Abbey Lincoln + Archie Shepp, Painted Lady (1980)

The album Painted Lady has a confusing history. The inside of the CD’s sleeve says that it was recorded in 1987 while other sources online tell you it was 1980. Release dates are scattered all over, including 1995, 2008 and 2011, but only if you search hard enough. The record label responsible, ITM, doesn’t seem to exist anymore and no one gets any writing credit for the songs. The album is supposed to be a collaboration between vocalist and activist Abbey Lincoln and maverick saxophonist Archie Shepp, but Shepp doesn’t seem to be too eager to make himself heard. If anything, Roy Burrowes on muted trumpet gets more chances to shine in lead figures and intermittent flourishes. Known for throwing down multiple gauntlets in his gigantic career, Shepp never once lets himself fly off the handle and get crazy. There is an unnatural amount of restraint going on here, and it’s just one of the many reasons why Painted Lady is more of a question mark than a definitive statement in the careers of Shepp or the late Lincoln. Still, a good question mark is better than nothing.

Painted Lady is a good times jam session that runs a few reliable standbys out the studio doors in time for the next client to set up shop. The song “Golden Lady” doesn’t even get another take after Lincoln observes, roughly halfway through, that it “feels like it’s just a little bit slow”. Her microphone constantly picks up her let’s-pick-up-the-pace-you-guys handclaps, giving the recording sessions more of a rehearsal tone. This isn’t altogether bad, especially when you like your music to be rough around the edges, and “Golden Lady”, despite its tempo shifts, sounds really good.

Come to think of it, Abbey Lincoln sounds perfect. Even if she was long past the big 5-0 at the time of these recordings, her voice has no rasp, no nasally treble, no labored low end, and no distracting flights of fancy. It’s a good thing that she’s so good because she is the focal point of the album. Like I said before, Archie Shepp sounds like he just mainly walked in with some charts and played when he felt like it. The rhythm section of Jack Gregg and Freddie Waits keeps time while Hilton Ruiz turns in a serviceable piano performance. Yep, they’re pretty much a backing band. Abbey is in charge.

One strange thing worth mentioning is the overdubbed vocals on “Painted Lady on the Stage”. This is one moment where the album crosses over into a form of bop pop yielding a catchy refrain, which could explain why the recording crew thought it was safe to do the following: have two Abbey Lincolns sing the same lyrics in two entirely different ways simultaneous. One of two things are going on here, either the engineers and producers thought this would kick the song up a notch just before it bringing it on home or Lincoln got bored with the song and wanted to just do something different before it wrapped up. In either case, it sounds like she couldn’t hear the first take while singing the other. No meshing takes place. It just sounds messy. Why was this done to an otherwise snappy tune?

You can’t answer this question when you really don’t understand an album’s back story. Sure, Painted Lady is a fine album. But in this day and age, where every single question you have is easily answered by the Internet, the obscurity of the album and its dropping-from-the-sky re-release is just kind of weird. But you all know that Duke Ellington wrote “Sophisticated Lady”, right? So, you’re all good. (popmatters.com)

1 Sophisticated Lady 7:45
2 Golden Lady 9:30
3 Painted Lady On The Stage 5:15
4 Throw It Away 6:35
5 What Are You Doing The Rest Of Your Life 9:30
6 Caged Bird 6:15

Abbey Lincoln: Vocals
Archie Shepp: Sax (Soprano, Tenor)
Frederick Waits: Drums
Roy Burrowes: Trumpet
Jack Gregg: Bass
Hilton Ruiz: Piano



info |
http://www.artistdirect.com/nad/store/artist/album/0,,120886,00.html
http://www.discogs.com/Abbey-Lincoln-Archie-Shepp-Painted-Lady/release/2400995
http://www.archieshepp.net/manage_content.php?cat_id=2&item_id=75&view_type=1

Greg Ward, Phonic Juggernaut (2011)

Greg Ward's trio Phonic Juggernaut can be loud, it also can be fast, but it can never be described as out of control. The twenty-something saxophonist's take on the modern jazz sax/bass/drums lineup adheres to the traditions of jazz, not as a regressive act but as a forward-thinking, innovative sound.

This Chicagoan-turned-New Yorker can be heard with drummer Charles Rumback and in Mike Reed's People, Places, and Things, as well as with the electronic outfit Prefuse 73. His initial release as a leader South Side Story (Nineteen Eight, 2010), was a quartet session, but he also dabbles in writing for chamber ensembles, orchestras, and ballet.
Just as drummer Tony Williams once propelled Miles Davis from his 1950s sound into the jazz/rock of the 1960s, drummer Damion Reid catapults the sound here, bridging jazz with modern beats. Reid, who also holds the drum chair in saxophonists Steve Lehman and Rudresh Mahanthappa's bands, matches Ward's energy beat-for beat, pacing the sound throughout; his restless dynamism is the constant spark here.

The disc opens with the thunderous "Above Ground" a heavyweight workout that pauses but a moment for bassist Joe Sanders to solo. Ward plays with ferocity, matched throughout by Sanders and Reid, and with an intensity of sound that recalls the late-'80s work of saxophonists Steve Coleman and Greg Osby.

But this is not just a jazz trio's version of DIY hardcore rock. Ward's arrangements include the nimble and polished "Velvet Lounge Shut-In," a vehicle for Sanders' bass to carry the melody, with some slick tom-tom and cymbal work from Reid, while the progressively layered "This Ain't In Book 3" begins with bowed bass and courteous saxophone, building upon aggressive drumming into an impenetrable wall of sound.

The signature piece is "Sectionate City," the only one not written by Ward. Andrew Bird's composition is recast as a piece of electronica, with the trio not so much making watered-down jazz fusion, but comingling elements under a jazz umbrella and making them honest. (By MARK CORROTO)

1. Above Ground 11:24
2. Leanin' In 9:50
3. Velvet Lounge Shut-In 11:12
4. Phonic Juggernaut 8:42
5. This Ain't In Book 3 7:09
6. U.S. 4 6:09
7. Sectionate City 6:18

Greg Ward: Alto saxophone
Joe Sanders: Bass
Damion Reid: Drums



info |
http://www.gregward.org/
http://www.allaboutjazz.com/php/article.php?id=40636
http://www.artistdirect.com/nad/store/artist/album/0,,9214816,00.html

bLOW, Això és gravíssim! (2012)

Si el termino vanguardia (musicalmente hablando) a nivel mundial (y a mi parecer) está representado por Tzadik (aunque también se podrían incluir Cuneiform, Jazzland, Okka... y eso sería un tema a debatir) a nivel nacional Discordian Records representa un movimiento musical que este país necesitaba desde hace ya alguna década.

Con casi una veintena de álbumes dispuestos a ser escuchados en su bandcamp (discordianrecords.bandcamp.com), este magnifico y particular sello orquestado por El Pricto y con su sede en Barcelona, está demostrando que si es posible un movimiento de contracultura musical en España. Basados en el discordianismo (es.wikipedia.org/wiki/discordianismo) como "filosofía para promover actividades artísticas contraculturales y vanguardistas con el objetivo de intercambiar ideas libremente y sin la intervención de ninguna institución", como se puede leer en la propia página del sello (www.actiweb.es/discordianrecords/discordianismo.html), han traído aire fresco al panorama musical español que tan estancado está con las mismas formulas desgastadas y que poco aportan ya (si es que alguna vez aportaron algo).

Con una política en el sello cuanto menos curiosa (si el artista o grupo no cobra por las descargas de su trabajo digital, nadie cobra; si desea vender las descargas la mitad deben ir a Discordian Records, esto no se aplica a la venta de discos físicos; las descargas solo podrán realizarse a través de su página o de distribuidores escogidos y gestionados por ellos; no se hará ningún tipo de contrato a menos que el artista así lo desee y es libre de grabar con cualquier otra discográfica si así lo desea; estando abiertos a todo tipo de disciplinas artísticas, aunque se inclinan más hacia la música y las artes gráficas que las complementan) este sello promete seguir editando discos, que si bien a nivel nacional tendrán poca o nula repercusión, que sorprenderán por su calidad tanto en composición como en ejecución, llenado nuestros oídos y nuestras mentes de inolvidables experiencias discordianas.

Con la llegada del 2012 nos encontramos con su última producción "Això és gravíssim!" de la banda bLOW, formada por Ferran Besalduch (bass saxophone, sopranino saxophone on track 3), Joan Palacio (contrabass trombone, trombone on track 3) y David Parras (tuba, euphonium on track 3), con la colaboración de Teresa Galceran (bass flute on track 5, piccolo flute on track 3) y Luis Rocha (bass clarinet on track 5, clarinet on track 3), un álbum donde lo experimental, el free jazz y la improvisación son fuente natural de las composiciones con las que bLOW nos deleita en los aproximadamente treinta minutos de duración. Una muy buena grabación que cuenta con las composiciones de El Pricto (Catacumbas) y de Roscoe Mitchell (Tutankamen) para cerrar una aventura basada en instrumentos de viento y que con tan buen sabor de boca deja después de la primera escucha. Esperando y deseando que en este año Discordian Records siga con el buen ritmo que el año pasado ofreció, o incluso que aumente exponencialmente sus producciones, para que podamos disfrutar de la vanguardia 'made in' Barcelona a los que tanto gustamos del avant-garde, free jazz, improvisación, etc.. y, en definitiva, de los caminos experimentales que ofrecen este tipo de disciplinas musicales a todo aventurero que quiera introducirse en tan extraviados y fanganosos caminos.

1. Low Suite: B-lowing in the wind 02:49
2. Low Suite: Solo Tuba 02:52
3. Low Suite: Contra-baix 01:44
4. Low Suite: Solo Bass Saxophone 03:00
5. Low Suite: Low frequencies (to John Cage) 05:03
6. Low Suite: Solo Contrabass trombone 03:42
7. Low Suite: Això és gravíssim! 01:15
8. Catacumbas 06:16
9. Tutankamen 04:01

Ferran Besalduch: Bass saxophone, sopranino saxophone on track 3
Joan Palacio: Contrabass trombone, trombone on track 3
David Parras: Tuba, euphonium on track 3

Special guests:
Teresa Galceran: Bass flute on track 5, piccolo flute on track 3
Luis Rocha: Bass clarinet on track 5, clarinet on track 3

info |
http://www.actiweb.es/discordianrecords
http://www.discordianrecords.bandcamp.com/album/aix-s-grav-ssim

Steve Coleman And Five Elements, The Mancy Of Sound (2011)

 

“These forms are astutely integrated, confirming that Steve Coleman’s ultimate value to modern creative music lies as much in the considerable breadth as well as depth of the historical sources that he constantly channels.”—BBC Music

“What’s most impressive about Coleman is that he pursues music’s most esoteric complexities without sacrificing its outward allure. It’s as intriguing on the surface as in its depths.”—Washington City Paper

“A vivacious group effort brimming with intricate cross-hatched melodies, oblique harmonies and kaleidoscopic rhythms, The Mancy of Sound follows Harvesting Semblances and Affinities as the strongest albums of Coleman’s career, reinforcing his significance in the development of contemporary jazz.”—Point of Departure

“Of all the musicians who followed Coltrane, Ornette and the AACM, Coleman has done the most work and sustained the highest level of innovation and creativity of output and impact.”—Downbeat

“More than just a conceptualist, Coleman is also a fierce performer who delivers darting runs that are equally fluid, and incisive…There are points throughout the album where the array of instruments comes together in harmonious cacophony, like the alignment of planets.”—All About Jazz

“The Mancy of Sound is an immensely satisfying marriage of organization and what sounds like freedom; a strange, alluring amalgam of West African, Cuban and Brazilian music combined with the improvisatory nature of jazz.”—Jazz Times

“Steve is probably one of the most influential, if not the most influential, jazz musician of the last maybe 20 to 30 years…A lot of people get things out of his music that are totally different. Some people get the energy, some people get the density, the harmony, rhythm, whatever it is and you know I think we’re lucky to have a guy like that around.”—The Ottawa Citizen

“Coleman has constructed his own language from the rhythms of Africa, Cuba, and India. He’s also a great alto player, with one of the most beautiful, effulgent tones in jazz.”—The Boston Phoenix

1. Jan 18

2. Formation 1

3. Fire-Ogbe (Odú Ifá Suite)

4. Earth-Idi (Odú Ifá Suite) 

5. Air-Iwori (Odú Ifá Suite) 

6. Water-Oyeku (Odú Ifá Suite) 

7. Formation 2

8. Noctiluca (Jan 11)

Steve Coleman: Composer, Sax (Alto), Producer, Cover Design

Thomas Morgan: Bass 

Ramon Garcia Perez: Percussion

Tim Albright: Trombone

Jen Shyu: Vocals

Jonathan Finlayson: Trumpet

Tyshawn Sorey: Drums

Marcus Gilmore: Drums

info |

http://pirecordings.com/album/pi38

http://www.allaboutjazz.com/php/article.php?id=40246

http://www.artistdirect.com/nad/store/artist/album/0,,8976324,00.html

Terry Riley, Aleph (2012)

Maestro Terry Riley returns to the transcendent brilliance of his mprovisatory All Night Flights from the 1970s in this spectacular two-hour solo performance for just intonation keyboard. Originally created for the Aleph-Bet Sound Project that John Zorn organized for the Contemporary Jewish Museum in San Francisco, the music has been sitting in Terry’s archives for years and now finally sees the light of day in all its glorious entirety. Recorded at Terry’s private studio at Moonshine Ranch at Midnight, the music captures a magically mystical vibe, timeless, meditative and entrancing. A modern classic from the godfather of minimalism who continues to surprise and challenge us with each new release. (tzadik.com)

1. Aleph Part 1 45:47
2. Aleph Part 2 67:48




info |
http://terryriley.net
http://www.myspace.com/terryriley1935

Obake, Obake (2011)

Been a lot of coverage of ‘rock’ music here at LTW, serious discussion questioning why The Mercury Prize chooses to ignore the entire genre, and also more lighthearted fun from our kitchen guru Vegan Black Metal Chef – as such I thought I had better take look at rock, but I like my tunes a little darker than most so was intrigued by the first release from Obake – I had no knowledge of this band, a four piece consisting of Massimoo Pupillo (Bass), Eraldo Bernocchi (Guitars), Lorenzo Fornasari (Vocals/FX), and Bales Pandi (Drums) however a little research revealed that its members have variously been members of or worked with Zu, Faith No More, The Melvins, Merzbow, Bill Laswell, Justin Broadwick, and Thomas Fehlmann; some serious names in the sphere of cutting edge and experimental music.

Obake is essentially a meeting of musical minds, that therefore draws entirely from the previous experiences of each separate member, these diverse influences are absorbed into and in fact create Obake as a new and extremely powerful musical force; the result is the self titled album to be released by Rare Noise Records in late September – Obake; the name refers to a class of Yokai, Japanese mythical creatures which in strict translation means “shape shifter” but often is used to mean either “ghost” or “ghost of a deceased human”

Opening track ‘Human Genome Project’ instantly sets the tone; it’s dark, very dark – this is like being pummelled, the bass which plumbs deep ravines is initially to the fore, but gives way to a semi spoken guttural vocal – the pace is slow, we are well into the genres of both doom and drone metal here, however the treated multi layered guitar elevates the track to a living breathing entity; no let up with ‘Dog Star Entity’ though the perfect production allows elements of both ambient electronica, and noise to seep through.

Obake have created a sound that positively clings to you, you feel yourself being enveloped by wave upon wave of yet more darkness, then just when it gets too much the noise gives way to reveal a semi blues undercurrent that reaffirms you are listening to rock ‘n’ roll – albeit very twisted rock ‘n’ roll.

There are lighter moments, the instrumental ‘Letters To Ghosts’ is almost ethereal in its composition, but its just there to lull you for when ‘Ponerology’ opens with its visceral guitar this is the sound a film director would use to accompany a scene of disembowelment, the backing vocals coming across like choir of satanic priests.

‘The Omega Point’ with its taut math-rock beats is perhaps Obake’s most accessible track, from within its darkness moments of beauty break through providing the listener with relief from the suffocation – that’s not a criticism; Obake have fused together very diverse genres of music, the result being an album that encaptures the sounds of extreme moments – birth, death, pain, elation – this is a sound of a beast experiencing these powerful feelings; a beast being dragged against its will from the depths of the abyss

Obake have produced an album that resonates, a truly captivating and at times unsettling listen that if you permit you will lose yourself within; in simple terms it’s a doom metal album, but this is so much more ambitious and even experimental which is down to the abilities of the musicians involved – if you have ever listened to Earth, Sunn O))), Popul Vuh or Coil then Obake are worthy of your attention… Just don’t go on your own… (http://louderthanwar.com)

1. Human Genome Project
2. Dog Star Ritual
3. The End Of It All
4. Szechenyi
5. Letters To Ghosts
6. Ponerology
7. The Omega Point
8. Destruction Of The Tower
9. Endocrinal Pineal Gland
10. Grandmother Spider

Lorenzo Esposito Fornasari: Composer, Keyboards, Vocals, Electronics, Additional Production, Mixing 
Eraldo Bernocchi: Arranger, Composer, Producer, Electronics, Guitar (Baritone), Mixing
Massimo Pupillo: Bass, Composer, Electronics
Balázs Pándi: Composer, Drums



info |
http://www.artistdirect.com/nad/store/artist/album/0,,9009303,00.html
http://louderthanwar.com/featured/obake-obake-album-review
http://www.theholyfilament.cl/articulos/obake-espiritus-mutantes-de-profunda-oscuridad/

La Mujer Barbuda, Lagartos Terribles (2011)

“Lagartos Terribles” es un álbum dedicado íntegramente a los dinosaurios. Se trata del segundo disco de una banda, que ya tiene 7 años de trayectoria.

Cada tema tiene el nombre de un dinosaurio. A su vez, las composiciones, están divididas en tres grupos diferentes de acuerdo al tamaño del animal que cada una representa. Y se separan en pequeños, medianos y grandes saurios. Cada grupo tiene características de producción y de composición distintas.

El arte del disco fue echo por Lucas Nine, quien, a través de un estilo virulento y expresivo, vuelca una galería de imágenes que imprimen acción e interacción a este museo sonoro, el cual es un trabajo que se traduce en un gran afecto y simpatía por estos “Lagartos Terribles”. (http://www.rock.com.ar/rosario/20112637/la-mujer-barbuda-presenta-lagartos-terribles/)

1. Un Kronosaurus viene de lejos
2. Trilobite
3. Longisquama
4. Microceratops
5. Dimetrodón
6. Alvarezsaurus
7. Pachycephalosaurus
8. Carbono 14
9. Dilophosaurus
10. Quetzalcoatlus
11. Baryonyx
12. Nahuelito

Martin Pantyrer: Saxos soprano, tenor y barítono, clarinete, clarinete alto y bajo, objetos y juguetes
Sergio Álvarez: Guitarra eléctrica, procesadores, objetos y juguetes
Franco Fontanarros: Bajo, procesadores, objetos y juguetes
Lulo Isod: Batería, objetos y juguetes



info |
http://www.myspace.com/mujerbarbuda
https://www.facebook.com/lamujerbarbuda?sk=app_159253817482305