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Earthy jazz sounds honoring the late, esteemed bassist Malachi Favors (aka Big M) who was the original bassist in this Ritual Trio, headed by Chicago percussionist Kahil El’Zabar. As a member of The Art Ensemble of Chicago and the AACM, Favors was a huge influence musically, and also as somewhat of a father figure, on El’Zabar from an early age. After Favors passed away in 2004, El’Zabar decided to reform the Ritual Trio with Ari Brown on saxophone and Yosef Ben Israel on bass. This 2004 date is a tribute to Big M, with guest Billy Bang on violin. On various tracks, you’ll hear El’Zabar on either trap drums, “earth drums” (African hand drums) or kalimba. He also adds some flute and, on the final track, vocals. Tenor saxophonist Ari Brown plays with a great raw tone and also checks in with some first rate piano on a couple of tracks. If you’re a fan of big, booming, acoustic double bass propulsion, then you’ll enjoy what Ben Israel is up to here. Track 7 is a bluesy vocal piece with piano, bass, violin, and flute, but no percussion–not my favorite track here. Everything else, though, is a fragrant stew of low down African-influenced jazz grooves. Tracks are medium length, in the 6 to 11 minute range.
Very nice approachable jazz with especially fine performances from baritone sax and flute player Cecil Payne (1922-2007) and Duke Jordan (1922-2006) on piano. Sam Jones on bass and Al Foster on drums also excellent. Despite mainstream appeal and covers of jazz standards, this excellent 1973 recording belongs in the KFJC library.
Stripped down trio format, laid back, listenable, nonchalant. Paul Bley (1932 – 2016) was a Canada-born American jazz pianist known for his free jazz innovations and emphasis on trio playing. Italian pianist Cappelletti plays with DiCastri on bass and Ditmas on drums who had also played with Bley.
energetic skronk improv jazz fits recorded in the late ’80s.
Trio w/unique instrumentation: theremin, percussion/trumpet, & drums. Recorded by Rent Romus. Sparse. Delicate, tinier sounds. Echoing, looping theremin is very engaging. Lots of percussion, chimes, bells.
Imagine if you will being a DJ in the 50s and having at your command an NBC Thesaurus series of 16″ discs full of music such as the kind found on this CD. Well, we don’t have to, because this little treasure is a perfect example of the recordings made at that time to help radio stations with filler music. Aileen Stanley, so called because she took her brother’s first name when he left her to a solo career, began performing at the age of 5 with her brother. Vaudeville was only the start, as we can see from this CD of songs from the 1900s-1920s but recorded in the 1940s. It is a trip listening to the lyrics that take you back to a time when life may not have been simpler, but the songs were. I have lots of favorites on this one. Go find yours.
Italian experimental sax jazz released in 2008. Dueling beeps chirps fuzz and standard melody. Slow paced. Keeps you on your toes.
Pointillist duo of Australian pianist Chris Abramson (The Necks) and German Kai Fagaschinski on clarinet. Ponderous piano melodies. Long attackless clarinet tones, close and breathy. Extended-technique piano scraping. Silences. Long and short tracks 2-10 minutes. Recorded in Berlin 2009.
Saxophonist Logan was a respected, though erratic, figure in the early days of free jazz. He only made a couple of records and played with a small number of notable musicians, and then pretty much disappeared for decades. With a great deal of support from admirers, he seems to be making somewhat of a comeback and that’s a good thing.
This CD is an airy, spacious affair featuring Logan on sax and solo piano (track 3), Jessica Lurie on sax and flute, and Larry Roland on bass. No drums. Guitarist Ed Pettersen (who also produced the CD) plays mostly subtle textural /looping things underneath, which gives the music an interesting flavor. My favorite parts are when Logan is on sax and Lurie is on flute–we hear some truly inspired conversation.
The liner notes tell us the story of how Logan was tracked down and brought into the studio to record this CD.
Snappy twirly jazz. Track two is more serene than the others. All nice medium length tracks. Crashing percussion and twittering horns. Newly formed group of Brigid Burke on clarient, Steve Hall on pianio, and Mark Zanter on guitar.
Cohn, Al; Mitchell, Billy; Coker, Dolo; Vinnegar, Leroy; But – “Night Flight to Dakar” – [Xanadu Records Ltd.]
Recorded live in Senegal in 1980, 10 knock out tracks from these five fine jazz musicians from the United States. They played without rehearsal to enthusiastic audiences – many had not heard jazz before. Not African music, American jazz. Excellent hard driving tracks, blues, and sexy slow songs. VERY VERY GOOD!!!!
Marchy transy playful mambo beats. Over twenty people credited in the Arkestra. Gets nutso on the b side with the keyboards and improv vocals at the end.
Bennani, Abdelhai/Oki, Itaru/Silva, Alan/Sato, Makoto – “New Today, New Everyday” – [Improvising Beings]
Tenor saxman Abdelai Bennani Moroccan-born, then French-fed, creates
Pacific Jazz was known for cool West Coast jazz and released 12″ albums from 1955 to 1957 – this was the third. Chet Baker’s trumpet is in fine form in this live recording from the University of Michigan at Ann Arbor and is joined by terrific side men. I especially liked Line for Lyons, Headline, and Russ Job.
After Charlie Parker worked with Baker on the West Coast, he went back to New York and told musicians “There’s a little white cat on the coast who’s gonna eat you up”.
Recorded in France in 2015, piano (Tusques), trumpet and flute (Oki), accordion (Parle), and vocals/spoken word in French (Juanpera). Very fluttery, completely improvised and rather difficult – sounds like nothing else. I only began to make sense of it on the second listen. Perhaps Jub Jub refers to the bird in Lewis Carroll’s poem “The Hunting of the Snark”?
Jimi Tenor is constantly pushing himself to try out new things, or reinterpret things he is familiar with, or put a twist on things familiar, or….. Needless to say, a chameleon of sound. Jimi Tenor, his name a combination of his favorite youth idol Jimmy Osmmond (HOT!!!!) and the tenor saxophone, comes from Finland and has created music electronic, jazz, big band, industrial. He has made his own electronic-mechanic instruments. Needless to say, creative and out there. “Mysterium Magnum”, the 2015 release on Herakles Records, continues this push. Tenor performs with UMO the Finnish national Jazz Orchestra, creating 12 pieces of tight, solid and clear jazz. UMO are amazing in their playing. Clear, crisp sounds punch through these big band orchestra pieces. Oh the horns. There is a retro feel to the numbers, going back to sixties studio orchestras performing soundtracks and backup for big name singers of the past. But it’s more than that for as the band plays on Tenor comes in with the craziest synth sounds I’ve heard in a while. Squonks, squeaks, blurbles. It’s a 1960′s Russian synthesizer, the RITM-2. Oh it is so good. I just couldn’t stop smiling…. and laughing…. and jumping around. The whole thing plays it straight, but it is not, not really, not with Tenor at the helm. And at the controls of the RITM-2. Enjoy.
Fantastic sax and drum duo from Seattle. KFJC DJ/MD
19 Songs about the mysteries of death and life as revealed to a Native American who’s hat began flapping in the wind. Between 5:00 and :22 long.
Free jazz trio recorded live at Vamp Vintage in Oakland.
The album takes its name from the sea god of Irish mythology, and also from the leukocyte-immunogobulin-like receptor, a protean which regulates the immune system and inflammatory response. All tracks have names taken from cellular biology.
This is improvised jazz inspired at times by part by post-rock and drone. It’s very cohesive and listenable, not too “out-there”.
All three musicians are very accomplished and short biographies are provided in the liner notes. Rent Romus is on alto and soprano sax, as well as flute. He is influenced by jazz greats such as Albert Ayler and Sun Ra, and non-jazz greats like Derek Bailey and Merzbow. These influences are apparent in his solos, which alternate between long melodic riffs and repetitive otherworldly honking. Oakland resident Teddy Rankin-Parker is a renowned cellist who has played with Iron and Wine and Primus. On this album, he switches between rhythmic plucking and slow, dissonant drones. Daniel Pearce plays drums, skittery and rumbly, but not often explosive.
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