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'Band members Pauline Oliveros, Stuart Dempster and Panaiotis have captured the fantastic acoustics of the Fort Worden Cistern, a cavernous underground watertank which possesses an amazing 45 second reverberation time producing pure, smooth reverberation which overlaps the original sound. The recording employs composer Pauline Oliveros' accordion and voice; Dempster's trombone, voice, didjeridu, conch shell and garden hose; and composer/designer Panaiotis' voice, whistling, pipes and metal pieces. 'The sound is breathtaking: mysterious, pure, eerie wrap-around sound that sometimes imitates a heavenly chorus and sometimes a distant jet engine.a listening experience like no other.' Melinda Bargreen, in The Seattle Times - Deep Listening 1. Lear 24'48' 2. Suiren 9'51' 3.
Ione 17'30' 4. Nike 10'36' @320. 'The history of attempts to fuse jazz and classical music has been long and ignominious. From the plasticizing efforts of George Gershwin and Paul Whiteman, through the rarefied preciousness of much of the 'Third Stream,' right on up to today's proliferating concertos for 'jazz band and chamber orchestra,' the tendency has been to abandon the strengths of both species for the weakness of a mutant. The first thing that needs to be said about Skies of America is that it transcends these previous attempts to such a degree that it has nothing whatever to do with them. It stands on its own as a work worthy of the most serious consideration, and it translates its composer's individuality as an improviser into orchestral terms. Coleman's sound and style is one of a handful of truly distinctive contributions to the history of jazz.
NEW YORK, NY. (Top40 Charts/ VH1 Classics) - Man Raze, a newly formed rock outfit featuring Phil Collen of Def Leppard, Simon Laffy from Girl and Paul Cook of The Sex Pistols, have announced the release of their full-length album 'Surreal' on June 3. Raekwon ft Ghostface Killah, Inspectah Deck & Method Man — House Of Flying Daggers. Red Bull Reporter launched in March this year and gives young writers, photographers, film-makers and presenters the opportunity of a lifetime.to go on assignments to report on sport, music. Raze Brooks – Lazy Bones f.
Bix, Louis, Bird, and Trane have all had their legions of copyists, but few players have been able to recreate the peculiar Coleman timbre, or to reproduce Coleman licks. Skies of America demonstrates that Coleman's uniqueness as a player is a facet of a highly personal musical conception; he manages to make the London Symphony Orchestra into an extension of his unique sensibility Coleman calls the theory that underlies his compositional endeavors 'harmolodic.' His modulations have a fresh, sometimes abrupt sound which seems to be a result of subordinating the chordal underpinning on which most music is based to the movement of melody. A certain melodic interval thus suggests a number of different chord changes, any one of which is 'correct.' Because the piece represents America's skies, the parts are written in the higher ranges of the instruments. This unity of range and intent holds the piece together as much as the few themes which reappear. Coleman's alto enters halfway through the first side and his improvisations, some of which are pristinely clear a cappella statements, also help cement the work.
Certain sections are optional or interchangeable, and the piece is designed to accommodate additional soloists. While a great deal of variety is present, from the openended, long-lined melodies of the opening and closing movements to the bright, tumbling parade sounds of some of the middle sections, the personal dimension permeates Skies on all levels, as one can discern quote after quote from Ornette's previous work. Certain heavy densities are reminiscent of the Greek composer Xenakis, and occasionally a jumble of melodies brings Charles Ives to mind, but the densities and jumbles all break down into individual lines that could only have been written by Ornette Coleman. The most impressive quality of Skies of America is its emotional weight.
The blues quality of much jazz playing is almost impossible to render into symphonic writing, but Coleman has long been known as a player of blues feeling rather than blues form, and he employs in Skies certain intervals that have 'a human quality,' intervals he originally discovered on his horn. This music will leave few listeners unmoved, and it leaves room for a multitude of personal reactions to the negative and positive qualities of life under America's skies.
(RS 115)' BOB PALMER, in rolling stone magazine, RS115 - ORNETTE COLEMAN - SKIES OF AMERICA (1972) 1. 'Skies of America' — 2:49 2. 'Native Americans' — 1:10 3. 'The Good Life' — 1:33 4. 'Birthdays and Funerals' — 3:13 5.
'Dreams' — 0:51 6. 'Sounds of Sculpture' — 1:20 7. 'Holiday for Heroes' — 1:10 8.
'All of My Life' — 3:08 9. 'Dancers' — 1:17 10. 'The Soul Within Woman' — 0:47 11. 'The Artists in America' — 3:54 12. 'The New Anthem' — 0:31 13.
'Place in Space' — 2:44 14. 'Foreigner in a Free Land' — 1:19 15. 'Silver Screen' — 1:10 16.
'Poetry' — 1:15 17. 'The Men Who Live in the White House' — 2:48 18.
'Love Life' — 4:34 19. 'The Military' — 0:32 20. 'Jam Session' — 0:39 21. 'Sunday in America' — 4:29 @320.
'Space is not the final frontier, nor is it cyber-space. It's the brain, or at least, our understanding of how it actually works. Jon Rose presents a simple analogy, the Badminton court represents the brain, the two Badminton players play out the roles of the left and right hemispheres.
The brain belongs to one time Australian musical genius and deviant, Percy Grainger, a man who created some of the most inspired and beautiful innovations in 20 century music while at the same time being capable of the most depressing racial bigotry. This piece is a satirical celebration of the 'Jekyll & Hyde' in his mind. And perhaps in all of our minds.
The 'thoughts' of the players are heard periodically loud and clear throughout the performance (the voice belonging to Elise Lorraine). They react to each other (as sports people do) with personal comments, spurious philosophical assertions, occasional abuse, and observations on the evolutionary struggle.
On each of the rackets and the net are mounted contact microphones and accelerometers, these access musical material. The movements of the rackets then further control tempo, rhythm, panning, volume, etc.
The information from each racket confronts, complements or cuts off the material generated by the previous racket stroke. The role of Percy Grainger is taken by a midi controlled player-piano. There are parts for Hurdy-Gurdy ( Stevie Wishart) and other improvising guest musicians (in the CD version Phil Minton & Butch Morris are the extra Badminton players and Grainger's Free Music machines are realized by Rainer Linz). Texts and video images are derived from recently discovered (?) letters by the composer and pianist. When not providing a violin commentary on this piece of revised music history, Jon Rose umpires the way through Grainger's musical pre-occupations. PERKS celebrates the technology and physicality of music; from the latest interactive technology developed at STEIM, Amsterdam to original 1908 Grainger field recordings of Rarotongan music. Like Grainger himself, PERKS deconstructs a wide range of music vocabularies based on often disparate elements.
From a traditional Irish melody to a chaotic version of the Grieg piano concerto. The interactive sounds used in PERKS are digital representations of keyboard, percussion & homemade electronic instruments found (or imagined) in the Grainger museum, Melbourne. Humanity's brain seems to remain fundamentally flawed'. 'Previn has always been an adept, if not brilliant, pianist whose jazz leanings have belied his classical training. Here he interprets the music of Duke Ellington and Billy Strayhorn lovingly and as well as any legit jazzster could, with help from the fine bassist David Finck. While this music can easily stand on its own, Previn's technical ability and heartfelt stretching of the original blueprints urge these well-worn tunes to carry new meaning and substance.
If there are any stock treatments here, it's because the pianist tends to lay back and let the melodies come to him, as evidenced on the steady-paced 'Isfahan,' the easy 'Serenade to Sweden,' and the even easier swung 'I Didn't Know About You.' Previn wrings every emotional drop out of 'In a Sentimental Mood,' dismisses a time frame for the pristine 'I Got It Bad' and 'Come Sunday,' while Finck is in late for the pensive 'Chelsea Bridge.' Melody is more implied with tempos at half and full speed on 'It Don't Mean a Thing,' Previn uses an off-minor change-up on the good swinger 'Things Ain't What They Used to Be,' and swaps 4/4 in the bridge for a waltzing 3/4 head and tail on 'Take the A Train.' Obviously an admirer of Oscar Peterson, Previn takes liberties and risks on the easy swing take of 'In a Mellow Tone,' trades ripped-up lines with the capable Finck, counter-punching during 'Do Nothin' 'Til You Here From Me,' and fervently digs into the up-tempo 'Squatty Roo.' Perhaps Previn's voracity is not well known, or as regarded in the modern jazz world as it should be, but on this recording it's clear how great he can be. This second CD with Finck, the previous being a Gershwin songbook 'We Got Rhythm,' signifies a step up for the veteran pianist, and is perhaps his shining recorded hour.
MG Nastos, All Music Guide. Take The 'A' Train (Strayhorn) 2. Isfahan (Ellington / Strayhorn) 3.
I Got It Bad ( And That Ain't Good) (Ellington / Paul Francis Webster) 4. Do Nothin' Till You Hear From Me (Ellington / Strayhorn / Bob Russel) 5. Chelsea Bridge (Strayhorn) 6.
Things Ain't What They Used To Be (Mercer Ellington / Ted Persons) 7. In A Sentimental Mood (Ellington / Irving Mills / Manny Kurtz) 8. Squatty Roo (Johnny Hodges) 9.
Come Sunday (Ellington) 10. Serenade To Sweden (Ellington) 11. I Didn't Know About You (Ellington / Bob Russell) 12. In A Mellow Tone (Ellington / Milt Gabler) 13. It Don't Mean A Thing (If It Ain't Got That Swing) (Ellington / Strayhorn / Irving Mills).
Catherine Becker-Echivard, who is a novelist as much as a photographer, has created for more than 10 years an infinity of settings and character scenes, into which she inserts small protagonist fishes and makes them live all she has in mind. Whether they express loneliness, intimacy, membership or musical addiction, those characters of predilection, which are dressed, occupied and put on the stage, account for the perpetual motive of her artistic career. The photographer, who is familiar with animals she fished during her childhood, transform them into patient friends. They allow her to investigate the infinite fields of staging and to establish a real small theater of animal images, which reminds us with accuracy the twists and turns of Human comedy. 'Pago Libre is one of the finest bands in the biz. This is a reissue of their original 1995 recording for the Germany-based 'Bellaphon' label. Essentially, little or nothing is out of this band’s overall scope of capabilities.
They commence the festivities with a toe-tapping groove, via bassist Daniele Patumi’s expressive walking bass lines during the opener “Rochade.” Moreover, the quartet systematically integrates subtle variations of the primary theme in concert with unassuming accents and contrasting tonal characteristics. French hornist Arkady Shilkloper and violinist Tscho Theissing weave chamber-like passages with heated modern jazz flurries throughout. When the soloists, including pianist John Wolf Brennan coalesce - they often present a scenario that might propose notions of a larger unit at work.
They explore contrapuntal statements amid symphonic overtures and luminous melodies. But are equally adept at rendering free-form modern jazz type improvisations to coincide with intermittent shifts in strategy. Nonetheless, the artists meld abstract colorizations atop symmetrically devised rhythmic structures. The ensemble also incorporates ethereal treatments and unorthodox voicings into the grand scheme of things.
Among the very best reissues of 2002! Ardently recommended.'
Glenn Astarita, allaboutjazz.com. 'Born in Trichy (Tamilnad, India) in 1910 to a goldsmith family, M.K. Thyagaraja Bhagavathar remains a seminal figure in Tamil music. Celebrated as the very first star in the Tamil film industry (also known as Kollywood), Bhagavathar achieved legendary status in the 1930s and 1940s with a series of devotional songs and epic movies that continue to delight generations of Tamils and music lovers in the world. His training in classical Carnatic traditions provided him with the necessary discipline to bring Papanasam Sivam's compositions to life.
This selection, featuring material recorded between 1937 and 1959, is the perfect introduction to M.K.T. Bhagavathar's legendary voice' 1. Bhumiyil Manida 2. Gnaanakkan Ondru 3. Radhe Unakku 4. Vadhaname Chanthira 5.
Shyamala Jeevapriye 6. Characharangal 7. Manmatha Lilayayi 8. Naatiya Kalaye 9. Vasantha Ruthu 10. Rajan Maharajan 11.
Ambaa Manam 12 Aranange Nai 13. Sollu Paapa 14.
Manam Kaninthe 15. Chuttum Vizhil Shudar Thaan 16.
Sorpana Vaazhvil 17. Chedi Maraivile 18. Annayum Thandayum @192. 'From the inventive minds of John Zorn and Yamantaka Eye comes an intimate and highly original duo project inspired by historical recordings of ancient Judaica.
The Mystic Fugu Orchestra masquerades as 'newly discovered' recordings from the Mystical tradition of Kabbalah - paralleling 14th century author Moses de Leon's original presentation of of his Kabbalistic classic 'The Zohar' or ' Book of Splendors' as having been discovered by him and actually written by Rabbi Simeon ben Yohai centuries before. Humorous, touching, traditional, irreverent, perplexing, soulful. A sound that could only come about with years of friendship, empathy and collaboration, The Mystic Fugu Orchestra will surprise and delight you as yet another unusual direction in music from these two masters of the unexpected.' Tzadik Press Release 1.
Book of Splendors 3. Frog Doyna 4.
The Dybbuk 5. 2000 Years 6. Goniff Dance 7.
Zayin Rav Yechida - Voice Rav Tzizit - Harmonium @320. 'Ryoji Ikeda's 2nd CD for Touch, his 3rd solo CD, follows the classic +/- and a year's world tour with performance artists Dumb Type. OºC is an exploration at the edge of one's perception - an extension of +/- and the next step. C adds a velocity axis and a density axis to factors, Oº amalgamated numbers, structures, frequencies and sounds'.
Touch Press Release 'The Japanese Composer Ryoji Ikeda uses the humblest scraps of electronic communication to cobble together his music: a tiny, narrow pop, like a single particle of radio static; a fax-connection screech; a bell-tone as soft as a feather against the eardrum; a drum-machine beat slammed up to super-speed, making a short, single block of noises, and a CD player skimming across a selection, catching glimpses of a song. It's not ambient music; there are no long, enveloping tones. And its not dance music, because some selections have as much as five seconds of silence between each sound. But there's always a building narrative to these pieces.
They get longer as the disk goes on, and the listener grows increasingly comfortable with Mr. Ikeda's strategies: but by bit, the composer reveals his logic.
And in his own oblique way, he's dramatic'. NY Times C (1997-8) 1. C1:: check 2. C2:: cacoepy 3. C3:: circuit 4.
C4:: contexture 5. C6:: counterpoint 7. C7:: continuum 8. C8:: can(n)on 9. C9:: cadenza 10. C0:: coda (for T.F.) 0º (1998) 11. 0º:: zero degrees 1 12.
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0º:: zero degrees 2 13. 0º:: zero degrees 3 Produced by Ryoji Ikeda. Recorded & Mixed at CCI Studio, Tokyo 1997-8. Released by Touch in 1998. Taruna Jaya Gong Patok.
Ancient Gong Kebyar from the North with nailed keys 2. Palewakia Gong Kebyar - 20th century Gamelan 3. Jagra Parwaka Gong Kebyar - 20th century Gamelan 4. Tabuh Telu Gong Suling - Flute Orchestra 5.
Karang Sirig Gong Suling - Flute Orchestra 6. Singa Murti Gong Suling - Flute Orchestra Disc II 1. Angklung & Kendang Mebarung Tetratonic Amgklung Gamelan & Giant Drum Duo 2. Kembang Kirang Angklung Kembang Kirang. 10 keys Pentatonic Gong Angklung 3. Arjuna Vivaha Angklung Kembang Kirang.
10 keys Pentatonic Gong Angklung 4. Layon Sari Gong Angklung & Angklung Kocok. Pentatonic Gong Angklung with 6 keys 5. Sekar Sari Gong Angklung & Angklung Kocok. Pentatonic Gong Angklung with 6 keys 6. Becica Nguci Gong Angklung Daun Kutus.
Pentatonic Gong Angklung with 8 keys 7. Jam Si Uniyl Gong Angklung Daun Kutus. Pentatonic Gong Angklung with 8 keys. 'The perfect setting for the innovative David Murray is the octet that he leads on an irregular basis. This spirited set has tributes to Ben Webster and Lester Young but is at its best when the full ensemble (trumpeters Hugh Ragin and Rasul Siddik, trombonist Craig Harris, altoist James Spaulding, pianist Dave Burrell, bassist Wilber Morris and drummer Ralph Peterson, Jr., along with the leader on tenor and bass clarinet) get to improvise together. This is one of their strongest all-round recordings with 'Hope Scope' being a particular highpoint'.
' Hope Scope is a fiery recording from 1987, full of boisterous yet controlled energy. Along with his work with the World Saxophone Quartet, David Murray is most well known for his work with his Octet and big band. Hope Scope contains the entirety of jazz history within the parameters of Murray's compositions, and there are touches of Jelly Roll Morton in tandem with Duke Ellington and Charles Mingus, as well as a hefty dose of group improvisation. Hope Scope continues the hard-bop sound as exemplified by Live at Sweet Basil Vol. 1 and Murray's Steps, and peppers it with touches of lyrical melody. The year Hope Scope was released also saw the release of New Life, and The Healers, his duo record with Randy Weston.
Unlike other artists who might have suffered burnout from producing so much in a short period of time, Murray seems to thrive in states of hyperactivity. The pleasure and privilege is the listener's'. Tonwsend Records Review 1.
Ben ( For Ben Webster) 2. Same Places New Faces 3.
Hope Scope 4. Lester ( For Lester Young) 5. Thabo Hugh Ragin - trumpet Rasul Siddik - trumpet Craig Harris - trombone James Spaulding - alto sax David Murray - tenor sax, bass clarinet Ralph Peterson Jr.
drums Dave Burrell - piano Wilber Morris - bass Recorded May 12th, 1987. Released by Black Saint in 1987. All tracks by Murray, except #2 (Craig Harris) and #5 (Ralph Peterson Jr.) @320.