Repeating vocal samples and distorted vocalizations set to electro-acoustic percussion. Composed and performed by Thomas Kozumplik (The Clogs). Pulsating rhythms. Track 3 chimes and hand drums in time and space.
Hemroid The Leader
“Elegant and melancholy” Italian jazz trio: guitar, bass, drums. Tracks don’t swing. They meander. They build up and fall to pieces and change abruptly. Sometimes it’s kitschy.
The guitar has a subtle reverb. The drummer is good and gets quite active at times. Would sound good next to the right Jack Diamond record.
Track 9 is a Charles Mingus tune.
Old school pianoless free quartet. Collective wailing delivered in bleats, trills, and high speed arpeggios. Then, a more lyrical horn statement. Drums are skittishly verbose. Trumpet player overblows. Group freakout, then solo focus, then back. Earnest. Drummer and bassist push hard. Recorded live at a cafe in NE London between a vintage clothing store and a bicycle shop, May 2015.
Track 3 features an extended drum solo with bicycle bells, whistles, and harmonica, before a reedy sax solo.
Track 4 features autoharp and harmonica drum workout.
Track 5 has bowed bass, live delays and members called out by name at the end of the track.
Very personal folk opera art songs. A Taiwanese-East Timorian out of Peoria, Illinois. Shyu (SHOO) sings a mix of her own writings with traditional songs and poetry accompanying herself on Asian string instruments and backed by a jazz quartet. Microtonal flourishes blur into Western vibrato. Libretto is in English.
Track 9 text based on East Timor’s Report On Reconciliation, a sad saga of rape and torture.
Track 2 a very compelling story about a girl eating and being eaten by a beautiful white flower.
White Out is Lin Culbertson on electronics and Tom Surgal on drums and they have gigged with Nels Cline for fifteen years. Recorded in Tom and Lin’s apartment, this is their first album together. Sometimes droning, sometimes percussive, ‘wet’ sounding. Snare drum has the strainer relaxed. Knobs are twiddled. Song titles refer to sky, clouds, mist, and light: images and ideas in constant flux. Active but not aggressive. Songs peter out.
Mezzacappa is a triple threat: female-bandleader, female-bassist, and bassist-bandleader. She calls Bait & Switch her “garage jazz quartet.” Collective improvisations, odd meters, jazz cats play rock’n’roll. Guitar tone is distorted, reverbless, sax screams passionately a la Rahsaan, drums subtle and controlled. Reminiscent of James “Blood” Ulmer, Sebadoh, Zappa. #5 Solo bass tune from Air (jazz group). #4 Captain Beefheart tune. #9 Mingus-esque, group wailing session into bass solo.
Related: Joelle Leandre is another excellent female bassist who has her name on the dates. Lots of other Clean Feed releases in the library. Other Mezzacappa releases.
Aaron Bennett- tenor sax. John Finkbeiner- guitar. Lisa Mezzacappa- bass. Vijay Anderson- drums.
Tuba solo on track three.
Jagged spectral funk from Brooklyn guitarist associated with Henry Threadgill/Zooid, and M-Base. Prolific studio engineer, a nice recording. Bay Area-raised, played early gigs with The Coup. Part groovin’, part advanced compositions. Rhythm section bass, drums and tuba.
Tracks 1,3,5 hit harder. Tracks 2,4 more exploratory. They’d be good two in a row. Track 9 has breakcore drum programming.
Previous- Ophiuchus Butterfly (Jazz CD)
Sideman/engineer- Henry Threadgill/Zooid, Steve Coleman, Vijay Iyer
Also on Pi Recordings- A lot. Steve Lehman, plays sax here and leads his own group.
Songs, with and without drums. Recorded by Laura Boulton, groundbreaking female ethnomusicologist. Album released in 1941.
“The Indian sings with his jaws only slightly open and there is very little change in the position of his jaws or lips while singing.” “Nonsense syllables are common.” Pure melody, no fixed scale, and only occasional heterophony. “When a soloist performs, it is not because he has a beautiful voice and wants to give aesthetic pleasure but because he has a song which has particular value or power.” The singing and drumbeat patterns coincide but do not match. “It is necessary to put aside … fixed concepts in order to understand.” Our predecessors on this land used these songs to deliver rain, prosperity, and victory in battle.
Related: Littlefeather, Kyle. Unconquered Spirit: Chants and Trances of The Native America (Int’l CD)
Also on Smithsonian/Folkways: Classic Southern Gospel (coll. Country CD)
In the 6th century, ancient music and dance came to Japan from the Kingdom of Kudara in what is now Korea. In the 8th century the Chinese circus came to Japan, with acrobatics, pantomime, and comedy. These influences, in combination with indigenous rituals related to the passing of the seasons or cultivation of rice, form the basis for Noh theater, which took on its present form in the 14th century.
Noh theater troupes are led by a Grand Master and all members are blood relatives or adopted. Sons reprise roles of their fathers. Small gestures are mimicked through generations, eventually commanding much of the audience’s focus. The audience is made up of the Shogun, feudal lords, sophisticates and wealthy commoners.
This record features members of the Kyoto Noh Theater, designated as an Important Intangible Cultural Property by the Japanese government in 1957. It may seem like not much is going on. A wooden flute plays an ancient pentatonic melody, taiko strike here and there, a woodblock plays a slow roll as characters enter and exit the scene, dancers move in exact synchronization. The main character wears a wooden face mask, an ornate robe, and speaks in Old Japanese. A ceremonial tone pervades throughout.
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