J – K – L

All artists filed by last name under J, K and L :

Horacio el Negro Hernandez & Robby Ameen | Robby and Negro at the Third World War | American Clavé

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I guess we could start tracing this music to Negro in Cuba in the early nineteen-eighties, when, still a kid, he was arrested for playing Jack Bruce’s “Sunshine of Your Love” in Havana. Jack was thrilled, in fact, to find out about that music still being subversive somewhere in the world. But the deep subversive element of the story is also Negro defying rules and expectations and playing what he needed to play, in spite of the consequences. Given his intoxicatingly musical touch of subversive musical adventures (now, outside of Cuba, the adventure and chances, and their effect, are bigger and more fluid), and the defiance is just a small part of his musical genius. His musical ideas are spectacular. But, of course, there’s more. — Kip Hanrahan Continue reading →

Kip Hanrahan | Tenderness | American Clavé

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Song Cycle (at least sixteen folk songs from inside the city): 1. “… faith in the pants, not in the prick…” (Vallejo’s Folk Song) 2. “… when I lose myself in the darkness and pain of love, no, this love…” 3. “…she turned so that maybe a third of her face was in this fuckin’ beautiful half-light…” 4. “…at the same time, as the subway train was pulling out of the station…” 5. “…I told him ‘I don’t have to be beaten to be understood’…” 6.“…look, the moon…” (Diahnne’s) 7. “…half of sex is fear…” 8. Gillian’s Folk Song 9. History 10. “…there was something about his anger that was so…inaccessable to me…” 11. “…if I knew how to, if I knew what muscles to relax…” 12. “…you’re no pimp, and I’m certainly no whore…”[wp-audio mp3="http://theshop.free-jazz.net/files/Track137.mp3"] 13. Deep Summer 14. “…look, the moon…” (Carmen’s) 15. in place of an epilog: Lullabye for my Daughter 16. in place of a morale: Geography

All music and words written by Kip Hanrahan except “Gillian’s Folk Song” which was written by Kip Hanrahan and Leo Nocentelli Continue reading →

Piri Thomas | Every Child Is Born A Poet | American Clavé

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Every Child is Born a Poet: the Life and Work of Piri Thomas is a film that is at the very heart of Piri’s life, soul and vision. He yearns for all unheard broods in every dark part of this disconcerted world to experience refuge, love, joy, creativity, self-esteem and self-fulfillment… to be forever boundless and free. Spiritual emancipation is Piri Thomas’s rite of passage… to repent and rebel through the healing powers of poetry spoken in tongues. Punto! — Juan Sanchez, Visual artist, teacher and activist, June 2005, Brooklyn, New York Continue reading →

Kip Hanrahan | Desire develops an edge | American Clavé

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The center of gravity of this record was formed by the labor of Kip Hanrahan, Jack Bruce, Steve Swallow, Puntilla Orlando Rios, Arto Lindsay, Elysee Pyronneau, Scott Marcus, Jon Fausty and David Rodriguez. Among others who sold or contributed their work, time and talent to the project were Ricky Ford, Ignacio Berroa, Jerry Gonzalez, Alberto Bengolea, Ti’Plume Ricardo Franck, Olufemi Claudette Mitchell, Jamaaladeen Tacuma, Milton Cardona, John Stubblefield, Tico Harry Sylvain, Daniel Frieberg, Nancy Weiss, Yale Evelev, Paul Haines, Frisner Augustin, Molly Parley, Anton Fier, Sergio Brandao, Marlene Freeman-Semels, Jean Claude Jean, John Scofield, Jody Harris, Yoram Vazan, Edwin Ayala, Frank Rodriguez and Ralf Ridao. It was recorded during July, August and September 1982 and April and June 1983. The editing, overdubbing and mixing were done during October 1982 and January, March, April, May, June and July 1983. All the work was done at Latin/Eurosound Studios, New York City. Continue reading →

American Clavé | Anthology 1980 – 1992

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HOW TO CREATE AN AMERICAN CLAVE: PRAISE/SONGS FOR A RECORDING PROJECT Begin with two measures of music: three rhythmic strokes in the first measure, two in the second, sounded by wood on wood. You have then the Clave, the basic building/block of salsa, of Afro-Cuban jazz. But what magic transformation occurs when you think of musics under the umbrella of a label like “American Clave?” A rashly superficial assumption runs: salsified jazz, perhaps improvised Tin Pan Alley standards bongoed-up, Sten Kentonized-up, blaring brass choruses meeting a small battalion of percussion. That would be an easy enough music to create and sell, the “how to” established in recording studios and recording company executive suites for a half century. Thank the gods that Kip Hanrahan is one of those who the poet Rilke would have identified as a “lover of the difficult.” This recording project refused that easy way out, that casual slide Latinizing American standard tunes would have represented. This is a story of a musical visionary embracing an American spirit of radical invention, taking on the alchemy of how to make an American Clave. Listen to the beats of different drummers under the enchantment of gods who still ponder what kind of experiment America is…–Norman Weinstein Continue reading →

Steven Lugerner | For We Have Heard | No Business Records

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Last summer I previewed a concert by an excellent New York jazz trio called Chives, led by the reedist Steven Lugerner, an ambitious composer, arranger, and conceptualist who seems to be overflowing with ideas. That impression is only reinforced by his strong new album, For We Have Heard (due May 14 on No Business/Primary), his second session with pianist Myra Melford, trumpeter Darren Johnston, and drummer Matt Wilson. Lugerner used texts from the Book of Joshua in the Torah to title each piece, and he further composed the music by usinggematria, a traditional rabbinical system of assigning numbers to particular words or phrases. In the album’s press materials he writes, “I devised a couple of ways of turning those numbers into music. For instance, if I had a series of five or six numbers, I could stack them in terms of harmony and build chords out of that. Or I could use those numbers in a time signature or meter of music. The numbers could be reflected in the melody or the duration of a note.” But don’t let that dissuade you from checking the actual music out, because this is no theoretical trip—the sounds stand easily on their own, as you can tell from today’s 12 O’Clock Track, “When a Long Blast Is Sounded.” — Peter Margasak Continue reading →

Evan Parker | Barry Guy | Paul Lytton | Live at Maya Recordings Festival | No Business Records

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As a musician Evan Parker is a man of many faces. On the one hand he is always looking for new collaborations like on C-Section with electronic madman John Wiese (Second Layer Recordings), Live at Akbank Jazz Festival (Re:konstruKkt) with the Turkish group konstruKt or ‘Round About One O’clock (Not Two) with Slovenian drummer and percussionist Zlatko Kaučič. On the other hand he likes long time relations like his Electro-Acoustic Ensemble (although many new members have been added to this project), the legendary Schlippenbach Trio (as to persistence the Rolling Stones of free jazz) and the Evan Parker Trio (with Barry Guy on bass and Paul Lytton on drums). — Martin Schray Continue reading →

Quat Quartet | Live at Hasselt | No Business Records

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A foursome that includes vibes and piano may initially put you in mind of the Modern Jazz Quartet. It’s a natural reaction for those who have absorbed the jazz canon going back at least that far. But though there is a certain kind of quietude at times in common with MJQ, the quartet Quat doesn’t occupy the quasi-formal bop-classical-tonal-composed-head territory of the earlier group. Listen to Quat’s CD Live at Hasselt (No Business NBCD54), however, and you will find there is much going on in an intimate interactive setting that the MJQ also excelled at, though the Quat quartet firmly occupies a modern free improv context. Quat comes through with four middle- to long-lengthed improvisations that surely bear repeated listens. —Grego Applegate Edwards Continue reading →

Lo Galluccio

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Lo Galluccio is a vocal artist and poet who’s first CD, “Being Visited” was released on the Knitting Factory label in 1997. NY Dj Vin Scelsa called it “By turns, mysterious, seductive, surreal and spacy.” She first started working with the Jazz Passengers, co-writing a song with Roy Nathanson for the “In Love” CD on the Windham Hill/High Street label, co-produced by Hal Willner. In the mid 90’s she had an avant-rock band called, “Fish Pistol” with slide guitarist wizard Dave Tronzo, bassist Brad Jones, and various drummers including Ben Perowsky. The band played many downtown NYC clubs like Fez and the Mercury Lounge. She’s also sat in with the bands “Sex Mob” and collaborated with Jim Pugliese of “Soultronix”. Continue reading →

Eric Zinman | Kilian Schrader | Mario Rechtern | Johannes Krebs | Devototionalien | Not Two Records

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The ensemble is the lifeblood of our choices. We learn together. Hey baby your band is so cool they play so far Ooooooouuuuuuut…. no in no in, all very out. What got you into the music scene when it was clean you dig and now you’re all dirty and jive? It was all because of that flying saucer. They picked us up at Celeste. They got us a gig on Mars, called us head generals and booked us in the stars. The moons were dripping down like sliced melons, what a little moonlight can do with that strange speech you make on that thing. My five year old daughter can play better than that. Where are you guys from? They say we will never play here, so we go there, just like children. Why don’t you just stay in church and sing gospel? Cuz all I ask of living is to feel some life in you baby. Romeo pouncing on Juliet (and they both come from good families!?!?!) hot wet teenage seals, their bodies crashing like the sea, in rapture of wind, trees, forests and animals surviving by their wit, their vision looking out like spirit guides, playing in the sand along the shore. We are vagabonds staying up night after night to sing that beast into a trance in it’s corporate austerity bleeding sympathy. What’s your sign baby? Hey honey, I’ve got an elephant at home. Maybe your god can meet my god sometime. — Eric Zinman Continue reading →