Hanne Hukkelberg, Featherbrain (2012)

Norway has not been short of uncompromising musicians in recent years, and Hanne Hukkelberg has been a part of that set since her debut album in 2004. With her fifth full-length, Featherbrain, it is quite possible that she has elevated herself to greater heights.

Her vocal flexibility and willingness to play around is evident from the start. Though not always utilised, on Noah the melody winds and wails, upwards and downwards, its layers upon layers creating a huge textural density. These phrases, you feel, are potentially endless.

As well as the fundamental strength of composition – it is not that structurally strange – what must also go down as a huge part of Featherbrain’s appeal and boldness is the instrumentation. The influence of experimental jazz works its way through to the fore and the way in which these unusual sounds tap, pierce and slice through the music creates an often unsettling and unpredictable ambience. They do sometimes jar, but for the most part they complete the structural foundations.

My Devils recalls much of that Nordic ambient weirdness as a murky melody is hidden in the mix, floating above an accompaniment which flits between jauntiness and a minimalistic serenity. The vocals are both redolent of the robotic Karin Dreijer Andersson and the laidback drone of Phil Elverum. Tones are altered throughout and no two songs are at the same level of intensity. The casual The Bigger Me has something of a song recorded in a kitchen about it – percussively it echoes pots and pans, and features whistles both human and machine, the latter seemingly from a kettle.

The album’s closing track is in great contrast to nearly all of what comes before it. Hukkelberg duets with an elderly man on the lament Erik, performing in her native tongue. They plod along together to a detuned piano, swaying between a foreboding hum before a more rousing finale. It seems fitting that a record so difficult to place – and indeed recorded in a variety of locations – eventually finds its way home, so to speak.

With Featherbrain, Hanne Hukkelberg shows not only a willingness to keep her characteristic sound and change its dressings each time, but does so in a way which sounds so daring. But, aside from all that, it’s another Hukkelberg album to treasure. (bbc.co.uk)

01 Featherbrain
02 Noah
03 I sing you
04 The bigger me
05 My devils
06 Too good to be good
07 SMS
08 The time and I and what we make
09 You gonna
10 Erik



info |
http://hannehukkelberg.com
https://www.facebook.com/hannehukkelberg
http://www.bbc.co.uk/music/reviews/hxj9
http://www.propellerrecordings.no/artists/hanne-hukkelberg

Ahmad Jamal, Blue Moon (2012)

It is tempting to say that, at age 82, Ahmad Jamal carries on getting better and better, but that would be to miss the point. The pianist long ago reached a level of perfection from which it is simply not possible to get better. It is a level, however, to which he habitually returns. In 2010, Jamal released one of the most sublime albums in his long and splendid career, the quartet set A Quiet Time (Dreyfus Records). Two years later, he has released another one every bit as great.

The signature elements of Jamal's style—elegance, lyricism and sophistication on one side; vibrant, ostinato-driven grooves and riffs on the other; all heard, more often than not, during the course of a single tune—are not just still present on Blue Moon, they are still waxing. So too is Jamal's gift for writing arrangements which bring the sound of surprise to even the most familiar material. To all intents and purposes, Richard Rodgers' and Lorenzo Hart's "Blue Moon" here becomes a Jamal original, and so, among others, does Dizzy Gillespie's "Woody'n You."

For the Blue Moon sessions, Jamal stayed with a quartet but tweaked A Quiet Time's personnel. The wonderfully inventive percussionist Manolo Badrena is retained, but bassist Reginald Veal and drummer Herlin Riley replace James Cammack and Kenny Washington. Riley and Badrena have form with Jamal: Riley first came aboard on Live at the Montreal Jazz Festival 1985 (Collectables), and Badrena a year later, on Rossiter Road (Atlantic, 1986).

These three guardians of the groove interact with each other, and with Jamal, with micro-sensitivity. They are adept, too, at following Jamal's turn-on-a-pinhead arrangements. The quartet moves immaculately from the liquid to the lusty, from a whisper to a shout and back again, like birds of paradise in close formation. As Jamal observes in an All About Jazz 2012 interview, the simpatico between Badrena and Riley makes them an unusually effective percussionist /drummer team-within-a-team.

While nine of the 11 tunes on A Quiet Time were Jamal originals, on Blue Moon he returns, in the main, to the arena in which he first made his name: singular interpretations of Broadway show tunes, songs from the movies, and jazz standards. Of the Jamal compositions—"Autumn Rain," "I Remember Italy," "Morning Mist," divine, each of them—only "Autumn Rain" has previously been recorded, on Rossiter Road. Jamal has also previously recorded three of the half-dozen standards: Gillespie's "Woody'n You" was first heard on At the Pershing: But Not for Me (Argo, 1958), Bronislan Kaper's "Invitation" on Rhapsody (Cadet, 1965), and Johnny Mercer's "Laura" as part of a medley on Live in Paris '92 (Dreyfus). The Blue Moon readings, as you would expect, are new minted and fresh garbed.

Jamal's critical acceptance in the mid 1950s was hard won and helped by the support of trumpeter Miles Davis, who, along with a number of widely reported endorsements, is said to have told his pianist of the time, Red Garland, to "play like Jamal." (True or not, Davis certainly valued the Jamal-like qualities inherent in Garland's playing). The then dean of American critics, The New Yorker's Whitney Balliett, on the other hand, reviewing a Carnegie Hall performance in 1958, found listening to Jamal to be "trying work."

Balliett was, most of the time, an informed and intelligent critic, and it is strange that he so totally did not get Jamal. Maybe Balliett had eaten something earlier that did not agree with him; the historical record can be a perverse beast. In any event, Jamal's genius was officially recognized in the US in 1994, when he was named a Jazz Master by the National Endowment of the Arts. Many other honors have followed. (allaboutjazz.com)

1. Autumn Rain
2. Blue Moon
3. Gypsy
4. Invitation
5. I Remember Italy
6. Laura
7. Morning Mist
8. This Is the Life
9. Woody'n You

Ahmad Jamal: Piano
Reginald Veal: Double bass
Herlin Riley: Drums
Manolo Badrena: Percussion



info |
http://www.ahmadjamal.net/
http://www.allaboutjazz.com/php/article.php?id=41219

Xiu Xiu, Always (2012)

Rarely is so much meaning conveyed in the space of six letters. And with regard to Xiu Xiu, its applications are infinite: always relevant, always provocative, always surprising, always evolving, always glittering.

It's fitting, then, that as the band (now comprised of Jamie Stewart, Angela Seo, Bettina Escauriza, Marc Riordan, and returning member Devin Hoff) marks a decade in existence, such a powerful sentiment would serve as the title of its latest album.

At its core, Always symbolizes the mutual camaraderie with and deep dedication to each person who has internalized Xiu Xiuís work, tattooed its name on their skin or soul, and throughout the past ten years made the band a part of their lives.

The origin of these intense, everlasting bonds is Stewart. His fearless lyrics have given voice to life's most untouchable and taboo subjects, while his distinctively committed but hushed vocals crystallize and medicate their unsettling impact.

Those familiar with the band's work will take particular note of the times Stewart re-visits profoundly personal accounts from his own life -- most prominently on "Beauty Towne" (a not-so-uplifting postscript to the muddle of those depicted in "Clowne Towne" from 2004's Fabulous Muscles) and "Black Drum Machine" (which finishes the narrative of incest and molestation begun on "Black Keyboard" from 2008's Women as Lovers).

Elsewhere, Stewart's willingness to broach any subject finds him confronting both the topical and the intimate in equally meaningful ways: "Gul Mudin" seeks to bring comfort to an Afghani teenage boy murdered for sport by American soldiers; "Joey's Song" strives to do the same for Stewart's brother in the aftermath of a family tragedy.

"Factory Girls" chronicles the sexual objectification and desperate existence of Chinese female, migrant workers. "I Luv Abortion," featuring perhaps Stewart's most unhinged vocal ever, careens through the resolute heartache of a friend too young to be pregnant and seeks to personalize this most political issue.

But while such writing is worthy of reverence, Always' most arresting moments lie in its sonic innovation -- transforming avant pop elements from an undertone into a bright black focal point while adding new influences such as choral music, kraut rock and animal field recordings.

Produced by Deerhoof's Greg Saunier (who also contributes drums and vocals to the album) and mixed by John Congleton (Antony and the Johnsons, Marylin Manson, the Roots) the album is positively vibrant.

During recording, Stewart saw a Bible verse spray painted on the wall of his gym. He interpreted the verse to mean, "Horror and beauty are the same; love and hate are the same, the tireless dread of our own lives and of living can be embraced with the same fervency as what we find beautiful."

Composed of this essence, the album proves that perhaps the only six letters to carry the same weight as "always" are these: Xiu Xiu. (http://www.polyvinylrecords.com)

1 Hi
2 Joey's Song
3 Beauty Towne
4 Honey-Suckle
5 I Luv Abortion
6 The Oldness
7 Chimney's Afire (Mickensian Suicide)
8 Gul Mudin
9 Born To Suffer
10 Factory Girl
11 Smear the Queen
12 Black Drum Machine



info |
http://xiuxiu.org/
http://bellaunion.com/artists/xiu-xiu/
http://www.myspace.com/xiuxiuforlife
http://www.polyvinylrecords.com/store/index.php?id=2017

Omar Sosa & Paolo Fresu, Alma (2012)

Trying to keep pace with the musical projects of pianist Omar Sosa or trumpeter Paolo Fresu is an almost-athletic pursuit. Calling either man prolific is an understatement, but what's more impressive than the quantity of music they release is the quality of their output. Both have tapped into an eternal wellspring of creativity that eludes most artists, with an ability to conjure the spirits of sound at will.

Their first encounter dates back to 2006, when Sosa asked Fresu to come aboard for a performance which resulted in Promise (Skip, 2007)—a live recording featuring Sosa's quartet, Fresu, and Cuban flautist Leandro Saint-Hill. Two years later, the pair toured Italy together and the experience deepened their musical bond, sealing the deal on their intentions to record a duo date. Alma is a worldly mix of music that finds balance between Fresu's modern European slant on Miles Davis-style moodiness and Sosa's inimitable explorations of the Afro-Latin Diaspora.

The majority of the music is fairly low-key in terms of propulsion, but high on emotional content. The use of percussion and electronic fringe in certain places—along with the occasional presence of cellist Jaques Morelenbaum, who served as the arranger on Sosa's Ceremony (Otá, 2010))—gives the project a sense of depth and variety, but this union of two spiritually-connected musical souls would have been enough to make magic, had this simply been a naked piano/trumpet recording.

While Sosa serves as the primary compositional force on the album, two of Fresu's three contributions—the uplifting "S'lnguldu" and the gentle "Rimanere Grande!"—bookend the proceedings. The most stirring material in the middle is a triumvirate of consecutive Sosa compositions. Morelenbaum, Fresu and Sosa create a heavenly blend on the peaceful title track, which starts in a serene place and arrives at a firm Latin space, while balancing somber and stately moods on ""Crepuscolo." "Angustia," a duo number that appears in between, proves to be the most intense and excitable song on the album.

The pair proves to be simpatico in performance, but the two co-written numbers don't highlight this connection and are the album's weakest tracks, with "No Trance" sounding like an outgrowth of Miles Davis' least-interesting '80s experiments and "Medley Part I: Niños" not really going anywhere. Still, the rest of the material is pure magic. Each man brings something different and special to the others written material, and their shared reworking of Paul Simon's "Under African Skies" is sublime, coming off like an aural imagining of a meeting between Davis, Bobby McFerrin, Jacqueline du Pré and Abdullah Ibrahim.

While it's fairly likely that both men have moved on to points unknown by now, with Alma they have created a work of art of full of life, love and soul. This is music worth savoring. (http://www.allaboutjazz.com)

1. S'inguldu
2. Inverno Grigio
3. No Trance
4. Alma
5. Angustia
6. Crepuscolo
7. Moon On the Sky
8. Old D Blues
9. Ninos
10. Nenia
11. Under African Skies
12. Rimanere Grande!

Paolo Fresu: Trumpet, flugelhorn, percussion, multi-effects, whistle
Omar Sosa: Piano, Fender Rhodes, MicroKorg, samplers, multi-effects, percussion, vocals
Jacques Morelenbaum: Cello



info |
http://omarsosa.com/discog.php
http://www.allaboutjazz.com/php/article.php?id=41218
http://www.emusic.com/listen/#/album/paolo-fresu-omar-sosa/alma-feat-jacques-morelenbaum/13076644/

Eyvind Kang, The Narrow Garden (2012)

Eyvind Kang has contributed string arrangements for a number of artists including Laurie Anderson, Blonde Redhead and Sunn O))) .

The Narrow Garden is the latest full length from composer Eyvind Kang which will be released on Ipecac on January 30th. Across his illustrious musical career in addition to arranging and performing with other musicians, he has released many recordings of original music notably the acclaimed choral piece "Athlantis" (Ipecac) and "The Yelm Sessions" (Tzadik). The Narrow Garden is no exception, offering one of his most original and perhaps one of his most playful recordings to date.

The music on The Narrow Garden sounds like it was composed for a film soundtrack in the way that Eyvind Kang creates evocative visual spaces with sound. True to form the album is composed of full-bodied pieces of music that evolve from minimal song structure to more grandiose musical statements throughout, 'Forest Saman'i' is a great example of this. 'Pure Nothing', 'Mineralia' and 'Nobis Natalis' nod to the choral tones on Athlantis and show definite eastern influences, whilst 'Usnea' and 'The Narrow Garden' experiment with some truly eerie samples.

Overall this is one truly atmospheric album. (piccadillyrecords.com)

1. Forest Sama'i
2. Pure Nothing
3. Usnea
4. Mineralia
5. The Narrow Garden
6. Nobis Natalis
7. Invisus Natalis



info |
http://www.ipecac.com/artists/eyvind_kang
http://www.theholyfilament.cl/noticias/eyvind-kang-nos-invita-a-conocer-the-narrow-garden/

John Zorn, Mount Analogue (2012)

Drawing inspiration from the life and work of the towering spiritual figure Georges Ivanovitch Gurdjieff, Mount Analogue is one of Zorn’s greatest creations. Taking the form of a mystical journey, the music jumps from one world to another weaving a rich tapestry that blends world music, jazz, contemporary classical and more. Featuring Cyro Baptista’s fabulous quartet Banquet of the Spirits augmented by the brilliant Kenny Wollesen on vibes, this is the latest volume in Zorn’s mystic series, and a major new extended composition. Described as aural cinema, even after thirty years Zorn’s file card pieces have never been equalled. A masterwork! (tzadik.com)

01 – Mount Analogue (38:21)

Cyro Baptista: Percussion, Prayer Bells, Vocals

Shanir Ezra Blumenkranz: Bass, Oud, Gimbri, Vocals

Tim Keiper: Calabash, Drums, Percussion, Orchestral Bells, Vocals

Brian Marsella: Piano, Organ, Vocals

Kenny Wollesen: Vibraphone, Chimes, Vocals

 

Cyro Baptista

 

Shanir Ezra Blumenkranz

 

Tim Keiper

 

Brian Marsella

 

Kenny Wollesen

info |

http://www.tzadik.com/index.php?catalog=7394

http://www.allmusic.com/album/mount-analogue-r2381465/review

Frank Zappa & The Mothers Of Invention, Carnegie Hall (2011)

 

In October 1971, Frank Zappa & The Mothers of Invention played two shows in one night at New York City’s Carnegie Hall. For the first time ever, those recordings are available for pre-order as a four-disc set. The album, Carnegie Hall, celebrates that night's marathon -- two shows (7:30 and 11:30 p.m.) with ticket prices ranging from $3.50 to $6 -- featuring Zappa (lead guitar, vocals) with Mark Volman (vocals, percussion), Howard Kaylan (vocals), Ian Underwood (keyboards, alto sax), Don Preston (keyboards, gong), Jim Pons (bass, vocals) and Aynsley Dunbar (drums)

The package is accompanied by extensive liner notes in which Gail Zappa describes these shows as “recorded Live in glorious mono,” they “represent the only time Frank Zappa, with or without the Mothers of Invention, appeared at Carnegie Hall. Promoter Ron Delsener, who had to convince the venue’s booker that Zappa was “a very accomplished classical musician of several wind instruments like the cello, viola and harp,” says “enjoy genius and smile, Frank is smilin’ at you.”

The four-disc set launches with The Persuasions, an a cappella group whose first album was recorded by Zappa in 1970. Carnegie Hall continues with “Call Any Vegetable” from the Absolutely Free album and includes “Peaches En Regalia,” a 30-minute version of “King Kong” and other classic Zappa tunes.

The album is being released by Vaulternative Records and the Zappa Family Trust.

Disc 1
THE PERSUASIONS SHOW
1. I Just Can’t Work No Longer
2. Working All The Live Long Day/Chain Gang
3. Medley #1
4. Pieces Of A Man
5. Buffalo Soldier
6. Medley #2
7. Medley #3

FZ SHOW 1
8. Hello (To Foh)/Ready?!
9. Call Any Vegetable
10. Anyway The Wind Blows
11. Magdalena
12. Dog Breath

Disc 2
FZ SHOW 1
1. Peaches En Regalia
2. Tears Began To Fall
3. Shove It Right In
4. King Kong
5. 200 Motels Finale
6. Who Are The Brain Police?

Disc 3
FZ SHOW 2
1. Auspicious Occasion
2. Divan Persist Of: Once Upon A Time
3. Sofa #1
4. Magic Pig
5. Stick It Out
6. Divan Ends Here
7. Pound For A Brown
8. Sleeping In A Jar
9. Wonderful Wino
10. Sharleena 1979
11. Cruising For Burgers

Disc 4
FZ SHOW 2
1. Billy The Mountain
2. Billy The Mountain
3. Billy The Mountain
4. The $600 Mud Shark Prelude
5. The Mud Shark

Frank Zappa: Lead guitar, vocals
Mark Volman: Vocals, percussion
Howard Kaylan: Vocals
Ian Underwood: Keyboards, alto sax
Don Preston: Keyboards, gong
Jim Pons: Bass, vocals
Aynsley Dunbar: Drums


CD Produced by Gail Zappa & Joe Travers
Vaultmeisterment by Joe Travers for UMRK
Mastered by Doug Sax with Sangwook “Sunny” Nam, The Mastering Lab, Ojai
Audio Restoration by John Polito, Audio Mechanics, Burbank
All Recordings and Art Elements from the Vault, courtesy ZFT Archives
Production Management by Melanie Starks
This album is dedicated to all the fans that appeared at every concert in New York and each and every one who showed up for Halloween.



info |
http://www.zappa.com
http://barfkoswill.shop.musictoday.com/Dept.aspx?cp=971_51410