Jon Raskin and Carla Harryman, Open Box (2012)

Three years in the making, Open Box is one of the most exciting and successful collaborations of poetry and music ever made. With meticulous attention to detail, Jon Raskin has set the genre-busting poetry of Carla Harryman to music ranging from rock and metal to jazz and free improv. As radical as the writing, the music is brilliantly arranged, and interacts with the texts in a variety of dynamic ways. Each track is a world of its own, and moves forward with a focus and direction unprecedented in music/poetry collaborations. Featuring Raskin’s all star west coast quartet, and the poet herself reading from some of her most cutting edge works, this is music-poetry at its very best. A masterpiece! (tzadik.com)

1. Fish Speech
2. Open Box Part 1
3. Open Box Part 2
4. LA Reactive Meme
5. Song for Asa
6. A Sun and Five Decompositions
7. JS Active Meme

Carla Harryman: Reader
Jon Raskin: Reader, Sax, Vocals
Liz Allbee: Trumpet, Electronics
Eli Crews: Pro Tools, Studio
Aurora Josephson: Reader, Vocals
Ava Mendoza: Electric Guitar
Gino Robair: Drums, Electronics, Percussion, Piano
Roham Sheikhani: Reader
John Shiurba: Electric Guitar



info |
http://www.jonraskin.com/
http://epc.buffalo.edu/authors/harryman/
http://en.wikipedia.org/wiki/Carla_Harryman
http://www.tzadik.com/index.php?catalog=7639

Piero Bittolo Bon Jümp The Shark, Codename: Ohmlaut (2011)

Un personaggio nuovo di zecca impatta all'improvviso la routine del vostro quintetto preferito! La vera essenza del Jump The Shark: riuscirà Gerhard, il simpatico zio bavarese, a risollevare i traballanti indici d'ascolto della band, sulle orme di Scrappy Doo e Cugino Oliver? Sarà sufficiente una semplice dieresi a ridare lustro agli ormai lontani fasti di Sugoi Sentai! Gattai!!? Suoni scivolosi ma abrasivi, come la pelle di squalo, deliziosi quanto lo può essere una omelette aromatizzata ai würstel di resistori. (elgallorojorecords.com)

1  When Will The Bruce Lee
2  Die Teuflische Quinlan
3  Heiligesruder
4  Samantha Fox aka Kawaii Oppai! Banzai!!
5  Secret Life Of The Mullet People
6  Survival Advantages Of Viscera Fat
7  Kwisatz, Kwisatz, Kwisatz
8  Outro

Piero Bittolo Bon: alto saxophone, flute
Gerhard Gschloessl: sousaphone, trombone
Pasquale Mirra: vibes, glockenspiel
Domenico Caliri: electric and 12-string acoustic guitars
Danilo Gallo: double bass, rickenbacker bass
Federico Scettri: drums



info |
http://www.pierobittolobon.com/
http://www.myspace.com/pierobittolobon
http://www.facebook.com/pages/Piero-Bittolo-Bon/188084174564456
http://www.elgallorojorecords.com/archivio-recensioni/2005/05/codename_ohmlau.php

Guillaume Perret & The Electric Epic, Guillaume Perret & The Electric Epic (2012)

A thrilling new band from Paris led by the fabulous composer/perfromer Guillaume Perret who has paid his dues, appearing on dozens of remarkable CDs as a saxophonist. With Electric Epic he finally steps out on his own with a new electric quartet. The result of two years of intense work, the music is a powerful fusion of jazz, rock and metal, with a huge sound, virtuosic solos, brilliant compositions and creative arrangements. Possessing a huge dynamic range and creating a sound way beyond your expectations, this is a very special debut recording by this musical pioneer who is breaking new ground in electric music with this cutting edge quartet. An emotional powerhouse! (tzadik.com)

1. Kakoum
2. Légo
3. Ethiopic Vertigo
4. Circé
5. Chamo
6. Thème pour le Rivage des Morts
7. Massacra

Guillaume Perret: Electric Saxophones, Effects
Sir Alice: Voice
Philippe Bussonnet: Electric Bass, Effects
Médéric Collignon: Voice, Cornet, Effects
Jim Grandcamp: Electric Guitar, Effects
Yoann Serra: Drums, Sampler



info |
http://guillaume-perret.fr/
http://electricepic.bandcamp.com
http://www.myspace.com/guillaumeperret
http://www.tzadik.com/index.php?catalog=7804

David Krakauer, Pruflas: The Book of Angels vol.18 (2012)

David Krakauer is one of the greatest of all modern Klezmer clarinetists. A veteran of countless bands and ensembles and a founding member of the Klezmatics, his ensemble Klezmer Madness has been forging new roads in the world of Jewish music since the late 1980s. David and Zorn have a long history and friendship that began with Zorn's legendary Kristallnacht recording of 1992, followed thru with David’s guest appearances in various Masada ensembles and the release of his first CD with Klezmer Madness on Tzadik. Here David takes a variety of Masada compositions back to their roots, interpreting them brilliantly as traditional (and not-so-traditional) Klezmer tunes. A fascinating meeting of old and new by two of the most creative musicians in Modern Jewish music! (tzadik.com)

1. Ebuhuel
2. Kasbeel
3. Vual
4. Parzial-oranir
5. Egion
6. Neriah-mahariel
7. Tandal
8. Monadel

David Krakauer: Clarinet, Bass Clarinet
Michael Sarin: Drums
Sheryl Baile: Guitar
Jerome Harris: Electric Bass, Voice
Keepalive: Laptop



info |
http://www.davidkrakauer.com
http://www.tzadik.com/index.php?catalog=7396

Chano Dominguez, Flamenco Sketches (2012)

Reinterpretar la obra de Miles Davis es siempre un ejercicio de riesgo; más aún si se trata del álbum “Kind of Blue” (1959), el disco de jazz más vendido de la historia.

En “Flamenco Sketches” (Blue Note), Chano Domínguez ofrece una nueva y deslumbrante interpretación de la música de Miles Davis, una brillante fusión del flamenco y el jazz.

“Flamenco Sketches” fue encargado por el Barcelona Jazz Festival con motivo del 50º aniversario de “Kind of Blue” y, tras tocarse en Barcelona, se grabó en directo en el Jazz Standard de Nueva York en diciembre de 2009, donde el público reaccionó con entusiasmo, a pesar de que, para muchos, era su primer acercamiento al flamenco.

Los siete temas del álbum incluyen el repertorio de “Kind of Blue” al completo y dos de las más populares composiciones de Davis: Nardis (que tocó el pianista Bill Evans y nunca grabado por su autor) y Serpent’s Tooth.

Reflejando la profunda conexión de Miles Davis con la música española (evidente en su álbum Sketches of Spain y en el tema Flamenco Sketches de Kind of Blue), Chano Domínguez afirma que su álbum es un tributo al trompetista y a su música. “La música de Miles Davis ha sido una constante en mi aprendizaje”, dice. “Es muy importante conservar el espíritu de libertad que impregna la obra de Miles, y por eso cambié algunos elementos para acercar su lenguaje a mi cultura”.

Cada tema del álbum está arreglado según diferentes palos flamencos, incluyendo el baile. “He utilizado el baile como percusión flamenca, integrándolo en introducciones e improvisaciones dentro de la estructura de cada canción” dice el pianista. “Aparentemente, el flamenco y el jazz son diferentes, pero sus corazones se parecen”, declaró Chano Domínguez a la revista Down Beat. “Nacieron de una cultura en la que la gente tenía una vida difícil. El jazz del pueblo negro, del blues, de la necesidad de expresar sus alegrías y sus tristezas, lo mismo que el flamenco. Por eso pueden unirse a pesar de llegar de culturas diferentes y pueden caminar en la misma dirección”.

“Flamenco Sketches” es una oportunidad de disfrutar con esos dos mundos que Chano Domínguez fusiona con tanto arte… (Manuel Comesaña · gpsdemadera.com)

1. Flamenco Sketches 16:04
2. Freddie Freeloader 9:33
3. Blue in Green 8:08
4. So What 7:45
5. All Blues 6:53
6. Nardis 9:05
7. Serpent's Tooth 3:38

Chano Domínguez: Piano
Mario Rossy: Bass
Israel "Piraña" Suárez: Percussion
Blas "Kejío" Córdoba: Vocals, palmas
Tomás "Tomasito" Moreno: Palmas



info |
www.chanodominguez.net
www.gpsdemadera.com/2012/03/12/flamenco-sketches-chano-dominguez/

Shelley Hirsch / Simon Ho, Where Were You Then? (2012)

The charismatic raconteur Shelley Hirsch returns in collaboration with talented Swiss composer Simon Ho to present her greatest extended work to date—an exhilarating collection of songs and stories about online dating, living in California, hitchhiking through Germany, 9/11 and more. Sensitive and creative arrangements perfectly compliment Shelley’s story telling in this delightful and colorful suite by a downtown legend. (tzadik.com)

1. Kathy Ray
2. Maxime Cardon
3. Never
4. Hitchhiking/Heinz
5. Giselle
6. Julius
7. Baa Baa Black Sheep
8. Online Dating
9. Where Were You Then?

Tony Buck: Drums, Percussion
Mich Gerber: Bass
Shelley Hirsch: Vocals
Simon Ho: Sequencer, Piano, Accordion, Organ, Keyboard
David Simons: Drums
Misa Stefanovic: Violin
Tomas Ulrich: Cello
Daniela Bertschinger: Viola
Kathrin Boegli: Cello
Karel Boeschoten: Violin
David Gattiker: Cello
Stephanie Griffth: Viola
Dave Hofstra: Tuba, Bass
Andi Hug: Drums
David Inniger: Cello
Karri Koivukoski: Viola
Sibylla Leuenberger: Viola
Michael Suchorsky: Drums, Percussion



info |
http://www.shelleyhirsch.com/shelley/
http://www.myspace.com/simonhomusic
http://www.tzadik.com/index.php?catalog=7638

Buffalo, Volcanic Rock (1973)

In a genre hardly recognized for its finesse, Buffalo's second album, 1973's aptly titled Volcanic Rock, was about as raw as heavy metal got in the early 1970s (and its cover art's barely concealed eroticism sparked a controversy all its own, but that's another story). Of course, as those well versed in matters of hard rock and metal well know, all of its crudity was absolutely intentional. This seeming contradiction is both epitomized and explained by the Sydney, Australia combo's signature single, "Sunrise (Come My Way)," which boasted unquestionable melodic sensibility and expertly dangled hooks beneath the coarse leather surface of guitarist's John Baxter's earth-rumbling fuzz distortion, and singer Dave Tice's simultaneously warm, soulful, and, when needed, borderline ragged voice. Next track, "Freedom," pays peremptory lip service to the "think big" mentality of then ultra-popular progressive rock (and the band's prog-loving label, Vertigo), but never succumbs to the genre's arrogant self-indulgence. Rather, much as they do on the mostly improvised studio jams "Till My Death" and "The Prophet," the rhythm section of bassist Pete Wells (later of Rose Tattoo) and drummer Jimmy Economu plants its hooves into honest, proletarian blues-rock mud and stays put. Actually, the mid-album vibe almost gets too basic and laid-back come the unremarkable "Pound of Flesh," but any serious concerns are quickly crushed under the stampeding, LP-closing eruption of "Shylock," which introduces Shakespeare to Black Sabbath by way of Budgie and Steppenwolf) and brings Volcanic Rock's most distinctive and powerful qualities full circle for an explosive finale. And, as had originally been instructed on their debut album before being reiterated here, Buffalo's peculiar brand of Volcanic Rock achieved best results when played even louder. [Volcanic Rock's 2006 reissue by Aztec Records resurrected long lost original album artwork for its handsome digipack, included comprehensive liner notes, and added two bonus tracks: the single edit of "Sunrise" and a live version of "Shylock," making it the definitive collectors' edition.] ~ Eduardo Rivadavia, Rovi (artistdirect.com)

1 Sunrise (Come My Way) 4:58
2 Freedom 9:02
3 Till My Death 5:38
4 The Prophet 7:24
5 Intro: Pound Of Flesh 4:33
6 Shylock 5:52
Bonus Tracks
7 Sunrise (Come My Way) (Single Version) 3:42
8 Shylock (Live Version)

Peter Wells: Bass Guitar 
Jimmy Economou:  Drums
John Baxter: Guitar
Dave Tice:  Vocals



info |
http://www.discogs.com/Buffalo-Volcanic-Rock/release/1922179
http://www.artistdirect.com/nad/store/artist/album/0,,3526803,00.html

The Mars Volta, Noctourniquet (2012)

1. The Whip Hand
2. Aegis
3. Dyslexicon
4. Empty Vessels Make The Loudest Sound
5. The Malkin Jewel
6. Lapochka
7. In Absentia
8. Imago
9. Molochwalker
10. Trinkets Pale of Moon
11. Vedamalady
12. Noctourniquet
13. Zed and Two Naughts

Omar Rodriguez-Lopez: Guitars
Cedric Bixler-Zavala: Vocals
Juan Alderete: Bass
Marcel Rodriguez-Lopez: Keyboards, synths
Deantoni Parks: Drums
Lars Stalfors: Synths



info |
http://www.themarsvolta.com/the-malkin-jewel/
http://www.progarchives.com/album.asp?id=36504

Forgas Band Phenomena, Acte V (2012)

"For those of you who grew up on the Return to Forever / Mahavishnu Orchestra / Weather Report strain of modern jazz, you will love this group. There's no mincing words about the Phenomena tag this band is proud to own — terrific music made by a wonderful band that cannot be a trade secret for too much longer. Viva Forgas!" – All-Music Guide

"Composer and multi-instrumentalist Patrick Forgas has been making music for the last four decades, and now in the heart of his fifth one, he still has not run out of ideas to put into musical forms...[Forgas’s writing] and arrangements display elements of orchestral-jazz, ambient-rock, and progressive-bop with ethnic accents based in Eastern Europe cultures, the Middle East, and the Latin World. It is as if he pulls various influences out of the air, and transforms these bits and pieces that he grabs into magnificent complexes of multi-textured broths. " – Jazz Review

For over 35 years, composer/drummer/bandleader Patrick Forgas has been making progressive jazz/rock music in his native Paris. He has led various incarnations of his Forgas Band Phenomena for nearly 15 years and four previous and excellent albums, all of which have featured shifting personnel, but the group featured on Acte V, the group's fifth album, has been stable for five years and is the same group that performed on their last release. So, happily, the band still consists of Patrick, Sebastien Trognon on saxes and flute, Dimitri Alexaline on trumpet and flugelhorn, Benjamin Violet on guitar, Karolina Mlodecka on violin, Igor Brover on piano and keyboards, Kengo Mochizuki on bass. These musicians enliven his compositions with an energy and verve that gives his compositions the performances they deserve!

Fusing new jazz directions with the electric crackle of rock with inspired solos, the music will appeal to fans of Frank Zappa’s instrumental works, Jean-Luc Ponty, Morglbl, Return To Forever and Mats/Morgan Band. The quality of the music and performances is obvious from the first note and we're not the only ones who have noticed, as the group has been invited to play some very high profiles concerts: in 2008 they were invited to Seoul, South Korea to perform and - more relevant to this release - in June 2010, the group were invited to perform at pentultimate edition of NEARFest, performing to a packed audience of over 1,000. (cuneiformrecords.com)

1 Ultraviolet (8:34)
2 L'Axe Du Fou (16:06)
3 Feu Sacré (6:53)
4 Soleil 12 (9:09)
5 Double Sens (13:38)
6 Extralucide (10:20)
7 Eclipse (7:45)

Patrick Forgas: Drums
Sebastien Tregnon: Tenor, alto & soprano saxes, flute
Dimitri Alexaline: Trumpet, flugelhorn
Benjamin Violet: Guitar
Karolina Mlodecka: Violin
Igor Brover: Keyboards
Kengo Mochizuki: Bass



info |
http://forgasbp.online.fr/
http://cuneiformrecords.com/bandshtml/forgas.html
http://www.progarchives.com/album.asp?id=36844

Charles Gayle Trio, Streets (2012)

The post New Thing lineage is a sacred thing. In the fields sown by Ayler and Coltrane and Sanders and Shepp, the music is free and flowing without ego but with purpose. It’s a judgment call of course, but the proponents are arguably few.

Without attaching too many words to it, it’s a style of playing that’s something spiritual, something other, a connectivity between the players and with the listener. And without overly delineating who’s in and who’s out, it’s certain that Gayle is a master of the form.

Deeply committed to free improvisation and the jazz tradition in all its manifestations, Gayle is a blazing saxophonist, a fluent pianist and, has more recently been playing the double bass. Here he is heard at his best, in classic form on the tenor horn with an exhilarating trio.

The title and cover here evoke a character Gayle took to portraying onstage back in the 1990s, a bit of social commentary using the familiar face of a sad clown (read Emmett Kelly or even Charlie Chaplin), using a tragic face with no comedic angle to reflect on his own homeless days. But the music within is all new, recorded in the studio this year with Gayle heard on tenor exclusively joined by longtime timekeeper Michael TA Thompson on drums and Larry Roland on bass.

To say that he recalls the pilgrims of free jazz is no small praise, but it’s not to lock him in the past. At 72, Gayle remains a vital force. The Streets are paved with some serious intentions. (northern-spy.com)


1. Compassion I Charles 5:16
2. Compassion II 6:43
3. Glory & Jesus 9:12
4. Streets 10:34
5. March Of April 9:24
6. Doxology 10:46
7. Tribulations 8:32

Charles Gayle: Tenor saxophone
Michael TA Thompson: Drums
Larry Roland: Bass



info |
http://northern-spy.com/products-page/charles-gayle-streets/
http://www.allaboutjazz.com/php/news.php?id=93241