mercredi 30 mars 2011
Archie Shepp and the Full Moon Ensemble Live at Antibes
All compositions by Archie Shepp
"The Early Bird, Part 1" - 22:16
"The Early Bird, Part 2" - 26:32
"Huru, Part 1" - 26:15
"Huru, Part 2" - 22:36
Recorded live at Antibes - Juan les Pins Jazz Festival, July 18, 1970
Archie Shepp ? tenor saxophone, piano, recitation
Clifford Thornton: trumpet, piano
Alan Shorter: flugelhorn
Joseph Dejean: guitar
Beb Guerin: double bass
Claude Delcloo: drums
Archie Shepp and the Full Moon Ensemble is a live album by Archie Shepp recorded at the Juan les Pins Jazz Festival in Antibes, France, on July 18, 1970. It was originally released on the BYG Actuel label in two volumes and re-released as
a double CD in 2002. Each CD includes one title only. The sheet of rhythm by French team (Beb Guerin, Claude Delcloo and Joseph Dejean sounds like endless wave. Piano by Shepp or Thornton repeats simple patterns like white marks on the wave. On them, three fronts play free improvisation by rotation. Shepp groans poetry of implied political message. These elements are typical kinds of early '70s music culture. Far from easy listening. But, different from just noisy and avant-garde.
I do not think many free jazz / improvisation music funs get to like this work. But, maybe if someone feels something from this, he / she would be enchanted by this spellbound.
vendredi 25 mars 2011
|A3||Jean Luc Cora|
Fourth volume by a young powerful german punk-noise band. Blastbeat, feedback, and cry! Leipzig version of Melt Banana.
Marcello Melis: bass
Lester Bowie: trumpet
Fred Hopkins: bass
Sheila Jordan: vocals
Jeanne Lee: vocals
George Lewis: trombone
Don Moye: drums, percussion
Don Pullen: piano
Enrico Rava: trumpet
Gary Valente: trombone
Nana Vasconcelos: percussion
01-Before The Lights Go On
02-Struggle To Be
03-Free to Dance
jeudi 24 mars 2011
Alan Silva: violin, cello, piano
Becky Friend: flute, vocals
Mike Ephron: piano, organ
Dave Burrell: piano
Karl Berger: vibraphone
Lawrence Cook: cymbals, rattle, percussion
Listening to Alan Silva is always a strong and strange experience. Skillfullness is one of the weirdest Silva's recordings. This one is rather powerfull and in a constant unstable equilibrium: it's always under tension. There are a lot of unusual instruments for this time (flute, violin), a lot of different energies. Rythmic patterns are rather absent and all keys are utterly unmaked. A cosmic and solar music somewhere between Sun (Ra) and Cecil Taylor.
dedicated to Flo.
Phill Niblock: computer
Jim O'Rourke: hurdy-gurdy
Thomas Buckner: baritone voice
1. Hurdy Hurry
2. A Y U, AKA "As Yet Untitled"
3. A Y U, Live
Sound artist/composer Phil Niblock does not record often. His music is best heard in live settings with adequate amplification. Only listeners with high-quality stereo systems and comprehensive neighbors will be able to fully experience Niblock's slow-evolving microtonal pieces. Nevertheless, unless you live in New York City, a CD is your best chance to hear the man's work at all. Touch Works: For Hurdy Gurdy and Voice presents two pieces (one in two versions) created in October 1999. "Hurdy Hurry" (15 minutes) uses samples of a hurdy gurdy played by Jim O'Rourke. The whiny tones are duplicated and pitch shifted. The composer brings them closer, takes them apart, all very slowly. From the apparently static piece arise subtle modifications as one is invited to leave the macroscopic world to study microscopic details. Of course, that's the case for all drone-based minimalist microtonal music, but Niblock's long-standing mastery has rarely been equaled. "AYU" (aka "As Yet Untitled") features samples of baritone Thomas Buckner (who commissioned the piece). His soft throat singing is sampled over 24 tracks. Only pitch shifts (up to two octaves) were used as treatments. The resulting piece has some qualities of Tibetan meditative chants. The listener often gets the illusion that the voice(s) turns into a cello or even a hurdy gurdy (blame that on the previous piece). For "AYU, Live," Buckner went back into the studio and sang over the previous version while four channels of pitch shift were added. He repeated the exercise twice, thus adding 15 more tracks. The second version is better, richer, and somehow more entertaining than the first. (from AMG)
mercredi 23 mars 2011
Cecil Taylor Unit - Akisakila (1973)
1. Bulu Akisakila Kutala 1
2. Bulu Akisakila Kutala 2
Cecil Taylor - Piano
Jimmy Lyons -Alto saxophone
Andrew Cyrille - Drums
Recorded on 22 May 1973 at Koseinenkin Dai-Hall, Tokyo,
This is live recording of Cecil Taylor Trio in Tokyo, Japan on 22nd of May 1973. As this is the first
tour of Cecil Taylor to Japan, many funs of free jazz, avangard music, even professionals
of modern classic music went to listen with big expectation.
The live concert of this date consisted in two parts. The 1st was Trio performance that is recorded as this
"Akisakila". The 2nd was collaboration of Cecil's dance and voice performance.
"Akisakila" is one tune of 83 minutes length. Almost no change in tempo and dynamics in full 83 minutes.
Energy and speed is unbelievable. So far, I have listened to records of Cecil's live performance around
tens only. The longest one is "Nuits De La Fondation Maeght". But, in this performance, tempo, dynamics and
characteristics change in several times.
If somebody knows recorded Cecil's performances which have similar style of "Akisakila", pls. let me know.
01-Gong Gede "Pudah Setegal" de Tampaksiring (dirigé par I Made Nedeng: Tabuh Telu)
02-Gong Bebarongan de Tatasan (Introduction à la cérémonie du Barong)
03-Gong Semar Pegulingan de Ketewel Brahmara
04-Gong Angklung Klentangan de Sidan (dirigé par Wajan Djap)
Originally uploaded by bolingo from Anthems for the Nation of Luobaniya! Many thanks to him.
dedicated to Max.
lundi 21 mars 2011
Alan Silva and Celestrial Communication Orchestra, The - Seasons (BYG - 1970)
Bass, Violon [Electric], Sarangi [Electric] - Alan Silva
Cello - Kent Carter
Cello, Celeste - Irene Aebi
Drums, Percussion - Famoudou Don Moye
Drums, Percussion, Bronte - Jerome Cooper
Piano - Dave Burrell , Joachim Kühn
Producer - Jean Georgakarakos , Jean-Luc Young
Saxophone [Alto], Clarinet - Michel Portal
Saxophone [Alto], Flute - Robin Kenyatta
Saxophone [Soprano] - Steve Lacy
Saxophone [Tenor], Saxophone [Soprano], Flute - Ronnie Beer
Saxophone, Flute, Bassoon - Joseph Jarman
Saxophone, Flute, Oboe - Roscoe Mitchell
Timpani, Percussion - Oliver Johnson
Trumpet - Alan Shorter
Trumpet, Flugelhorn - Lester Bowie
Trumpet, French Horn - Bernard Vitet
Viola [Electric] - Jouk Minor
Violin [Electric] - Dieter Gewissler
This is very outstaindingly gigantic works in its lengthy and numbers of players in free jazz orchestral works. Non-stop over 2 hours and 20 minutes long and participants are as the above. His previous album of Celestrial communication orchestra "Luna Surface" (same in BYG label) is chaotic music. Drastic collective improvisation continues in 30 and several minutes. But this Seasons is different. Parts of Corrective imporvisation, arranged, solos are allocated in calculated manner. Sounds vary in stream of music. Whole work arises unique imagination in listners.
samedi 19 mars 2011
Andrew Cyrille & Maono - Metamusician's Stomp(Black Saint : 1978)
Andrew Cyrille - drums
David S. Ware - tenor sax
Ted Daniel - trumpet
Nick DiGeronimo - bass
A1. Metamusicians' Stomp
A2. My Ship
B2. Spiegelgasse 14 Reflections+Resturants The Park Flight
This is the 3rd album of Andrew Cyrille & Maono.
After quest of innovation of the previous two albums (Celebration, Junction), Andrew makes up an album of deligtfullness and straight and powerfull sound. Fruits from musical experiments in former two are used in rdered and skillful shapes, reducing their raw and experimental characteristics.
Therefore, among three albums of Andrew Cyrille & Maono, this is the most easy to listen and have potentiality for popularity which no-avangarde and free jazz fun would like.
But, on the other hand, would not be so attractive to ears of core free music funs. Anyway, I do not think it is bad that an artist has wider range of elements and different faces in his art.
mercredi 16 mars 2011
ANDREW CYRILLE - Celebration (IPS, 1975)
Andrew Cyrille - drums
Alphonse Cimber - percussion
Elouise Loftin - poetry
Donald Smith - piano
Romulus Franceschini - synthesizer
Tenor Saxophone - David S. Ware - tenor saxphone
Ted Daniel - trumpet
Stafford James - bass
Jeanne Lee - vocals
A1 Haitian Heritage Part I
A2 Haitian Heritage Part II
B3 Non-Expectation Celebration
Here is the first record of Andrew Cyrille & Maono, named "Celebration".
In this album, as my the below comments, Andrew shows his earnest desire to pick up various kinds of musical aspects in his interests
at that time. These are prettey wider and of great variety, as compared to a energish and speedy drumer as a member of Cecil Tylor unit.
A1 Haitian Heritage Part I is free form session among hitian drum, trap drum. And vocal of Jeanne Lee and poet reading decorate it.
A2 Haitian Heritage Part II is dancing style tune of ethnical flavor.
B1 Fate is mysterious and sad ballad.
B2 Gossip is typical free jazz tune.
B3 Non-Expectation Celebration of flavor of electric music.
This album is starting point of Andrew as music creator from drumer of outstandingly tough and energish.
And this album is precious too as Donald Smith plays piano. As long as I know, he recorded his piano in just a few albums only.
vendredi 11 mars 2011
Evan Parker: soprano & tenor saxophones
Barry Guy: double bass
Paul Lytton: drums & percussion
No introduction and presentation are needed. Here's just the last CD by the English classic Parker/Guy/Lytton trio.
Marc Baron: alto saxophone, recording
Une fois, chaque fois is a truly strange and abstract recording by a French saxophonist from Propagation quartet (Potlatch) and Oz trio. Here we can heard some field recordings from a restaurant, some baroque records, some harsh noise, or very minimal improvisations. Baron walks on the borders: between reductionism, EAI, noise, sound art and conceptual music. Radical way for radical listeners? Maybe. Anyway, it's amazing and very scheming.
jeudi 10 mars 2011
Otomo Yoshihide: turntable, guitar, electronics
Axel Dörner: trumpet
Sachiko M: sinewaves
Martin Brandlmayr: drums
Ce quartet, c'est avant tout la rencontre internationale (Japon, Allemagne et Autriche) de quelques uns des plus grands représentants des scènes minimalistes et réductionnistes. Mais aucun ne s'est enfermé dans cette esthétique, Brandlmayr peut aussi bien jouer de la noise-rock (avec Radian), quant à Dörner, il a accompagné Schlippenbach dans son entreprise de réinterprétation des standards de Monk, tandis que Yoshihide et Sachiko naviguent entre toutes les avant-gardes ou s'amusent aussi à réinterpréter des classiques du jazz (Lonely Woman, Bells, Out To Lunch).
Les quatre "allurements" proposées ici se situent dans la lignée de l'esthétique dite réductionniste, aucun doute. Cependant, le Quartet de Yoshihide évite avec virtuosité l'ennui et les clichés: ce qui n'est pas donné à tout le monde dans le domaine expérimental... La première pièce est totalement abstraite et froide, c'est une sorte de sculpture du silence, où chaque intervention prend des allures d'épiphanie, à condition d'accepter le voyage et de rester attentif. Un jeu très pointilliste, savamment calculé et d'une précision chirurgicale, voilà quelques uns des ingrédients qui donnent tant de force à chaque son qui émerge du silence où de l'espace accordé par chacun. Puis le temps se rétracte et l'écoute se facilite dans une deuxième pièce plus courte qui nous offre plus de repères: quelques pulsations, parfois même des phrases mélodiques, des motifs rythmiques répétés de manière sporadique, la trompette de Dörner qui se maintient dans un même registre (presque mélancolique). Et enfin vient le second disque, qui est vraiment la partie la plus réussie à mon avis. Ce n'est pas que la gestion du silence et de l'espace soit une solution de facilité, mais je suis beaucoup plus touché par le relief de ces deux dernières parties. Fondamentalement, le langage n'a pas changé, c'est plutôt le temps qui s'est encore rétracté: le discours devient plus violent, plus virulent, il y a parfois une sorte d'urgence qui contraste complètement avec la sérénité du premier disque. Et c'est à partir de là que nous sortons des clichés. L'énergie du rock comme de la noise apparaissent, l'intelligence de la musique savante pointe, la virtuosité des techniques étendues propres au réductionnisme est conservée mais mise au service de la créativité des idiomes l'improvisation libre. La construction devient plus collective, le son en tant que tel perd de son autonomie au profit d'une plus grande personnalisation, mais aussi au profit d'une création plus communautaire où l'on tend plus vers un son intersubjectif, où l'on se construit par rapport à l'autre tout en conservant sa singularité.
Ces enregistrements peuvent comporter quelques longueurs dès que l'on se déconcentre, l'attention de l'auditeur est constamment nécessaire, ou alors on tombe facilement dans un ennui mortel. Mais dès que l'on accepte de jouer le jeu, on entre dans une musique riche, contrastée, et créative; une musique qui a l'intelligence de savoir organiser un matériau sonore peut-être déjà connu, déjà entendu, mais pas de cette manière. L'agencement, la configuration et la réunion de ces matériaux est frais, original et - je le répète - particulièrement riche. Hautement recommandé.(from ImprovSphere)
DISC 1 & DISC 2
mercredi 9 mars 2011
Eddie Prevost: drums, percussion
Jim O'Rourke: guitar
01- Reason For Eyelids
02- Two's Company
03- A Mean Fiddle
04- On A Slow Mend
Filling an old Ochyming request, I upload this strange duo from two great improvisers. Four cold and abstract pieces, between electronic and acoustic improvisation. Totally adventurous, it's an exploration of the sound itself.
mardi 8 mars 2011
Incredibly brutal noise rock band meets incredibly weird screamer.
"Drunkdriver/mattin is most definitely real. so is the list: physical deterioration, intellectual / emotional stagnation, continuation of a defective gene pool, death of parents, addiction, forgetting everything, remembering it all in a flash, finding love only to lose it, inevitable failure…
which is a fine way to apply an intellectual / emotional sheen to a record that is utterly relentless in its quest to brutalise.
a one chord repeato-monster at times spunking out the harshest noise i’ve heard (see the speaker raping, fractured whiteout, halfway through side b) over monged bellows and vocal retchings like rusted shut’s don walsh chewing hypodermics.
there’s a nice (nice?!) to and fro between mattins damaged industrialisms and drunkdrivers monolithic sludge; some new wave jump-cut take on nate youngs factory noise. it stops and starts breaks down incoherent before dragging it’s ravaged carcass back to life. there is some kindof buggered groove in here of the deformed dislocating butthole surfers / brainbombs variety. one that lurches and leers confused with the wrath of a narcotic addled yahweh.
it’s a twenty minute overloaded overwhelming shriek of existential horror you really should fucking hear."
lundi 7 mars 2011
Sylviann Németh: synthesizer, guitar
John Norman: bass
Martin Brandlmayr: drums, vibraphone, electronics
01- Git Cut Noise
02- Feedbackmikro / City Lights
03- Git Cut Derivat
No doubt I mentioned this before, but the few times I saw Radian live I was thrilled by their live sound, more perhaps than their CDs. They took a four year break between 'Juxtapositions' (including one year of not playing live) to reflect on their music and see where to go next. The result of that thinking is on 'Chimeric' and their music certainly has taken off into a new territory. Although its hard to label their previous sound as anything, the soft, somewhat jazzy sound has been replaced by a more rock like texture. It opens with a wild beast named 'Git Cut Noise', with heavy rock drums and distorted guitars. That sets the tone for this album, which doesn't mean however that it goes all the way, all the time. A piece like 'Subcolors' shows a combination of the old Radian sound, with the free play of the new Radian. Its the last piece of the CD and in between we have moved from everywhere to anywhere. Soft pieces, wild pieces, with lots of emphasis on the real instruments, drums/percussion, guitars and bass. Electronics seem to be reduced in this new album, only sparsely placed here and there. Radian has successfully re-invented their sound, taking a new road into the jungle. Freedom in playing are the new keywords, while preserving the best of their old sound. Heavy all the time, but sometimes lightweighted heavy, like the precious sound of a falling leave. Demanding and rewarding. Great album. Would be interesting to see how that works out in a concert. (FdW)
samedi 5 mars 2011
Hamiet Bluiett: baritone saxophone, flute
Olu Dara: trumpet
Jumma Santos: balafon
Junie Booth: bass
Phillip Wilson: drums
Here is the first Bluiett's record as a leader. A great record with three of the most powerful players from 70's: Bluiett, Dara and Wilson . The compositions are creative, the improvisations are energic, organic and adventurous. Beautiful sessions uploaded by an anonymous user which I thank again.
vendredi 4 mars 2011
Peter Brötzmann: clarinet, alto, tenor, baritone and bass saxophones
Fred Van Hove: piano, celeste
Han Bennink: drums, khene, rhythm-box, selfmade clarinet, gachi, oe-oe, voice, tins, home-made junk, elong, dhung, kaffir piano, dhung-dkar.
- For Donaueschingen ever (03.40)
- Konzert für 2 klarinetten (04.07)
- Nr. 7 (03.20), Wir haben uns folgendes überlegt (02.56)
- Paukenhändschen im blaubeerenwald (05.56)
- Nr. 9 (01.35)
- Gere bij (05.25)
- Nr. 4 (04.45),
- Nr. 6 (05.33)
- Donaueschingen for ever (02.27)
Mark E. Smith: vocals, guitar, kazoo, tapes
Marc Riley: guitar, keyboards
Craig Scanlon: guitar
Steve Hanley: bass guitar
Paul Hanley: drums
Kay Carroll: extra vocals
Kicking off with the thrilling bite of "Pay Your Rates," on Grotesque, the Fall really started hitting its stride, with Marc Riley and Craig Scanlon now a devastatingly effective combination, somehow managing to sound exactly placed between random sloppiness and perfect precision. The sharp rockabilly leads and random art rock racket thrived on both counts, with Smith as always the mad jester ripping into anything and everything while having a great time doing so. The final song of the album was especially fierce -- "The N.W.R.A.," short for "the north will rise again," Smith's own take on the long-standing "soft south/grim north" dichotomy in English society given extremely bitter life. Throughout the record, a slew of really good producers keep an eye on things -- besides the band themselves, there are Grant Showbiz, Geoff Travis, and Mayo Thompson all contributing. The end result is crisp without being polished, rough while packing its own smart punch (though "W. M. C.-Blob 59" intentionally sounds like it was recorded eight rooms over). Some nice variety starts appearing more and more in the Fall approach as well -- "C'n'C-s Mithering," a brilliant vivisection of California and its record business, and the attendant perception of the Fall themselves, relies on acoustic guitars instead of electric, creating an understated but still great groove. "Impression of J. Temperance" fits more immediately with what had come before, but the martial drums from Paul Hanley and Riley's freaky keyboards create some crazy atmospheres. Of course, Smith sends everything over the top, whether it's his rant about governments, dead neighbors, and scandals on the hilarious romp "New Face in Hell" or "In the Park." As a side note, the hilarious music scene caricatures on the front cover and wind-up liner notes add just the right level of acidic wit to the proceedings.(from AMG)
mercredi 2 mars 2011
Gnoua Brotherhood Of Marrakesh
01 Sidi Musakar 6:19
02 Jilalay / Moulay Abdulah / Moulay Braihim 8:39
03 Hamasha Hamdushi 7:35
04 Seet Yumala Youmalay 5:09
05 Djemma El Fna, Marrakesh, November 8th 1994 11:45
Master Musicians Of Joujouka
06 Moulay Abdeslam 3:59
07 L'Hedera (The Music Of Sidi Ahmed Sheich) 6:58
08 L'Hedera 7:54
01-Unknown Artist - Jilala Wedding Procession
02-Jilala De Tanger - Ouled Khalifa
03-Jilala De Tanger - Darba Del Hameni
04-Jilala De Tanger - Gnaoui
05-Unknown Artist - Ghaitta And Drums (Part 1) / Blind Musician, Jemaa El Fna (Part 2)
06-Gnaoua De Abdenbi Binizi - Jellaba Titara
07-Gnaoua De Abdenbi Binizi - Yumala
08-Gnaoua De Abdenbi Binizi - Neksma
09-Gnaoua De Abdenbi Binizi - Baba Larabi
Recorded by Paul Bowles and Randall Barnwell
This is a recording of Jilala and Gnoaua music from Morocco. The CD begins with what sounds like a celebration in the street and all of the ambient sound of the festival becomes part of the musicality of the performance, including loud voices and car horns. What follows is a group of recordings that truly capture this culture's musical genius. The evolving rhythms and melodies invite the listener to explore the musical aesthetics and flavors of Moroccan culture. This music can be disorienting at times. The name "trance music" is appropriate, the circulating and spiraling rhythms can be almost hypnotic. This music will suprise you. I have made a conscious effort to explore Moroccan music and this CD continues to be my favorite. It is an excellent collection of high quality field recordings. There are other CD's that are more popular and might have benefitted from smarter marketing etc. but this recording has to be one of the best. Anyone curious about world music stands a good chance of being converted to the rank of 'enthusiast' after hearing this.
R. G. Villalobos; February 7th, 2010 - Rating: 5/5
01-Amal Saha - Daouini
02-Troupe Majidi - Essiniya
03-Mustapha Mahjoub - Tal Raibak Arzali
04-Troupe Majidi - Khoudrini
05-Amal Saha - Sabra And Shatilla
06-Troupe Majidi - Khlili
07-Amal Saha - Lahmami
08-Troupe Majidi - Rsami
09-Troupe Majidi - Afriquiya
Recorded by Hisham Mayet
For centuries, the Jemaa El Fna (Rendezvous of the Dead) has remained the stage for one of the most spectacular social forums on the planet. By day, this central square in the city of Marrakesh, one of Morocco's great imperial cities, fosters a kaleidoscope of entertainment for its local inhabitants; storytellers, acrobats, magicians and snake charmers all create intriguing displays of bewitching spectacle. As the sun sets, the evening grows frantic with the pulse of the crowd; it is then that the night musicians set up. Free from the restrictions and expectations of light entertainment for a tourist crowd, these musicians manifest ecstatic performances that animate the audience and players alike. The groups represented on this album; Troupe Majidi, Amal Saha, and Mustapha Mahjoub, are working and carrying the torch of their musical heroes nightly in the square. These songs come from the repertoire of Morocco's greatest musical exports: Nass El Ghiwane, Lemchaheb, Jil Jilala, Larssad and many others from the Chaabi (Moroccan popular music) canon and are given a raw, emotional and fiery interpretation. Instruments are powered by car batteries and blown out through megaphone speakers. These recordings represent a rare opportunity to hear this music at such close proximity taking in all the power and passion of the performances. The raw fidelity captures an unflinching immersion of what is simply some of the greatest street music on earth.
Many thanks to miskov from exp etc