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 Into the Rhythm
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2006:The Vandermark 5 - A Discontinuous Line |
Music, Freejazz, Avantgarde |
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 Artist: The Vandermark 5 Album: A Discontinuous Line Label: Atavistic Year: 2006 Format, bitrate: mp3 256kpps Time: 69:00 Size: 158 MB Woodwind multi-instrumentalist Ken Vandermark has seen a number of personnel changes in his decade-old flagship group, the Vandermark 5. But when charter member Jeb Bishop left last year, Vandermark made the decision not to replace him with another trombonist. The Color of Memory (Atavistic, 2005) stands, as a result, as a high point and watershed mark of the "old Vandermark 5. A Discontinuous Line marks a significant shift with the recruitment of cellist Fred Lonberg-Holm, himself no stranger to the Chicago avant-garde scene. By adding an instrument that has the capacity for chordal support, Vandermark has reinvigorated his writing for the quintet. Not that it needed any in the first place.
Blasphemy it may be to suggest such a thing, but the new lineup may well be a more balanced one. With two horns, two strings and percussion, there's plenty of texture available. But the replacement of Bishop's always expressive trombone has created a sound that, while also capable of aggressive extremes as ever, enables a greater delicacy—beauty, even.
On "La Dernier Cri, Tim Daisy's soft tympani-like mallet work on the toms creates a persistent undercurrent of rhythm. The piece starts with cued chords built amongst Vandermark, Lonberg-Holm, saxophonist Dave Rempis and bassist Kent Kessler. Were it not for Daisy, the piece would feel very Ligeti-like, although when it shifts into collective improvisation which treats space as an equal component, the reference dissolves. The beauty of Vandermark's writing, however, is the purposeful direction of such free improvisation: small, clearly constructed figures emerge and disappear, never to be heard from again. By the time Lonberg-Holm's brief solo is over, the group reunites for a coda related to the intro, but not any kind of restatement.
The new Vandermark 5 hasn't lost its edge. Lonberg-Holm lends ardent chordal support beneath Rempis' outré solo on "Convertible, Version One. In tandem with Kessler's arco bass, he builds a solo conception that's completely new to the group. Vandermark's cathartic baritone solo is driven in ways that would not have been possible with the old lineup, finally returning to the tune's repetitive 5/4 motif alongside Rempis, while Lonberg-Holm, Kessler and Daisy end the piece on a maelstrom-like note.
Vandermark pushes the envelope, but the swinging swagger on "Some Not All refers to the jazz tradition, despite a chamber-like intro that's equally informed by contemporary classicism. Lonberg-Holm's solo of reckless abandon, over which Vandermark and Rempis ultimately enter to signal a return to the lead-in figure, shifts to a rock-ish solo section for Rempis, where Lonberg-Holm's repeated 5/4 figure seamlessly segues into a 7/4 pattern. Complexity never felt this natural or inevitable.
Vandermark's biggest strength as a writer is his ability to create compositions that mesh challenging and sometimes long-form structure with freewheeling improvisation. The Color of Memory may have been a high-water mark for the original V5 lineup, but A Discontinuous Line signals a shift for a group that's just as compelling. ~ John Kelman, all about jazz |
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1971:Nathan Davis – Makatuka |
Music, Hard-bop, Modern Jazz |
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 Artist: Nathan Davis Album: Makatuka Label: Segue Records Year: 1971 Format, bitrate: mp3@320kb/sec Time: 39:06 Size: 90.5MB AMG rating:  When you have been in radio for Twenty-Six years playing all kinds of music, you kind of get an "ear" for something distinct. This is exactly what my ears grasped when I listened to Nathan Davis playing three instruments (bass clarinet, soprano sax, tenor sax) along with some very fine side-men who unite into some funky and soulful sounds.
Nathan Davis, born and raised in Kansas City, Kansas, participated in his high school band and dance band, won his state music competition from which he received various scholarships leading him to a degree in Music Education from the University Of Kansas, and the production and promotion of jazz concerts at various Universities. While in the army, and living in Europe for Ten years, Nathan won the European and U.S. Army music competition, toured all over France, Germany, Belgium, and many other countries. He studied at the Sorbonne, instructed jazz studies at the Paris American Academy of Music, and in 1969, Belgium's Minister of Culture employed Nathan to give a series of jazz clinics. Nathan worked with many fine musicians: Donald Byrd, Hampton Hawes, Art Blakey, Art Taylor, Kenny Clarke, Mel Waldron, Benny Bailey, and Eric Dolphy, who influenced his flute and bass clarinet sounds.
Now, Nathan returns to the U.S. as Director of Jazz Studies Program at the University of Pittsburgh, and to record his first album in this country. The Hip Walk, Happy Girl, Rules of Freedom, and other albums were recorded overseas. Nathan produced Jazz Pittsburgh, part of the annual week long Three Rivers Art Festival for which he received numerous standing ovations in addition to putting together a Big Band consisting of many of the fine local musicians.
In this album, Nathan Davis composes and plays with Joe Kennedy, piano, Nelson Harrison, trombone, Don Depaotis on electric piano, Virgil Walters on fender bass, Mike Taylor, bass, and Rodger Humphries (formerly with Horace Silver) on drums.
Listen to the sounds of Nathan Davis who is practicing under the influence of hypnosis as he puts you under his weird spell.
MAKATUKA, in 7/8 time, is a tribute to Makaya Ntzhoko, a South African drummer with whom Nathan recorded a live album in Munich, Germany. Nathan opens up on tenor sax, joined by trombonist Nelson Harrison, and after a few bars of a soulful African melody, Don Depaotis blends in on electric piano. Just dig the sounds they get!
TO URSULA WITH LOVE, was written by Nathan for his wife; listen to the way he tells of love for his woman through his soprano sax. I suggest that you play this one for your lady when you want to get into your bag.
SLAVE MARCH, depicts musically tramping slaves (they may be slaves to many things – love, peace, job, etc.). In this cut, Nathan plays bass clarinet and tenor sax. Bassist, Virgil Walters was added to this number to give it a contrasting bass effect. It begins with the beautiful work of Nelson Harrison, Nathan's tenor sax and Rodger Humphries coming in nicely on drums. No trouble with the grease on this one. The fellows just slide soulfully on through, but the Slaves March doesn't stop…it just fades out for the march is never really over. Dig it!
EXTRA SENSORY PERFECTION, puts you in your weird bag and under a spell when Nathan plays his tenor. He brings to you the sounds of a new world, a world of many moods. Listen to all the cats quietly get into a nice groove.
I WANT TO BE FREE, swings through with a message. It might seem odd for a singer to be in on Nathan's recording date, but blues is part of jazz, and the young people today have a message for the world. Young vocalist, Wheeler Winstead, a student at the University of Pittsburgh, first heard by Nathan singing with the Pitt Band, puts it over. Nathan takes a groovy solo on soprano sax along with Nelson Harrison, one of the finest trombonist in the country.
LADIES LIB, swings from head to toe. I know you'll like this one as Nathan puts together some sounds that most disc jockeys have been asking for. Everyone can go into their spell here, and do their thing.
There is something for everyone on this album. Tell your friends about the spell this album puts you in. Right on!~Bill Powell, WAMO Radio, Pittsburgh, Pennsylvania |
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2005: Rova::Orkestrova - Electric Ascension |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Rova::Orkestrova Album: Electric Ascension Label: Atavistic Records Year: 2003; release: 2005 Format, bitrate: mp3, 320 Time: 63:49 Size: 144 mb ”I have never heard anything like it, and will remember it for the rest of my life.” - JAMBASE.Com
"a masterpiece of the truest kind." - Brian Morton, The Wire (Included in The Wire's "2005 Rewind: 50 Records Of The Year.")
"a mighty disc – don’t miss it." - Dan Warburton
"a great triumph" - Eyal Hareuveni, All About Jazz This is a massive and intense in-studio interpretation of John Coltrane's masterwork, "Ascension", as performed by an all-star ensemble featuring The Rova Saxophone Quartet, Nels Cline (Wilco), guitar legend Fred Frith, Ikue Mori (formerly of No New York stars DNA), turntable wizard Otomo Yoshihide, plus other stellar guests. A definitive, monolithic homage to a legendary artist. |
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2006: Donny McCaslin - Soar |
Music » Jazz » Modern Jazz |
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 Artist: Donny McCaslin Album: Soar Label: Sunnyside Year: Apr 4, 2006 Format, bitrate: mp3, 320kb/s Size: 123MB AMG rating: Donny McCaslin, who was originally a John Coltrane-inspired tenor saxophonist, has certainly grown as an adventurous improviser in the years since he debuted. On Soar, he begins and ends the set with a Panamaniam folk song, contributing seven originals of his own. McCaslin utilizes the wordless vocals of Luciana Souza on some of the ensembles and there is solo space for guitarist Ben Monder and pianist Orrin Evans, but the leader is the main star much of the time. His music is haunting, unpredictable, melodic in spots, and beyond simple categorization. It is consistently intriguing and inventive.~ Scott Yanow, All Music Guide Produced by saxophonist Dave Binney, Soar showcases McCaslin’s silken sax sound, and his equally adept flute work, are supported by an all-star array of musicians headed by label mates Luciana Souza from Brazil, and guitarist Ben Monder, along with Curacao percussionist Pernell Saturnino, Pat Metheny drummer Antonio Sanchez, pianist Orrin Evans, bassist Scott Colley, trumpeter Shane Endsley and Luis Bonilla. The 9 tracks reflect McCaslin’s musical diversity, and his rare ability to blend seemingly far-flung styles. The opening selection "Tanya" is a spirited 'percussion discussion with Saturnino propelling McCaslin to festive Sonny Rollins/"St. Thomas" style heights. "O Campeao," "Be Love," and the title track, are syncopated in similar fashion, contrasted by the "In a Silent Way" plectral shadings of "Grafton," "Laid Bare," "Push up the Sky," and the dreamy ballad "Hero as a Boy." The concluding composition, "Merjorana Tonosiena," closes the CD with an Afro-Andean dance vibe that is festive and folkloric.~ Liner Notes |
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2004: Ahmed Abdullah’s Dispersions of the Spirit of Ra - Traveling the Spaceways |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Ahmed Abdullah’s Dispersions of the Spirit of Ra Album: Traveling the Spaceways Label: Planet Arts Year: 2004 Format, bitrate: mp3@320kb/sec Time: 70:36 Size: 164.4MB AMG Rating  Traveling the Spaceways is as beautiful an homage to Sun Ra as it gets. However, the rapturous chaos and truculence that characterized so many of the maverick composer's performances and recordings should not be expected. While this side of Sun Ra is not completely obliterated, trumpeter/arranger Ahmed Abdullah chose to concentrate on his Ellingtonian bent. The music sways with style, and the voicings are often enthralling. The opening track, "We Travel the Spaceways," sets the tone, each musician playing a clear and distinctive role thanks to Abdullah's deft arrangements. He emphasizes cohesion and elicits a fine group effort from a tight ensemble. Although Abdullah delivers some tasteful choruses, the trumpeter often defers to other bandmembers to fill the solo spots. Therefore, listeners are treated to some memorable interventions by outstanding soloists. Baritone saxophonist Alex Harding is adequately ferocious on "21st Century, Pt. 3," trombonist Craig Harris is visceral and soulful on "New Horizons," and violinist Billy Bang is simply dazzling on "They Plan" -- these last two compositions sharing a deeply moving quality. The recording also prominently features vocalists and poets, and once again Abdullah succeeds by making the vocal parts an integral and indispensable component of the music. The songs and poetry blend remarkably well and often contribute greatly to the mood of the pieces. With this remarkable outing, Abdullah outdid himself and achieved remarkable results that should not be overlooked. Back on Saturn, the master can be proud of this tribute.~Alain Drouot, All music Guide |
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2003: Ellery Eskelin/Andrea Parkins/Jim Black - Arcanum Moderne |
Modern Jazz, Avantgarde |
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 Artist: Ellery Eskelin/Andrea Parkins/Jim Black Album: Arcanum Moderne Label: Hatology Year: 2002; release: 2003 Format, bitrate: mp3, 320 Time: 67:35 Size: 151 mb Downbeat Rating: **** AMG Rating: "...virtually miraculous discovery of playing new jazz that isn't 1) hopelessly traditional or 2) hopelessly experimental..." - Pitchfork This release furthers the saga of one the more interesting units in modern jazz. Pushing nine years and countless tours, the trio's mark of identity is firmly rooted within improvisation. However, tenor saxophonist Ellery Eskelin's relatively complex compositions provide a forum for individual ingenuity, witnessed countless times during the band's lengthy tenure. On this effort, recorded in a New York City studio, the threesome explores grooves such as samba, on the aptly titled "It's A Samba," where the band reformulates tradition into a distinctive group sound. Eskelin's robust mode of attack serves as a vortex of sorts for Andrea Parkins' accordion/piano/sampler activities, and drummer Jim Black's personalized rhythmic exercises. Hence, the listener should come to expect the unexpected. It's partly about Eskelin's blustery lines intermixed with Parkins' swirling accordion maneuvers and Black's odd-metered backbeats. At times, the trio moves forward with the semblances of a rumbling freight train, via driving pulses and moments of compositional deconstruction. Nevertheless, the musicians seem equally comfortable when either engaging in a bit of controlled mayhem or executing trance-like choruses and soul-searching lyricism. This is yet another superb effort by one of the best groups in the business. ~ Glenn Astarita, All Music Guide |
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2001: Roy Campbell Quartet - It's Krunch Time |
Hard-bop, Post-bop, Modern Jazz |
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 Artist: Roy Campbell Quartet Album: It's Krunch Time Label: Thirsty Ear Recordings Year: 2001 Format, bitrate: mp3, 320 Size: 94 mb AMG rating: "a tasteful mix of straight-ahead jazz, lyricism and adventurism" - Nils Jacobson, All About Jazz Roy Campbell's engaging Blue Series entry features an acoustic quartet with Khan Jamal on vibes, Wilber Morris (who passed away shortly thereafter) on bass, and Guillermo E. Brown on drums. The trumpeter takes his time developing passionate rubato statements on tracks like "Tenderness of Spring," "The Opening," and "New Groes for the Millennium," the last of which eventually — almost reluctantly — settles into a languid swing tempo. The pace is quick, the groove catchy on "Ode for Mr. DC," and Jamal shines, with his slightly raspy sound, on "Khanducting." Everyone takes a turn in the spotlight on the tumultuous title track. There's also a loosey-goosey version of Monk's "Bemsha Swing" and a closing, solo-trumpet deconstruction of "The Star-Spangled Banner." ~ David R. Adler, All Music Guide |
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1974: Michael White - The Land of Spirit and Light |
Music, Jazz, Modern Jazz, Avantgarde |
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 Artist: Michael White Album: The Land of Spirit and Light Label: Impulse! Year: 1974 Format, bitrate: mp3@192kb/sec / 320kb/s (w/ scans) Time: 39:21 Size: 54.1MB / 97MB AMG Rating:   Repost with a new link from mr. emjey23 Released in 1974, Michael White's The Land of Spirit and Light is a spiritual jazz classic. Ambitious, outrageously creative, and aesthetically restless, it is simply one of the finest outings on the Impulse! label. Beginning with an unusual ensemble that included classical guitarist Bob King, bassist Cecil McBee, percussionist Kenneth Nash, Prince Lasha on woodwinds, and pianist Ed Kelly -- along with vocalist Stanley Nash and some unidentified others -- the set walks the line between improvisation and groove-based playing. The three-part title suite is a case in point, as McBee's bass creates a groove-based line and is flown over by White's violin and countermelodies by King. The melody from "Pt. 1" introduces "Pt. 2" and becomes a kind of freewheeling dance as soloists weave in and out and harmonic improvising becomes intuitive. "Pt. 3" changes directions entirely, as it is introduced briefly by percussion instruments cooking along to a speedy and pointed intersection with White and Kelly, the latter of whom solos in brief bursts before Lasha enters on flute and states an entirely new melody. The ten-minute "Fatima's Garden" is the hinge track on the disc, and is continually in the process of becoming as modal piano, bass, shimmering bells, and violin find a common ground about six minutes in before giving way to Lasha's flute as it meanders and wanders through the middle. There are Asian scales played by King, and the entire work comes off as a dreamscape. "Fiesta Dominical" sounds exactly like its title, with chanted vocals and Lasha's piccolo swirling about the mix. Even the thoroughly outside "O Ancient One," with its flamenco flavors courtesy of White, holds together because of its sparseness and inventiveness. No one player dominates, and the ensemble improvises as a whole until about three minutes in, when a groove rounds everybody up and Lasha's bass clarinet takes the improv groove in a loose contrapuntal exchange with White, whose deep Middle Eastern head covers the ground. The set closes with "Lament (Mankind)," a brief, mournful duet with White accompanied by McBee's bowed bass. It's startling, haunting, and an utterly unsettling way to end such a joyous recording, but it works because the sheer restlessness of the adventure has been so joyous. It adds a melancholy balance to the sounds of paradise. Wonderful. ~ Thom Jurek, All Music Guide |
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1993: Tim Berne's Caos Totale - Nice View |
Music » Jazz » Modern Jazz » Avantgarde |
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 Artist: Tim Berne's Caos Totale Album: Nice View Label: Winter & Winter Year: 1993 Format, bitrate: mp3, 320 Time: 77:08 Size: 175 mb Downbeat rating: **** AMG Rating: "...packs two albums worth of strong, challenging material onto one CD..." - Downbeat Berne calls this band Caos Totale, and if it doesn't quite achieve that lofty goal, it comes close enough to provide a fine mix of rich, involved compositions and lusty, almost rockish, improvisations. One of Berne's songwriting trademarks has been lengthy pieces (often exceeding 30 minutes) with multiple themes that emerge and disappear in an organic but unpredictable way, and this is clearly on view here. Pieces begin in one place but invariably end in another area entirely, but the ride is quite scenic. Berne's band is remarkably strong and imaginative, bolstered for this occasion by Django Bates on keyboards. There a few rhythm teams more powerful than Dresser and Previte, and they propel this ensemble mightily, especially when the groove becomes Mingusian and bluesy which, happily, is often the case. Guitarist Marc Ducret is given the lead much of the time and his noise-oriented playing is the perfect complement to the surging, breathing quality of the pieces. But things always come back to Berne's compositions. Each has its own character, each tells a story and takes as much time as necessary to ensure the story is told with the proper level of detail. In many ways, Berne seems to pick up on groundwork laid by his teacher, the great composer/saxophonist Julius Hemphill, and takes things to the next stage, walking the fine line between deep composition and inspired improvisation. One of Berne's best efforts.~ Brian Olewnick, All Music Guide |
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2001: William Parker & The Little Huey Creative Music Orchestra - Raincoat in the River |
Progressive Jazz, Modern Big Band, Avantgarde |
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 Artist: William Parker & The Little Huey Creative Music Orchestra Album: Raincoat in the River Label: Eremite Records Year: 2001; release: 2002 Format, bitrate: mp3, 320 Size: 130 mb By Request jazz review top 25 c/ds of 2002
jazz review critics choice, best albums 2002 The fullest expression of Mr. Parker's aesthetic can be found in his work with the 15 piece Little Huey Creative Music Orchestra, which he has led since 1981. With it, he draws directly from the legacies of Ellington (by creating personalized roles for each player) & Mingus (through vamps & bluesy refrains that build into colorful explosions of sound). The ensemble is as notable for its group dynamic as for the music it produces. The orchestra's new cd, Raincoat in the River presents a long suite from a recent concert. The music blurs the line between free jazz, indigenous folk songs & contemporary classical, moving gracefully from gentle passages for one or two instruments to furious, fully orchestrated swells. Melodies are carried by a cello in one section, a middle eastern double-reeded horn in another. On occasion, Mr. Parker lays down his bass to play a japanese flute, while Mr. Hofstra's tuba undergirds the sound.~ Larry Blumenfeld, New York Times |
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2009: Fred Anderson - 21st Century Chase: 80th Birthday Bash, Live at the Velvet Lounge |
Freejazz, Avantgarde |
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 Artist: Fred Anderson Album: 21st Century Chase: 80th Birthday Bash, Live at the Velvet Lounge Label: Delmark Records Year: 2009 Format, bitrate: mp3, 320 Size: 155 mb AMG Rating: "There are few more thrilling sounds in jazz than the twin tenors of Fred Anderson and Kidd Jordan in aerobatic flight" - Josh Sharpe, All About Jazz To achieve the age of 80 is an accomplishment. To achieve the age of 80 as a saxophone player, still at the top of the game, is something else again. In March of 2009, Chicago legend Fred Anderson finished up a week of celebration in honor of his 80th at his own Velvet Lounge with this special quintet, and Delmark records was there to record it. Fred was joined by longtime bassist Harrison Bankhead, Chad Taylor on drums (Hamid Drake was unable to get back to Chicago in time), Jeff Parker on guitar, and the mighty Kidd Jordan also on tenor sax. All these players have a history with Fred, going back more than a decade in most cases. This is cooperative music making at its best. Each tune is a journey, as different players assert the lead and pull the other players along into new territory. Taylor and Bankhead are such a sympathetic rhythm section, knowing exactly when to lay back and when to push (Taylor's rim work on the first track, and Bankhead's bowed harmonics on the second are worth noting). Jeff Parker sticks to a mostly supportive role but has some really nice contributions, getting skronky in conversation with Kidd then adopting more of a bop stance at one point with Fred. But the night really belongs to the two tenors: Fred, with his huge, burly tone, and Kidd's unsurpassed abilities at the upper end of the horn's range make for some exciting music making. These guys are perfect foils because their styles are so complementary. Forget the fact that they're both seniors, there's still plenty of fire coming out of those horns. Yes, this is free jazz, but much of it is supremely melodic (which is not to say there aren't some hairy moments). Fred Anderson has been a Chicago treasure as both player and mentor for decades (he co-founded the AACM, if you didn't know). Delmark Records' Bob Koester is equally revered for documenting the Chicago sound in both jazz and blues for more than 50 years. 21st Century Chase is another high mark for both. Terrific stuff. ~ Sean Westergaard, All Music Guide |
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2006: Keefe Jackson's Fast Citizens - Ready Everyday |
Post-bop, Avantgarde |
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 Artist: Keefe Jackson's Fast Citizens Album: Ready Everyday Label: Delmark Records Year: 2006 Format, bitrate: mp3, 320 Size: 123 mb AMG Rating: JazzTimes - "READY EVERYDAY documents citizens of the Windy City's combustive jazz scene continuing to stretch, seek out the new and defy the orthodoxies, even their own." Tenor-saxophonist Keefe Jackson and his sextet show impressive versatility within the genre of post-bop/avant-garde jazz throughout Ready Everyday. While some of the free bop selections are reminiscent of the early Ornette Coleman Quartet, there are also sound explorations, intense ensembles, and hard-swinging and unusual tone colors. Keefe Jackson's compositions sometimes hint at his early infatuation with klezmer and Eastern European music. Cellist Fred Lonberg-Holm alternates between emulating a higher-tone bass and soloing like a rock guitarist. With cornetist Josh Berman taking impressive solos, altoist Aram Shelton showing a strong ability to swing without being tied to chord changes, and stimulating support and commentary supplied by bassist Anton Hatwich and drummer Frank Rosaly, this is a consistently intriguing and creative set full of surprises.~ Scott Yanow, All Music Guide |
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!993:Don Pullen & The African Brazilian Connection - Live...Again |
Music, Post-bop, Freejazz, Brazilian Jazz |
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 Artist: Don Pullen & The African Brazilian Connection Album: Live...Again Label: Blue Note Year: 1993 Format, bitrate: mp3@320kb/sec Time: 73:10 Size: 168.1MB AMG rating: There is something deeply human about the late Don Pullen's piano playing. His appeal lies not in traditional technique, but in his soulful harmonies, his intensely rhythmic style and his avant garde, explosive passages. "Live . . . Again," recorded at the Montreux Jazz Festival in July, 1993, before he received a diagnosis of lymphoma, captures the essence of this unique style and his exceptional live energy.
Throughout, Pullen's mood is upbeat and relentless. Accompanied by the African Brazilian Connection--Panamanian-born Carlos Ward on alto saxophone, Brazilian bassist Nilson Matta, American drummer J.T. Lewis and Senegalese percussionist-vocalist Mor Thaim--he storms through the compositions. "Yebino Spring," an African-inspired composition, is charged with his organic, relaxed lines and grandiose sweeps. "Capoeira," brims with lilting Latin grooves and intensely percussive chords, on "Kele Mou Bana" he mixes sweet South African township harmonies with Cecil Taylor-like clusters. Exuberance abounds, but he also shows a more delicate, reflective side on "Ah George, We Hardly Knew Ya," his tribute to the late George Adams.
This album suffers from a weaker sound quality than Pullen's previous studio recording, "Kele Mou Bana," which contains several compositions heard on "Live . . . Again." It is, however, Pullen stretching out and in great spirits. ~ Laura Connelly, The Los Angeles Times |
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1999: William Parker & The Little Huey Creative Music Orchestra - Mayor of Punkville |
Progressive Jazz, Modern Big Band, Avantgarde |
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 Artist: William Parker & The Little Huey Creative Music Orchestra Album: Mayor of Punkville Label: AUM Fidelity Year: 1999; release: 2000 Format, bitrate: mp3, 320 Size: (155 mb/160 mb) AMG Rating: "...Powerful, essential listening..." - Alternative Press
"Nothing short of monumental." - Phil Waldorf, Othermusic This is for all fans of such amazing big bands as the Sun Ra Arkestra, Charles Mingus' Big Band, the Italian Instabile Orchestra, Willem Breuker Kollektief, and other thrilling jazz groups of the larger variety. It is a terrific proof of bassist William Parker's strength as a leader and is one of his most engaging releases to date. The Mayor of Punkville compiles selections from Little Huey Creative Music Orchestra's performances at NYC's Tonic from July through November, 1999 onto two discs. The first opens rather appropriately with a short piece of drawn-out phrases overall reminiscent of an orchestra warm-up. The only number featuring vocals, "James Baldwin to the Rescue," comes next and vocalist Aleta Hayes comes across strong. This piece stays more scattered and more atmospheric, making it possible to get a bit lost in the longer instrumental sections. The highlight of the first disc, "Oglala Eclipse," follows and the orchestra really kicks and moves together as Arkestra notions rise up again in the back of the mind. Starting the second disc is "Interlude #7 (Huey's Blues)" and, as with the other two interludes, the orchestra is found to be calm and steady. Little Huey is at its most shining during disc two, including the spitfire, shout-inducing, epic title track (which clocks in at just over 30 minutes), as well as the three-part "Steps to Noh Mountain." It's a great pleasure to hear three trumpets, four trombones, and six saxophones (all well-played) provide the body of a piece that has a lovely melody and great groove, working along with the strong rhythm section of drummer Andrew Baker and Parker on bass. It's loose, it's off-the-cuff, it's rebellious, and slightly minor(-keyed) — The Little Huey Creative Music Orchestra offer much enjoyment with the wonderful, beautiful Mayor of Punkville. ~ Joslyn Layne, All Music Guide |
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1968-1969: Joe McPhee - Underground Railroad/Live at Holy Cross Monastery |
Freejazz, Avantgarde, Funk-Jazz |
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 Artist: Joe McPhee Album: Underground Railroad/Live at Holy Cross Monastery Label: Unheard Music Series/Atavistic Year: 1968-1969; release: 2001 Format, bitrate: mp3, 320 Size: (154 mb/145 mb) AMG Rating: This is an event worth celebrating. Since 1970, trumpeter and saxophonist Joe McPhee's first album, Underground Railroad, has been virtually impossible to find or even hear. Issued in an edition of 500 copies on Craig Johnson's CJR label — it was recorded next to Johnson's house at the Holy Cross Monastery in West Park, New York — it sold out and was never reprinted until now. As part of Atavistic's unprecedented and truly essential Unheard Music Series, it is packaged as a double CD with a gig from earlier in 1969 at the very same place: Holy Cross Monastery. That show was documented rather well for the time, and featured the very first live performances of McPhee on tenor. What appears here is a truly historic release and worth every bit of the glory and prestige that Trinity and Nation Time from the same time period (1969-1971) have garnered critically — both of which are in this series as well. Underground Railroad is comprised of three pieces, the title track, "Harriett," and "Message From Denmark." The band features McPhee on cornet, pocket trumpet, and tenor, Reggy Marks on tenor, soprano, and flute, bassist Tyrone Crabb, and Ernest Bostic on drums, and is a scathing free jazz machine. There are conical sound explorations between brass and reed and between reed and reed. Tonal variants are evoked in order to up the emotional content of the music, which is already so loaded it's a miracle it doesn't fall apart. The rhythm section has a special task here because its job is to harness all the live-wire energy on the title track, the moaning, screaming, crying, and wailing done by the front line. On "Harriett" and "Message From Denmark," the meditation is more on spatial considerations. And while not theoretical in nature like Anthony Braxton's or the Art Ensemble's music from the period, this nonetheless has a reflective quality inherent in the musicians' multiphonic pursuits and meta-jazz references. Beginning on the same disc, the first two selections recorded live at Holy Cross Monastery offer a different side of the equation for the band. Billed as the Contemporary Improvisation Ensemble, this date shows a decidedly more modal approach, at least initially. There are engagements with Eastern scalar variants and thematic preoccupations with intervallic linguistics that move to the outside pretty quickly. Still, it is phenomenal to hear the interplay between McPhee on trumpet and Marks on tenor; their winding, loping chase game is one of the more inspiring things to come out of New York during that era, since everyone else had gone to Europe. The Marks composition "E=MC2" is a wonder of polytonal invention and trumpet glissando. Disc two is made up of four compositions, including McPhee's "Birmingham Sunday" suite, with its Albert Ayler-ish wail and moan, and "Windy City Head Stompin' Blues," which is as close to the funk as McPhee ever got. It has its own R&B groove rooted deeply in the '50s tradition surrounded by a free jazz approach to improvisation. Albert Ayler was trying things like this on Love Cry. Finally, there is the weirdest read ever of Thelonious Monk's "Justice," which falls apart at every turn and features a "one-two-one-two-three-four" beat throughout. This set is one of the most essential recordings of late-'60s free jazz, and anybody remotely interested in the period needs to hear it. ~ Thom Jurek, All Music Guide |
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2006: The Jeff Gauthier Goatette - One and the Same |
Music » Jazz » Modern Jazz |
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 Artist: The Jeff Gauthier Goatette Album: One and the Same Label: Cryptogramophone Year: 2005; release: 2006 Format, bitrate: mp3, 320 Size: 159 mb AMG Rating: Violinist Jeff Gauthier has been quietly making records for about eight years. His last project with the Jeff Gauthier Goatette comprised of guitarist Nels Cline, his brother, drummer Alex, bassist Joel Hamilton, and pianist/keyboardist David Witham. As on 2002's shining Mask, Gauthier and his band delve deep into exotic textures and musics here, not as trope or gimmick, but as compositional and improvisation modus operandi. We're not talking Les Baxter or Martin Denny, we're talking genres. There's classical, which becomes the steady meandering melody line in the opener "Ahfufat," as Nels goes mental in the background and Alex offers a triple time signature for everything to drop from before the work pulses toward something else entirely — a particularly knotty jazz-rock. It's beautiful, barely held on the rail, but is also light and airy. As has been Gauthier's and Nels and Alex Cline's wont, a fine post-fusion jazz tune by the late Eric von Essen is present, "Solflicka," and is performed with elegance, grace, and a harmonic sense of adventure with Gauthier leading the way. The foreboding sense of terror in Bennie Maupin's "Water Torture," with its built, and then extrapolated upon series of tensions, is easily one of the most frightening in recent vanguard jazz history. Hamilton's bass anchors a deafening space that is touched upon by fleeting, angry instrumental flourishes before being indulged with a skeletal, and brief, melody. It becomes pure cinematic dynamic as Nels' flurries in the background become almost indecipherable from Witham's keyboard textures. "Don't Answer That" is post-bop à la Eric Dolphy and Mal Waldron. Witham's piano work here is just stellar. The multivalent journey in "Rina, Pt. 1" is part gypsy jazz, part funky open-mode Miles, and part folk song with a great head — also written by von Essen. The set ends on Nels Cline's ballad "A Corner of Morning." It commences with spacious abstraction played in wispy phrases by all instruments; it's improvisation with a pronounced yet restrained drama, and it is absolutely serene. When the lyric whispers in, it's like Bill Evans constructing one of those gentle harmonic towers as Witham and Nels enjoin and rejoin one another in counterpoint. Three-fourths of the way in, Gauthier signals both another period of abstraction and its new melodic frame, droning against Nels' changes before an absolutely heartbreaking solo in open mode as Hamilton and Alex dust the backdrop, accenting the space as the place of encounter and transformation. More accessible than Mask, One and the Same is for those who like their vanguard jazz on the safer side. It is a logical step forward for Gauthier, given Mask's textural and dynamic investigations, but a large one nonetheless, and one of the more haunting new jazz releases to push itself forth from that sonic garden in a long while.~ Thom Jurek, All Music Guide |
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1964-1972: Archie Shepp - The Impulse Story |
Music » Jazz » Modern Jazz » Freejazz |
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 Artist: Archie Shepp Album: The Impulse Story Label: Verve Year: 1964 - 1972; release : 2006 Format, bitrate: MP3, CBR 320 Time: 64:48 Size: 164 Mb (with scans) AMG Rating Archie Shepp's volume in The Impulse Story series is arguably the best and most representative of any of the editions in it. These ten cuts capture Shepp's many faces. There's his wonderful look inside the music of his mentor John Coltrane ("Naima" from Four for Trane), through to his gaze at the jazz tradition (Duke Ellington's "Sophisticated Lady"), to bossa nova (a very unique read of "Girl from Ipanema") to the weighty concerns of his own compositions that engaged everything from the avant-garde "Les Matin des Noires" to politics ("Malcolm Malcolm -- Semper Malcolm"), to R&B and soul ("Damn If I Know" "Mama Too Tight," and "Attica Blues"). While certain albums are not represented here -- the magnificent Magic of Ju-Ju being one -- the breadth and depth of Shepp's true genius is all here. That said, it is a shame that many of his albums recorded for Impulse (the classic Fire Music and Magic of Ju-Ju just to name two) are currently out of print. Of all the volumes in this fine collection, Shepp's stands, with Alice Coltrane's as the very best in that it gives a true introduction to an artist often misunderstood, but during his tenure for this label, he was creatively unstoppable. ~ Thom Jurek, All Music Guide |
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2004: Javier Malosetti - Onyx |
Music » Jazz » Modern Jazz |
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 Artist: Javier Malosetti Album: Onyx Label: Sony BMG Year: 2004 Format mp3 320 kbps Time: 55:59 Size: 51 mb A great album by this argentinean bass player.
Great example of modern jazz, excellent rithym and tunes, accompanied by great musicians. |
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1999: Bill Dixon - Berlin Abbozzi |
Freejazz, Avantgarde |
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 Artist: Bill Dixon Album: Berlin Abbozzi Label: FMP Year: 1999; release: 2000 Format, bitrate: mp3, 320 Time: 78:43 Size: 178 mb AMG Rating: You are standing in the middle of an intersection, in a not-so-recommendable district of a crowded city. The night is deep and cold. Fog rises out of manholes. Behind you is a drummer, hitting his drums softly, scraping his cymbals, waltzing through evanescent, elusive rhythms. In front of you, each standing on opposite corners are two bass players, so fully immersed into their playing they haven't noticed you. The language they talk fills the air with constant vibrations. Somewhere dead ahead, hidden by a bend in the alley, you hear a trumpet. Its short melodic lines echo on the concrete walls. These four musicians sound like they are playing together, but then again, maybe they are not. This description transcribes exactly the atmosphere reigning on Berlin Abbozzi, especially on the title track's first part. It should be the soundtrack for an avant-garde film noir. The echo in Bill Dixon's trumpet sounds very natural, even though during the first minute of the second part it becomes obvious it is obtained digitally. This second part is also a little bit more intense, even maniacal at times. But overall the atmosphere on this album is of late-night dark streets, evoking Miles Davis' music for Ascenseur pour l'Échafaud, very different from the two volumes of Vade Mecum Dixon recorded in 1993 with a similar lineup — trumpet, two double basses, and drums. The title track, composed by the trumpeter (although his work seemed to be confined to defining textures and dynamics), totals 62 minutes. The set is completed by a freely improvised encore following the same guidelines. By then, some listeners might have gotten tired of the echo effect, but surely not of Tony Oxley's feather-touch playing or Matthias Bauer's and Klaus Koch's blurry basslines. Magnificent, very unique, and strongly recommended. ~ François Couture, All Music Guide |
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2010: Dan Berglund's Tonbruket |
Music » Jazz » Modern Jazz |
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 Artist: Dan Berglund Album: Dan Berglund's Tonbruket Year: 2010 Bitrate: FLAC | lossless (tracks+.cue) Time: 00:55:20 min Size: 290 MB(+5%) After the sympathising with EST members Dan Berglund and Magnus Ostrom receded – following the tragic loss of their leader and close friend Esbjörn Svensson in 2008 – concern for their musical predicament followed. They couldn't parachute in a Svensson-like pianist and just carry on. But having been crucial collaborators in one of the most popular instrumental groups of recent times, they were likely to be torn between finding their own paths and retreading at least some of those laid by EST. Bassist Berglund has taken the next step with his quartet Tonbruket, which is about to tour the UK; the word is Swedish for a sound-studio, and this album is certainly an exercise in the layering of effects and textures. Sometimes it suggests an update on Tubular Bells, sometimes it's slide-guitar soft-rock reminiscent of Fleetwood Mac or ferocious metal-thundering (Berglund was a teenage Black Sabbath/Deep Purple fan). On the fragile piano rhapsody over slow funk, called Song For E, it gets closest to the EST atmosphere. It's varied, idiomatically, but I found I waited in vain for a motif that rose much above the trite, or a groove that had some personal urgency rather than a handy pack of studio loops driving it. Berglund is a fine ensemble bassist, but this doesn't really suggest that his own muse has shown him the post-EST light.~ John Fordham, guardian.co.uk |
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