Kip Hanrahan | A thousand night and a night – (1- red nights | American Clavé

This disc (these nights?) are long and dense. It’s pretty much impossible to listen to the entire disc, intensely, in one’ pass, so a producer’s suggestion is to take a break (a nap?) at about the fifty something minute mark (after “Princess Dunya and Taj al-Muluk”) and resume listening with “Princess Dunya’s Nocturnal understanding.” The pieces and music on this disc needed to be here, in this night cycle, so as far as cutting is concerned, in this case, it doesn’t make sense to offer “less.” Anyway, nobody’s putting a knife to your neck and making you listen to everything. Listen to what you want of the offering. The stories on this disc were learned from the translations of the Arabian Nights by (the forty volume, unreadable) Burton (including Supplemental Nights). Dawood, Mardrus/Mathers, Pasolini, Borges, Zipes, and, (in ways the clearest) Haddawy and are told (sung) pretty much verbatim, as I understood them. There is no mercy, no justice, except in God, the Almighty, who created the Earth and all the Heavens, and all contained therein, including Evil, Pain and Suffering, with such exquisite Perfection.To the Pure, all Things are Pure. Continue reading

Kip Hanrahan | Tenderness | American Clavé

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

American Clavé | Anthology 1980 – 1992

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

Kip Hanrahan | Paul Haines | Darn It! | American Clavé

…Darn it! Strings together an outrageous number of artists performing one after another in a polyglot line that stretches from Paul Bley’s solo piano ‘Threats That Matter’ through funky dance numbers by Greg ‘Iron Man’ Tate to a duet by trombonist Roswell Rudd and Canadian poetry Paul Haines, ‘Etait Dans La Nuit.’ Even its beautiful package, designed by artist / film maker / musician Michael Snow (who also contributes a lovely piano piece) enforces the compilation’s linearity, unfolding into a long accordion of personnel and poetry… Darn it! Overcomes stylistic impediments successfully, reveling in the way Haines’ terse writing can endure so many different kinds of interpretation.” — John Corbett, Downbeat Continue reading

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

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

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