Jazz

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Kaze | Tornado | Libra Records

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This music is evidence of the existence of entire jazz worlds that most listeners and even collectors might easily be unaware of. Satoko Fujii is obviously a master and a visit to her website reveals a rich catalog of recordings. That such music can be recorded is evidence that such worlds can be easily visited by wanders who fly about in their internet tardis. Tornado was released by Circum-Libra Records. You can also get solo recordings by Fujii (Gen Himmel) and Tamura (Dragon Mat) on Libra Records. I will review these in short order. I urge you to seek out and purchase these recordings. This is music worth investing money, time, and heart in. —Ken Blanchard Continue reading →

Elliott Sharp | Haptikon | Long Song Records

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Haptikon is a set of very-electric-guitar pieces accompanied by computer. Haptikon may be heard as an outgrowth of E#’s Tectonics project. Where Tectonics was a form of psychedelic noise jungle techno played on both saxophones and guitars interacting electronically with computerized grooves and processing, with Haptikon, the focus is on a more melodic and lyrical approach. E# pays homage to improvised traditions in jazz, blues, rock, Indian music, and even country & western! The results are cinematic in scope and give the feeling of a full band. Sharp’s virtuosity on guitar and originality as a composer are in full evidence on Haptikon. Continue reading →

Swedish azz presents: Eric Carlsson & All Stars | Volume One & Two | Not Two Records

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Swedish azz is not a joke or a sideshow, as it might appear in a career as drivingly exploratory as Gustafsson’s. Nor is it merely a verbal game, playing with the derivations of jazz/jass/yazz. It is both homage and homecoming, a warm acceptance of the view from a small window on the world. It doesn’t take up slingshots or seek to knock down the neighbouring structures. It is accepting music, as rich and as heady as cognac. — Brian Morton Continue reading →

Sabir Mateen | The Sabir Mateen Jubilee Ensemble | Not Two Records

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greetings my sisters and brothers…
i (we) really hope that you enjoy this debut recording of the jubilee ensemble. this is not a big band but an extension of the sabir mateen quartet (the name at that time, now it is called the sabir mateen ensemble). these compositions were originally composed for a small band but like most of the music i write, it can be played for any size band. this is one dream that has been fulfilled to release a large band recording. I want to thank the creator for allowing me to be alive to do this and my fellow musicians / artists for their never ending hard work and dedication to their art and i want to thank robert o’haire, plus marek winiarski and the staff of nottwo records for giving me the opportunity to record this. peace! — sabir mateen – february 22nd 2011 Continue reading →

Thomas Borgmann | Wilber Morris | Denis “Jazz” Charles | Live in Poland | Not Two Records

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I feel obliged out of journalistic duty to mention that this material being released by Not Two Records will already be familiar to the few who possess “Live in Poland”, a double album vinyl release issued by Italian label Sagittarius A-Star in 2010 (cat. no. #5). These two records document a concert which took place on 9 March 1998 at the Pinokio club in Szczecin. The contents of the Italian and Polish releases are slightly different. All four sides of the Italian release were each comprised of one recording. The first record contained “Nasty & Sweet” in two parts while the second contained “Bird Bats” and “One by One”. On the newly issued silver disc, a slightly shortened version of the complete “Nasty & Sweet” separates the tracks which were previously to be found on the A and B sides of the second Italian LP. — from the Liner notes by Pawel Baranowski. English translation by Philip Palmer Continue reading →

Conjure | Bad Mouth | American Clavé

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It was after the ninth or tenth concert in Japan in August 2003 when Leo pointed out what was clear: that through playing and living the new materiel Paris, March of that year through that concert in Tokyo, the new materiel had assumed the form of the band, and the band of the new materiel. Pulling my shoulder, Leo nodded and said what was clear: “It’s TIME.” And although the money took a minute to snap to (hey, it’s this buisiness…), when it did, so did the band, immediately assuming the right form. So, during a week in a New Jersey studio in January 2005, Conjure recorded itself pretty much like a live set. There were a couple of punches on missed cues, but not many. The band breathed with the same music, ease and shared cadences and emotions as when on tour. Yeah, Conjure live in the studio. Just a better lit stage. Ish is fond of pointing out that Conjure may be the longest running music / poetry project around, but I’m not really when it really started. There was a period before the first Conjure recording (1983) when he and I worked together on a few film projects – was that when Conjure really started? Anyway, I’m not sure it matters. The band, the music, the poetry, breathe right now, just like Ish’s magic-realist world outlook contained in his words (fiction, poetry, essays, activism, attitude…) – you can hear it in every turn of this music. Right? — Kip Hanrahan Continue reading →

Kip Hanrahan | At home in anger | American Clavé

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Players, in order of appearance: Dick Kondas – sound | Dafnis Prieto – drums, voice | Steve Swallow – bass | Alfredo Triff – violin | Milton Cardona – congas, percussion | Kip Hanrahan – direction, percussion, voice | DD Jackson – piano | Pedrito Martinez – congas | Robby Ameen – drums, percussion | Yosvanni Terry – percussion, sax | Horacio “El Negro” Hernandez – drums, percussion | John Beasley – piano, keyboards | Brandon Ross – voice, guitar | Bryan Carrott – vibraphone | Andy Gonzalez – bass | John Kilgore – sound | Fernando Saunders – voice, bass | Anthony Cox – bass | Mike Cain – piano | Xiomara Laugart – voice | Don Byron – clarinet | Roberto Poveda – voice, guitar | Craig Handy – sax | Lysandro Arenas – piano | Lucy Penebaz – voice. Produced by Kip Hanrahan. Engineered by Rick Kondas and John Kilgore at John Kilgore Sound, New York City January 2008 through April 2010, with sections recorded in August 2004. Mixed by Dick Kondas and Kip Hanrahan in 2010. Mastered by Greg Calbi at Sterling Sound, New York City, April 2010. Packaging designed by Capoeira Graphics with additional work by East Works Graphics and Enja Graphics. Photograph on the cover taken by Alair O. Gomes. Continue reading →

Milton Cardona | Bembé | American Clavé

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Lucumi and Santeria A form of musico-religious expression of Cubans, Puerto Ricans, and Blacks in New York, derived from beliefs and practices of the Yoruba people of Nigeria and Dahomey in West Africa. These beliefs were brought to the New World as a result of the Slave Trade. From voluntary organizations, known in Cuba as “Cabildos,”the Yoruba derived Lucumi, and other religious and secret societies of African origins emerged. Lucumi beliefs are characterized by complex relationships among the forces of nature, the pantheon of “Orishas,” concepts about the creation of the world and humanity. The framework for these beliefs is centered in a system of divination known as Ifa. Syncretism between Catholicism and African beliefs resulted in certain superficial changes in Lucumi, but despite such changes, adherents made attempts to maintain close identification with Yoruba practices by using the Yoruba tongue in religious contexts and by observing the function of the “Orishas,” as well as musical practices, and other aspects of their world views. The migration of Cubans to New York City led to establishing religious centers in New York and membership now includes Black and White North Americans, as well as Cubans, Puerto Ricans, and other Latino groups. Yoruba is a tone language and a word can have several meanings. Special thanks to Kip Hanrahan, Nancy Hanrahan, Andy Caploe, Jon Fausty, group members, and most of all, my wife, Bruni Cardona. — Milton Cardona Continue reading →