Nancy (With The Laughing Face) - Ellis Marsalis And Branford Marsalis - Loved Ones (Cassette, Album)
And after the U. The Thad Jones- Bob Brookmeyer-Jim McNeely resonance on all of us who write and arrange for big bands has resulted in different textures. Rightly so. Things change. But Bebo did that so beauti- fully, so lush and fat and gorgeous, so lovely to behold. His grandfather was a slave.
During those years he befriended boarding school and devoted himself form with your parents. By the Tropicana cabaret. So in playing ditional drumming and song. Inhe partic- music and Afro-Cuban idioms. Gillespie and Machito. Something in that land speaks to me, tra, Sabor de Cuba. But the first sound check and the first-evening set of her time I put on an Ella record, I felt that motherly lively and gracious four-night stand at New love wrap around me.
When I was a teenager, I was a child. We had lots of music around the I would daydream about going out on a date and house. The two have because she loved the melody.
Her music has always agreed, but I decided not to do the tunes peo- going to be all vocals, but then I decided not made me happy, upbeat.
In the mornings, I ple think of when they think about Ella. There to have any vocals at all. At the last minute, I would put on a pot of coffee and listen to Ella. Carla was avail- That was how I started my day. Ella gave us such a wealth of music— able so she sang it. She just loved music.
Music comes out of create boundaries in her music. When I. So with all. The tune had a movement. I could yearn to jump on the Ella-tribute bandwag- Carter invited Cook to sing the song, supported hear a different harmony that still respect- on. On The song ends up on the album as a gently all over the place. All you have to do is look at the album version, Miche Braden, the founder grooving Carter-Sewell duo. Plus, this song really.
Young kids are impressionable and sometimes they see bad behavior and a way of treating others in a negative way, and they try to emulate [it]. She conducted a violin workshop on April 28 at the Universidad de las Artes as a part of the educational activities held during the International Jazz Day events in Havana.
They were so enthusi- astic about learning. They wanted this knowl- edge. They were ready. It inspired me. In addition, when she plays in certain cities like St.
Carter will promote the Ella album at Carter is one of the most acclaimed jazz violinists of all time. She calmly said, dance number. And I felt sad.
I need based on hearing Ella perform it with Louis with a lot of grace, is kind, generous, open. I love the song and the arrangement, so one of the least judgmental people I know. She long time, and I need some balance.
Revis, 51, is best known as the sturdy yet flexible bass chair holder in one of the strongest, longest-standing groups in jazz, the Branford Marsalis Quartet, a role he has had for 20 years. Fittingly, he topped the free playing and to pursuing his own personal cre- category Rising Star—Bass in the DownBeat ative routes of expression.
Critics Poll. Revis, a Los Angeles native who is now based The latest in his impressive series of leader there, boasts an impressive resume. He venerated saxophonist Ken Vandermark, nim- has worked with stellar array of artists, including ble drummer Chad Taylor and imaginative pia. We both put ourselves in nist Kris Davis. Furtive free play makes up the first half most rangy track on Sing Me Some Cry. For one, much-lauded Canadian-born and with a much greater regularity than ever before burgeoning reputation as a label.
His discography—includ- the group we had with Ken, Jason Moran and important component in the latest chapter of ing the leader albums Tales Of The Stuttering Nasheet, which had been doing some things in the Revis story. While that was being The two met when Revis got in touch with The work reflects an attitude of freshness partly done, I hooked up with Mr.
Cyrille and Kris Davis via Facebook to recruit her to record in borne of the creative mind of an artist who was [Davis], so all these things were happening. Those sessions became the album expressive realm in earnest. Davis recount- Crowded Solitudes, for instance, includes worked out at once. The opening title track is a com- meeting. I had him doing one for a minute and I pact collective improvisation, followed by the Although their time spent together has wrote it out real quick. Of course, I did.
That was a very daunt- ested in getting the framework and seeing measure melody, and it features one of ing experience. Wow, this is it. So if it means that I go in this larger musical voice. Orleans and studies at St.
But his real street and all for the benefit of my development. Those are like mas- excited about the future. Having developed Not long after his stint with Carter in the ter classes. Mark Guiliana cused. But even here, Ordering info: motema.
Allison has always had a fine ear for moving picture. There are exclamation and this album is no exception, though its deft- Offa This Thing. The resounding echo of familiarity squash- self-conscious than some of his earlier work.
Ordering info: benallison. This group is tight. As drummer cused release, Afro Blue, sharing the spotlight Peter Leth and bassist Jeppe Skovbakke encour- with artists who inspire him. Here, the inestima- the solo. But the album peaks with the rolling, necting with the boss. Jeppe Skovbakke, bass; Peter Leth, drums. His aggression is always being recalibrated, and the band steers every move toward the end goal: articulation. A cinematic splendor takes hold on this collection of alluring originals.
His aggressive piano improvi- sations lead this joyous, noticeably unpretentious session. This mid-sized ensemble is dedicated to verve and eloquence. Only a couple of tracks here rise above the taste of stale canned peanuts. A Grammy winner with a fan base, McBride could choose to do anything.
What he plays often requires to hear. Indeed, what could a pianist from Connecticut have in common with a guitarist from Benin, a small, French-speaking Western African country? Kevin Hays and Lionel Loueke bring some answers to this question on their first duo album. The title track was written by Loueke and provides the thematic element that runs through the album.
Even when the songs draw John Beasley from painful experiences, personal or not, rays to various influences. In their search, John Beasley hits us dead center with stu- tune and a Hays favorite—he sings it in Creole. His new Hope is a heartfelt and unpretentious state- sensibilities. Piano and guitar are often sup- album features rapid-fire surprises, spiky asides ment by two artists who do not ignore their own plemented by wordless vocals—even mouth and a quirky sense of truthful swing.
Loueke at times er cameos. Personnel: Kevin Hays, piano, vocals; Lionel Loueke, guitar, vocals. Ordering info: mackavenue. Guzuguzu is a fun listen. His Soundpost Quintet tended, open-ended musical conversation. With nine songs by Nordic folk, ing Petri Puolitaival on flute, the music jazz and pop songwriters, all sung in En- perhaps closer to the sound of Finnish jazz.
DB onomatopoetics and their associations. Ordering info: ozellamusic. Whether leading a trio or helming a meticulously woven attack. Chrome features a sublime- pering across the kit. Legacy; Voice Oval. He makes something new and original from it all, alone or with diverse companions. Space Kiss comes from the collaboration Caine and the daring young men of the Lutoslawski Quartet struck in their native Wroclaw, Poland, in Defying boundaries, testing limits are jazz imperatives.
Cordial co-cap- ly and poetically, the works of Gustav Mahler. As he builds elabo- world and folk traditions, resulting in a sonic rate walls and worlds of sound, taking circular imprint that is identifiable yet bracing. Ballad rhythms in a highly physical, real-time context.
Good ship Oregon, push- underplay the sensitive and sometimes cathar- All told, Stetson has devised his own school ing 50 with a modest patina, shines an honest tically intense musicality of his work.
It can of ritualism in sound and vision, armed with a lantern on jazz. But the musical vocab- Ordering info: colinstetson. Their take on being founded in Tokyo in The threesome intervals. All three briefly suspends the time. Kaneko blows constant Thick As Thieves is the third outing by this ensemble it was recorded low vibrations, while Tamura stipples in sprightly fashion. Together, they injust a few months after the release of their second album, Live At achieve a suspended sense of melancholia.
Considine alter, and the aura of morbidity is oddly positive, as a resounding celebra- tion rather than a doom-riddled defeat. Ordering info: jazzedmedia. The Shreveport, Louisiana, native cer- Ordering info: rufrecords. While saxophone ensembles are foolish, broken or exciting relationships. Ordering info: concordmusicgroup.
Stylistically, Kaiser, who is probably bet- blues. The music feels more muscular and gruff between Slim and Conde. Ordering info: vizztone. Ordering info: cleanfeed-records. A founding member of the Association young British percussionist Kikanju Baku on bass recorder, percussion; James Fei, sopranino saxophone, alto saxophone, contra-alto clarinet, electronics; Hugh Ragin, trumpet, for the Advancement of Creative Musicians in ankle and sleigh bells.
Cogently produced, the piccolo trumpet; Tyshawn Sorey, trombone, piano, drums, percus- sion; Craig Taborn, piano, organ, electronics; Jaribu Shahid, double Chicago, Mitchell convened four trios at the recording has an almost theatrical presence. For those unfa- if the pianist had finally found his miliar, Hammett essentially pio- dream team. After one listen, it was and meta-fiction.
With these Nancy (With The Laughing Face) - Ellis Marsalis And Branford Marsalis - Loved Ones (Cassette points, Mezzacappa is off, compos- hard not to want more. The Sweet Spirit. With a calm self-titled disc is The Phylogeny delivery and ear for poetry, she Suite, a six-part composition that sticks to the lyrics of songs while brings out the most adventurous giving them a gentle swing.
It also dis- leading an all-female jazz group to plays two different sides of this most perform 14 songs that, in all but four instances, have both the music and accomplished saxophonist. He can definitely pass for a stylist, with his the lyrics written by women.
Among the writers are Marian McPartland, delightful legato and buttery tone. The port him in any direction. The rest of the rhythm section is not undeserv- from tenor-saxophonist Virginia Mayhew and harpist Brandee Younger. Almond, drums. Ordering info: mjterrito. For the occasion, Simona Premazzi playing and forward-looking arranging with duties get passed between all three play- has assembled a stellar quartet that portrays her Continental tradition.
Rather than using themes Willits. Sakamo- and drummer Dan Weiss. Helias enjoys the personal statement. The seamless interplay tiveness of a deep string arrangement. DB saxophone, soprano saxophone; Joe Martin, bass; Nasheet Waits, of the unusual sonorities gives the group Ordering info: 7k.
Ordering info: simonapremazzi. Joined by tenor saxophonist Houston Person, the vet- eran vocalist dramatizes clearly narrative lyrics as someone who has actually lived the stories. Though the song choices may be predict- able, there is not one track a listener will disbe- lieve, so the program comes off not as old but rather as familiar.
Ordering info: jazzdepot. Musically, Red Planet is a trio of wide open spaces, and Carrothers fills those spaces subtly but colorfully, his improvisations and accom- paniments brimming with blue-hued melo- dy. It was the ever-seeking bassist Phillips the full, noir-ish melody glow like a neon sign drums; Bill Carrothers, piano.
Red Planet— Ordering info: shiftingparadigmrecords. Kaiser has recorded tributes to as a framer of other musicians brings out the sound. Gard Nilssen, 2, 3, 5, 6, 9. Ban, piano. Performing solo, Bill Frisell amplifies the latent, Ordering info: runegrammofon.
New effects or implements that seem pos- a title from its own vaults for CD release. The Around the time Jimi Hendrix was dis- perhaps a bit late in the wake of the movie emphasis is on stride piano and swing on this covering and crafting the possibilities of Whiplash, which took its name and built its CD, which consists of previously unreleased extreme volume, feedback and the electric story around the first track on the al- solo performances from the, guitar, the British innovators Derek Bailey, bum.
Rather than unleashing the instrument, Ordering info: mps-music. In their stead came the A good way to sidestep the risk of tech- the late Johnny Guarnieri. After Guarnieri German Hans Reichel, who brought a re- no-dating is to go it acoustic. The 16 to this new, amplified minutiae.
His solo of smart use of classic lineups. Her first three outings were The biggest influences and inspirations niques that have become de rigueur among muscular piano trios, her own playing call- heard during this very enjoyable program experimental guitarists today. Reichel rolls ing back to the history of jazz piano and objects over the strings, hammers them making something singular out of it. The are Art Tatum and James P.
The album starts with a ver- dencies. He really rips into weird, but the constructions are solid. Ordering info: corbettvsdempsey. Much of the album without stomping on them. DB Personnel: Dick Hyman, piano. That concept makes for a fascinating sonic journey, and the vessel is piloted by an accomplished crew, with Evan Cobb on tenor saxophone, Don Aliquo on alto saxophone, Roy Agee on trombone, Joe Davidian on piano, Jonathan Wires on upright bass, Jim White on drums and Steve Bailey and Victor Wooten on electric basses.
Ordering info: earuprecords. Its music is part of the DNA of several genera- tions of music lovers. Reinventing the songs on the album is a daunting task, but this San Francisco trio pulls it off with a combination of masterful musi- cianship and innovative arrangements that combine elements of jazz, pop, country, rock, swing and world music. Pepper, gets a gen- tle swing treatment, with bowed bass and violin extrapolating on the chord structure. Denson plays a familiar rock turnaround under a lengthy excursion from Tolling that suggests Beethoven playing country music.
Ordering info: ridgewayrecords. Here, he illuminates the historical and musical context of 57 albums, many Vector Families fading into memory. His book is curiously wistful, es- ed sensibility to the music business, including sentially memorializing the vinyl format and a goofy humor when it comes to naming his largely bemoaning the digital.
Friedwald calls it songbook recording. So does tle since. No one had ever taken songs by ence on both King and Wozniak.
In standing. DB Personnel: Dave King, drums, percussion; Anthony Cox, electric of the freshly evolved live recording and Ordering info: knopfdoubleday. Ordering info: sunnysidezone. Binker and Moses craft party music with a slightly visceral edge, often involv- ing a direct dialog between horn and drums.
Trumpet with Ray Parker Jr. Evan Parker, soprano saxophone, tenor saxophone; Byron Wallen, multidimensionality. Classically schooled, he trumpet; Tori Handsley, harp; Sarathy Korwar, tabla; Yussef Dayes, Recorded live in the studio straight to a drums.
Unbreakable is unabashed party music, full On Serious Play, pianist Laszlo Gardony turns of hooky, repetitious melodies, tightknit in seven distinctive originals, along with cov- arrangements, novelty vocals, special effects ers of two American Songbook standards and a and close attention to backbeat rhythms. Hagans, trumpet 9. Ordering info: shopvanmorrison.
In fact, the chord progression been receiving a lot of attention in her native is no more than a subtle variation on the central Denmark for her big band writing.
After leading his debut on the British label Young Turks. Beyond recognizing human for a top-notch American big band. She leaves room for concise solos no, both of whom solo with comfort over the Harmony Of Difference: Desire; Humility; Knowledge; Perspec- complex chord changes. Smith, vocals 6. The episodic Ordering info: sundance. T he next generation of strivers and issue of DownBeat, and you can find a com- recording studio or the chemistry lab, the band innovators has their work cut out plete listing of these ads in the DB Buyers room or the executive suite, a degree in music can for them.
As more and more indus- Guide on page On page 82, we examine the legacy of the field. And while tence. This guide is here to prepare you. At its your prospective school.
They can answer questions about auditions and scholarships. These path toward professional fulfillment. Ken Schaphorst with NEC students. T he New England Conservatory, now riculum. In he created a Third Stream and Musical Development While other schools were experiment- in music education. Netsky masters—active on the jazz scene—to teach by opera company. There would, of course, be fundamen- Jordan Hall, built inis an architectural out with street cred.
So the composer George Russell history started in Institutions most- graduate diplomas. It also includes a prepa- er Dominique Eade who, like Netsky and ly ignored the musical innovators of the time, ratory school and continuing education pro- Schaphorst, was an NEC student before becom- like Ornette Coleman —, who stud- gram.
The Third Stream department takes newcomers by surprise. Everything about it. But whether they decide to play hard- about jazz education: to encourage the devel- dictable.
The members of the quartet Lake Shankar? The question is: What skills do the tions to the evolution of Latin jazz. In a world with Arcade Fire, Pavement, and the iconic trumpeter. Albums chart—studied jazz at NEC.
Roberts has won acclaim for her ongo- an Oct. Kennett F. Contemporary Improvisation, the new spaces immerse herself in study with a specific focus. The Brookmeyer concert will feature his invite collaboration and community. Irish seemed very open for all types of thought alumnus Darcy James Argue. Participants will music, live electronics and African American around music and sound. Graduate tuition varies by program. Danilo Perez, John Patitucci. Wayne Shorter Ensemble, John J.
Cali School of Music, Contact: Dr. Education with a jazz instrument approximately 80 undergraduate concentration. Apply by: Nov. Dave Stryker. Dan Carillo, Ray Gallon, Scott graduateadmissions berklee. Audition: Must submit video. See website. Part-time faculty and private instructors include Ingrid Financial Aid: See montclair.
This new kunkelj montclair. PerformanceBachelor of Music in Music Education. Auditions: See brooklyn. Kent Baker, Glendon Ingalls. Alumni: See website. Auditions: Mid-October for fall auditions, Scholarships: Need- and merit-based; Auditions: Students are encouraged to February and March for spring sjensenmoulton brooklyn. In-person and recorded edu. Send recorded Apply by: March 1. Contact Ashley auditions to swilson2 ccny. Same deal with Strayhorn, as both men speak in no-bass duo mecca, so much so its almost heart- The duo brings seven originals Holland four, long, complete sentences, hearing each other out, breaking that that will never happen.
But hearing Barron three to an intimate, candlelit discus- then answering, buttressing or splitting away to the album sows a seed of anticipation for hearing sion, plus two bop tunesThelonious Monks new ideas.
Barrons achingly lyrical ballad Rain this conversation live, pretty much anywhere. In Walked Bud and the less often played B-flat offers more of the same sympatico conversation. But repertoire isnt the point. Ordering info: apple. Instead of turning this San Francisco performance into a placard for virtuosity, the esteemed reed play- er spends the bulk of his presentation yielding to facility. Most everything here, from extend- ed improvs concocted on the spot to rudimenta- ry blues motifs essayed with eloquence, sounds like its coming from his horn unencumbered thoughts made into sound, spilling forward as if they know their destination.
Conrad Herwig As a conversationalist, Branford is loquacious. You get a parallel of that with his nouncements to the fore in an effort to conjure the quartet worksqualls of ideas explode into a four- HHHH spirit of the Japanese shakuhachi. They couldnt man fray. Here we see another side. With an array be further apart aesthetically, but find value by The sixth album in trombonist Conrad Herwigs of saxophones at the ready and a majestic venue giving this show an ambitious breadth.
Each is reflective, casual and full of candor. Its a seductive approach, learned at the hand Saxophone II, Branford has dropped a soliloquy ernisms reigning personificationsTrane, Miles of his numerous classical music dates and plot- that speaks in tongues. Davis, Wayne Shorter and Herbie Hancock.
It provides The catholic interests weve grown accus- tion No. That said, program. Take, for example, Hoagy Carmichaels Improvisation No. The traditional notion of superimposing a mind Dave Douglas Tiny Bell Trio, though its Latin accent on non-Latin material is not neces- considerably more laid-back than that classic 90s sarily the business of this outing, since Henderson band.
The five Miles originals have the songful- began his career as a leader in with a soft ness one expects from a Frisell project, less quirky Brazilian shuffle. Recorda Me, his first Blue Note but just as melody-driven and harmony-con- side, was pure bossa nova. Herwig toughens up scious. A bluesy cut like Dancing Close And the rhythm here with a bit of Cuban fire, then cuts Slow spotlights the cornetists singing tone, a rich it in half with a jabbing a cappella chorus by pia- and dark presence; on that piece and Angelina, nist Bill OConnell.
The original version of Afro- in an uncanny way you can hear the track titles Centric had a more complex time signature, but appearing syllabically in the main themes, a the Cuban feel here hardly alters its churning ghostly, unspoken lyrical presence. Herwig and OConnell have Frisell is brilliant, fingering original chord brought a lot of sock to the material through their choices, soloing and supporting with extraordi- arrangements and an ensemble of heavyweight nary finesse.
And Blade is so low-key you could players who know exactly what to do. Herwig himself Ron Miles ing the perfect flourish. Lovano is the long line, Miles glowing radiantly. The positive, visiting guest who makes himself at home any- The same feeling keeps returning: We are in the optimistic outing ends with Jimmy Giuffres Two where, while Cuber rolls along with a growling new golden age of trumpet.
Ron Miles predat- Kinds Of Blues, a sly tune on which the guitar- power. Hopefully, Herwig is scouting future sub- ed the current wave by a decade, making himself ists straightforward sound, simple strummed jects with a Latin side: Dizzy Gillespie, perhaps. Or Duke Ellington. The uncommon instrumentation calls to Ordering info: jazzrecords. The Art Of Conversation. Ron Miles Circuit Rider. Branford Marsalis In My Solitude. A repertoire of seasoned but underplayed originals brings a smart civility to this feathery oasis of refinement.
Barrons lines are clean, straightahead and boppish, but buffered with a Wilsonian restraint. The Only One, a variation on Jersey Bounce, is the model confluence of tune, tempo and touch. Holland radiates best in the slower gears. Feet planted. For all his harmonic subtlety, Barron is matched by Hollands elegance and assurance. Refreshing to hear the latter in such an unfettered setting. For all its attractions, theres some edge missing.
On his first, outing with this estimable trio with Bill Frisell and Brian Blade, Miles sounded severe and dry, like the odd man out in his own band. No such problem this time: Miles strides into town, preaching with ro- bust, jubilant, folk-jazz warmth, tempering jubilation and bliss with a thoughtful sense of fate, per the Circuit Rider of the albums title.
Great textural reach, a dedication to tunefulness and the rich wrapping of Frisells stringsnice mix. I played it over and over and over and kept falling for its charms.
Miles level, midrange roundness moves narrowly between the emotional neutrality of a Salvation Army cornet and the precision of classical chamber brass, which may be the albums dominant and somewhat cloistered flavor. Frisell and Blade gel irregularly in the tricky and broken paths.
It would be extra thrilling if this was not an anomaly. Marsalis makes all the right moves in this huge room with hard surfaces, but you can feel that it would grow and deepen if he played solo more frequently. Beautiful idea to start with a Lacy tune, tip of the hat to the master, and the linear-melodic program moves searchingly, as if Marsalis were trying to sound every depth in the abyss. Marsalis sounds beautiful, enhanced by the cathedral ambiance. But in austere solitude, the music becomes a coda; listening, a chore.
Stardust and the blues bring focus. But the rest is so careful as to be, well, boring, especially when one considers how richly such solo sax territory has been explored in the past by the likes of Anthony Braxton, Roscoe Mitchell or Sonny Rollins. Nice to hear Branfords pure and piping tone on the alto excursions, though. Love the rough-and-tumble vibe of the live date. The trombonists Latin Side series has been a blessing from the get-go, but this hat-tip says a lot about its subject as well as the players recasting the tunesthe best of both worlds.
But overall the band sounds a bit jumbled, with electric bass jacked too high and some of the solos slightly off-mic. Theres not much development or coherence in these strings of episodic solos, nor in a program that drops a warhorse like Kenny Dorhams Blue Bossa into a program of Joe Henderson tunes. The Latin component is mostly drawn from, rather than imposed on, Hendersons tunes, the leaders big, un-brash trombone an insistent Cubanoid component.
The band also plays it straighta- head with the hard-hitting speed of Blues For Now and the contemplative Ratio Man, but mixes in a more impressionistic mode on Blessed Unrest with its slowing and quickening tempos, excellent use of sustain pedal and beautiful resolve at the end.
The band also refers to the standards Goodbye Pork Pie Hat in Nights In Brooklyn, and intersperses the melodies of other standards to make up the title track. Several pieces start with solo vibraphone interludes that set up or contrast with the tunes they precede.
This is most effective on the inter- lude that follows the political monologue of BP Shakedown. Marsalis wrote half the tracks, and drive. With The 21st Century Trad Band, the For Sweet Return, trumpeter-flugelhornist and with one entry each from his quartet members Jason Marsalis Vibes Quartet has put together a educator Bob Lark looked back over his three and two by New Orleans up-and-comers Jasen record that is both accessible and hip.
Feet, where the band alternates between freez- Ordering info: basinstreetrecords. In reality, as Lark explained in the liner notes, the group came together for one rehearsal, Marcus Roberts and the two sets at the Jazz Showcase in Chicago and two Modern Jazz Generation days of recording.
The 10 standards on the disc are Romance, Swing, And The Blues a testament to career-spanning musical bonds. The members blend well tionalist. He got his start more than 30 years ago as a section, but can still stand out in solos. There with Wynton Marsalis and since then has steadi- is plenty of feeling and emotion in the group, ly released tributes to influential 20th century jazz nobody merely going through the motions.
While the playing is top-notch, the pre- the Modern Jazz Generation. The definition of sented arrangements on their own are praisewor- modernity is a little loose for Roberts journey, thy.
Take The A Train begins with a bombastic which for the most part holds right in the sweet introduction by the horns, then slides into the spot of those aforementioned composers with an familiar melody, saxes and trumpets working in added nod to Charles Mingus and Count Basie.
Bye, Bye Blackbird Roberts leaves his soloists ample space to give solo performance by Roberts. Always a high- is a slow, cool groove; Gil Evans Maids Of Cadiz it a go, and his generosity does not disappoint. Baritone saxophonist Tissa Kohsia and clarinet- loose with Period Of Denial, a rollicking boo- While the history behind Larks band makes ist Joe Goldberg frequently rise above the dense gie drunk with Southern charm and an unrelent- for a good story, Sweet Return is a chronicle of a horn parts to create reedy bookends to frequent- ing left hand.
OConnell well-versed ensemble playing at the full range of ly fast and furious lines. How Could You? But for all the great Ordering info: marcusroberts. Penns audacious interpretation of Well You Neednt quickly lays any reserva- tions to rest. All stuttering beats and slippery electronics, with some spo- ken word thrown in for good measure, the opening song signals the drum- mers intentions to reinterpret Monk as 21st-century material. His title alludes to a computer glitch that left him panicked, thinking he had lost the session altogether.
And if that opening salvo is not enough to convince you that this is Monk like you have not heard him before, check out Donald Vegas first non-electric piano solo on Green Chimney. No sooner does it startsounding like any modern acoustic interpretation of Monkthan it is yanked away electronically, a slur of melting notes. Taking such liberties with Monk will not please purists, but Penns approach has solid footing: using well-known thematic riffs as cells that can be chopped up, carried by Chad Lefkowitz-Browns sax or Yasushi Nakamuras bass, or simply implied.
If this makes it sound like some sort of postmodern intellectual exercise, thats not the case. In the hands of Penns quartet, Monk comes off sounding like dance music, in much the same way that Jason Moran re-channels Fats Waller clas- sics.
Ordering info: origin-records. Alloy, his fourth album as a leader, is no exception. It reflects Soreys varied interests even though the stress is on classical and new music rather than jazz. His compositions feel like through-composed pieces, but they walk a fine line between improvisation and composition, a territory that an increasing number of jazz musicians are exploring. The central figure for these pieces, which often take epic proportions, is pianist Cory Smythe, who is given ample time to set sparse and minimalist moods that are alternate- ly cerebral or visceral.
Returns is a tension-and-release exercise that also takes into account volume considerations. Movement is reminiscent of Chopin. Incidentally, the atmosphere is not affected when Chris Tordinis bass and Soreys drums enterthey could have easily seemed incongruous in such a context.
This is a tribute to Soreys ability to blend or rather juxta- pose elements that should theoretically not fit together. Again, in the middle of Template, Sorey suddenly makes his entry with a heavy syncopation that does not feel out of place.
Finally, A Love Song is built around permutations of the three instruments, which follow an unpredictable path. Because Sorey wears his influences on his sleeve and borrows from Romantic, Impressionist or indeterminate music, the various segments that make up his tunes dont brim with originality when taken individually.
What is commendable, how- ever, is the way Sorey pieces them together. Ordering info: pirecordings. Chris Walden Big Band. Liebmans Teamings A busy arranger-composer in Los Angeles for the studios, films and television, Chris Walden has also been leading a worthy if part-time jazz big Dave Liebman is in his late 60s, and he has a long Or No and tenor saxophonist Dave Rickenbergs band.
On Full-On! If the soprano and tenor sax- Ordering info: mamajazz. In fact, with a few laurels, no one could say a thing about it without you know author Steve Dalachinskys liner notes, exceptions, the singers can be thought of as guest sounding like a jerk. But idling is anathema to the or have heard him sharing stages with Matthew soloists who take their turns in the spotlight along creative soul, and Liebman is still up for a chal- Shipp and Federico Ughi.
These arent circles that with the instrumental soloists and the ensemble. In each of these projects, which vary drasti- Liebman usually runs in, but he and Dalachinsky The five instrumentals are mostly pretty out- cally in style and aesthetic priorities, he finds ways find considerable common ground on The Fallout standing. They were both born in Brooklyn inand one of the strongest originals to come from the Drummer Phil Haynes is, like Liebman, a man each man was indelibly marked by the experience Yellowjacketsthe band has its chances to wail.
Arturo, with guest trumpeter Arturo package. The focus here is on equal interaction be- out exoticism and, on a tribute to Jackson Pollock, Sandoval, is surprisingly more of a feature for ten- tween three parties, with bassist Drew Gress hold- illustratively expressionist splatter.
This session is or-saxophonist Brandon Fields with Sandoval just ing down the third corner of this sonic isosceles a double homecoming; Liebman not only gets to having a pair of fairly brief and mellow flugelhorn triangle. But avoidance of boxes does not herald reminisce with a pal from the old neighborhood, solos. The tenor battle between Fields and Rob messiness.
However loose the tempo gets, it nev- but share a few spiritually satisfying moments Lockart on Out Of Town is particularly exciting. Your mileage rable and not just because she is the only vocal- tests a pitchs tolerance for distress, he brings it with this record will vary according to your appreci- ist with two appearances.
I Can Cook Too is back to a grounding tune thatll quicken the pulse ation for Dalachinskys Kerouac-ian recitations, but a swinging tour-de-force, while on Sir Duke with assertiveness or tenderness. This is an excel- if you can hang with that, theres a lot to love.
Walden treats Stevie lent example of musicians checking their egos in Ordering info: roguart. A similar caveat applies to The Miami Jazz the results are quite stirring. Courtney Fortune Ordering info: philhaynes. This six- While the man has his name on the bill, the piece electric band is a collaboration between Li- fares well on the retro swing original Lost In The Dave Liebman Big Band is a team effort.
Band ebman, saxophone-flute player Arthur Barron and Memory, and Tierney Sutton is fine on the ballad director and woodwind player Gunnar Mossblad keyboardist-producer Abel Pabon that is intended Only The Lonely while Carol Welsman sounds has been onboard sinceas have many of to extend the tradition of early 60s Trane and 70s quite joyful on Hey Good Looking.
But the real the players; Leibman, who sticks to soprano on this fusion. It cannot be denied that they get the vin- stars of Full-On! Arranger Mats Holmquist sound bold and beatific on Dahomey Dance. But indicates that he incorporated techniques similar if you consider those synthesizer voices to repre- Full-On! Gordy, ble playing is solid, but what really stands out are name, guys, at least spell it right. When latest in a line of talented jazz musi- Perelman goes into the studio, there cians from Israel on the U.
Independence, his debut album, has In this collaboration, the two musi- more glitter than grit; but as a demonstration of Naamans instrumental flu- cians had never met before gath- encyon tenor, alto and soprano saxophoneits a fine calling card. The recording is The sessions for Independence were produced by one of Naamans men- more subdued though no less intense than Perelmans previous work.
He tors, pianist George Cables. The veteran mans the keys for most tracks, with plays his saxophone mainly in the conventional range, occasionally tak- his energized solo upping the ante on Dilemma to the point that everything ing it to the extreme high notes, then coming back down to squeeze out else going on Album) wan in comparison.
Another contributor is trumpet- tight clusters or longer legato phrases. Bergers playing is mostly sparse and er Marcus Printup, whose expressive solos enliven Ohali Blues and New airy, with few chords so as to give both of them greater freedom.
Both of Orleans Twist, in particular. Bassist Dezron Douglas mostly teams with them challenge each other as they try to match similar phrases or add vari- drummer Gregory Hutchinson, though stickman Ulysses Owens Jr.
Much of this album has a meditative, mysterious quality as the Naamans ballad conception is still unseasoned, lacking a real sense of players seem to carefully choose their notes. The songs may be spontaneous, drama and with his tone too smoothly generic. Its only with Eshal Elohai but they do not sound it. They move in a deliberate direction. The album the saxophonists arrangement of a traditional Yemenite Jewish songthat climaxes with the title track, a spiritual-like contemplation where Perelman he reveals a distinctive sound, his tenor taking on a vibrating burr as it keens keeps the tempo midway between a ballad and a burner and Berger repeats a the strains of the Middle East.
Its a stirring end to an album that is intense without being loud or furious. Ordering info: leorecords. Fortunately, John Coltranes agonizingly chaste open letter to brightest stars in the 21st century soul-blues uni- hes more than satisfactory. Godwhich celebrates its 50th anniversary this verse.
Both have an uncanny sense of dramatic Ordering info: biggeorgeharp. Bassist Bob Trenchard joined Clay and Rawls a belter of the highest order, with Etta James hard- mishness despite horrified memories of car acci- in composing solid, inviting songs that have a vivid wired in her DNA, holds nothing back about her dents and finger truncation, survival from which kinship to the rich soul past.
Outside material from strengths as a woman in 10 original songs on her he attributes to Gods grace. With guitarist Pete Anderson enam- validate the enduring worth of Jimmy Ruffins ored of Stax in his production, too much really, There is some canny bashfulness here in that broken-dream What Becomes Of The Broken- Bohler sets up and relieves tension while keeping his EP suite is 10 minutes shorter that the epoch- hearted? Special mention to ever-re- coping with modern life.
The tenorist emits a preemptive rasp within can label, gives all of himself to finding a tone of The self-aware element to her vocals gives an aura 20 seconds of the fade-in that recalls a screech emotional credibility in his rockin blues.
Unlike of personal revelation to the lyrics of her typically from Tranes arsenal and references the A Love many peers, the talented Canadian guitarist deals appealing, intelligent songsnone better than the Supreme riff, but the buttery tone heralding in clarity and substantive excitement, not tes- brokenhearted slow blues The Last To Know. In Resolution Of Purpose owes more to Chicago tosterone-heavy grandstanding. Jones may not the autumn of her career, some strain affects the be a top-level singer, but the appeal of his voice flow of her vocals.
Balls boogie-and-blues piano sax titan Ari Brown. Unshackled with dubi- increases in interest with each listen. He and pro- is as potent as ever at heady or slow paces. Her ous comparisons, the music refreshes traditional ducer-drummer Tom Hambridge, in great demand working band, including excellent guitarist Mike tropes of avant-garde catharsis with new textures these days, did the bulk of the writing, maintain- Schermer, bristles with avid devotion to the music.
Markus James has a background of able to non-improv-friendly ears. Psalm For John shimmers like sor; hes also a blues harmonica player. At age rough, knife-in-the-gut sounds. His singing, rang- a Jim Jarmusch soundtrack with Polands guitar 59, he realizes his dream of recording his first al- ing from heavy whisper to ecstatic shout, and his fielding Catalanos restrained soprano.
Ordering info: ropeadope. The main thing that album Born To Be Blue: guitar- he seems to remember from that ist Howard Alden, keyboardist Matt intense period was that Peterson Clark, bassist Marcus Shelby and insisted that he not copy anyone else drummer Akira Tana.
The previous especially not himbut instead he should always work on developing his album saw the quintet essay selec- own voice. Longo did not rehearse beforehand with bassist Paul Sonny Clarks Melody For C, though the saxophonist and company can West and drummer Ray Mosca and, other than giving his sidemen a list of often sound like theyre making glorified bar-band music hereparticularly songs, there was no prior preparation.
As it turned out, it was not needed. He comes up with ding-party version of Randy Westons Hi-Fly. Clarks Hammond can sound fresh and swinging variations on 13 standards that Peterson liked to play.
West and Mosca have occasional solos the bass- electrifying solo from the guitarist. His flinty, flowing fretwork also lights ist is well featured on Yesterdays and the trio sounds as tight as if they had up John Coltranes Spiral and an otherwise workaday take on Thelonious been playing this music together in clubs for a week.
Monks Pannonica. And Alden helps spark Heckmans original Hangin With the emphasis on cooking tempos even Irving Berlins Always At Slugs, titled for the bar in New Yorks East Village where the saxophonist swings hardthis is an enjoyable set of straightahead jazz.
Did Antonio Sanchez. They focus on he also think that cats are better than simplicity, clarity and purity. They sex? Further questions are posed by give each other plenty of breathing Darrell Katz and the Jazz Composers room: space within melodic lines, Alliance Orchestra on Why Do You framed thoughts within phras- Ride?
Your curiosity may be quelled es, ample silences between tracks. Generosity of spirit pervades each track, after listening to this track album of free-ish big band commotion, flow- as they invest in balance and equanimity over tension and conflict. All but ing ensembles and, occasionally, snot-blowing solos. Vocalist Rebecca one Pieranunzi originals, they cast the welcome familiar aura of classically Shrimptons elegant delivery helps frame this panoramic project.
Inspired well-crafted melodies, all cut of the same cloth. The who informed him that many of his collected quotes were incorrect or never one hitch in the sequence is Scott Colleys The Slow Gene, a pensive bluesy uttered by the German genius. Undeterred, Katz wrote music in the spirit waltz with a falling unison motif. The quick ones are succinct and restless, of discovery, arrangements that underpin questions between a teacher and as the fully alert trio works as one: No Improper Use takes off like a whirl- a student concerning bicycle riding, the sense of flow, cats and, perhaps, sex.
What begins in bright tango and waltzing melodies go whirling in between. Arriving on the cusp of the Boston-based orchestras 30th anni- sustained tensions, confiding yet confident in spinning out subtle emotions. Chicago Yestet. When you remove all the visuals, the plot, Mancinis soundtrack style by the mid-to-late 60s, the movie stars, whats left?
Addressing the usual- his best music, with few exceptions, pretty much Is Politics? Along with the titles already tory than combativehowever, not in respect of soundtrack recordings of the day transferred from mentioned, the knock-you-out originals here that Adams highly detailed, forceful charts.
And while the music to spoken word artist Rob Dz. The latter two inevita- nis main label, RCA Victor, got the message early Gunn may be heard as a retread of the original TV bly dominate this session. In The Here And Now on: Rerecord this unique brand of music in the stu- soundtrack, the material still sounds fresh, swing- riffs on Fakebook friends and the social media dio, especially with the onset of stereo technology.
Burrells lyrics are darkly con- Eighteen soundtracks in all far from a com- Shank, Ray Brown, Jimmy Rowles, Shelly Manne fessional, not glib postings, and Thursday Night plete listthis set is not presented chronologi- and Pete Candoli serving up bona fide jazz.
Blues is an unsettling update of Dont Explain. So, for exam- and vocals. It could be rhythmic and unexpected, dwell on the struggle and compromise of societal ple, theres the movie music for The Pink Panther as with the themes to The Pink Panther or Experi- and personal progress, or lack thereof. Missing for obvious up with the full orchestra in support with the for- tions from The Long And Winding Road. His reasons are such celebrated TV soundtracks to mer, or where those same strings and horns sidled voice has a fascinating timbre that makes you Mr.
Lucky and Peter Gunn, but we do get in one up next to a sultry, crawling rock beat, eery auto- want to listen, though the Bacharach mash-up on of the high points of this collection the soundtrack harp and angular chord substitutions to enhance What The World Needs Now Is Disco is some- to a dud of a related movie, Gunn Number One!
In the end, for Mancini and the label, the latter. Then again, Mancini, when he wasnt doing the swaggering score. Along with Manci- of whatever film he was working with. In this case, ist Clark Sommers and pianist Ryan Cohan and nis jazzy touches that revolutionized television the best were the themes to Charade, Two For The music in the s and led to the Pink Panther Road and Breakfast At Tiffanys, the latter utilizing boasts the leaders sole soloa deliciously buttery theme, theres the memorable music he created wordless vocals across a gently swinging piano volley, preferencing tone and timing above super- with such talents as lyricists Johnny Mercer and and swerving string section.
You hear traces of this fluous note-play. Geof Bradfields tenor follows, Leslie Bricusse. But it was because he worked with combination here and there in other soundtracks hurling color between every detail. Another important member of Mancini was able to make his mark with the gen- sions Of Eight and Oklahoma Crude. They, in a sense, were his Indeed, Henry Mancinis music was curtailed and listen for fine, committed contributions from Trojan Horses.
They settled into the L. Forum for a five-night stint from July 9th to 13th and this concert recording features the show from July 12th. Also available on stand-alone DVD. Plus there are tracks from other labels like Permanent, Castleface and Famous Class.
Based around text from Paul Smith's travel writing, and Peter Brewis's chamber-band arrangements, the pair has collaborated on a suite of songs, creating a restrained yet richly descriptive sound-world. The music wraps itself around the words and the places they chronicle.
The locations become tangible; from their hometowns in northeastern England to more far-flung destinations. All of the albums are newly remastered five for the first time ever on CD and all seven are also making their remastered debut on vinyl: Greetings From Asbury Park, N. As usual Swamp demonstrates his savage sense of humor and his instinctive aversion to hypocrisy. Utilizing interviews, studio footage and vintage family photos, the film captures the warmth, intelligence and humor of this supremely talented family as they record together for the very first time.
Indeed, lead singer Adebimpe recently acknowledged that 'we've been through a lot of stuff in the past few years that could have stopped the band cold. Marbled color vinyl version features two bonus tracks. Available on double-CD and across two separate double-LP volumes on vinyl. Jones and Darlene Love, among others, a hardcover book, and a DVD documentary about the making of the compilation.
Features one disc of new and recent material, paired with a second full of bangers from the Hyperdub canon in recent years. Over It. More layered, plaintive and measured than anything in Elders' previous catalog. The songs involve patient, textured narratives. The instrumentation is restrained, a well-tuned hybrid of real and virtual instruments.
Essential Tracks 2xCD Nonesuch Two new Wilco collections released in conjunction with the influential Chicago band's 20th anniversary. The first, Alpha Mike Foxtrotis a box set of rare studio and live recordings collected from the band's extensive audio archives.
The second, What's Your 20is a of essential tracks culled from the band's previously released studio recordings. Alpha Mike Foxtrot features 64 pages of liner notes that include track-by-track recollections from Tweedy, notes by band members Nels Cline and John Stirratt, and reflections from members of Wilco's extended professional family.
The booklet also showcases dozens of archival and never-before-seen photos from a wide array of photographers chronicling all phases of the band's career. What's Your 20? This expanded version of the album contains the band's entire recorded output for the Pink label as well as the 7'' version of ''Me'' that was released on Idea Records.
Despite the record's gritty, intense approach, it nevertheless landed the Wolfhounds a spot on the NME's legendary C compilation cassette, the track compilation ended up being so influential that it resulted in the unintentional creation of a new subgenre. The Wolfhounds were more post punk than jangle pop, and their incendiary live shows saw them build up a loyal following throughout Europe, where they toured regularly supporting The House Of Love and My Bloody Valentine. The double album features Disc One Ex Machinathe ideal introduction for the Wyatt novice, compiling tracks from his entire career and acting as a companion to O'Dair's new biography on Wyatt, also titled Different Every Time.
He destroyed boredom with a blast of electric guitar. He understood that life was simple, true, loud, and a little out of control. Leaving behind many unused recordings, the Zero Boys opted to listen to his songs and re-record them, in tribute. Forum for a five-night stint from July 9th to 13th and this concert film features the show from July 12th.
The third full-length recording from the much loved Anglo-Australian four-piece is made up of smart, beautiful pop music, with lyrics that resonate with experience and melodies that chime, echo and soar. The band's take on occult black metal stylings draw from the Scandinavian masters, the French introverts, and their own depraved visions, singlehandedly creating a new standard for USBM to strive towards. Call it a second wave of "garage bands" but this time the music was more fitted for dark, hazy wood paneled basements with the requisite hi-fis, joints and cheap beers stolen from dad.
This collection spans everything from the proto punk garage of early hit "Flylife" to the Motown monster that is "Good Luck," taking in worldwide smashes like "Red Alert," "Where's Your Head At" and more. Minneapolis three-piece The Blind Shake crafts dense, massive locomotive music—powerful sounds with the ability to careen through one cinematic, post-apocalyptic chase scene after another.
Though founded on an electric sound they also dig the old jug band style of playing. Picking up cheap acoustic guitars, turning ordinary household items into instruments and constructing a traditional washtub-broomstick bass, they often busk in the streets of downtown Los Angeles to the delight of large crowds. Crayon took the burgeoning sound of twee pop and added punk elements, sounding something like a cross between UK indiepop bands like the Pastels and more abrasive American bands like Unwound.
Two more cauterizing cuts of whiplash thug rock your thin plane of existence just might not survive without.
Raw and primitive staccato electronics with Kai Parviainen's specific touch of utter insanity. Released inthe year of Kohoutek, when the immanent arrival of the big comet spawned a new round of cosmic consciousness in the media and with people all over the planet. The two sides of Kohoutek are a special jam that passes through tranquility to exultation, a tapping of the passing flame in the skies and a greeting from Father to the messenger and bearer of such awesome gifts. Very pure. Previous albums on Autumn and Burger.
Gatecreeper is a riff-heavy ode to times past, and a glimpse of our bleak future, captured on wax. For fans of: Entombed, Bolt Thrower, and Dismember. Geddes Gengras - Collected Works Vol. Opaque cyan vinyl. Think Rev and Vega, but with a more positive, hopeful vibe tinged with a whisper of melancholy.
HQgm including new liner notes from Patterson. Recorded and mixed by Chris Freeland Wye Oak, Lower Denson Hidden Cities Horse Lords square the circle, making music that is alternately tight and loose, real-time risky and process oriented, reconciling the sweaty force of a killer basement show with the icy precision of conservatory training. Each track, wrapped in a glistening synth pop package, surrounds themes of caring for one another and connectedness.
All proceeds from this recording will be donated to Coalition For The Homeless. The band's Jim O'Rourke, Toshiaki Sudo, Hatano Atsuko and Yamamoto Tatsuhisa expertly precise playing is contrasted by their intuitive choices within the songs, which are seized upon by Eiko for mood and color.
On the follow-up to its critically acclaimed album Safe TravelsJukebox The Ghost is at it again with a new collection of the band's signature brand of infectious pop songs. Sourced soon after the re-release of L'AmourRomantic Times is the follow-up - a familiar blond posing on the sleeve, a familiar, tortured voice pouring his heart out over languid synths and synthetic waltz beats.
The band has collaborated with Locrian, Circle, and Merzbow. Statu Nascendi features ethereal washes of guitar, organ, tape loops of field recordings, and Coloccia's hypnotic vocals.
Shot on ten reels of Kodak film, Tell Me More About Evil is a visual, alternate version of the album consisting of stripped down performances and acoustic field recordings.
An answer to no other band, movement or genre don't be lazy, you. An ambitious work that could be no one else but said three lifer music weirdies in full inspiration mode.
Coming off the critically acclaimed The InfamousHavoc and Prodigy hit the lab and came back with a soundtrack that is fitting to its title. Growing up between Canada, Spain, and the French Alps, he took in the natural sounds of the countryside -- crashing waves, clinking cowbells and creaking trees -- and armed with an MPC drum machine and a guitar, distilled it into a sound that feels natural and otherworldly at the same time.
Triple-color splatter vinyl. The Luminous Heart Of Nowhere might evoke a sense of an ethereal void, but its music is firmly rooted in Midwestern underground rock. The band's driving, bold melodic sound hearkens to that of myriad Midwestern noisemakers like Rodan, Arcwelder and Naked Raygun. Joshua Rainhorn's imagery evoked a world of old wine bars and coffee-stained book covers. Honkytonk music and worn out shoes. Elusive, mysterious lovers.
Includes download for the nine original album songs plus five tracks recorded live in Kortrijk, Belgium on October 16, Collaborating on this album with Bill Ryder-Jones The Coralit is a marked departure from her debut Uncut - stripping back and laying bare the beautiful song-craft of an artist clearly in her prime.
The result is a selection of twelve delicate and heart-felt, folk-infused tracks woven into In The Seams - full of lush strings, softly plucked guitars and tender vocals. Debut album by esteemed writer and Leonard Cohen biographer. Like Devendra Banhart says, this is "a gem of an album, fragile and fearless, direct and poetic, timeless and absolutely beautiful.
Like Rosalie Sorrels meets the Only Ones. Atmospheric heavy drones of surreally epic horror-country. Fronted by Ford Pier D. Smith gone orchestral. Weird, yelping dissonance, precise soaring melody, and pop-culture-curmudgeon lyrics.
His music spans a spectrum of deranged styles, from the intimidating and visceral to the rivetingly morose. Sasu Ripatti is one of electronic music's most prolific and eclectic producers.
Throughout the last two decades Ripatti has explored every imaginable genre with over 20 albums under aliases such as Luomo and Sistol. A classically trained percussionist, the Finnish native has also performed as a part of the Moritz Von Oswald Trio and his own Vladislav Delay Quartet. He returns now under his Vladislav Delay moniker with a uniquely inspired album. Visa is Ripatti's first foray into ambient music in over ten years, yet it is not simply passive background music.
Rather it is an active entity, a soundscape built from textured layers of evocative industrial noises and dream-like melodic loops. An oppositional spectrum spanning from "pop"-simplicity tropisms and cannabinoidal rock theatrics to the kind of mystical harmonic complexity and radical engineering that would never fly in HB.
Hartley is the progenitor of a style of music he calls Whopazootic, which he has described as "a non-classical music utilizing a broken rhythm. In stripping back to their roots—drums and voice—they have discovered an unblinking directness, a taut muscularity honed from years of intensive live performance.
The guttural nature of Electron's vocal sound may recall the name of Beefheart to some, and Electron is occupying the same unconsciousness, free in the communal slipstream, with less blues and more country gospel in his soul. The title is now being reissued as a limited edition picture disc on Younge's own Linear Labs imprint. Limited edition box set of six vinyl 45RPM singles with a 32pg book filled with photos and lyrics.
Like the comedy legend, The Rance Allen Group knows a thing or two about getting better with time and their new release, Celebrate, proves it. The group's trailblazing legacy in Gospel music shines even brighter as their signature vocals, coupled with hot new music production, created the infectious radio hit "A Lil' Louder Clap Your Hands.
As far back as their first album they've been touring the various hotspots of psychedelia, punk, classical and world music, all with a maniacal, effervescent touch. Accuse them of failing at some of these stylistic endeavors, fine - but to their immense credit, they've never been mere genre dilettantes.
Nor is IX a reactionary 'back-to-basics' attempt at shedding their excesses; it's confirmation that TOD haven't forgotten how to write exemplary, robust rock songs. Natura Morta fits somewhere Nancy (With The Laughing Face) - Ellis Marsalis And Branford Marsalis - Loved Ones (Cassette the electronics of Keith Fullerton Whitman, the percussive repetitions of Jon Mueller, and the atmospheric sensibility of Pan American.
The follow-up of 's Through The Archdemon's Head is stripped down from its predecessor, clocking in at 48 minutes eight tracks but injects more variation.
After a highly productive incubation period, the young producer returns with his debut LP, The Snake. Its 12 compositions are filled with dark and hazy electronic beats. Every cymbal crash, guitar brush, and whisper, across four CDs.
Each album is also available on HQgm vinyl. Though the album was recorded in the mid to late '70s, it remained unreleased until This expanded edition includes alternate versions and additional tracks, and three songs by Bell's pre-Big Star groups, Icewater and Rock City.
The album is a song Afro-futurist concept-suite taking place on the fictional planet named in the title. To take us there, K. Anechoic Horizon is a purely instrumental work that evokes the genre's blank and beautiful heydays. It's the reflection of its makers -- Sam Owens, Greg Albert, and Max Almario -- and Album) follow-up to 10xtheir debut. It's a rock record, and one with the power to time travel with its instruments intact: the electric guitar, the electric bass, and the drum kit.
Vinyl pressed on milky-clear wax. Mitchel Reed. The self-titled album hits you with 11 anthemic rock songs that will satisfy both the hardcore Lixx fans as well as fans of melodic hard rock and hair metal in general. Adored by his growing legion of fans, Eric tours constantly with such superstars as Maxwell, Joe, Mary J. Blige, Prince, and many others. As long as you delve into this album expecting something different from Cradle Of Filth, then there's plenty to dig your claws into.
Devilment's core sound is based around earth-shattering riffs from Daniel Finch and Colin Parks, whose thick, defiant guitars anchor the record, allowing them to embrace a smorgasbord of styles while still remaining true to their original form.
The title reflects several years of reflection on associated ideas like Diaspora, borders and hybridism. It is as aggressive and relentless as time itself. The project began in as a reservoir for ideas that overflowed from The Men's drain pipe. In that same year, a two-song cassette single was self-released, with a follow-up live document in Most recently, the duo has conceived an LP with longtime sonic partner, Kyle Keays-Hagerman from late through early Although the production began using the most conservative rock and roll devices, it slowly plumed into a cloud of future primitive psychedelia.
For the album and series, Grohl, Taylor Hawkins, Nate Mendel, Chris Shiflett and Pat Smear wrote and recorded one song in each of these eight cities, delving into the local musical currents: how each region shaped these musicians in their formative years, and in turn the impact those people had on the cultural fabric of their hometowns.
Available on CD and vinyl. The HQgm vinyl album comes in an assortment of nine different limited edition covers including eight variants each themed for one of the cities in which the album was recorded: Austin, Chicago, Los Angeles, Nashville, New Orleans, New York, Seattle, and Washington, D. When ordering this vinyl LP, customers will randomly receive one of the available nine limited edition versions. Each version will not be sold separately.
The LP includes a card to secure a downloadable version. An explosive burst of raw crossover, Helsinki Savagery fuses the s iterations of US thrash Vio-lence, Exodus and urban hardcore Cro-Mags, Leeway to create a merciless album. Flinging themselves into the public's consciousness with 's Pearl Mystictheir debut LP's perfect storm of billowing textures and napalm-filled Modern Lovers licks was one of the most-acclaimed albums of -- receiving plaudits from The Guardian, NME and Drowned In Sound -- where it was their Album Of The Year.
Hilarious at times, genius always and as scuzzy as anything you could ever hear. The album was produced by Evan Weiss Into It. Deluxe adds three bonus tracks. On Primary Information's CD—reissued with the cooperation of the Estate of Allan Kaprow and the Getty Research Institute—he speaks plainly into a microphone, delivering private cut-to-the-chase style instruction on Happenings that is both informative and contradictory, both a practical and theoretical how-to with frequent dead-pan humor.
Chosen as one of Time Magazine's most anticipated releases, critics are hailing the album as an instant classic. Black Beauty is that rarest of rock artifacts: an un-released, full-length studio album, from an undisputed musical genius. It represents the missing link in a catalog that also includes Forever Changesthe seminal Love album the New York Times called "one of the most affecting and beguiling albums of all time.
Deluxe Edition includes a Album) edition page hardcover book created by Rafal Wechterowicz, Marco Vasco and long-time Machine Head art collaborator Strephon Taylor. Sounding equal parts Ariel Pink and Prefab Sprout, Mega Bog rip through nine hazy burners with a sneaky tightness hidden behind layers of drizzle and reverb. The multi-talented actress and singer was thrust into the mainstream pop culture dialogue earlier this year with her performance of ''Let it Go,'' the enormously popular song off 's Frozen soundtrack.
The track not only won an Academy Award for Best Original Song inbut has also remained at the top of the Billboard charts for months, selling millions of units worldwide. Produced by project creator T Bone Burnett, the album was recorded in March, at Capitol Studios in Hollywood, where the artists and Burnett convened for two weeks to write and create music for a treasure trove of long-lost lyrics handwritten by Bob Dylan in during the period that generated the recording of the legendary Basement Tapes.
Deluxe includes five additional tracks. Joe Goddard is two albums deep with The 2 Bears, and now fellow chips off the old block Al Doyle and Felix Martin have teamed up once again with studio engineer Tom Hopkins for New Build's second album outing.
Pour It On drives much further into the territory of electronic dance than their indie-leaning debut, with classic house-tinged characteristics propping up new wave vocals and synths. The lyrics can spill into the realm of over-earnestness at points, but overall this is slick and dancefloor-ready.
Limited quantities available on mixed color vinyl. In David Gilmour and Nick Mason re-entered the studio and, starting with unreleased keyboard performances by Richard Wright, who sadly died inadded further instrumentation to the tracks, as well as creating new material. The title is a further link, ' Features three previously unreleased Queen tracks featuring late singer Freddie Mercury.
Rated X is an exciting and fresh band built around the talents of four heavy-hitters of American hard rock. It is a selection of songs, which Rice says are "sung straight into the metaphorical mirror. The recording process began in Los Angeles and finished up with a cast of friends and local musicians against the stunning backdrop of Reykjavik, Iceland.
A largely self-taught musician from Temagog, NSW, Joe is best known for his virtuoso guitar abilities and for winning the season of Australia's Got Talent. Ishraqiyun has been characterized as the "neo-Pythagorean electro-folk" side of Secret Chiefs 3. Perichoresis is the first proper set of studio recordings of their material, paired with a healthy dose of new, previously unheard tunes.
It furthers Serengeti's hilarious, absurdist, and subtly humane saga of a Chicago-born man with a Mike Ditka mustache, whose lovable delusions and diehard loyalty fall somewhere between Homer Simpson and a Bill Swerski Superfan. Vinyl version pressed on neon splatter wax. And in order to allow that to happen at the max! The occasion is the 6th annual Dixieland Monterey festival, one of the most successful of its type in the state.
Bands may seem to be posted on a chart just a little less complicated than an NFL playoff schedule, but no, in actuality each is listed clearly by specific day, time and place Fulton Street Jazz Band, Saturday,Red Snapper, etc.
Half the fun of this affair, for the crowd, is moving from place to place. The festival, a spin-off from the active local Hot Jazz Society, started six years ago when fans attending the popular Sacramento fete decided the thing could be done just as well, if not better, at home.
When the festival started, cabaret owners seemed understandably timid about turning away their steady customers and restricting trade to Dixieland Monterey badge holders, but not for long. Thomas and Barbados. Bob Gay—a knowledgeable non-musician, a broker in real life—is in charge of selecting the bands, the top ten of which are predictable favorites from previous years. This year, also, the popular Royal Society Jazz Orchestra will return. Back in October not long after that event, at which I took copious notes, but was having some trouble seeing them, and also the various stages on which the music took place!
But when he started singing. But I got Close Your Eyes anyway, which is loaded with first-rate tunes, all well performed. I was most impressed by her piano playing. The last time I heard and saw Harold Mabern was inwhen he appeared as a portion of the James Williams Contemporary Piano Ensemble, a group that featured the sumptuous talents and additional forty fingers of Mabern, Geoff Keezer, Donald Brown, and Mulgrew Miller—along with James Williams himself.
That year, they kicked off the Festival in high gear: a piano ensemble only matched, to my mind, by the appearance of Bill Charlop, Lynne Arriale, and Jason Moran with Marian McPartland in Harold Mabern is a talker as well as a player, and that was just fine, because the incidental talk that preceded the playing—and sometimes accompanied it—was good.
This piece or production was followed by a song Mabern had written for trumpeter Lee Morgan, who recorded prolifically from until the day before his death in Februarywhen Morgan was shot and killed by his common-law wife Helen More a.
I enjoyed all that he had to offer. The same was true on Saturday afternoon, when Booker T. This one-time prodigy named after the great educator Booker T.
Some of what Booker T.
Bluebird - Wings (2) - Wings Over America (CD, Album), We No Speak Americano (Josh Mc Remix) - Yolanda Be Cool & DCup - We No Speak Americano (File, MP, Crystalline - Ashen Simian - The Ends Of The Earth (File, Album), Like A Dog/Letter To Brod (Part 1) - black tape for a blue girl - With A Million Tear-Stained Memori, Frøsøminner, Vals - Sven Nyhus & Asmund Bjørkens Sekstett - Bergroser Og Frøsøminner (CD, Album), Rotterdam - Léo Ferré - Cannes La Braguette (Vinyl, LP), Hochkant - Various - Noch Mehr Deutsche Punk- Und New Wave-Klassiker (CD), 4 Leaf Clover - Erykah Badu - Baduizm (Vinyl, LP, Album), Locust - No-One In The World (Slacker Remixes) (Vinyl), Snømannen Kalle - Various - Gledelig Jul (Vinyl, LP), Fifty-One Sorrows - Mat Maneri Trio - Fifty-One Sorrows (CD, Album), Jcrie Pas, Jexplique - Gotainer* - Lintégrale (CD, Album), Holy, Holy, Holy - The Mormon Tabernacle Choir* / The Philadelphia Orchestra, Eugene Ormandy - The L, Technology And Time - Deborah Mollison - Earth Story (Music From The BBC TV Series) (CD, Album), Le Smou - Various - Deep Dance 61 (CD)