multikulti

Bela Szakcsi Lakatos Trio - Na Dara!

2011-11-30T15:17:00.001-08:00

Béla Szakcsi Lakatos - piano
György Orbán - double bass
András Peczek Lakatos - drums

Mónika Rostás - vocal
Csaba Rostás - vocal

01. Red caravan [08:09]
02. 8th district [10:23]
03. Peace of the stars [06:11]
04. Little gipsy song for you [09:01]
05. Gipsy groove [01:57]
06. Bell of my soul - tribute to Péter Eötvös [11:43]
07. Django [03:46]

Recorded at Aquarium Studio, Budapest on December 2003
BMC

*

"I believe that what we have on this album is world music in the truest sense of the word. To my mind, world music is not when a Cuban musician or a Gypsy plays the tunes of his own people but when various musical cultures and styles merge into one. Here you have the Hungarian and Gypsy elements fusing with the strains of Oriental music, occasionally straying into the blues while phrases crop up even from Bartók’s Piano Concerto No. 1, and there is the undeniable influence of twenty-first-century contemporary music. But all through this pulses the underlying current of jazz."
Béla Szakcsi Lakatos

*

"Pianist Béla Szakcsi Lakatos has a lengthy history that includes playing classical music and jazz standards as well as being the first in Hungary to explore fusion. As a member of Special EFX, he toured the world and appeared on many recordings. He has also worked extensively at exploring his Hungarian heritage and turning gypsy-flavored melodies into jazz. Although one can hear a bit of Bill Evans and Keith Jarrett in his playing, much of the time Lakatos plays the piano like the folk instrument the cimbalom, a bit out of time yet swinging in its own fashion. Lakatos' originals are full of rich melodies, and the lengthier pieces on Na Dara!, particularly "8th District," are episodic, unpredictable, and intriguing. The occasional wordless vocals of Csaba Rostás and particularly his wife, Mónika Rostás, are haunting and authentic, giving this music an even stronger flavor of Eastern Hungarian music. Lakatos wraps up this continually interesting set with a stately reading of John Lewis' "Django." Recommended!" by Scott Yanow
http://www.allmusic.com/album/r723287

*
Szakcsi Lakatos Trio [is] led by Rom pianist Lakatos with Gyorgy Orbán (bass), András Peczek Lakatos (drums), plus a pair of superb vocalists, Mónika and Csaba Rostás. Not Django, but an utterly contemporary, cosmopolitan sort of gypsy jazz. At the keyboard, Lakatos hard bops with the very best; the ideas come fast and furious, he plays with a riveting precision, and the groove he carves out carries the entire project forward with overwhelming energy (Randy Weston and Rodney Kendrick come to mind). He's literally all over the piano, reaching deep inside the box to pluck and stroke the strings like a grand cimbalom, as the bass dances and the cymbals shimmer, easing into a down-and-dirty strut to wake the dead (hear "Eighth District"), or loping up and down the track with a percussive joy that defies time itself ("Gipsy Groove"), while the John Lewis ballad "Django" closes out with what an affecting interpretation that calls down the spirit of Bill Evans. Lakatos (winner of the Lizst Prize and Hungarian Artist of Merit Award) has talent to burn, and he deserves a far wider hearing. - Michael Stone, RootsWorld

Asian American Jazz Orchestra - Big Bands Behind Barbed Wire

2011-10-30T10:59:00.001-07:00

THE ASIAN AMERICAN JAZZ ORCHESTRA:
Anthony Brown: drumset w/timbales and pedal tom, shime daiko [7]; Mark Izu: bass, sheng (mouth organ) [7]; Jon Jang: piano; Qi Chao Liu: sheng [7], suona reed trumpet [1, 10], dizi (bamboo flute) [4, 6, 8, 9, 10]; Hafez Modirzadeh: soprano and tenor saxophones [2, 6], ney (end-blown flute) [4, 8]; Wayne Wallace: trombone; Francis Wong: tenor saxophone [2, 5], flute [1, 6-10]; clarinet [5]; John Worley: trumpet.

SAN JOSE TAIKO:
PJ Hirabayashi: taiko, percussion, waterphone [8]; Michelle Fujii: taiko, percussion, shekere [10]; Yumi Ishihara: taiko, percussion, cowbell [6], clave and palito [10]; Crissy Sato: taiko, percussion, triangle and cowbell [10].
and special guests BRENDA WONG AOKI and GEORGE YOSHIDA

01. Executive Order 9066 [03:12]
02. Camp Life, Tuxedo Junction, Polka Dots and Moonbeams [04:38]
03. Jerome Camp, Buddhahead Blues [04:41]
04. The Photograph [02:58]
05. The Last Dance, In a Sentimental Mood [03:00]
06. Kiryoku [07:32]
07. Ichikotsu-cho [02:59]
08. Prelude (Truth be Told) [04:54]
09. Intro to Rhymes [01:22]
10. Rhymes (For Children) [08:58]
11. Redress/Blues [05:29]
12. Reparations Now! [04:09]
13. Ikiru [06:50]

Recorded at San Jose Repertory Theater, San Jose, California on August 18, 1998
Asian Improv Records AIR 0045

*

Anthony Brown’s Liner Notes to “Big Bands Behind Barbed Wire”

In 1997, the Civil Liberties Public Education Fund (CLPEF) awarded federal grants to individuals, organizations, and projects to promote public education about the Japanese American internment experience. “Big Bands Behind Barbed Wire” was a national multimedia multidisciplinary consortium project funded by the CLPEF to create dialogue and increase public awareness about the internment experience through the vehicle of jazz. Concert programs of the Asian American Jazz Orchestra with members of San Jose Taiko and guest artists performing original works inspired by the internment experience, symposia involving former internees, musicians, and members of local communities, a traveling photo exhibit “Reminiscing in Swingtime,” of how jazz was part of life in internment camps were major components of the project.

This recording consists of excerpts from extended compositions performed in concert as “Big Bands Behind Barbed Wire.” Following a weekend of concerts at the San Jose Repertory Theater, the full program was recorded in its entirety. The selections included on the CD are first or second takes with no overdubs and reflect essentially what the Orchestra sounds like in performance.

E.O. 9066 is a collaborative commissioned work by Anthony Brown with San Jose Taiko, commemorating the courageous spirit of those unjustly imprisoned during World War II. The introductory Executive Order 9066 is an adaptation of a Chinese melody entitled, “The General’s Order,” co-arranged by Anthony Brown and Qi Chao Liu. The music heralds the abrupt upheaval and forced incarceration of over 120,000 people precipitated by Executive Order (E.O.) 9066. Qi is featured on suona, the Chinese reed trumpet, even playing two together (2:04-2:14)!

LAST DANCE is the collaborative multimedia work by Mark Izu and George Yoshida commissioned by the “Big Bands Behind Barbed Wire” project. George played alto saxophone in the Music Makers of Poston Camp, Arizona in 1943 (front, center in the cover photograph), although he later chose drums as his instrument. He tells the story of the camps from his heart and soul; you can hear his seasoned timing in his adroit phrasing and delivery. George’s musicality prompted recording him as another instrument rather than how a singer typically would be. Adaptations of the original big band arrangements of Tuxedo Junction, Polka Dots and Moonbeams, and In a Sentimental Mood are by Wayne Wallace. Consummate performance artist Brenda Wong Aoki contributes haunting reminders in song and poetry of the nightmare World War II was for Japanese Americans. As Mark said, “Kiryoku represents the vital, ever-changing Japanese American community, the spirit of ‘keeping on,’ moving forward, creating, and celebrating.”

E.O. 9066 continues with Ichikotsu-cho, an arrangement of an 11th-century Gagaku composition (ceremonial court music), dedicated to the Issei, the first generation of Japanese in America. It features Qi and then Mark Izu on shengs, Chinese mouth organs, before other winds join in a free round. The Prelude (Truth be Told) creates an ambiance of timelessness, transporting the listener through the musical themes of the suite. Rhymes (For Children) commemorates the injustices suffered by Japanese Latin Americans, and celebrates hope for a future that will not see the imprisonment of children.

Jon Jang composed REPARATIONS NOW! inspired by the historic Day of Remembrance celebration in San Jose in February 1987 and his experiences in the Asian communities. In his liner notes for Never Give Up! (Asian Improv Records, 1989), Jon wrote, “In this music, we are trying to express the pride and sentiments of Asian peoples’ struggles in America for equality and justice.” The excerpts include Redress/Blues (for Akira “Jackson” Kato), Reparations Now! (for the National Coalition for Redress and Reparations, Nihonmachi Outreach Committee, Black Congressional Caucus, and 40 acres and a mule for African Americans), and Ikiru (inspired by Akira Kurasawa’s 1952 film). Taiko composed and arranged by Jose Alarcon and PJ and Roy Hirabayashi.

Day of Remembrance

“In the camps, we identified ourselves as Americans through our music.”
— George Yoshida, jazz musician, former internee and author of “Reminiscing
in Swingtime”

“Music helped us keep our sanity, it gave us hope.”
— “Sox” Kitashima, former internee, spokesperson, National Coalition for Redress
and Reparations

On February 19th, 1942, President Franklin Roosevelt signed Executive Order 9066, authorizing the forced removal and incarceration of 120,000 persons of Japanese ancestry. Two-thirds were American citizens; the rest were aliens ineligible for citizenship due to discriminatory naturalization laws. Under the guise of “military necessity,” persons of Japanese ancestry on the West Coast — including infants, the elderly and the frail — were taken to internment camps located in the most desolate areas of the Western states.

They were never charged with any crime; there was no due process; massive violations of Constitutional rights occurred; incalculable personal suffering and loss was sustained. In 1981 the Commission on Wartime Relocation and Internment of Civilians, a federal commission, determined that the internment was not justified by “military necessity” and the broad historical causes which gave rise to the internment were “race prejudice, war hysteria and a failure of political leadership.”

Since 1978, Japanese American communities across the nation have observed this historic date as a Day of Remembrance through a variety of ceremonies, educational and cultural programs. This year (1998) marks the tenth anniversary of the Civil Liberties Act of 1988, which provided an official governmental apology, individual redress to surviving internees, and a public education fund.

*
http://jazztimes.com/articles/14181-east-meets-left-politics-culture-and-asian-american-jazz

Getatchew Mekuria & The Ex & Guests - Moa Anbessa

2011-05-20T13:46:00.000-07:00

Getatchew Mekuria - tenor saxophone;
The Ex:
Katherina Bornefeld - drums;
Terrie Hessels - guitar;
Andy Moor - guitar;
GW Sok - vocals;

Guests:
Colin McLean - bass;
Xavier Charles - clarinet;
Brodie West - alto saxophone;
Joost Buis - trombone;
Cor Fuhler - organ (# 6,9,10);

*

01. Ethiopia Hagere [06:30]
02. Sethed Seketelat [04:31]
03. Eywat Setenafegagn [05:04]
04. Che Belew Shellela [04:50]
05. Aynamaye Nesh [05:55]
06. Aynoche Terabu / Shemonmwanaye [08:15]
07. Musicawi Silt [04:22.54]
08. Tezeta [04:16]
09. Almaz Yeharerwa [05:35]
10. Tezalegn Yetentu [06:02]
11. Aha Begena [06:30]

Recorded April 03-04 2006.
Tracks 3,5,6,8,11 recorded live on April 08 2006.
Terp Records

*
‘‘A killer combination of sounds - the searing tenor sax of Getatchew Mekuria and the raspy guitars of The Ex brought together here in really unique cross-cultural formation! Mekuria's influence really transforms the sound of The Ex, bringing their anarchic spirit into a strongly Ethiopian mode, one that's further underscored by some great guest horn work on clarinet, alto, and trombone used like the kind of horn sections you'd find on Ethiopian recordings from the 70s, which lets Mekuria really do his thing by soloing over the tunes with a great deal of feeling.’’
Dusty Groove America.

*
Getatchew Mekuria is the most revered veteran of the Ethiopian saxophone. A real giant, both physically and musically. In his seventies, he is still in full voice, with his own, powerfully distinctive style of playing. His huge vibrato, both forceful and fragile, plays around the vocal lines, using typical Ethiopian embellishments. He started playing in 1947 in the Addis Abeba Municipal Band, then in the Haile Selassie 1 Theatre Orchestra and the Police Orchestra. He also backed up all the famous Ethiopian singers. Getatchew Mekuria is the inventor of a musical style called the ‘Shellele’, which originates from an heroic war-chant, translated to the saxophone. When he plays it, he dons a lion’s mane and cuts loose with furious solos that are a kind of free jazz, from before free jazz existed.

The Ex, from Holland, often descibed as an avant-ethno-improv-punk band, toured Ethiopia twice and fell in love with its music. The Ex had their 25th year anniversary party in November 2004 and they invited Getatchew to perform there with the ICP, the Instant Composers Pool, for many decades Holland’s most amazing free-improvising jazz group.

It was his first time traveling outside of Ethiopia but he accepted the ICP as if they were his own band, donned his lion’s mane, the ‘gofere’, and blasted everyone off stage. On the 25-year-Ex-convoy-tour around France, he played with The Ex.

He was so inspired that he suggested to The Ex he should record his next CD with them. He gave them 10 solo saxophone versions of Ethiopian tunes, which they arranged and practiced. Then in April 2006 Getatchew traveled to the Netherlands for some concerts and recording sessions.

The result is unique; Getatchew’s melodies and solos mesh with The Ex’s rhythms, noise and vocals, supported by a guest impro-horn section.

There were some 80 concerts on many Jazz-, Worldmusic- and Rock-festivals and a presentation of the CD in Addis Abeba, where the record also was released on cassette. First pressing 10.000!
*
#7.Musicawi Silt
The Ex and Getatchew Mekuria at Damrosch Park, NYC, August 20th 2008
http://www.youtube.com/watch?v=mPaq2y6Vq3g

#2.Sethed Seketelat
http://www.youtube.com/watch?v=IVivpAnQvnE

Concert au Point Ephémère à Paris le 12 novembre 2008
http://www.youtube.com/watch?v=IvTn-8oNRRg&

#11.Aha Begena live
http://www.youtube.com/watch?v=Jo8Q3x5zZR8&

Rondellus - Sabbatum (A Medieval Tribute To Black Sabbath)

2011-05-20T11:52:00.000-07:00

Veikko Kiiver - organistrum and vocals
Miriam Andersén - Gothic Harp on #7: Magus (The Wizard) and #2: Oculi filioli (Junior's Eyes)
Maria Staak - hurdy-gurdy on #2: Oculi filioli (Junior's Eyes) and organistrum on #4: Symptoma mundi (Symptom of the Universe)
Robert Staak - lute on #12: Architectus urbis caelestis (Spiral Architect) and #10: Planetarum vagatio (Planet Caravan)
Cätlin Jaago - the bagpipe on #11: Via gravis (A Hard Road)
Tuule Kann - psaltery on #10: Planetarum vagatio (Planet Caravan
Marju Riisikamp - positive organ on #8 Solitudo (Solitude)
Tõnu Jõesaar - fiddle on #7: Magus (The Wizard), #5: Post murum somnii (Behind the Wall of Sleep), #2: Oculi filioli (Junior's Eyes) and #3: Funambulus domesticus (A National Acrobat)
Robert Staak - frame drum on #1: Verres militares (War Pigs), #9: Rotae confusionis (Wheels of Confusion), #5: Post murum somnii (Behind the Wall of Sleep), #2: Oculi filioli (Junior's Eyes), #3: Funambulus domesticus (A National Acrobat) and #11: Via gravis (A Hard Road)

*

01. Verres militares (War Pigs) [03:27]
02. Oculi Filioli (Junior's Eyes) [05:33]
03. Funambulus domesticus (A National Acrobat) [06:13]
04. Symptoma Mundi (Symptom of the Universe) [04:44]
05. Post murum somnii (Behind the Wall of Sleep) [05:00]
06. Post aeternitatem (After Forever) [03:42]
07. Magus (The Wizard) [03:51]
08. Solitudo (Solitude) [03:50]
09. Rotae confusionis (Wheels of Confusion) [03:05]
10. Planetarum vagatio (Planet Caravan) [03:57]
11. Via gravis (A Hard Road) [05:20]
12. Architectus urbis caelestis (Spiral Architect) [04:52]

Recorded at the Tallin Merchant Guild (2002)
Beg the Bug Records (2002)
Monsters of rock Records(2003)

*

“Sabbatum” is a tribute album like no other – 12 Black Sabbath classic songs played by early music band Rondellus and sung in Latin language.
Can You imagine what Black Sabbath would have sounded like if Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward would have formed the band in the 14th century? Would “War Pigs” or “The Wizard” have been as powerful if played on medieval instruments like lute, fiddle and harp?

Rondellus are a gathering of 3-5 musicians who hail from Estonia and play music based in the 14th century using only instruments and vocal techniques from that time. Maria Staak is the brains behind this project and did all of the arrangements. So what exactly is this???? Well, this is Black Sabbath songs sung in Latin and played with only ancient instruments. Pretty strange you say? well it is, but is it good? YES........ If you like Black Sabbath then you must hear this. Put this on late at night and just relax and imagine.. Most of the songs you will recognize right away like War Pigs, Solitude, Planet Caravan, as the arrangements are nearly the same as the original. War pigs starts off the CD and is basically all vocals and a drum. Very eerie and cool.. Some songs have a hurdy gurdy, gothic harp, organsitrum, fiddle, and bells. Some of the other songs played are After Forever, Behind the Walls of Sleep, the Wizard, A hard Road, Juniors Eyes, Symptom of the Universe and A Spiral Architect. I think it is pretty amazing stuff and a great project. Congratulations on a success.
Reviewed by Scott Heller (from Aural Innovations #19 (April 2002)

*

The story of Sabbatum
Interview with producer Mihkel Raud.

How did You meet Rondellus?

When I first came to the idea of recording Black Sabbath songs as if they were written and performed during the middle ages, I started to ask around in order to find an early music band that would turn my "crazy idea" into reality. One name kept coming up - Rondellus. So I approached them and explained what I had in mind. It didn't take much time at all to convince them. They are the most open-minded people I have met during my entire life. More open-minded than the majority of rock musicians I have seen. I've been blessed by having the opportunity to work with Rondellus. They are very creative and talented.

How did You come to the idea of recording a "medieval" Black Sabbath album?

I guess for me the whole Sabbatum thing started a very long time ago. I've been a dedicated Black Sabbath maniac for as long as I can remember. My older brother used to listen to them a lot in the seventies. I was a child back then but I can definitely remember I was caught by Sabbath immediately.

I formed my very own Black Sabbath tribute band at the age of 13. I used to sing and play the guitar at the same time. I was kind of Ozzy and Tony Iommi in one person. So in a way "Sabbatum" is an extension of something I started in my early teens. However, this time around I decided to explore a totally different angle in Black Sabbath music.

Which is?

Well, people tend to believe that the main foundation for Black Sabbath were the riffs. Even though I can agree with that to a great extent, I still think it's not 100 % so. Obviously, no-one could imagine Sabbath without Tony Iommi and his killer riffs. And fantastic solos of course. Still, there is so much more in Black Sabbath.

"Sabbatum" is a Black Sabbath cover album that isn't built around riffs only. We have used some of them ( "A National Acrobat" and " Behind the Wall of Sleep" for example) but basically we were focused on melodies and lyrics. And with medieval instruments and arrangements we tried to re-create them in a totally different enviroment. A few tracks on "Sabbatum" are really minimalistic - just a'capella singing and medieval percussion. Others are with full instrumentation.

Why medieval music?

Normally bands would cover classic rock songs in order to make them sound modern, to give them something they belive wasn't possible to achive back when the originals were recorded. We were determined to have it the other way round. We were kind of playing with the idea that our versions were the originals, some unknown songs from the middle-ages that Black Sabbath found and recorded centuries later.

The other goal was to explore connections between rock and early music. In fact they are not as different as many would expect. By taking these Black Sabbath songs back in time we wanted to prove that the word "power" is very often misunderstood. It's not always a massive wall of sound that makes music powerful. There can be a lot of energy in just one person singing.

All songs are sung in Latin on "Sabbatum". Why?

Medieval music sounds more authentic in Latin. I guess this is one of the main stereotypes of early music but we didn't see any substantial reason to have it any other way. Our goal was to keep the whole thing as true to the early music principles as possible

How did You choose songs for "Sabbatum"?

I had my own "wish list" and Rondellus had theirs. By combining the two of them we came to a collection of songs that in my opinion represents Black Sabbath at their very best. Unfortunately, there are so many great songs we just couldn't do this time. Some of them didn't work with medieval arrangements and some had lyrics which might have been misunderstood.

I was sure of not having "Paranoid" or "Iron Man" on the album. Both of them are brilliant but it's so predictable to have these titles on a Black Sabbath tribute album. We wanted to include some of these "under-rated" songs as well. I'm not sure if I have heard a cover of "Junior's Eyes" before. I have now and to my biggest surprise it turned out to be one of the key songs on "Sabbatum".

You mentioned lyrical content as the reason for not covering some of the Black Sabbath songs. Could You be more specific?

Well, I would be lying if I said that the issue of widely misunderstood image of Black Sabbath didn't come up. Most of the musicians involved in "Sabbatum" are religious. Unfortunaltely, the misconstruction of Black Sabbath being the founders of "dark" and "satanic" rock music is massive. I have no idea where it came from. Just look at the lyrics - there is nothing whatsoever "satanic" in them. Sabbath used black magic only as a reference, their darker lyrics were in fact warnings against Satanism.

Like I said, Rondellus is a group of very open-minded people and they didn't have a problem with Black Sabbath lyrics or music. Still I felt that asking them to sing "my name is Lucifer, please take my hand" would have been too much. Regardless of what the true meaning of these lines was.

I'm convinced that "Sabbatum" is an album of love and faith. It has been a privilege to be a part of such a project. Working on my all time favourite songs was a dream come true. Rondellus is by far the most intelligent and talented band I've ever had the pleasure to work with.
http://www.sabbatum.com/story

Prewiew:
#12:
http://www.youtube.com/watch?v=pjjm_46mF3s&
#10
http://www.youtube.com/watch?v=uz0tYD_vVIo&
#1:
http://www.youtube.com/watch?v=AX2y51ixsu8

George Mraz - Morava

2011-01-31T09:38:00.000-08:00

George Mraz - bass;
Emil Viklicky - piano;
Zuzana Lapcikova - vocals, cymbalom;
Billy Hart - drums;

*

01. Aspen Leaf (Na Osicce) [05:48]
02. Oh, Mountain (Ej, hora, hora) [04:42]
03. Gray Pigeon (Videla jsem meho holubka siveho) [04:51
04. Up in a Fir Tree (Na kosatej jedli) [03:45]
05. Myjava [06:17]
06. She Walks in a Meadow (Chodila po roli) [04:55]
07. Little Black Swallow (Lastovenka, cerny ptak) [02:46]
08. Desire (Touha) [04:54]
09. Wine, Oh Wine (Vink, Vinko) [06:37]
10. Gray Falcon (Zalet sokol, sivy ptak) [02:05]
11. The Sun Goes Down (Slunecko sa nizi) [06:17]
12. Jurenko, Jurenko [03:51]

Recorded at The Studio, NYC on June 09-11,2000

**
Although George Mraz is listed as the leader here, the session really belongs to pianist-arranger Emil Viklicky and vocalist-cymbalomist Zuzana Lapcikova. These are songs based on or inspired by Moravian (eastern Czech) folk music. But this music is given a definite jazz spin by Viklicky's outstanding arrangements and the solid rhythm section of Mraz and drummer Billy Hart.
Lapcikova has a beautiful, somewhat plaintive voice that sounds like it would also do well with more traditional settings of this music. Here she's backed by an empathetic jazz trio, and it works. This reminds me a lot of John Taylor and Norma Winstone's Azimuth project, maybe with Miroslav Vitous subbing for Kenny Wheeler. Viklicky is an accomplished pianist, handling a range of material from sensitive ballads to up-tempo swingers, although the average tempo seems to be somewhere around medium to medium-slow. The occasional appearances by Lepcikova's cymbalom add a strange and interesting tinge to a familiar sound-world. There aren't any real avant-garde elements here, but the combination of ingredients adds up to an unusual and delightful CD. - Joe Grossman

*

In the 20th century, jazz artists were influenced by a wide variety of world music everything from Brazilian samba (Stan Getz) to Middle Eastern and Indian music (John Coltrane, Yusef Lateef) to Swedish folk (Jan Johansson). Jazz/world fusion still offers endless possibilities; regrettably, too many of hard bop's unimaginative "Young Lions" are too busy playing the same old Tin Pan Alley standards the same old way to try anything new. But if you're seeking something fresh from jazz, George Mraz's Morava is well worth exploring. Recorded in 2000, this gem finds the Czech bassist successfully combining jazz with traditional Moravian folk. Some of the songs are instrumental, but most of them feature Czech singer Zuzana Lapcíková -- a soulful, charming artist who is also known for playing the cymbalom (a dulcimer that is used in Eastern Europe). All of the lyrics are in Czech, although Milestone/Fantasy provides English translations. It isn't every day that you hear Czech lyrics and jazz rhythms at the same time, but the two prove to be quite compatible. Morava isn't the first example of a jazz artist looking to Eastern Europe for inspiration Swedish pianist Jan Johansson recorded an album of Russian folk songs (Jazz in Russian), and in 1999, Helen Merrill incorporated Croatian elements on Ana Jelena Milcetic, aka Helen Merrill (which employed Mraz on double bass). But even so, it's safe to say that post-bop/Moravian fusion isn't something that the jazz world has been inundated with. Consistently risk-taking and exploratory, Morava is among Mraz's finest accomplishments. ~ Alex Henderson, All Music Guide

*

George Mraz's "Morava" is an ambitious project which yielded gorgeous results. A native of Czechoslovakia, and one of jazz's great bassists, he decided to meld the folk music of his native land (Moravia) with the jazz music of his adopted country (the U.S).

Some musical experiments succeed, while others fail, but "Morava" is definitely in the former category. This is just a gorgeous album, full of beautiful tunes, wondrous playing, and the ethereal vocals of Zuzana Lapcíková.

Mraz's bass playing is a marvel. It is muscular, yet sensuous and delicate and wondrously melodic at the same time. He is one of those gifted musicians who just seems to exude musical perfection, always hitting exactly the right note with exactly the right phrasing.

The other musicians (Billy Hart on drums, Emil Viklicky on piano and Lapcikova occasionally on cymbalom) perform beautifully as well. To say that they are all on the same page is an understatement. The interplay is positively telepathic. Though on the quiet side, the music is propulsive and consistently engaging. Your foot will be tapping while your ears drink in the melodies.

I wish I could compare this album to something else, but nothing really comes to mind because it is fairly unique. The vocals might appeal to fans of Astrud Gilberto, Flora Purim, and even Joni Mitchell. The music should appeal to jazz-heads, bass players, and anyone with an appreciation of beauty.
By Paul J. Escamilla "sentient being" (NYC) http://www.amazon.com/Morava-George-Mraz/dp/B00005A8A5

Emil Viklický - Zuzana Lapciková - Jiri Pavlica - Prsí dést [Fast Falls The Rain]

2011-01-29T11:31:00.000-08:00

Emil Viklicky - piano;
Zuzana Lapcikova - dulcimer, vocals;
Jiri Pavlica - violin, hurdy-gurdy, tromba marina, Jew's harp, vocals;

additional musicians on tracks 2, 5, 8-10,13, 15:
Frantisek Uhlir - double bass;
Josef Vejvoda - drums;

*

01. Prolog [01:45]
02. Prsí dést [04:58]
03. Grumla [04:34]
04. Kvítí milodejné [04:04]
05. Sibenicky [03:41]
06. Bazalicka [04:40]
07. Bylo lásky [03:59]
08. Kone moje vrané [03:47]
09. Ked sa Janko na vojnu bral [06:17]
10. Mal som 7 penazí [02:07]
11. Na horách, na dolách [04:18]
12. Dyby ne tak bylo [03:57]
13. Masíruju na Francúza [03:00]
14. Touha [04:51]
15. Epilog [03:50]

Recorded at Demovina Studio, Prague on April 1994
Lotos LT 0014-2 531

*
“…When most American jazz buffs think of the Czech Republic, they probably think of bassists George Mraz and Miroslav Vitous or keyboardist Jan Hammer. However, Europeans knowledgeable about the same topic probably think of Emil Vicklický, the acknowledged "Patriarch of Czech Jazz Piano." Known for combining the melodism and tonalities of Moravian folk music with modern jazz harmonies and classical orchestration in a distinctly individual style, Vicklický grew up in the former Czechoslovakia, where his father was a university art professor. He graduated in 1971 from Palacky University with a degree in mathematics, and applied to graduate school with a view to becoming a professor himself. His first postgraduate lesson was also his last: learning that in communist Czechoslovakia circa early 1970s, political correctness was more important than academic merit, convincing him to pursue a musical career instead.

In 1974 he was awarded the prize for best soloist at the Czechoslovak Amateur Jazz Festival, and in 1976 he was a prizewinner at the jazz improvisation competition in Lyon. His composition "Green Satin" earned him first prize in the music conservatory competition in Monaco, and in 1977 he was awarded a one-year scholarship to study composition and arrangement at Berklee College of Music in Boston.

Since returning to Prague, he has led a variety of quartets and quintets and lectured at summer jazz workshops in both the Czech Republic and Wales. From 1991 to 1995, Vicklický served as president of the Czech Jazz Society, and since 1994 he has worked with the Ad lib Moravia ensemble, which had a highly successful concert tour of Mexico and the United States in 1996. Vicklický often performs in international ensembles with American and European musicians, including the Lou Blackburn International Quartet and the Benny Bailey Quintet. He has made frequent appearances in Finland with the Finnczech Quartet and in Norway with the Czech-Norwegian Big Band, and he has performed throughout Europe as well as in Japan and Israel. The editor of Rolling Stone magazine once wrote of Vicklický that, "it was a delightful surprise to see such first-class, top-of-the-line jazz in Prague."…
...
AAJ: You're known for combining Moravian folk music and jazz. I'm curious, given that your audience tonight will be primarily Czech-Americans, will you do anything different than you might if you were, say, just playing at some jazz club in New York or Chicago?

EV: No, I don't think so. That is my trademark, and the only thing that might be different tonight is that the audience might be even more responsive, and they may know some of the folk songs I use. On the other hand, I've reharmonized, even changed them rhythmically pretty far from the original, and they might not recognize them. Something I do in the Czech Republic which has been commercially successful is touring with Zuzana Lapcikova, a folk singer who is educated in ethnography. She's a very good singer; she dresses in the traditional folk garb, gives some background, and she sings the melody in its original form. And then we take it on and gradually change it into something, and then we gradually bring it back…
by Victor Verney (allaboutjazz)
Full interview:
(http://www.allaboutjazz.com/php/article.php?id=23450&pg=6&page=1)

Kocani Orkestar meets Paolo Fresu & Antonello Salis "Live"

2010-10-27T00:24:00.000-07:00

Paolo Fresu - trumpet, flugelhorn;
Antonello Salis - piano, accordion;
Furio Di Castri - bass
&
Kocani Orkestar:
Durak Demirov - saxophone,
Turan Gaberov - trumpet,
Sukri Kadriev - trumpet,
Nijazi Alimov - bariton tuba,
Saban Jasarov - tapan,
Suad Asanov - bass tuba,
Dedzai Durmisev - bariton tuba,
Sukri Zejnelov bariton tuba,
Dzeladin Demirov - clarinet,vocals,
Ajnur Azizov - vocals.

*

01. Notti a Mogadiscio [06:15]
02. Gajda [08:20]
03. ...Del Viaggio [06:13]
04. Papigo [08:32]
05. Variazioni Sul Ballo [06:53]
06. Jacquelina [07:19]
07. Siki Siki Baba [08:22]
08. Good By Macedonia [09:09]
09. Red Bull [07:01]

#1,3,5,7,9 Recorded live in Ravenna, on February 25, 2004.
#2,4 Recorded live in Foligno on February 29, 2004.
#6,7 Recorded live in Roma on March 01, 2004.

*

This one leaps out to the edge, with the inimitable Balkan brass band joined by two Italian jazz experimenters for a raucous, surprising and completely unexpected set of musical adventures. 60 minures of great music from various live performances during late February and early March of 2004

Video:
Kocani Orkestar arrive in Sardinia to play at Time in Jazz Festival 2007:
http://www.youtube.com/watch?v=mOBZmbpPF9A
Time in Jazz 2007:
http://www.youtube.com/watch?v=GekDxra3qTI

Photo gallery:
http://www.insiemegroane.it/root/eventi/SchedaEvento.asp?idEvento=3914

Olo Walicki - Kaszëbë

2010-09-11T12:08:00.000-07:00

Olo Walicki - double bass, guitar, keyboard,
Piotr Pawlak - guitar,
Kuba Staruszkiewicz - drums, timpani,
Cezary Paciorek - accordion, Hammond organ;
Damroka Kwidzinska - recitation,
Maria Namyslowska - vocal,
Karolina Amirian - vocal,
voice of Roza Ostrowska in #6
(from radio broadcast recorded at Radio Gdansk on December 31, 1972)

*

01. Wanoznice [04:08]
02. Czas Ca goni [06:18]
03. Wiedno Te [07:07]
04. Zemia Mojo [06:43]
05. Przechodom do Ce [06:44]
06. Te Dwa [06:12]
07. Tatczezna [05:46]
08. Bro [02:57]

All Kashubian lyrics by Damroka Kwidzinska
Recorded in Wdzydze Kiszewskie, autumn 2006

*
Olo Walicki (Olgierd Walicki) - double bass player and bass guitarist, born on 21 December 1974 in Gdansk.
In 1989 Olo Walicki together with the clarinet player Jerzy Mazzoll founded his first band Niebieski Lotnik. In the 90's he was a co-author of the yass scene. He performed with Miłość, Maciej Sikała Trio, Chamber Meeting, Mikołaj Trzaska Quartet and with Łoskot. He worked with outstanding musicians: Zbigniew Namysłowski, Jan "Ptaszyn" Wróblewski, Zbigniew Preisner, Adam Pierończyk, Brandon Furman, Frank Calberg, Greg Tardy and a vocalist Christine Correa. He cooperated with the Muniek Staszczyk Band, Szwagierkolaska, and with such groups as: Oczi Cziorne, Chili My, Agape. He performed in duo with the vocalist Mika Urbaniak and in trio Euro Commissars with Finnish guitarist Kall Kallima and German percussion player Maurice de Martin. In 2003 he started working with Polish writer Ingmar Villqist. He composed music for theater "Sprawa Miasta Ellmit" (2003) and "Helmucik" (2004) and for the performance "Oskar and Ruth" (2006) in Katakomben Theaters in Essen.

Together with Leszek Możdżer, Maurice de Martin and The Gdańsk Philharmonic Brass Quartet created a project "Metalla Pretiosa", which premiere took place in 2003 at the 45th Festival "Jazz Jamboree" in Warsaw. He is an author of the project Olo Walicki Kaszëbë (Damroka Kwidzińska - vocal, Maria Namysłowska - vocal, Piotr Pawlak - guitar, Olo Walicki - double bass, Cezary Konrad - percussion), - a mix of jazz with traditional music from the region of Kaszuby. The project was presented in 2005 at 26. Folk Festival of the European Radio Union. Since 2000 he has been running his own record label Olo Walicki Production.

*
Recently it has been talked a lot about the record Kaszebe by Olo Walicki, which got excellent reviews in the music circles. In one of them, published in Tygodnik Powszechny, Janusz Jablonski wrote that Kaszebe "is based on brave jazz and contemporary Kashubian poetry. Olo Walicki's septet consists of Damroka Kwidzinska - poetess, who wrote all the lyrics and recited some of them, Karolina Amirian and Maria Namyslowska, who sing the rest, Cezary Paciorek playing accordion and Hammond organ, guitar player Piotr Pawlak, drummer Kuba Staruszkiewicz (Pink Freud) and the leader, playing contrabass, acousting guitar and keyboards. Just for the arrangement of voices, Walicki deserves an award. A duo of the light, girlish voice of Karolina Armiran and the misty, full ofharmonical subtleties alto of Maria Namyslowska makes an immense impression from the first until the last not (...) Personal lyrics by Kwidzinska strongly place the music in its local context.
Thanks to them, the listener is convinced s/he is listening to an important work, and that it was created in purpose (...). For a long time I have not heard such a moving music. I have been listening »Kaszebe« since two weeks, and after having played it a few dozen times, I still have not enough".

*

http://www.olowalicki.com/mp3.php?id=11

#1 "Wanoznice"
http://www.youtube.com/watch?v=5gPX7Y2OkK4
#5 "Przechodom do Ce "
http://www.youtube.com/watch#!v=GsaFItjXIXk

The Kashubs Today (in English):
http://www.instytutkaszubski.pl/pdfy/angielski.pdf

Veronika Povilioniene & Petras Vysniauskas - Islek, sakale [Fly, Falcon, Fly]

2010-06-08T14:17:00.001-07:00

Petras Vysniauskas - soprano saxophone
Veronika Povilioniene - vocal

*

01. Islek, sakale... (Fly, Falcon...) [06:14]
02. Bliuzas (Blues) [03:56]
03. Vai tu dziemed... (Oh, You Wormwood...) [02:45]
04. Sutartine [04:24]
05. Eik, ozeli (Go, Little Goat...) [05:22]
06. Lek gervele (A Crane Is Flying...) [03:14]
07. Kad jau saulute (Cause The Sun...) [04:44]
08. Sutems tamsi (Dark Night Is Coming...) [06:38]
09. Sutartine (Lament) [03:50]
10. Rauda [01:43]
11. Ein motuse (Mother Is Going...) [03:07]

Recorded in Vilnius, Lithuania in 1992.

*
Veronika Povilionienė, the most famous performer of Lithuanian folk songs, has become a symbol of national culture. Originally from Dzūkija, the singer has inherited the tradition from the old singers of this region. Veronika Povilionienė's voice is strong and evocative; it reveals, with expression, the extraordinary beauty of the Dzūkian monodic songs, their modes and melodic turns. Apart from abundant solo performances and recordings, the singer frequently gives concerts with the folk ensemble Blezdinga and the ensemble of Indian classical music Lyla. The singer is also famous for her collaborations with jazz musicians and contemporary classical composers (saxophonist Petras Vyšniauskas, composers Vidmantas Bartulis and Bronius Kutavičius), other renowned artists, poets and film directors. One of her most notable recent projects is the program of historic and war songs Kada sūneliai sugrįš (When Our Sons Come Back), arranged by the composer Giedrius Svilainis and recorded with the Lithuanian Armed Forces’ Honour Guard Band.

*
"Soprano saxophonist Petras Vysniauskas, a Lithuanian, is I believe one of the most profoundly original musicians concentrating on that instrument -- his jagged phrases expanded on determinedly original intervals and his sound is powerful -- stronger and more pointed than Sam River's has become, for instance, more densely concentrated than the late Steve Lacy's, if not polyphonic in the manner of Evan Parker." - Howard Mandel, NYC, USA, 2007

"... Petras Vysniauskas is one of the best soprano saxists we've heard in many years ... " - Bruce Gallanter, Downtown Music Gallery, NYC, 2006

"Something of the rugged beauty of the Lithuanian countryside and the passion of many of his fellow countrymen has been breathed into his music. For me Petras Vysniauskas' music remains unforgettable because of his clear, individual concept. The use of themes from traditional folk music is one facet of this saxophonist, who reflects both the modern development in jazz and the sound idioms of the new and latest improvised and composed music. However, as he himself says, his feeling for folk music is part of his musical identity. And he adds: "In Lithuanian folk songs I hear echoes of John Coltrane; I try to combine this with the free form of expression offered by modern jazz". (Bert Noglik/1990)

Enver Izmailov & Geoff Warren - Dancing over the Moon

2010-05-14T00:33:00.000-07:00

Enver Izmailov - electric guitars;
Geoff Warren - flute & soprano saxophone;

01. Terrain turquoise [03:36]
02. Touch Down at Falconara [02:23]
03. Ancona danza [08:45]
04. Among the Hops [04:15]
05. Near the Grapes [03:55]
06. Boina [09:10]
07. Dolu [03:25]
08. Lonely Dancer [06:49]
09. Enver's Mood #2 [03:08]
10. Departure [06:38]
11. White Minarets [03:43]

Recorded live at Loft Hinkelstein, Essen, Germany on June 19 & 20, 1995.
Tutu Records

*
Enver Izmailov is an unique musician who invented "tapping" - a highly original technique of the electric guitar playing (he plays guitar with his both hands on the neck as if it were a keyboard) - knowing nothing about Stanley Jordan who invented the same in US at the same time. His music is a combination of many elements - jazz, Mediterranean and oriental folklore, classical harmony and astonishing virtuosity.

http://www.jazz.ru/eng/pages/izmailov/
*
Enver Izmailov:
live 2006 part1
http://www.youtube.com/watch?v=rNxxfCKwgm8
3556
live 2006 part2
http://www.youtube.com/watch?v=7Jy6e3z1Bks
5816

http://www.youtube.com/watch?v=8bHc_ps9HCU
http://www.youtube.com/watch?v=uXFjYorR4Tw
*
Geoff Warren:
Donna Lee
http://www.youtube.com/watch?v=2nlAOG7PIYo
Oleo
http://www.youtube.com/watch?v=4WCVb3S78-g&

Michal Czachowski - Indialucia

2010-03-28T08:47:00.000-07:00

Michal Czachowski - flamenco guitars, palmas, tanpura, kanjira, shakers, palo de agua, swarmandal, djembe, cajón, gong, voice, arrangements;
Avaneendra Sheolikar - sitar
Sandesh Popatkar - tabla
Pierluca Pineroli - cajón, tabla, sabar, caxixi, triangle, konnakol, choirs
Prasad Khaapadre - vocal;
Domingo Patricio - flute;
Giridhar Udupa - ghatam, morsing, konnako;
Maria Pomianowska - sarangi;
Carlos Troya - zapateado, jaleo;
Sagar Jarel - dholak;
Yrvis Mendez - fretless bass guitar;
Tomasz Pala - piano;
Adam Glosnicki - bass guitar;
Ireneusz Wyrobek - palmas;
Barbara Czachowska- choirs;
*
string quartet [members of "Aukso" Chamber Orchestra]:
Marta Huget-Skiba - violin;
Natalia Walawska - violin;
Anna Grzybala - viola;
Aleksandra Steczek -cello;

01. Raag & Olé (Rumba) [05:22]
02. Nagpur (Sevillanas/Dhun) [04:08]
03. Herencia hindú (Soleá por Bulerías) [06:42]
04. Taliquete (Jaleo) [03:26]
05. Mohabbat ka khazana (Tangos/Qawwali) [05:16]
06. Gujari todi (Raga) [08:05]
07. Kyabathe (Bulerías) [06:37]
08. Indialucía (Intro) [02:15]
09. Indialucía (Zambra) [05:15]
10. Amanecer (Martinete) [02:53]

Recorded in India & Spain 1999-2004

Indialucia
This musical project combines two musical styles – Classical Indian Music and the Flamenco. The original concept is from producer / musician – Michal Czachowski himself. The result of his work is an album which shows how much Flamenco and its “distant roots” - Indian Music have in common.

**

Miguel Czachowski
Flamenco guitarist, composer, architect. Born in 1974 into a family of flamenco lovers where he was raised in a flamenco music environment. At the age of 12 he began learning to play the guitar. After his initial studies he took master classes from professional flamenco players such as Rafael Cortés, Salva del Real and Gerardo Núñez, which solidified his complete dedication to flamenco. In 1992, he formed a flamenco group gradually enlarging the numbers of the artists from a duo to septet. His group "Viva Flamenco!" plays both traditional and contemporary flamenco mixed with influences of Indian and Jazz music. Performing both as a solo artist and also with his musical group, Miguel has won first prizes in many folk festivals and is now the leading flamenco player in his country. He has performed and recorded with many great artists and groups and he concretised all over Poland as well as abroad (Austria, Germany, Italy, France, England, Belgium, Holland, Slovakia, Czech Republic, Hungary, Belarus, Oman and India). For several years he has been teaching flamenco guitar, and writing articles and interviews, promoting the art of flamenco music in magazines as "Flamenco International Magazine", "Jazz Forum" and "Swiat Gitary". In 1998, after a performance in Italy, he was invited to India to teach flamenco guitar at the Academy of Music and Fine Arts in Nagpur. There he started studying Indian music, learning to play the sitar under the guidance of Avaneendra Sheolikar. His fascination for flamenco and Indian music inspired him to go back to the roots of the Gypsy music and record CD titled Indialucia.

Indialucia is a musical project, which fuses two fascinating styles of music: Indian and Flamenco music. The album expresses both the human and musical fusion of these cultures, which could have had a common ancestor. Improvisation and rhythm are the common elements in both styles and are essential to the continued existence of this music. The recordings were made between 1999 and 2004 mostly in India and Spain. Many great artists from the two continents performed. This album is the result of the years of work, which for the first time demonstrates the common elements of flamenco and its Indian roots fused into one art form.
The album was distinguished with the 1st prize "Best Album of the Year 2005" Wirtualne Gesle and 2nd music critics' prize at the New Tradition competition for the "Folk Phonogram of 2005" award.
http://www.cremm.com/indialucia

*

Michal Czachowski
Born in 1974, Michal grew up under the influence of flamenco music. When he was twelve, he started to learn the guitar. In 1992, he founded a music group “Viva Flamenco”, which won already some musical awards.
In 1998, after the performance at the international festival in Italy, he accepted an invitation to go to the Musical Academy in Nagpur, India. There he worked as the guitar teacher and at the same time he learned to play an Indian musical instrument - sitar.
He composed a lot of music for telvesion and radio programs, performed in India and many European countries. We too were fortunate to witness his performance at the concert in Borotin in 2004.

I have got this CD as a present during the Adi Shakti seminar in Poland. It is one of the most incredible CDs I have ever heard. The synthesis of the flamenco guitar and sitar in conjunction with the other Indian musical instruments is unbelievable. I picked up the phone and called Michal. The Sahaja Yogis already knew him from the performance at the Borotin Festival 2004, where he fascinated the audience with his guitar mastery. Afterwards, via e-mail, Michal answered a few of my questions.
Interview with Michal Czachowski here...
http://blog.sahajayogaradio.org/2009/01/michal-czachowski-indialucia.html

*
http://www.indialucia.com/
*
http://www.youtube.com/watch?v=BOqgg8IVdKc

Ti Jaz - Ti Jazz en concert: Musiques Bretonne Aujourd'hui

2010-03-07T04:47:00.000-08:00

Olivier Mell - bombards;
Richard Dilly - electric bass;
Olivier Le Gallo - drums;
Camille Ollivier - alto & soprano saxophone, bombard;
Bruno Brochet - tenor saxophone;
Didier Queron - tenor & baritone saxes;
Eric Richard - accordion;
With:
Vincent Bucher - harmonica.
Recorded in Paris on February 19,20 & 21, 1993.

*

01. Les filles de Lannion [05:28]
02. Suite de gavottes (rotavator 1) [04:40]
03. Concept [01:56]
04. Rotavator 2, le retour [06:53]
05. An daou vreur [03:48]
06. Terre battue [08:49]
07. Bamenjou [05:25]
08. Suites plin (ton simple) [03:35]
09. bal [02:10]
10. ton double [03:15]
11. Loudia [07:21]
12. Kost'er hoed [05:32]
13. Tricot [03:08]

*
"C’est le groupe mythique du jazz celtique de l’Ile de France ... 1982, date de naissance du groupe et pendant 20 ans, ils se sont produits dans de nombreux pays. Quelle notoriété ! Pendant 20 ans, ils ont fait le bonheur des passionnés de musiques celtiques adaptées à notre époque, et des danseurs dans les bals folk car c’est aussi très dansant ...
Répertoire musical : un mélange de swing, jazz, funk aux airs traditionnels ; des mélodies du Trégor ou de Spézet et le rythm’n blues ... . quelle originalité et qualité musicales !" (http://danseseniledefolk.free.fr/article.php3?id_article=116)

"While there are bands in abundance resurrecting the folk traditions of Brittany, there are only a handful that are expandiing those traditions. Ti jaz is one of them. Starting with a band of bass, drums and accordion, they have added the instruments of jazz: saxophones, and the instrument of ancient France: the bombarde, a raspy, woodwind with a bagpipe-like sound. So, too, have they melded these musical elements, the melodies and ideas of early French music with the improvisation of free jazz and the gut of rock. They pay hommage to the "ideal jazz" bands of 1940s and players like Yves Menez, who used horns, fiddle, accordion and banjo to create a new French folk music. In that same spirit, Ti Jaz sprawl across the musical landscape, one minute a dark dirge on bombarde, the next firing off a slap bass and drum riff that would settle in nicely at The Knitting Factory. The eight instrumental works on Rêves Sauvages are sometimes chaotic, often lyrical and always challenging. They achieve power without electricity, a power intrinsic in the instruments and the source material." (http://www.rootsworld.com/rw/feature/france.html)

samples:

http://www.musictrad.org/bottin/sons/tijaz_a1.ram
http://www.gimini-music.com/cdsearch/tijaz2.htm

Olivier Mell:
http://www.myspace.com/oliviermell

Bronislaw Duzy & Jorgos Skolias - Do It

2010-03-01T14:42:00.000-08:00

Bronislaw Duży -trombone;
Jorgos Skolias -vocals, percussion;
*
01. Afryka [06:00]
02. Piec napiec [05:07]
03. Kolo [06:08]
04. Bluesdla [07:06]
05. Imena [04:55]
06. Zolo [03:34]
07. Foxy Lady [03:43]
08. Zeimbekiko [06:19]
09. Pentagon [05:52]

Recorded on November & December 1997
excerpt # No 7.
Recorded in Saloniki, Greece on February 27, 1997 & March 06, 1997
CD Sound CDSCD 110

*

Skolias / Duzy -Zeimbekiko
http://www.youtube.com/watch?v=xlcfgwh5pSM

Skolias / Duzy - Foxy Lady
http://www.youtube.com/watch?v=qiFocfEhT6A

*
About musicians

in English:

JORGOS SKOLIAS – vocalist, composer

His parents were Greek political refugees. He grew up in a cosmopolitan and culturally diverse young environment. He took part in events organised by the Greek minority, becoming involved not only in Greek music, but also trying rock and blues. He remembers his youth in Zgorzelec as being extremely inspiring.
In the 1970s he became involved with Wroclaw’s very active and exciting rock and blues scene, working with the bands Nurt, Grupa 1111 and Spisek Szesciu.
His own professional career began in 1982, when he joined the jazz rock formation “KRZAK”, soon attracting the interest of a number of searching, innovative musicians, from whom he received offers of live concert work and recording opportunities. He spent over a year with the band Osjan. Between 1988 and 1991 he was the vocalist with Young Power, a group of young, unorthodox artists that demonstrated an important and innovative approach to jazz.
His work with Radosław Nowakowski (the percussionist in Osjan), the bands Tie Break, Pick Up, Free Cooperation, and Tomasz Stańko, Zbigniew Namysłowski, Terje Rypdal, Nikos Touliatos and Bronisław Duży led him to experiment with new visions of music.
He has taken part in several recordings of music for theatre and film.
Jorgos Skolias is a musician seeking not only his own individual formula for the use of the human voice in music, but also inspiration, whether from blues, jazz, rock, or ethnic music, whether that of Greece, Africa or India. He studies ancient forms of vocal techniques, which has enabled him to master the technique of harmonic singing (taking three parts at once).
(http://www.wiener-krakauer.at/wk/?p=783).

BRONISLAW DUZY - trombone.

During his career he had an opportunity to participate in many jazz, blues and rock festivals such as: Jazz Jamboree, Jazz nad Odra, Jarocin, Jazz Juniors, Solo Duo Trio, Rawa Blues and other festivals in Austria, Belgium, Norway, Russia, Germany, U.S.A. and Canada.

His CD "Do it" is the result of cooperation with Bronisław Duży with whom Skolias has been working since 1993.This music is a synthesis of different kinds of music genders where inspirations of folk and a varieties of rhythms and tones play a key role. In his music one can find the mood of blues, the expression of soul and a ballad narration. They all are supported by the rhythmic pulsation of trombone."

&
in Italian:

Jorgos Skolias e Bronislaw Duzy: voce e trombone

Lo stile del complesso è dato dalla sintesi di diversi generi: ispirazione dal folklore, il clima del blues, la narrazione della ballata, l’espressività vocale del soul.

JORGOS SKOLIAS
Il cantante polacco più originale, noto per la sua tecnica di canto multivocale. Negli anni ‘80 ha lavorato col complesso Krzak, e coi gruppi Tie Break, Basspace, Free Cooperation, Green Revolution, Ossian, Young Power, Pick up. Con Radoslaw Nowakowski ha inciso il disco Zulu. Ha partecipato a tutti i festival jazz polacchi e ai festival in Belgio, Svezia, Germania, Russia, Norvegia, Grecia.

BRONISLAW DUZY
Diplomato all’Accademia di Musica di Katowice, dove attualmente insegna. Arrangiatore e compositore, dal 1987 è in testa alla classifica “Jazz Top” della rivista “Jazz Forum” (categoria del trombone). Ha collaborato coi complessi Sesja 80, Free Cooperation, Pick up, Twinkle Brothers, Irek Dudek – Blues Band and Symphonic Blues, Young Power, Priest and Big Cork. Ha preso parte ai festival jazz in Polonia e a Stoccolma, Oslo, Riga, Novosibirsk, Mosca, Budapest, Praga, Monaco, Berlino, Munster, Nancy, Graz, Vienna, Lussemburgo.

Jazz Meets Asia

2010-01-06T13:32:00.000-08:00

1-4: Hideo Shibaki Quintet feat. Terumasa Hino & Three Koto Girls
01. Yosakoi-Bushi [04:07]
02. Yamanaka-Bushi [06:48]
03. Matsuri No Genzo [06:15]
04. Suwa [06:13]

5-6: Irene Schweizer Trio & Dewan Motihar Trio with Barney Wilen & Manfred Schoof
05. Sun Love [17:44]
06. Yaad [05:19]

7-11: Tony Scott & The Indonesian All Stars
07. Djanger Bali [06:03]
08. Gambang Sulling [07:11]
09. Ilir Ilir [04:00]
10. Burungkaka Tua [05:20]
11. Summertime [08:13]

*
Musicians:

1-4:
Hideo Shiraki - drums
Terumasa Hino - trumpet
Takeru Muraoka - tenor & soprano saxophone, flute
Yuzuru Sera - piano
Hachiro Kurita - bass
Kinuko Shirane - koto
Keiko Nosaka - koto
Sachiko Miyamoto - bass koto

Recorded November 1, 1965 in Berlin;
Original released on "Sakura Sakura" MPS Records 15.064

5-6:
Dewan Motihar - sitar, vocals
Keshav Sathe - tablas
Kusm Thakur - tambura
Irene Schweizer - piano
Uli Trepte - bass
Mani Neumeier - drums
Manfred Schoof - cornet, trumpet
Barney Wilen - soprano & tenor saxophone

Recorded October 23, 1967;
Original released on "Jazz Meets India" MPS Records 15.142

7-11:
Tony Scott - clarinet
Bubi Chen - piano, siter, ketjapi
Jack Lesmana - guitar
Marjono - tenor saxophone, flute, vocals
Yopi Chen - bass
Benny Mustafa - drums

Recorded October 27&28, 1967 at SABA Recording Studio, Villingen;
Original released on "Djanger Bali" MPS Records 15.145

Jon Jang Sextet "Two Flowers on a Stem"

2009-12-07T14:46:00.001-08:00

Jon Jang - piano
David Murray - tenor saxophone, bass clarinet
James Newton - flute
Santi Debriano - bass, daluo (Chinese large gong)
Billy Hart - drums
Chen Jiebing - erhu

*

01. Two Flowers On A Stem [04:12]
02. Meditations On Integration [18:21]
03. Eleanor Bumpurs [05:22]
04. The Procession/Woman Shaman Of Alishan [11:19]
05. Variation On A Sorrow Song Of Mengjiang Nu [15:56]
06. Butterfly Lovers Song [07:09]

Recorded in NYC on June 08, 09 & 11, 1995
Soul Note 121253-2, 1996.

*
http://www.jonjang.com/
http://www.furious.com/perfect/asianimprov.html

**
Pianist/composer Jon Jang has long created music that combines advanced jazz with aspects of his Chinese heritage. For this superb disc of inside/outside music, Jang utilizes a sextet also featuring the remarkable flutist James Newton, David Murray on tenor and bass clarinet, bassist Santi Debriano, drummer Billy Hart, and Chen Jiebing on a haunting cello-like instrument called the erhu. Strong passionate melodies give way to straight-ahead jamming, free sections, and other themes. As with Charles Mingus (one of his influences), Jang's pieces are sometimes quite political, and his music often unfolds like an episodic suite. Performing Mingus' "Meditations on Integration," four Jang originals, and "Butterfly Lovers Song," the sextet's many colorful voices somehow blend together as one in service to the consistently powerful music. This highly recommended set deserves and rewards repeated listenings.(Review by Scott Yanow)
**

The story of the making of "Two Flowers on a Stem":
On a warm evening in April,1994. I had return to my home in San Francisco from Berkeley where I spent another long and exhausting day of rehearsal for the dramatic adaption of Maxine Hong Kingston’s book,"The Woman Warrior" which was to be premiered at the Berkeley Repertory Theatre. I was in the final stage of refining the score for "The Woman Warrior." I was not content with the score because it contained too many Chinese traditional folk songs. I wanted more of my music. Like a filmmaker who temporarily selects pre-existing source music during pre-production period before the composer becomes part of the process, the idea was for me to use pre-existing music to give the director a sense of the musical feeling and then later replace the pre-existing source music with my original music. However, the director became very attached to the pre-existing music, particularly "Kang Ding Love Song" which was used during a romantic scene of two young lovers.

Beginning with the first three pitches (3-5-6) of The "Kang Ding Love Song" as a point of departure, another melody began to "blossom" in me like a new petal from the same stem and I began to compose a new melody. Somewhere in the process, I had just remembered that I left my score in a bag inside the trunk of my car which was parked three blocks away. After retrieving the score, I was half a block away from my home when I heard a voice shouting,"Give me your money!" I turned around and there were two young Chinese men with a gun facing me. I gave them all the money in my wallet. Unfortunately, they saw my gold wedding ring which was custom made in Hawaii and removed it from my finger. After telling Joyce, my wife, about the mugging and filing a police report, I finish composing the A section of "Two Flowers on a Stem," which became the final version for the play.

The dramatic adaption of "The Woman Warrior" was staged at Berkeley Repertory Theatre, Huntington Theatre in Boston and the Center Theatre Group in Los Angeles duirng 1994-95. In December 1994 one month before the Los Angeles premiere, Joyce and I learned that we could not conceive a biological child. Our dream of having a son, who would have been named James after my father, was not going to happen. Reality sadly sank in. I suddenly realized that I became the last male member to carry the Jang family name. I began to raise questions to myself: "Who am I? What am I doing here?"

With "The Woman Warrior" production running in Los Angeles the next month, I took the opportunity to visit Steve and Ella Leong, who were close friends of my father. After my father died, it had been almost forty years since I remember them.. On June 30, 1956, two commerical airplane carrying 128 passengers which collided and crashed over the Grand Canyon on June 30, 1956. There were no survivors. My father, Dr. James Joseph Jang, was one of the victims. My mother was left to single-handedly raise my older brother Dana, myself and my sister Deeana who was not yet born. "Uncle" Steve told me the story about the Glendale Cemetery denying funeral services to my family for my father because he was Chinese American - even though he had been burned to ashes. Two years later, my mother suffered a nervous breakdown and had to take electroshock treatment in Belmont, California. Despite these hardships, my mother survived and courageously raised three children by herself. "Two Flowers on a Stem" is about the lily that can endure in the swamp.

During the 90s, I had been listening to Chinese folk songs, from both northern and southern regions of China. When I was creating "Two Flowers on a Stem," I composed a melody for the erhu that had characteristis very similar to Chinese folk songs, but I placed it in my own context. I wanted to compose a love song that would allow conflict to become tenderness, to express a desire for beauty and strength. When I heard Jiebing Chen’s erhu performance in the fall of 1994, it was the voice penetrating the heart of tragedy and transforming it into the embodiment of beauty. There is a strong connection in the relationship between tragedy and beauty that can be traced to the works by early composers for the erhu. Hua Yan-Jun (aka "Blind" Abing) began his early life as an orphan and lived in a life of poverty. When he began to lose his sight, he composed "Moon Reflected Over the Autumn Lake" as a way to remember the beauty of life.

"Two Flowers on a Stem" was fated for Jiebing Chen. I added a bridge which featured the somber and melancholy sound of the inside string or the lower D string. In June 1995, Jiebing and I joined James Newton, David Murray, Santi Debriano and Billy Hart to record "Two Flowers on a Stem" under the name of the Jon Jang Sextet in New York for Soul Note (121253-2), a record company based in Milano, Italy. We recorded "Two Flowers on a Stem" in one take. It was one of the greatest gifts given to me by these artists and the Executive Producer Flavio Bonandrini. Frank Tafuri, a record producer and founder of Omnitone, was also present at this historic session.

Three months later in September, my daughter was born in China.My wife and I adopted her in January 1996. Xiao Mei, the Chinese name given to her by the orphanage, means "small beauty." My wife and I also named our daughter, Mika, which means "beautiful scent" in Japanese. One of the personal meanings behind "Two Flowers on a Stem" is about adopting Chinese music in my musical language and a daughter from China in my life. This period in my life showed how tragedy can turn into beauty, "when sorrow turns to joy" -Jon Jang(http://www.jonjang.com/two_flowers/)

Jean-Marc Padovani - Jazz Angkor

2009-10-24T07:32:00.000-07:00

*
Jean-Marc Padovani -saxophones;
Geoffroy de Masure -trombone;
Francois Thuillier -tuba;
Ramon Lopez -drums;
Alain Bruel -accordion;
L'Orchestre de Universite Royale des Beaux-Arts du Theatre National de Phnom-Penh.
Yun Khean: 2-string trebble violin;
Tuy Sovannara: 2-string bass violin;
Ing Wanna: 3-string crocidile citara;
Kao Dorivan: flute;
Soy Sareth: percussion;
Keo Sonan Kavei 21-bar trebble xylophone;
Suo Somali: flute, oboe;
Meas Sambo: 16-bar bass xylophone;

Recorded in Phnom-Penh, Cambodia from April 27 - May 04, 1997.

*
01. Solo flute [0:01:23.12]
02. La longue nuit [0:08:22.48]
03. Au bord du Toulé Sap [0:07:29.47]
04. L'écho de la foret [0:02:22.13]
05. L'eau dans la mare [0:05:44.37]
06. La danse des Lumas [0:05:01.05]
07. Samara [0:01:39.20]
08. Moi Pi Bei Boum [0:06:18.40]
09. Bay Khon Tchang Day [0:02:40.28]
10. L'image du park Khmer [0:03:47.57]
11. Hom Rong [0:05:54.05]
12. Soam Poong [0:02:27.40]

**
Saxophonist and major French Jazz composer, Jean-Marc Padovani, born at the start of the 1960s in Villeneuve-Les-Avignon and living in Nîmes, has always nourished his love of Jazz with southern feeling – incandescent lyricism, brassy tearing, melancholy, sensuality.
It was through the guitar, which he started playing when he was twelve, after 7 years studying the piano at the Conservatoire, that Jean-Marc Padovani took his first steps with southern music. For four years he devoured the scores of the greatest Brazilian composers and plunged into Flamenco. However a passion for Jazz steadily growing in him he decided to take up the saxophone. He did not however repudiate his taste for sunny music, for straight away he decided to join the group Cossi Anatz, which brings together twelve musicians and blends jazz and traditions from Africa and Occitanie.
The early 1980s saw the start of his personal experiments. In 1982 he formed a quartet with Philippe Deletrez (ts), Claude Barthélemy (gt) and Denis Fournier (dms). With this quartet he recorded a first album in 1983 with some choice guests: Henri Texier, Jean-Louis Ponthieux and Siegfried Kessler. The atmosphere was warm and joyful, the record peppered with feverish rhythms and spirited improvisations. In 1986, he recorded with Michel Godard, who had just been revealed by Marc Steckar’s Tubapack, for an intense tribute to Mediterranean music. The following year the two of them formed a quintet with Bobby Rangell (as, fl), Bruno Chevillon (b) and Jacques Mahieux (dms). For this formation Padovani wrote compositions linked to the Mediterranean universe and even went to Algeria to record One for Pablo.

Following his inspiration, as ever, he created in 1987 Tres Horas de sol, a show for “Banlieues Bleues”, which was subtitled Jazz-Flamenco and was a great success. Based on the rites of the Corrida, this show mingled texts by Picasso and Lorca, read by Enzo Cormann, playwright and director. He renewed this experience in 1989 with Le Rôdeur, based on a text by Enzo Cormann, and accompanied by a trio bringing together Gérard Marais on the guitar and Youval Micenmacher on percussion. The experience was completed by the homage that Padovani decided to render to Mingus with his album Mingus Cuernavaca (Label Bleu, 1992) where Enzo Cormann recounts the last hours of the brilliant double-bassist-composer.
From 1993 Padovani directed a Brass Band, the Minotaure Jazz Orchestra, in a creation born in September at the Arles Feria: ten brass instruments revisit the paso-doble and recover the luminous accents of Feria (annual fairs in the south of France) music. He then came back to the quartet and recorded Nocturne in 1994 on Label Bleu.
*
http://www.myspace.com/jeanmarcpadovani
or
http://www.youtube.com/watch?v=OIbdLcIsAaM

Interview (in Italian):
http://www.jazzconvention.net/index.php?option=com_content&view=article&id=24:le-rotte-della-musica-intervista-a-jean-marc-padovani&catid=1:articoli&Itemid=2

Hazmat Modine "Bahamut"

2009-08-05T14:17:00.000-07:00

Hazmat Modine:
Wade Schuman - lead vocals and harmonica
Randy Weinstein - vocals and harmonica
Joseph Daly - tuba
Pamela Fleming - trumpet
Steve Elson - saxophone
Pete Smith - guitar
Michael Gomez - guitar
Richard Huntley - drums
Huun-Huur-Tu on # 2, 8, 14
*
01. Yesterday Morning [05:08]
02. It Calls Me [03:10]
03. Bahamut [06:03]
04. Fred Of Ballaray [01:28]
05. Broke My Baby's Heart [07:20]
06. Almost Gone [03:25]
07. Steady Roll [05:34]
08. Everybody Loves You [06:16]
09. Lost Fox Train [03:39]
10. Dry Spell [04:44]
11. Ugly Rug [01:24]
12. Who Walks In When I Walk Out [04:47]
13. Grade - A Gray Day [03:36]
14. Man Trouble [11:11]
15. bonus # [00:15]
*
This long-awaited debut CD is a uniquely intercontinental sonic collage encompassing a tremendous range of instrumental, vocal, and conceptual originality--all with a lot of soul and groove. Like the mythological beast of its title track, HAZMAT Modine's BAHAMUT holds the world in it's eye. Its fourteen songs are steeped deep in American roots but merge influences as diverse as Romanian brass, Middle Eastern fable, Jamaican Calypso, and Tuvan-Mongolian ballad…

"…HAZMAT MODINE is surely one of the most remarkable musical groups that has made one of the most remarkable records I’ve ever heard… My ears turned inside out in every direction to hear all of it. What fantastic music!” Bengt Eriksson – Roots, Denmark

"Hazmat Modine is the kind of ensemble that could have come only from New York. The core group consists of harmonica virtuosos Wade Schuman and Randy Weinstein, tuba player Joseph Daly, drummer Richard Huntley, guitarist Pete Smith, and Pamela Fleming on trumpet and flugelhorn. The fifteen-track CD presents an ensemble with a Sybil complex of multiple musical personalities. "Yesterday Morning" resembles a New Orleans funeral dirge with a reggae beat. "It Calls Me" melds the Mississippi Delta with Huun-Huur-Tu's Asian-born Tuvan throat singing. The exotic array of instruments includes the Romanian cimbalon, zamponia, Hawaiian steel guitar, electric banjitar, contrabass sax, claviola, and bass marimba. In the hands of lesser musicians this stuff would sound like a mess, but these guys make it work, with dancing diplomacy that would put the U.N. to shame. If this isn't world music, I don't know what is." -- Eugene Holley, Jr. - Amazon.com

Preview:
http://www.youtube.com/watch?v=-dEgWy7kbew
More reviews:
http://www.jaro.de/php/endex.php3/page/content:flypage/cd_id/269/artist_id/d4849541228aac61818d26edbf914d87

Hasidic New Wave "From The Belly Of Abraham"

2009-06-27T14:00:00.000-07:00

*
Frank London: trumpet, flugelhorn
Greg Wall: tenor and soprano sax. clarinet
David Fiuczynski: guitar
Fima Ephron: bass
Aaron Alexander: drums

Yakar Rhythms: Alioune Faye, Ousmann Sall, Abdoulaye Diop: sabar, djembe, dun-dun.
Special Guest: Jamie Saft: organ (on Yemin Hashem)

Tracks 1,4,7,8: was recorded on April 10,11, 2001 in Brooklin
Tracks 2,3,5 was recorded on November 04, 2000 in Weehawken,New Jersey
Track No 6 was recorded February 26, 2001 in Jersey City

*

01. Waaw-Waaw [05:18]
02. Yemin Hashem [08:52]
03. Bread Of Affliction [11:26]
04. Sea of Reeds [06:57]
05. Frydginator [05:31]
06. The Sacred Line [02:34]
07. Bo-Peep [06:50]
08. Spirit of Jew-Jew [08:23]
**
Following a wave of klezmer revivalism that happened in the '80s (ushered in by Andy Statman's Klezmer Orchestra, the Klezmer Conservatory Band and Klezmorim), a number of renegade klezmer units began popping up on the alternative music horizon, including the Klezmatics, Naftule's Dream, David Krakauer's Klezmer Madness and the New Orleans Klezmer All-Stars. One of the brightest and most fiercely uncompromising alternative klezmer band to emerge in recent years is Hasidic New Wave. Formed by trumpeter Frank London and clarinetist/saxophonist Greg Wall, this renegade bunch has combined the signature scales of Jewish music with the fatback grooves of James Brown, free-jazz leanings and plenty of freak-out electric guitar work courtesy of David Fiuczynski, perhaps the most original and audaciously talented plectorist on the scene today.

After a string of solid recordings as a working quintet, drummer Aaron Alexander came up with the novel idea of grafting African drummers onto the group's uniquely Jewish sound. The result is this inspired collaboration that at once harks back to shtetls (villages) of Eastern Europe and mother Africa; a brilliant Afro-Semitic fusion best represented here by Alexander's "Bo-Peep" and London's cleverly named "Spirit of Jew-Jew."

Another standout track is "Yemin Hashem," where tenorman Wall wails with muscular authority on top of a Fela Kuti-esque groove created by bassist Fima Ephron (of Lost Tribe and Screaming Headless Torsos), drummer Alexander, guest organist Jamie Saft and a phalanx of drummers from Dakar collectively known as Yakar Rhythms (Abdoulaye Diop, Ousmane Sall and lead drummer Alioune Faye). For a change of pace there is Wall's noirish ballad "The Sacred Line," the only piece that is performed sans African drummers.

One of the most provocative tracks is "Bread of Affliction," which is underscored by a tightly woven interlocking cadence set up by Yakar Rhythms. Both Wall and London unleash with free-jazz abandon on this deeply hypnotic groove (with London showing his debt to Don Cherry) while Fiuczynski follows up with some of his patented jazz-punk stylings (heavy on the whammy bar and wah-wah). London's minor-key "Sea of Reeds" carries an early '60s Blue Note flavor in its muted trumpet and tenor sax harmony theme (somewhat reminiscent of Herbie Hancock's "Cantaloupe Island") while the battery of drummers and bassist Ephron bring an Afro-reggae sensibility into the picture. Fiuczynski manages to use his whammy bar to good Middle Eastern effect here.

The giddy "Frydginator" is an uptempo, authentic-sounding klezmer romp than might go over well at a Jewish wedding, although the blistering trading of fours between London's trumpet and Wall's tenor sax might be frowned upon by the elders, as no doubt would Fuze's Led Zeppelin-meets-Holdsworth guitar solo. Oy! No less exhilarating, though decidedly darker, is Ephron's "Waaw-Waaw," which conjures up latter-day Miles Davis through its sparse, repeating bass figure and its insistent groove underneath London's excellent muted trumpet work.

The energy this ensemble emits is extraordinary.
By Bill Milkowski (http://jazztimes.com/)

Michael Blake "Kingdom Of Champa"

2009-03-18T17:35:00.000-07:00

Michael Blake - tenor & soprano sax, bass clarinet;
Steven Bernstein - trumpet, cornet, slide trumpet;
Thomas Chapin - flute, bass flute, piccolo, baritone sax;
Marcus Rojas - tuba;
David Tronzo - slide guitar;
Tony Scherr - electric bass, acoustic bass, moonlute;
Rufus Cappadocia - cello;
Billy Martin - percussion;
Scott Neumann - drums;
Bryan Carrott - vibraphone.

Recorded at Sorcerer Studios in NYC on August 20 & 21, 1996.

*

01. The Champa Theme [08:05]
02. Dislocated In Natrang [07:04]
03. Folk Song [05:56]
04. Purple City [10:03]
05. Mekong [07:37]
06. Hue Is Hue? [04:06]
07. Perfume River [03:214]

**
"Vietnam is a mystical and strange place. After centuries of rule by Chinese, French, and Americans, the Vietnamese have become an independent nation and the people have begun to rebuild their lives. The spirit, beauty and hardship of these people would be the foundation for a suite of music I call Champa. To a certain extent this documentation of my experience living with my wife and her family in Vietnam is a metaphor of a journey into the self. In this place I encountered an infinite sadness that forced me to reevaluate many ideals I had established and conditionally accepted. It also brought great joy to me and an opportunity to realize my potential. My mind and soul were awakened by the extremes of the culture, no matter how I resisted to adapt to it."
Michael Blake (1997)

Kingdom of Champa is the debut album from saxophonist and composer Michael Blake, whose work with the Lounge Lizards has gained him recognition everywhere that band plays. He is joined on this recording, produced by master Teo Macero, by his band Free Association, augmented by several musicians with whom he has played, both in and out of the Lounge Lizards. A well-known member of what has been referred to as the second generation of Knitting Factory musicians, Blake composed all the material on Champa, basing it on his experiences in Vietnam. The permanent members of Blake's band are fellow Lizards David Tronzo (on guitar) and trumpeter Steven Bernstein and former Lizards' percussionist Billy Martin and vibraphonist Bryan Carrott. On this recording, the ensemble is rounded out with flautist Thomas Chapin, Marcus Rojas (tuba), Rufus Cappadocia on cello, bassist Tony Scherr, and drummer Scott Neumann. As band leader, composer, and saxophonist, Blake's talents are wonderfully showcased on this recording.

The idea for Kingdom Of Champa came to Blake while he was travelling from Ho Chi Minh City to Hue (listening to Miles Davis's Sketches Of Spain). The emotions engendered by that journey, the music, the people, the food, the smells of Vietnam, as well as the music of his own life in the United States, all blend together on Champa to create an exciting compositional hybrid. The album is named after the Cham people, who despite their small numbers are an important part of Vietnamese history. All the compositions are Blake's, with the exception of Folksong, a traditional Vietnamese song Blake heard being played by a blind guitarist in Ho Chi Minh City, for which he did the arrangements. Champa is a very immediate and emotional musical travelogue of a country both well known and extremely foreign to North Americans.

Kingdom Of Champa is saxophonist Michael Blake's first opportunity to perform completely in an environment of his own creation; in conjunction with Free Association, producer Teo Macero, and engineer Scott Harding, he has come up with a moving and exciting debut. (http://www.michaelblake.net/index.php)

Ya-Sou featuring Tomasz Stanko & Osjan "Tribute To Don Cherry"

2009-03-15T16:53:00.000-07:00

Ya-sou: -
Milo Kurtis - percussion, vocal
Horatio Altan - percussion
Peter Apfelbaum - saxophones, flutes, percussion, vocal
Jai Uttal - dotar, guitar, charango, percussion, vocal
*
Tomasz Stanko - trumpet (2,3)
*
Osjan: - (3)
Jacek Ostaszewski - recorders, kaya-kum, vocal, percussion
Wojtek Waglewski - guitar, vocal, percussion
Radosław Nowakowski - percussion
Milo Kurtis - percussion
*
Recorded: February 2nd, 1996 at Theatre "Maly", Warsaw, Poland.
Gowi Records

01. Ya-Sou Suite - Tribute To Don Cherry (Ya-Sou) [26:42]
02. Rumba Multi-Kulti (Don Cherry) [09:16]
03. Malinye (Don Cherry) [09:00]

**

Music belongs to all of us. Music has no borders, and the Earth should have no borders, because were made by people and not by nature.
The band Ya-sou was founded and created with these ideas in mind.
In 1973, Dimitrios Milo Kurtis formed Ya-sou to play and make music based on different cultures from all over the world. Its music is a mixture of jazz, contemporary, classical, folk and ethnic music as well as being influences by music from continents of Asia, Africa, North and South America. Indeed, a performance by Ya-sou is like a trip around the world. Many times we visit a region for a while, sometimes we pass quickly through. We meditate somewhere, dance in the mountains, get thirsty in the desert, float like a leaf on the ocean wave and arrive happily back home.
Furthermore, Ya-sou's sound is natural. The band uses only acoustic instruments including dotar, acoustic guitar, charango, mandolin, saxophones, flutes digirdu, congas, Arabic percussion, gongs, kalimbas, talking drum and many others. Some people call Ya-sou's music "ethnic jazz", some call it "avant-garde". And some simply refuse to categorize the unique sounds of this remarkable band.
Ya-sou stopped performing when Mr. Kurtis became a member of the legendary Polish band OSJAN. This band, like, Ya-sou, created the music influenced by different ethnic cultures and had already established a position within the Europe market, as well as collaborating with the famous trumpet player Don Cherry, sadly recently deceased.
Milo traveled with OSJAN allover the Europe performing with other bands and musicians and resided in Switzerland from 1985-87, than moved to the Francisco Bay Area. Deciding to come back to his musical roots, he re-established Ya-sou in 1994. Milo, on various percussion instruments and vocal is joined by fellow percussionist Horatio Altan from Guatemala, a student and researcher of Pre-Columbian and Native American people's musical forms. Horatio also performs with jazz groups and collaborates with dance and theatre companies. The other members of Ya-sou are: on saxophones, flutes, percussion and vocals, the Grammy Award nominee, Peter Apfelbaum; on dotar, guitar, charango, percussion and vocals, Jai Uyttal. Both musicians play in Jai's Pagan Love Orchestra and Peter's Hieroglyphics Ensemble, as well as having performed with Don Cherry's Multi-Kulti and one or another of Don's musical configurations. The members of Ya-sou are hoping you will be joining then soon on a musical journey. (Original line notes of this album)

Don Pullen "Sacred Common Ground"

2009-03-03T11:08:00.000-08:00

1. The Eagle Staff Is First (Auld/Pullen) 3:47
2. Common Ground (Kenmille/Pullen 10:22
3. River Song (Kenmille/Pullen 7:30
4. Reservation Blues (Kenmille/Pullen) 6:42
5. Message In Smoke (Kenmille/Pullen) 8:20
6. Resting On The Road (Kenmille/Pullen) 7:47
7. Reprise: Still Here (Kenmille/Pullen) 1:40
*
Don Pullen, piano
&
The African Brazilian Connection:
Carlos Ward, alto saxophone
J. T. Lewis, drums
Mor Thiam, African percussion

Featuring:
Joseph Bowie, trombone
Santi Debriano, bass
and
Chief Cliff Singers:
Mike Kenmille (lead)
Clifford Burke
Arleen Adams
Gina Big Beaver
Clayton Burke
Kenny Lozeau
Francis Auld
*
Native American songs meet African-Brazilian jazz

It is fitting that in Don Pullen's final complete recording he leaves us with a unique combination of multicultural sounds representing the culmination of his life in music. With "Sacred Common Ground", Pullen combines the African-Brazilian Connection, with whom he recorded and toured for much of the 1990s, with the Chief Cliff Singers, Kootenai Indians from Elmo, Montana. Jazz always seemed far too restrictive a term for what Don Pullen gave to the world, and in this parting contribution he demonstrates the universality of music, culture, and spiritual roots.
...The result is a rich collection of Native American chanting built upon the soft, dynamic and soothing sound of Pullen's Afro-Brazilian style of jazz. Joseph Bowie's trombone brings out a strong bluesy feel to "Reservation Blues", which starts off with the singers chanting and then abruptly switches to a more traditional twelve-bar blues. Bowie and alto saxophonist Carlos Ward weave back and fourth, then give way to Pullen's rolling, percussive playing. Throughout the CD, the combination of J.T. Lewis' Latin-tinged jazz drumming and Senegalese Mor Thiam's African percussion, combined with the indigenous Americans' steady pounding, make for a rich and soulful sound...(Mark Craemer)

Randy Weston “The Spirits of Our Ancestors”

2009-01-26T13:51:00.000-08:00

Tracks:
CD 1:
01 - African Village Bedford-Stuyvesant 1
02 - The Healers
03 - African Cookbook
04 - La Elaha-Ella Allah/Morad Allah
05 - The Call
CD 2:
06 - African Village Bedford-Stuyvesant 2
07 - The Seventh Queen
08 - Blue Moses
09 - African Sunrise
10 - A Prayer for Us All
All compositions by Randy Weston exc. CD1 No.4 (traditional).
*
Musicians:
Disc 1:
Randy Weston -piano (exc. 4); Idrees Sulieman -trumpet (on 2,3,5); Benny Powell -trombone & bass trombone (on 2,3,5); Talib Kibwe -alto sax & alto flute (on 2,5); Billy Harper -tenor sax (on 2,3,5); Dewey Redman -tenor sax (on 2, 3-left channel, 5); Alex Blake -bass (on 2,3,5); Jamil Nasser -bass (on 2-5); Idris Muhammad -drums (on 2,3,5); Big Black -percussion (on 3,5)); Azzedin Weston -percussion (on 2-4), karkaba (on 4); Yassir Chadly -genbri, karkaba, clapping & vocals (on 4).
Special Guest: Pharoah Sanders -tenor sax. (on 3-right channel).
*
Disc 2:
Randy Weston -piano ; Idrees Sulieman -trumpet (on 1,2,4); Benny Powell -trombone & bass trombone (on 1,2,4); Talib Kibwe -alto sax & alto flute (on1, 2,4); Billy Harper -tenor sax (on 1,2,4); Dewey Redman -tenor sax (on 1,2,4); Alex Blake -bass (on 1,2,3,4); Jamil Nasser -bass (on 1,3,4); Idris Muhammad -drums (on 1-4); Big Black -percussion (on 1-4); Azzedin Weston -percussion (on 1,4), karkaba (on 3); Yassir Chadly - karkaba (on 3).
Special Guests: Dizzy Gillespie -trumpet (on 4); Pharoah Sanders -gaita (on 3).
*
Recorded in NYC on May 20, 21,22, 1991.
**
Reviews (www.amazon.com):
-This 2 Cd Set revisits many of Weston's Classic compositions with some new arrangements by Melba Liston. Along with Weston's excellent "African Rhythms" band and Dizzy Gillespie and the great Pharoah Sanders sit in on a couple of tracks. All cuts are very strong but "African Cookbook" is on fire!
This is probably the definitive Weston. A good place to start if you unfamiliar with this musical "Giant." -Stephen

-Randy Weston and Melba Liston collaborate once again, bringing us one of the most interesting jazz albums I've ever heard (and I've heard my share). It has a perfect mixture of free form jazz with subtle touches of African influences (particulary percussion). The highlight of the album is 'Blue Moses'. Hearing Pharoah Sanders solo using the gaita along with 2 bass players playing at a ridiculously fast speed is just amazing. A must own cd! -Larry S. Boles Jr.

-...And you get Dizzy Gillespie and Pharaoh Sanders to boot! Randy Weston is a fantastic pianist and a true original. He started over 5 decades ago with a heavy Monk and Ellington influence. Since the early 60's Weston has traveled extensively throughout Africa and has worked all kinds of African elements seamlessly into his style, along with free jazz, to come up with a totally unique style. These influences are most obviously evident in the percussion instruments, but they are also present in his piano style, though you have to listen for them. -Andreas C G

Akosh Szelevenyi (Akosh S.) "Kebelen"

2009-01-23T07:51:00.000-08:00

Akosh Szelevenyi - tenor & soprano saxophones, bass clarinet, metal clarinet, gardon, flute, bombarde, kalimba, vocal, trombone, trumpet;
Joe Doherty - violin, viola, alto saxophone, bass clarinet, flute;
Bertrand Cantat - vocals;
Nicolas Guillemet - soprano saxophone;
Mokhtar Choumane - flute ney, kaval;
Quentin Rollet - alto saxophone;
Bernard Malandain - doublebass;
Philippe Foch - drums, percussions;

Recorded at Studio Limoges, France, 2000.
*
01. Korai [06:05]
02. Magvak [11:29]
03. Tán [17:02]
04. Ota [15:16]
05. Ék [04:19]

*
Since the ECM label opened its jazz doors to improvisation based on European folk forms as much as on African-American traditions, other labels have followed suit. Saxophonist Akosh Szeleveny is Hungarian, his partners French, Irish and American. The resulting music blends wailing, minor-key melodies, literally off-beat timing and furious, whirling-dervish crescendi. But unlike the confined jazz/Balkan fusions of dance-band king Ivo Papasov - the only near parallel I can think of - Szelevnyi moves his music out towards free jazz, Indian raga and modern classical forms, creating a fascinating album with much more than curiosity value.

Akosh Szelevenyi is the best thing that has happened to French jazz, and consequently European jazz, in twelve years; The words are those of journalist Serge Loupien, writing in the daily Libération (October 5th, 1998) about the multi-reed-player and multi-instrumentalist Akosh S., who was born in Debrecen, Hungary, on February 19th, 1966.
The story of Akosh is the story of a man with a taste for freedom. The story of a citizen of the world who could never bear to be locked away in a single school of thought, a man who never swore faith, nor admitted to the slightest illusions based on the official, dominant line. As a child in his native Hungary, he learned to play the recorder, the clarinet and the bassoon. At 16, the adolescent opted for the saxophone, and attended classical and jazz classes at the Budapest Academy; in secret, he listened to the new sounds coming from America, the cries of passion thrown out by Ornette Coleman, John Coltrane, Archie Shepp, Dewey Redman, Pharoah Sanders, Albert Ayler, Don Cherry, Charlie Haden and his Liberation Music Orchestra... an authentic revelation. Akosh's quest is alive and burning, his music a genuine geyser.

BIOGRAPHY

The torrential breath and branding-iron heat in the sound of Akosh Szelevenyi has been radiating over the Parisian scene for fifteen years now. Ever since he arrived in the French capital, the young Hungarian, a saxophonist, clarinettist, multi-instrumentalist and composer, has been associated with the genuine (and jubilant) rebirth of the avant-garde – after the lengthy hegemony shared by fusion and neo-bop – as well as many other alternative movements; and in 1991 he formed his own little variable-geometry band (from four to nine musicians) and began making his own records. From the mid-Nineties on, the group (Akosh S. Unit) opened for Noir Désir and then, in 1997, the man hastily called a “free jazzman” by those fond of convenient qualifiers signed with Barclay Records (then a PolyGram label, today Universal). There followed a magnificent series of albums that were equally fiery, stirring and thrilling, and the final three (“Vetek”, “Kebelen” and “Lenne”), which mixed ‘live’ pieces with collages, formed a triptych that established a kind of inventory of that first “Unit”.

Then came the discovery of the new ensemble led by Akosh, a group now comprising Quentin Rollet on alto saxophone, Marseilles bassist Christian Brazier, drummer Gildas Etevenard and narrator Andras Wigh, a vocalist and specialist in all matters relating to the hurdy-gurdy, an instrument with almost-orchestral functions belonging to the string-family, albeit with a wind-up handle and keyboard. Its sound here reminds you of the sheets of sound that might come from a synthesiser coupled with a swarm of humming bees, or a violin with the distant scents of the Orient…

In 2003 the release of the album “Nap Mint Nap” marked a turning-point in the saxophonist’s career.

Recorded in a tiny country church at Vàmosszabadi in Hungary, AKI is Akosh’s most melodic album to date. For some years the saxophonist had been nourishing the idea of a solo album recording. All that was missing was the guiding line that would give the project form. Having finally opted for an almost ascetic sobriety, Akosh now gives us this album, a pure, fifty-minute improvisation that is a genuine raw diamond.
(http://www.jmp.fr/gb/bio_akosh.htm)

Ensemble Ambrosius “The Zappa Album”

2009-01-07T15:56:00.002-08:00

Tracks:

01 Night School
02 Sofa
03 Black Page #2
04 Uncle Meat
05 Igor´s Boogie
06 Zoot Allures
07 Big Swifty
08 T´Mershi Duween
09 Alien Orifice
10 The Idiot Bastard Son
11 RDNZL
12 The Orange County Lumber Truck
13 Echidna´s Arf (of You)
14 Inca Roads
15 G-Spot Tornado

*

Musicians:
Josu Moisio - baroque oboe, baroque d' amore, glockenspiel.
Matti Vanhamäki - baroque violin.
Jonte Knif - chamber organ, melodica, harpsichord, dulcimer.
Ere Lievonen - harpsichord, chamber organ.
Tuukka Terho - archlute, baroque mandoline.
Jani Sunnarborg - baroque bassoon, oboe da caccia.
Olli Virtaperko - baroque cello ,violoncello piccolo.

Recorded in Helsinki, Finland on August 9-13, 1999.

*

Ensemble Ambrosius is a group that concentrates in contemporary music, using mostly Baroque instruments. Ambrosius was formed in 1995 and from the very beginning the music of American composer Frank Zappa (1940-1993) has been one of our main focuses.

The members of Ensemble flmbrosius have all gone through extensive studies of the performance practice of early music and have at some point studied in the Sibelius Academy, Helsinki. I myself became interested in contemporary music and Zappa in high school - up until then I had only been involved with classical music. However, as I continued my classical studies, I met the multi-instrumentalist Jonte Knif, who shared my Zappa-enthusiasm. With harpsichordist Ere Lievonen we eventually performed Uncle Meat with 2 harpsichords and a Baroque cello in 1995. This occured

at the final concert of an early music summer course where the oboist, Jasu Moisio, was present in the audience. Soon after that Jasu joined us, and what was originally in tended as a one-time musical joke led to the forming of Ensemble Ambrosius.

As we started to play Zappa's music, it became evident to us that the most demanding thing was to be able to retain the rhythmicality and metric pulse of the music. How to simulate the smooth co-operation of the rhythm section of the rock group -particularly the drums and the bass -was the crucial question.

However, before being able to play a single note, we needed to notate the music somehow. The arranging of "The Zappa Album" followed the good old Steve Vai - method: every note of the album was first transcribed from the tape and then arranged to the ensemble. Of the 15 pieces selected for this disc, Ere Lievonen arranged 5 pieces, the remainder having been completed by myself. Ere prefers to be extremely detailed in his arrangements, whereas I try to write down as few notes as possible, leaving the keyboard instruments, lute and cello a plentiful of liberties. In preparing my own arrangements I found it extremely useful having also toured with a big-band-sized Finnish rock group for the past five years, thus getting the vital first-hand knowledge of how the music of a large, amplified group functions. This knowledge has been very important in learning how the "styling" of FZ's music can be adopted for a classical combination.

As the musicians of Ensemble Ambrosius ore professionals in the field of Baroque music, it was natural for us to also apply the concept of the Baroque basso continue group to our interpretation of Zappa. In a basso continue group of the Baroque period, various musicians accompanied the melody with chords, improvising contrapuntal material. The desired chords were specified in scores with numbers above the bass line. As we played Zoppa, we soon learned that in a large Baroque basso continue group the liberties and rules of accompanying the melody rhythmically and harmonically are pretty much the same as with the rhythm section of a rock group. That made it possible for us to arrange Zappa's music for a non-amplified ensemble, and still retain the rhythmicality and metric pulse.

Olli Virtaperko, Ensemble Ambrosius

Hughes de Courson et Pierre Akendengué “Lambarena - Bach to Africa”

2008-12-10T10:44:00.001-08:00

Tracks:
01 - Cantate #147, Jesu Joy Of Man's Desiring; Chanté Par Le Petit Aurelien [Johann Sebastian Bach -BWV 147/10]
02 - Sankanda (Chant Du Haut Ogoué); Lasset Uns Den Nicht Zerteilen) [Sami Ateba / Nana Vasconcelos]
03 - Mayingo (Chant Du Bas Ogoué); Fugue Sur Mayingo [Tomas Gubitsch]
04 - Herr, Unser Herrscher [Johann Sebastian Bach - Passion selon St-Jean, chorus No1
arr. H. de Courson]
05 - Mabo Maboe + Gigue de la 4me suite en mi bemol majeur pour violoncelle [Tomas Gubitsch]
06 - Bombe + Ruht Wohl, Ihr Heiligen Gebeine; Bombé, Cérémonie Bouiti ApinDJi [Bomb + Ruht Wohl, Ihr Heiligen Gebeine (Johann Sebastian Bach - Passion selon St-Jean, mouvement 67 - BWV 245]
07 - Pepa Nzac Gnon Ma + Prelude de la partita pour violon No 3 [Sami Ateba / Nana Vasconcelos]
08 - Mamoudo Na Sakka Baya Boudouma Ngombi + Prélude #14 [Johann Sebastian Bach -BWV 883]
09 - Agnus Dei [Johann Sebastian Bach -Agnus Dei (Messe en si, BWV 232, arr. P. Akendengu]
10 – Ikokou [Sami Ateba / Nana Vasconcelos]
11 – Inongo + Invention trois voix No. 3 en Re majeur, BWV 789 [Sami Ateba / Nana Vasconcelos]
12 – Okoukoue + Cantate 147 [Johann Sebastian Bach -BWV 1006]
13 – Was Mir Behagt, Ist Nur Die Muntre Jagd [(Johann Sebastian Bach /Sami Ateba / Nana Vasconcelos -Danse NDJobi Du Haut Ogoué, Tambours]
14 - Cantata, #147,"Jesus oue ma joie demeure" [Johann Sebastian Bach -Jesu Joy Of Man's Desiring" BWV 147/10,

*
Musicians:
Hughes de Courson - arrangement;
Pierre Akendengué - guitar;
Osvaldo Calo - organ;
Tomas Gubitsch - conductor;
Sami Ateba, Nana Vasconcelos - percussion;

Discography of Hughes de Courson:
Charlemagne (1993)
Lambarena - Bach to Africa (1995)
13 Croquis de Jeunes Filles As (1996)
Mozart in Egypt (1997)
Songs of Innocence (album) (1999)
O'Stravaganza - Vivaldi in Ireland (2001)
Lux Obscura: Un Projet Electro-Medieval (2003)
Mozart in Egypt 2 (2005)

Reviews:
This tribute to Albert Schweitzer mingles the classical music of two continents, combining well-known compositions by Johann Sebastian Bach with analogously themed traditional songs of Gabon. A sense of humor and adventure keeps the project from sinking under the burden of its conception, plus the talents of 13 formidable vocal and instrumental ensembles. The Sturm und Drang of the chorale prayer "Herr, Unser Herrsher" is underscored by fierce percussion, a Bach violin suite floats above a balafon in another cut, and the Gabonese vocal piece "Pepa Nzac Gnon Ma" allows just enough room for a peppy string counterpoint from the Prelude to Bach's third violin partita. It's rousing, heady fun that would have kept Schweitzer's trusty Victrola cranking for hours. ~ Bob Tarte, All Music Guide

*
Nacido como un homenaje a ALBERT SCHWEITZER, el proyecto LAMBARENA - Bach to Africa fue una concepción de MARIELLA BERTHÉAS y de la fundación "L'Espace Afrique", a quienes les debemos esta grabación. Lambarena reúne los dos elementos esenciales del "mundo del sonido" de SCHWEITZER: la música de BACH y las melodías y los ritmos nativos de su patria por adopción, el Gabón. Esta obra es el resultado de la colaboración de dos músicos dotados de un talento único: HUGHES DE COURSON, compositor y productor francés, que armó la estructura clásica de Lambarena, y PIERRE AKENDENGUÉ, autor, filósofo y guitarrista del Gabón con una discografía de más de 12 discos.

DE COURSON y AKENDENGUÉ empezaron su labor para Lambarena combinando las armonías tradicionales de Bach con diferentes armonías étnicas del Gabón (hay por lo menos 42 grupos étnicos diferentes en un país de tan sólo un millón de habitantes). Crearon un tejido de sonido fascinante que está compuesto por las voces de los cantos del Gabón y las melodías clásicas de BACH, compenetrado íntegramente por los ritmos subyacentes de la selva africana.

Después de meses de preparación, los 10 conjuntos de música del Gabón que PIERRE AKENDENGUÉ había escogido para que participaran en Lambarena viajaron a París para reunirse por casi 100 días en el estudio con ejecutantes de música clásica occidentales así como con los músicos argentinos del tango y jazz OSVALDO CALA y TOMAS GUBITSCH y con los percusionistas SAMI ATEBA y NANA VASCONCELOS.
El resultado de esta colaboración multicultural es Lambarena.

DAVID LIEBMAN "The Blessing of the Old, Long Sound"

2008-12-09T15:39:00.000-08:00

featuring:
Alberto Mariani
Carlo Mariani
Tiziano Tononi
special guest:
Dionigi Burranca

Tracks:
1. The Blessing Of The Old, Long Sound (D. Liebman) 4:40
2. Africa (J. Coltrane) 9:46
3. Invasione (A. Mariani) 6:51
4. L'Aquilone Giallo (C. Marlani) 5:17
5. Punto D'Organo Ballo (C). Burranca) 6:07
6. Processione (D. Burranca) 4:52
7. The Drum Thing (J. Coltrane) 7:34
8. Elm (R. Beirach) 6:02
9. Spirits Renewed (D. Liebman) 6:40

Musicians:
David Liebman
soprano sax (all tracks except 'The Drum Thing"), tenor sax, flute ("Elm", "The Blessing"), sulittu [sardinian wooden flute] ("The Blessing"), synthesizer ("The Blessing").

Alberto Mariani
tenor sax ("Ballo Punto D'Organo", "Africa", "Spirits Renewed"), traditional (Mediana D, Mediana C, Fiorassio Bb) and specially projected launeddas [Punto Nuovo E, Punto D'Organo Gb9, Colmediana A].

Carlo Mariani
traditional (Fiorassio D, , Punto D'Organo G, Mediana C, Mediana D, Fiorassio Bb, Fiorassio C] and specially projected launeddas [Fiorassiana D].

Tiziano Tononi
congas, drums, boo-bam, assorted percussion.

Dionigi Burranca
traditional launeddas [Mediana a pipìa] ("Processione")

*
Recorded: Milan, November 20-25, 1989
**
Notes by David Liebman:

My experience with world or ethnic dates back to my group, "Lookout Farm" in the 1970s. Indian music wasincorporated into our sound and permeated several albums. In fact, a high point of all my travels still remains the recording we made in Bombay in 1976. The album called "Passing Dreams" featured the group's members interacting with four master Indian musicians.

The attraction of world music for an improvising musician like myself seems to be quite basic. These are the elements of spontaneous interpretation as well as ongoing improvisation of course. These are a given in ethnic music. But even more essential to me is the humaneness and passion which is so obvious in the folk music of any country. It is the truest expression of man's spirituality, uncluttered by intellect, yet embodying fantastic technique at the same time.

It was in Sardinia, while on tour with Paolo Fresu a few years ago, that I made the acquaintance of the launeddas and even played briefly with the Maestro, Dionigi Burranca. I met Alberto and Carlo Mariani while teaching in Rome and with their loving help, became more familiar with both the instrument and the music of Sardinia. Finally, Gianfranco Salvatore approached me to do this project.

What is the specialness of this music? For me, it is the obvious "joie de vivre" you feel as you listen and play in this language. These musicians celebrate life; the human spirit; the everyday fact of being alive. It is one of the most consistent joyful sounds I can image. Aberto Mariani is one of the most dedicated musicians I have known. When I tried to write some music for this project, I really didn't know what the launeddas was capable of, but 1 figured correctly that if anyone could make my ideas applicable, it would be Alberto. He is truly amazing and a very spiritual human being, Carlo is also a joy to be around and work with. And to be with the maestro - without understanding his words - I feel his wisdom and warmth as he spoke to his respectful students, Carlo and Alberto. How wonderful tradition can be - the passing of knowledge from generation to generation over the centuries.

Reviews:
Issued in 1989, the pairing of saxophonist and composer David Liebman with an Italian jazz trio would seem to signal an exercise in the deep, lush lyricism that jazzmen from Italy express no matter what side of the in/out fence they are on. But this set is more an exploration of tone, drone, and mode. These pieces are like mantras that come from time immemorial, whether they be Liebman's compositions or those of his collaborators Alberto and Carlo Mariani, Tiziano Tononi, or special guest Dionigi Burranca. Even John Coltrane's classic "Africa" is re-envisioned according to these age-old techniques and observances of sound as tone and tone as drone, with the drone being the most primordial of all sound objects and syntaxes. The strange exotic delight that takes place in the articulation of these frameworks, where melody is not a factor but harmony and interval become central, is almost pre-linguistic musically, yet it is advanced and very sophisticated -- particularly in the improvisational passages by Liebman and Alberto Mariani on saxophones against the traditional Italian launeddas. While many jazz fans might have a hard time with this, those open-minded enough to try something outside the shop will find this album not only fascinating, but compelling listening as well. ~ Thom Jurek, All Music Guide

*
“Launeddas, strumento del futuro. Così vuole il metodo di chi prova a ridisegnare l’identità delle tre canne simbolo di Sardegna. La firma di Liebman, il virtuoso del jazz che già aveva assaggiato i sapori etnici di un’isola mediterranea, avalla l’operazione sul Cd della New Sound Planet, etichetta di respiro avanguardista, anche grazie alla produzione di Gianfranco Salvatore. Alberto e Carlo Mariani, da anni impegnati con puntiglio nello studio delle "cannas" di ogni festa tra Campidano e Gallura, conquistati da armonie ronzanti, che affiancano adesso l’amico americano in una prova audace. E un ospite speciale e autorevole come può esserlo un patriarca della musica tradizionale sarda, Dionigi Burranca, benedice l’operazione innovativa. Nessun attentato all’ordine stabilito: basta spaziare con timbri e sovrapposizioni per ridiscutere precetti che hanno resistito ai secoli. La nuova vita di un pezzo d’archeologia sonora comincia da qui. Le tre canne dei nuraghi spesso somigliano incredibilmente ai sintetizzatori di Philip Glass e di John Surman. Le idee coltraniane rifioriscono nell’intreccio di sax soprano e launeddas, quasi avessero riscoperto la loro sorgente originaria. E il contatto tra stilemi jazzistici e suoni delle etnie diventa alchimia entusiasmante. Potrebbe essere lo slancio di un rinascimento, un decollo oltre il folclore”.
Angelo Porru - LA NUOVA SARDEGNA

Don Cherry "Multikulti"

2008-11-08T14:28:00.000-08:00

Don Cherry
"Multikulti"
Don Cherry & Bob Stewart, Nana Vasconcelos, Carlos Ward, Ed Blackwell, Karl Berger, Peter Apfelbaum, Ingrid Sertso & others.

Tracks:
01 - Trumpet
02 - Multikulti Soothsayer
03 - Flute
04 - Birdboy
05 - Melodica
06 - Dedication To Thomas Mapfumo
07 - Pettiford Bridge (Carlos Ward)
08 - Piano/Trumpet (Don Cherry)
09 - Until The Rain Comes (Peter Apfelbaum)
10 - Divinity-Tree (Peter Apfelbaum)
11 - Rhumba Multikulti (Don Cherry / Robert Huffman /Josh Jones)
12 - Multikulti Soothsayer Player
Compositions 1-5 by Don Cherry
*
Musicians:
Track No 1: Recorded in NYC on January 20, 1990
Don Cherry -pocket trumpet.
Track No 2: Recorded in Santa Monica on February 23, 1990
Don Cherry -Doussn' gouni, voice, pocket trumpet.
Track No 3: Recorded in NYC on January 20, 1990
Don Cherry -Norwegian Birchwood flute.
Track No 4: Recorded in Hollywood on December 27, 1988
Don Cherry -pocket trumpet, pods;
John L.Price -drum programming; Mark Loudon Sims -bass; David Cherry -synthesizer;
Track No 5: Recorded in NYC on January 20, 1990
Don Cherry -melodica.
Track No 6: Recorded in NYC on November 20, 1989
Don Cherry -pocket trumpet, voice; Bob Stewart -tuba; Nana Vasconcelos -percussion; Carlos Ward -alto sax; Ed Blackwell -drums; Karl Berger -marimba; Peter Apfelbaum -tenor sax, cowbell, marimba; Ingrid Sertso -voice.
Track No 7: Recorded in NYC on November 20, 1989
Don Cherry -pocket trumpet, voice; Bob Stewart -tuba; Carlos Ward -alto sax; Ed Blackwell -drums;
Track No 8: Recorded in NYC on January 20, 1990
Don Cherry -piano, pocket trumpet.
Tracks No 9 & 10: Recorded in Berkeley, California on November 07, 1989
Don Cherry -pocket trumpet, voice; The Hieroglyphic Ensemble:Peter Apfelbaum -tenor sax ( solo), piano, Korg organ, Roland D-50 synthesizer, bells, gong; Bill Oritz -trumpet, voice; James Harvey -trombone (solo); Jeff Cressman -trombone, voice; Tony Jones -tenor sax; Jessica Jones -tenor sax; Peck Allmond -baritone sax; Will Bernard -guitar; Stan Franks -guitar; Bo Freeman -bass; Joshua Jones V -drums, timbales, cowbell, voice; Deszon X Claiborne -drums; Robert "Buddha" Huffman -congas,bell tree ,voice; Frank Ekeh -shekere, djun-djun, voice; Ingrid Sertso -voice (only on 9).
Track No 11: Recorded in Berkeley, California on November 08, 1989
Don Cherry -pocket trumpet, handclaps; Peter Apfelbaum -tenor sax,, piano, palitos, handclaps; Robert "Buddha" Huffman -gallo (lead vocal), 2nd quinto tumbadora; Joshua Jones V -harmony vocal, 1st quinto segundo, clace, handclaps; Chorus: Don Cherry, Karl Berger, Ingrid Sertso Claudia Engelhart, Peter Apfelbaum, Allen Ginsberg, Karen Knight
Track No 12: Recorded in NYC on January 20, 1990
Don Cherry -Doussn` gouni, voice, pocket trumpet.
*
MultiKulti Review:

It's obvious right from the title that Multikulti is another of Don Cherry's trademark fusions of jazz and world music...