The Spanish Donkey explores that sonic frontier with an uncanny balance between abandon and precision on RAOUL, their RareNoise debut. TRACKS 1. Raoul 2. Behavioral Sink 3. Dragon Fly Jones Joe Morris - electric guitar Jamie Saft - minimoog synthesizer, echoplex piano Mike Pride - drums OUT ON APRIL 7, 2015. from www.jazzcorner.com Edited by snobb - 07 Mar 2015 at 6:30am |
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snobb
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Posted: 06 Mar 2015 at 8:48am |
Bill Evans/Tony Bennett Sessions to Be Reissued on 4-LP Vinyl Set40th anniversary package includes alternate takes and bonus tracksBy JazzTimes In honor of the 40th anniversary of the their duets, Fantasy Records (a division of Concord Records) will release a deluxe, 180-gram four-LP vinyl box set edition of The Complete Tony Bennett/Bill Evans Sessions on April 28. The recordings encompass 1975’s The Tony Bennett/Bill Evans Album, the following year’s Together Again and two LPs of alternate takes and bonus tracks. Also included is a 12x12 photograph of the two musicians, as well as a 12-page booklet featuring rare images and extensive liner notes by Will Friedwald (co-author of Tony Bennett’s autobiography, The Good Life). CD box set reissues of Evans’ The Complete Riverside Recordings and The Complete Fantasy Recordings are planned by Concord Records, this spring and fall, respectively. |
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snobb
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Posted: 25 Feb 2015 at 9:10am |
Robert Glasper to Release New Acoustic Trio AlbumRecorded live in Hollywood, set features covers and originalsBy JazzTimes Robert Glasper will return to the acoustic trio format on his next Blue Note album, Covered (The Robert Glasper Trio Recorded Live at Capitol Studios), to be released June 16. The trio features Glasper on keyboards, Vicente Archer on bass and Damion Reid on drums, the same lineup featured on Glasper’s first two Blue Note albums: Canvas (2005) and In My Element (2007). The ne album was recorded at Capitol Studios in Hollywood, in December in front of a live audience. The material consists mainly of covers of songs by Radiohead, Joni Mitchell, Jhené Aiko, John Legend, Kendrick Lamar and others, as well as several Glasper originals. |
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snobb
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Posted: 25 Feb 2015 at 9:09am |
SFJAZZ Collective to Release Live Joe Henderson TributeAlbum also includes several original tracksBy JazzTimes SFJAZZ Collective has announced the March 10 release of its new album, Music of Joe Henderson and New Compositions, Live at SFJAZZ Center. The album features arrangements of Henderson numbers drawn from his 1960s Blue Note albums like Page One, <>Inner Urge and Mode for Joe, and 1970s Milestone records like Black Narcissus and Elements. The album also features eight new original pieces, each composed by a member of the Collective. The SFJAZZ Collective lineup for this outing is as follows: Miguel Zenón: alto saxophone
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snobb
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Posted: 20 Feb 2015 at 4:39pm |
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Varèse Sarabande to Release “Keep On Keepin’ On” Soundtrack
Features music by Clark Terry, Justin Kauflin, Dave GrusinBy JazzTimes Varèse Sarabande will release the original soundtrack from Keep On Keepin’ On
digitally and on CD February 24. The film features performances by
Clark Terry and his protégé Justin Kauflin, with original score by
Justin Kauflin and Dave Grusin.
Track Listing 1. Dialog by Clark Terry / Letter to Justin #1*Exodus - Justin Kauflin (5:12) 2. Brotherhood of Man - Oscar Peterson Trio and Clark Terry (3:31) 3. Candy - Clark Terry and the Metropole Orchestra (3:46) 4. Mumbles - Oscar Peterson Trio and Clark Terry (2:02) 5. Dialog by Clark Terry and Justin Kauflin Mood Indigo - Duke Ellington (1:06) 6. Harlem Air Shaft - Duke Ellington & His Famous Orchestra (3:53) 7. Dialog by Justin Kauflin and Clark Terry Breeze (Blow My Baby Back To Me) - Clark Terry and Justin Kauflin (1:46) 8. *Justin Leaving - Dave Grusin (:56) 9. Girl Talk - Clark Terry with Orchestra Conducted by Peter Herbolzheimer (5:06) I0. If I Had You [Live] - Jazz at the Philharmonic All-Stars featuring Clark Terry (2:14) 11. *Dreams Change - Justin Kauflin (1:11) 12. Jazz Conversations - Clark Terry (4:26) 13. Michelle - Clark Terry (4:34) 14. Dialog by Justin Kauflin *My Biggest Enemy - Dave Grusin (:45) 15. Jim - Oscar Peterson Trio and Clark Terry (3:00) 16. Dialog by Clark Terry and Justin Kauflin / *What The Hell Time Is It? - Dave Grusin (1:52) 17. *Darkest Hour - Justin Kauflin (1:18) 18. Stardust [Live in London] - Jazz at the Philharmonic All-Stars featuring The Clark Terry Quintet (3:45) 19. Blee Blop Blues (aka Normania) - The Count Basie Orchestra (2:55) 20. Misty - Clark Terry with Orchestra Conducted by Peter Herbolzheimer (5:32) 21. Dialog: Farewell by Quincy Jones and Clark Terry I Remember Clifford - Quincy Jones (:40) 22. I Remember Clifford - Quincy Jones (3:45) 23. Dialog by Quincy Jones and Clark Terry / Letter To Justin #2 *Exodus - Justin Kauflin 24. *For Clark - Justin Kauflin |
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Random Act
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Joined: 11 Feb 2015 Location: U.S.A. Status: Offline Points: 3 |
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Posted: 11 Feb 2015 at 5:08pm |
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RANDOM ACT RECORDS (www.RandomActRecords.com) is releasing the next WOLFF & CLARK EXPEDITION 2 -- with Michael Wolff, piano; Mike Clark, drums; Christian McBride, bass; Daryl Johns, bass (C. McB on most); Hailey Niswanger, saxes; and Wallace Roney, trumpet.
Tunes by Monk, Ornette, Cream, Prince, and great originals. Releases Feb. 24! Also have an amazing SALE going on until Feb. 14 -- ALL CDs only $7.00 -- Great music by LARRY CORYELL, JEFF BERLIN, KENNY DREW, Jr., LENNY PICKETT, BRIA SKONBERG and more.
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snobb
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Posted: 05 Feb 2015 at 2:05pm |
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SPIN MARVEL’S Infolding With Nils Petter Molvaer – Upcoming RareNoiseRecords Debut
Spin Marvel is the brainchild of British drummer Martin France, here joined by an all-star crew of celebrated Norwegian trumpeter and electronic music pioneer Nils Petter Molvaer, bassist Tim Harries (formerly of Bill Bruford’s Earthworks), Norwegian electronic sculptor Terje Evensen and remix maestro Emre Ramazanoglu. Together they create spacious and dramatic soundscapes of profound intensity on the startlingly original Infolding, blending aspects of free jazz, ambient music and electronica in provocative ways. From the serene to the unsettling, this latest Spin Marvel project morphs into a myriad of moods and melodies over the course of six dynamic tracks. “Canonical” opens with an airy ambient touch before exploding into free jazz tumult paced by Harries’ throbbing fuzz bass and France’s powerful traversing of the kit, with Molvaer’s highly processed cathartic wail layered over the top. “Tuesday’s Blues” opens with spacious trumpet before gradually evolving into an in-the-moment adventure anchored by Harries’ hellacious fuzz bass and France’s interactive, Elvin Jones-inspired swing beat. “Two Hill Town” has Molvaer creating half-time trumpet melodies that float dreamily over France’s simmering pulse before the proceedings heat up to a turbulent boil. “Leap Second” makes dramatic use of silence and echo, with Molvaer’s haunting trumpet tones resounding over France’s subtle brushwork before the piece builds to an intense crescendo. The 16-minute “Same Hand Swiss Double Pug” opens as a kind of ambient bolero before France bursts into a Buddy Rich styled flurry on the snare drum midway thru, triggering a change in mood that culminates in a freewheeling collective improv. And the collection closes on a haunting and kinetic note with the echo-laden “Minus Two,” Emre’s lone drumming showcase. France, a veteran drummer on the U.K. jazz scene who played in the cooperative group First House and the big band Loose Tubes during the ‘80s and later worked with Iain Bellamy and Django Bates in the ‘90s, has performed and recorded with some of the world’s great musicians including Kenny Wheeler, John Taylor, Lee Konitz, Dave Holland, Arild Andersen, Ralph Towner and Marc Johnson. Currently a Professor of Jazz (Drums/Percussion) at the Royal Academy of Music in London, he applies his considerable skills and musical touch to the kit in the more open-ended environment of his Spin Marvel projects. “The use of openness and space is a very important part of what we do,” he says. “And creating something from this place allows the musician to feel free and uninhibited and move it in a direction they want to express. I have known Nils for many years and was always hoping that an opportunity would arise to somehow get him involved with Spin Marvel”. Nils commented, “To play with such wonderful gifted and open minded musicians was a true pleasure”. Emre, a ubiquitous London session drummer and in-demand producer-programmer-engineer-remix artist, brings a visionary vibe to this latest project. “Infolding was my first time working with Spin Marvel,” he says. “I was a huge fan of the earlier records and was hugely excited to get involved. It’s a very honest record despite the heavy processing. It’s all live takes with no edits or overdubs. Infolding began as a single day of live recording with France, Molvaer, Harries and Evensen before Emre came onboard. “It was recorded live in a four hour session for the BBC,” explains France. “Sometime after the recording I sat and listened to the takes and selected the performances to form a programme to fit the BBC R3 running time. We were all very happy with the session and how the music was sounding so I forwarded the master files to producer Emre Ramazanoglu, who then worked with the music and produced it for us. “Martin asked if I would be interested in trying to take the sound on from where it had got to at the end of this session,” says Emre. “We didn’t really plan this next stage at all but it was understood that we both wanted to keep the unedited live takes and bring out the intensity of the performance as much as possible. I spent a few hours with Martin and Tim on the first mix to check that they were into the approach I was taking and then I mixed the rest myself, trying to establish a coherent atmosphere for the record whilst letting the music and performances lead the way.” Emre explains his modus operandi on Infolding: “I tend to mold my mixing style to the project at hand and on this one I just was led to that kind of dramatic, spacey sound by immersing myself in the mix and creating as much of a performance there as I could. I mixed these tracks really quite intensely and stuck with my first reaction and the decisions that I made from it. I intensively used convolution processing to get different instruments modulating each other and a lot of interactive compression and effect processing to shape the individual voices into larger, dense blocks of sound in which the boundaries between the instruments are blurred perhaps. A dynamic and inventive collaboration between potent musical forces, Infolding breaks all the rules while leading the way for new possibilities in music-making. TRACKS: 1. Canonical
Nils Petter Molvaer – Trumpet from http://ejazznews.com Edited by snobb - 05 Feb 2015 at 2:05pm |
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Posted: 05 Feb 2015 at 1:59pm |
Eliane Elias to Release “Made in Brazil” March 31Pianist/vocalist’s first album recorded in her homeland since 1981By JazzTimes Pianist, singer and composer Eliane Elias will release Made in Brazil March 31 on Concord Jazz. The album marks the first time Elias has recorded in her native Brazil since moving to the United States in 1981. Along with co-producers Steve Rodby and Elias’ bassist husband Marc
Johnson, the album features such Brazilian musicians as electric bassist
Marcelo Mariano; guitarists Marcus Teixeira and Roberto Menescal;
drummers Edu Ribeiro and Rafael Barata; and percussionists Mauro Refosco
and Marivaldo dos Santos. Elias plans several tour dates in support of the release, listed below. 3/31 Dakota, Minneapolis, MN
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Cannonball With Hat
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Posted: 28 Jan 2015 at 8:53pm |
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Hit it on Five.
Saxophone Scatterbrain Blitzberg Stab them in the ears. |
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snobb
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Posted: 27 Jan 2015 at 3:05pm |
Charles Lloyd Signs to Blue Note RecordsLive “Wild Man Dance” album to be released April 14By JazzTimes Charles Lloyd has signed with Blue Note Records and will release, , Wild Man Dance
his first album for the label in 30 years, on April 14. The album is a
live recording of a long-form suite commissioned by the Jazztopad
Festival in Wroclaw, Poland, according to a press release from Blue
Note. Lloyd will present the North American premiere of the “Wild Man
Dance Suite” on April 18 at the Metropolitan Museum Temple of Dendur in
New York City followed by two performances of the work during a
four-night stand at SFJAZZ (April 23-26) in San Francisco. Lloyd will
also perform with his Quartet at the New Orleans Jazz & Heritage
Festival on May 2.
On April 20, Lloyd will be awarded the NEA Jazz Masters honor. An awards ceremony and concert honoring the recipients will take place at Jazz at Lincoln Center in New York City. |
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snobb
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Posted: 25 Jan 2015 at 3:51pm |
Resonance to Issue Unreleased Live Wes Montgomery LP“One Night in Indy” was recorded in 1959By JazzTimes One Night in Indy, a previously unreleased live recording of guitarist Wes Montgomery with the Eddie Higgins Trio, will be released on vinyl by Resonance Records for Record Store Day, April 18. The tape was presented to the label by photojournalist Duncan Schiedt before he passed away last year. The music was recorded at a club Duncan and friends ran called The Indianapolis Jazz Club (aka The IJC) on Sunday, January 18,1959. The trio includes Montgomery on guitar, Higgins on piano, an unknown bassist and Walter Perkins (Ahmad Jamal's trio drummer before Vernell Fournier) on drums. In a press release, Resonance said that it’s “releasing this music on an exclusive 12-inch record and only pressing 2500 for the world. This will only be on LP until 2016-2017 when the music will be included on a forthcoming multi-disc CD/LP release.” The label added, “Just to be clear, there will also be a forthcoming 2CD/3LP Montgomery set coming this May (no connection with this music).” Track list Side A:
Side B:
Edited by snobb - 25 Jan 2015 at 3:51pm |
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snobb
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Posted: 19 Jan 2015 at 1:47pm |
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Fresh from their second Mercury Prize nomination for last year’s In Each And Every One, Polar Bear are to release their sixth album, Same As You, on 30 March
on the Leaf Label. Such was the fast turnaround between the projects,
when the band was announced as part of Mercury shortlist last September,
bandleader and drummer Seb Rochford was already mixing the album in the Mojave Desert with LA-based producer Ken Barrientos.
– Mike Flynn, http://www.jazzwisemagazine.com For more info go to www.polarbearmusic.com |
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Cannonball With Hat
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Posted: 16 Jan 2015 at 5:40pm |
This one sounds pretty intriguing.
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Hit it on Five.
Saxophone Scatterbrain Blitzberg Stab them in the ears. |
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snobb
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Site Admin Joined: 22 Dec 2010 Location: Vilnius Status: Offline Points: 29436 |
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Posted: 16 Jan 2015 at 4:32pm |
Kevin Eubanks and Stanley Jordan to Release “Duets” AlbumGuitarists cover standards and modern hitsBy JazzTimes Guitarists Kevin Eubanks and Stanley Jordan will release Duets
album on March 24 on mack Avenue Records. The 10-song includes new
arrangements of "Nature Boy," "Blue in Green," "Summertime" and "A Child
is Born," plus interpretations
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snobb
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Posted: 16 Jan 2015 at 4:30pm |
Joe Lovano and Dave Douglas’ Soundprints to Release Debut“Live at Monterey Jazz Festival” includes two new Wayne Shorter piecesBy JazzTimes Saxophonist Joe Lovano and trumpeter Dave Douglas will release Live at Monterey Jazz Festival,
the debut recording from their co-led quintet Sound Prints, featuring
pianist Lawrence Fields, bassist Linda Oh and drummer Joey Baron. The
album, due on Blue Note April 7, features the debut of two new
compositions written for the band by Wayne Shorter. Sound Prints will be
performing at Jazz At Lincoln Center in New York City on May 15 and 16
in the Appel Room as part of the venue’s Wayne Shorter Festival. Further
tour dates will be announced shortly. Track list 1. Sound Prints (Joe Lovano)
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snobb
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Posted: 13 Jan 2015 at 1:24pm |
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Grammy-winning singer Cassandra Wilson has signed to Sony’s Legacy Recordings for her new album, Coming Forth By Day, which is set for release in the Spring 2015. A tribute to iconic singer Billie Holiday, the album is her follow up to 2012’s Another Country (eOne Records), and its release on 7 April 2015 marks what would have been Holiday’s 100th birthday.
Recorded in Los Angeles at Seedy Underbelly studios, Wilson worked with a team of producer Launay (Nick Cave), guitarists T Bone Burnett and Nick Zinner, string arranger Van Dyke Parks and rhythm section of drummer Thomas Wydler and bassist Martyn P. Casey of The Bad Seeds. Drawing on material from across Holiday’s wide-ranging repertoire, Wilson hasn’t shied away from the darker side of Holiday’s life that is also reflected in the grungy sounds created by her edgy roots-rock and blues backing band, which also includes her longtime collaborators Jon Cowherd on piano and Kevin Breit on guitar. from jazzwise |
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snobb
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Posted: 13 Jan 2015 at 7:57am |
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Rising star trumpeter and bandleader Laura Jurd, one of the founders of the Chaos Collective, releases a new album on 19 January, Human Spirit, and heads out for nationwide dates from 9 January. The new album, the follow up to her November 2012 debut Landing Ground, features vocalist Lauren Kinsella, trumpeter Chris Batchelor, trombonist Colm O’Hara, bass saxophonist Mick Foster, guitarist Alex Roth and Corrie Dick on drums, and fuses electric jazz with brass band and folk traditions.
Dates are: The Cube, Derby (9 Jan); The Forge, Camden (14 Jan); Hidden Rooms, Cambridge (15 Jan); Colston Hall, Bristol (16 Jan); Warwick Arts Centre (19 Jan); Harlington Centre, Fleet (20 Jan); The Verdict, Brighton (23 Jan); Jazz North East, Newcastle (27 Jan); TBC, Glasgow (28 Jan); The Blue Lamp, Aberdeen (29 Jan); and Wakefield Jazz Club, Wakefield (30 Jan). from jazzwise |
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snobb
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Posted: 11 Jan 2015 at 1:33pm |
Ornette Coleman Quietly Releases New Album“New Vocabulary” features music cut in 2009With virtually no publicity, the legendary saxophonist Ornette Coleman released a new album just prior to the new year. New Vocabulary, according to reports on several websites, is by a group of the same name which features, in addition to Coleman on alto saxophone, Jordan McLean on trumpet and electronics and Amir Ziv on drums, with pianist Adam Holzman on some tracks. McLean, Ziv and Holzman also work together in an electronic-jazz trio called Droid. New Vocabulary, produced by McLean and Ziv, is released by the System Dialing label (which Ziv co-owns) and can be purchased here in several formats. Music journalist Hank Shteamer, of Time Out New York magazine, reported on his blog, Dark Forces Swing Blind Punches, and on Time Out,
that the album arrived in his mailbox on LP and CD unsolicited. All of
the music, he reports, was recorded in 2009. Coleman, he notes, appears
on the entire album. from http://jazztimes.com Edited by snobb - 11 Jan 2015 at 1:34pm |
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snobb
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Posted: 19 Dec 2014 at 1:46pm |
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South African pianist Abdullah Ibrahim will release a new solo CD/DVD, The Song Is My Story, Feb. 17 on Sunnyside Records. The set, largely a free improvisation, was recorded last summer during a visit to Sacile, Italy, on a Fazioli piano. The DVD includes comments by Ibrahim in addition to the concert. |
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snobb wrote: