A – B

All artists filed by last name under A and B :

Kip Hanrahan | Days and Nights of blue luck inverted | American Clavé

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Some records are there because there’s money that demands to be made, some records are there because there’s a career that demands to be realized, this is a record that’s here because there was (is?) a mood, understood or misunderstood as above, constantly succeeding itself, that demanded to be heard. “Love is like a cigarette” was written by Richard Jerome and Walter Kent, made beautiful by Duke Ellington with Ivey Anderson, and was arranged for this record by Kip Hanrahan with Alberto Bengolea. The rhythm and horn arrangements and the changes for “Gender” were written by Alien Toussaint and the words and melody were written by Kip Hanrahan. It is published by Warner Brothers/Coup de Tete (BMI). In the case of “Marriage,” the two lower mid range bass lines, which in some ways become the song, were composed by Jack Bruce. The words, melody, form and arrangement are by Kip Hanrahan. It’s published by Coup de Tete (BMI). Continue reading →

Kip Hanrahan | All roads are made of the flesh | American Clavé

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With it’s subtle evocations of the sexual melodrama of — go, subdued guaguanco rhythms, wisps of Haitian compas and passages of improvisational flair merging together (so that organist Don Pullen’s off-kilter keyboard runs heighten the pulse of the 3/2 clave used throughout), Hanrahan’s new album All Roads are Made of the Flesh is greater than the sum of its parts…. Where much of the new global fusion is rhythm as an intellectual exercise, the rhythms of Hanrahan’s music evoke the many textures of desire and sensuality…” – Peter Shapiro, Wire (London) Continue reading →

Conjure | Cab Calloway stands in for the moon | American Clavé

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See, at the heart of Conjure is this rhythm section (yeah, it includes legends and horns) that swings so strongly and intelligently that you can hear the joy the players have working with and writing for each other and you can’t escape the living respect they have for the magic of the tradition. And at its sharp ({enter are the words and stories of Ishmael Reed (genuine American Magical Realism?) reintegrating themselves into the verbal, griot tradition from which they come. Most magic is vertical as well as horizontal, isn’t it? — KIP HANRAHAN Continue reading →

Bruce Eisenbeil Sextet | Inner Constellation Volume One | Nemu Records

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Don’t let the corrosive guitar that begins Bruce Eisenbeil’s extended “Inner Constellation” fool you into thinking you’re about to hear a psychedelic rave-up or some proto-fusion. Once bass and drums join in, followed by violin and horns, it’s apparent “Inner Constellation” (a 45-minute work recorded in one long take, meant to be listened to straight through from beginning to end, notwithstanding 27 individual track numbers and the enigmatic inner titles) is an example of what’s still sometimes called “free jazz” or “creative improvised music,” terms that ceased being meaningful as long ago as the 1970s, when composition asserted itself as a force to be reckoned with in the jazz avant-garde. There are numerous passages here that sound collectively improvised, and as many others that sound preplanned. Happily, because Eisenbeil’s writing is so open-ended and the members of his sextet give themselves over to it so completely, you’re never quite sure where composition ends and improvisation begins, or when the two overlap— a measure of Eisenbeil’s success. — Francis Davis Continue reading →

Ute Kaiser | Achim Tang | Maria Ammann | Prosa, Gedichte, Briefe von Margarete Steffin | Nemu Records

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Die Mehrzahl von Steffins Gedichten – und Brechts Antwortgedichte – sind Sonette. Eine traditionsreiche und anspruchsvolle Form, die Mühe macht und Können verlangt. Steffin und Brecht haben sich ihre Sonette gegenseitig korrigiert. In diesem pfleglichen Umgang mit der literarischen Produktion des Anderen fand die gegenseitige Gewogenheit einen in der Literatur einzigartigen Ausdruck. — Robert Cohen, New York Continue reading →

Michel Edelin Quartet | Resurgence | RogueArt Jazz

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Here is a group that is not mere circumstance a group that has a sense of durability! Eighteen years after an already accomplished first recording, the four musicians show in any case that the disorganized effects of commercial culture have no influence on an artistic desire newly reaffirmed in this gushing Resurgence, leaving eleven themes/sources drifting on its unique current linked in a distanced aesthetic which does not challenge the history of jazz but is known to be gaily unsubdued by current trends and to codes which guide a certain “European jazz”. — Bernard Aime (Translation Marie Alleyrat) Continue reading →

Joshua Abrams Quartet | Unknown Known | RogueArt Jazz

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RogueArt continues its Chicago jazz love affair with Unknown Known a quartet featuring Josh Abrams on bass, David Boykin on tenor sax, Jason Adasiewicz on vibes, and Frank Rosaly on drums. In many ways, Unknown Known sticks to those Chicago roots: even it its wilder flights, it always has a foot planted in composition and structure. It’s jazz that comes up under the tutelage of the AACM, which constantly pushed boundaries without ever entirely dispensing with them. Continue reading →

Jeff Albert’s Instigation Quartet | The Tree On The Mound | RogueArt Jazz

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The art of throwing spinning-tops It’s on. It’s overflowing with energy.The music tosses the spinning-top of reality, since playing is spinning around what is, where hides what is not, what once was, and what one day will be. To play is to drill. And to improvise is to recover and develop “the faculty and the ability to ceaselessly birth sensations.” (Novalis) To improvise is to make the world flow, or to let oneself go as it flows. Sounds visit us and their levels rise within us like the waters of a flooding river – closeness of the Nile and the Mississippi. (Edward “Kidd” Jordan is the instigator of River Niger, a composition sometimes played by this quartet, which is at Jeff Albert’s instigation). When he is playing, Jeff Albert, proud heir of the tailgaters, has all the dykes and seawalls at his disposition. When he is playing, “Kidd” Jordan accumulates cataracts and deltas. There are at least two types of accumulation: the methodical accumulation of the merchant economy, the one which compiles and compacts, which amasses objects, signs, bits and pieces, which amasses time-frames also, in order to confirm them in their conformity and isolation. There is the poetic accumulation: it is spasmodic, disparate, thought-provoking -while it gathers, it squanders; while is uses, it rejuvenates. Lucid silt. — Alexandre Pierrepont (Translation: Romain Tesler) Continue reading →

Dissoi Logoi | Nyx | Amirani Records

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tHe nyX ProJect The title we chose for this project is the name given by the Greeks to the NIGHT, which was not only a moment of the day but most of all a primordial goddess. NYX is mother to good-natured children like Hypnos (Sleep), Oneiroi (Dream), Hesperides (sunset Nymphs associated with dance and chant) and Philotes (Pleasure of love, Friendship, Tenderness) … but NYX generated also terribly ill-natured children among which Thànatos (Death), Moros (Doom), the Keres (goddesses of violent death), the Moirae (the”Fates”, the three crones who control destiny, in Rome known as “le Parche”) Continue reading →