George Mraz is from the eastern part of what was Czechoslovakia so his jazz influences include a lot of the more traditional folk music of the area. His bass playing is very full and classical and that sets the pace for this recording – no “up” songs. Zuzana Lapcikova plays the cymbalom (hammer dulcimer) and sings some songs in Moravian – you probably won’t understand them, but it is pretty, interesting and different – give it a try! *review by David Richoux
This is the first recording of traditional klezmer tunes using original instruments and music. Many of the tunes might be familiar to you (if you listen to modern klez) but the tempos will drive you crazy! Not because they are fast and lively, but just the opposite – I guess they just danced a LOT slower back in the 1700s and 1800s. In those times the violin was used the lead instrument ( the clarinet is today,) but the voice and feeling of the improvised melodies is still very beautiful. Note the bowed string bass and dulcimer-like cimbal. These are all instrumental tracks. A very detailed notebook will tell you anything you want to know about early klezmer music. Enjoy! *review by David Richoux
Following many years working with Ruben Blades, Timbal player Ralph Irizarry has formed his own group. The result is naturally percussive, but there is a lot more going on here. It is a bit hard to figure expressive jazz in a danceable Latin style, but these guys do it somehow, without being too “commercial.” *review by David Richoux
Yet another great sample of jazz and more from all over the place. All recorded at the Spirit Room in Rossie, New York in 1999. From slightly scary sax squirts to tasty violin & guitar, cello & trombone duets, this covers a lot of territory. Track 9 is an almost trad reading of “Just a Closer Walk,” but most everything else is original compositions. Lots of short tracks here, drop them in anyplace! *review by David Richoux
It seems like the Good Ol’ Kronos Quartet have ditched just about everything they have done before and decided to take a trip around the world. No more Microtonal Minimal Modernista Composition for the KQ – they are playing HOT FIDDLE (and HOT CELLO) in so many styles – Jazz, Slavic, Electro/Beat, Arabic, Turkish, Portuguese, Argentine, Gypsy-Romanian, Indian, Mexican, even a bit of Surf! Many guest artists on many percussion, keyboard and other instruments add a whole lot to this very fun recording. You probably won’t dance to it, but you will find great things here… a few notes on the better tracks:
#3 combines the quartet with tabla – very Indian
#5 is Killer, but it takes a bit to get going – best track here (stick with it!)
#6- Gloomy Sunday might sound familiar, but it is SO SAD!
#7 is goofy electronica #8 modern Argentine tango.
#10 Iranian-Turkoman traditional folk/dance Spike Fiddle!
#11 Sufi trance music – slowly building, very dramatic, traditional instruments accompany.
#12 Armenian Surf via Dick Dale!
*review by David Richoux
It has taken almost 20 years for the music of the Dirty Dozen and ReBirth Brass Bands to finally expand out of New Orleans, finding young musicians who now understand that it is something more than just brass and percussion – it is a drive, a spirit, and “A LA CARTE has got it, plenty! They are from the Washington D.C. area, been around since 1994 and they take a lot of influence from the D.D. (they use that band’s arrangement of Caravan) I really enjoyed this live and lively performance. The 4 man percussion section is quite strong, especially when the Brazilian samba style beat gets going. The trumpets and bari sax are also very hot- and the tuba is very much in control of the whole thing! Slipping in a few rock/soul/torch songs sung by Shaun Murphy (of Little Feat) and a rapping track were nice touches.
Unusual “vocal drumming” on track 12! *review by David Richoux
Arthur Blythe and Bob Stewart have a long association, and they really work well together. The tuba is providing just as much “melody” as rhythm and Stewart really knows how to play! Blythe on Alto is both tuneful and honking (at points) but mostly the fluid style he has mastered weaves around the tuba voice so amazingly well. When you ad the incredible percussion of Cecil Brooks to the mix – this little trio becomes a monster! There is a taste of New Orleans street / funk, a lot of driving hard bop, and just a ton of wonderful interaction in music. This was recorded live in Amsterdam in 1999, the audience is really into it! Not scary, just great! *review by David Richoux
This project from southern California’s ultra retro swing band picks some of the more obscure tunes from jazz history. Some male, some female vocals, some novelty renditions of interesting songs that were not especially “hits” – but they do have merit. Please remember that jazz musicians were not considered respectable in all social circles back in those days – these songs reflect some of that “outsider” status. Fun and swinging stuff!
*review by David Richoux
The third CD from this multi-talented east coast trio plus one – mixing powerful tuba lines with jazz/zydeco/boogie style music. This group is also now part of the New Line Brass Band but I think they actually work better in quartet form. (A few of the tracks have extra musicians from the NLBB helping out.) New Orleans Mardi Gras standards mix well with swinging dixie tunes and band originals. The shifting from trumpet to accordion is interesting and gives the band a whole new flavor, but it is Andy Kochenour on tuba that makes the group really move! *review by David Richoux
Complex quartet stuff here with Drew Gress mostly on bass (but some pedal steel,) Tim Berne on reeds (with some multi-track recording,) Uri Caine on piano and Tom Rainey on drums. Not very squonky – it moves right along even with extended bass solos. Tasty! *review by David Richoux
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