Geordie Haley – guitar | Rob Clutton – bass | Brandon Valdivia – drums
Recorded april 8, 2007 at Canterbury Sound by Jeremy Darby. Mixed and mastered by Jean Martin. All compositions by Geordie Haley except Dancer in Montreal, No Parsing, and Stunt Crew by Geordie Haley, Rob Clutton, Brandon Valdivia. Continue reading
Geordie Haley – guitar | Evan Shaw – saxophones | Vineet Vyas – tablas
Recorded at the Shed november 5, 2005 by Peter Lee and Matt Speight. Mixed by Michael Doherty at Singing Dog Studios december 2006. Mastered by Jean Martin at Barnyard Studios february 2007. Continue reading
Electrical Landscapes documents a solo research on electric guitar made by Andrea Laino for the project LAAND. The first part is an improvised session focused on timbric exploration in which sounds are generated through some non-conventional techniques and a few objects. All the audio materials have been recorded using an analog delay, a nail file, other objects and devices. No overdubs were added during the recording, except for track n.4. The second part is freely inspired by William S. Burroughs’ Naked Lunch. Some of the readings recorded by Burroughs himself have been used, in connection with the cut-up technique made so popular by this author. The sound poetry dimension inspired Laino’s work and his radical improvised approach to the composition. Continue reading
guitarist, composer, has toured extensively throughout the U.S. and Europe. He has performed in various music festivals world wide such as New York city’s “What is Jazz” festival, the “Heidelberg … Continue reading
Differential Equations is the latest recording released on Skycap Records by Italian saxophonist Fabio Delvo and American guitarist Jeff Platz. Combining individual compositions with free improvisations the group captures the essential spirit of modern jazz music. Joined by drummer John Mclellan, bassist and modular synthesizer player Kit Demos the ensemble presents a uniquely fresh and futuristic listening experience. Continue reading
to Sonia… This album was recorded under the mountain dew among the Alps, on the side of Mount Grona, with an acoustic guitar and a few other instruments. Refugio is a quest in the intersection of two mountain chains, the disclosure of an ancient, dusty and seaside soundscape where it’s possible to discover the necessary asylum to grow and find a precious refuge for melancholy. Continue reading
This is a rare thing: an album of guitar music where the guitar isn’t really the point. Put a different way, it’s the ideas that are given the focus, not the chops. There are many jazz players out there who do put the music ahead of the flash (Bill Frisell being a prime example), but hardly ever in a solo setting. — Mark Saleski Continue reading
These ten tracks were compiled from live performances, home practice tapes, alternate takes from my previous solo album and more recent studio recordings. With the exception of “Saltarello” (a Reneissance dance tune by Vincenzo Galilei), all the music is improvised. Some are totally spontaneous (like “Una Lunga Canzone”), others are loosely structured around invented tunings and short melodic ideas (like “nika’s Waltz”). No editing, overdubbing, or electronic enhancements were employed — just acoustic guitars plus some accessories (slides, picks, capos, tuning forks etc.) used as implements or for “preparations”. This project was a joyful experience for me due to the involvement of some truly remarkable and creative friends: Scott, Kio, David, Steve, and of course the ever-enthusiastic end endlessly patient Fabrizio. This album would never have happened without their generous contributions. Special thanks as well to nika, Mary McQueen and Nels Cline whose loving support continue to inspire and sustain my musical life. — Jim McAuley Continue reading
On the back glossy sleeve in almost indiscernable print is the statement, “It doesn’t mean that it wouldn’t exist because the humans couldn’t see it. It doesn’t mean that it wouldn’t exist because the humans couldn’t hear it.”That type of enlightened thinking seems to relate to how Yamashita approaches music, and probably life. There are subtleties in his playing that must be brought out by the listener, yet they are present just the same. There are also some very overt statments that require no translation. Yamashita appears to be tying the ancient with the modern with his meditative playing, relating his Japanese ancestry to the current times. Ignoring the deeper philosophical meaning and concentrating strictly on the music, this is a very fine solo guitar album with seductive sonic qualities. It has trance-inducing effects, but mostly it is a solid example of the improvisatory process by a very serious musician — Frank Rubolino
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However this is a great example of musicians ridding the music of all pretenses favor of creative interplay and living in the moment. On the closer, “Over The Rainbow”, Levine’s lazy reading of the melody is supported hand-in-glove by Littman’s guitar. Click is a testament to approaching music with a sense of humor and fearlessness, and duo has achieved some fine results. — Joe Knipes,Jazz Improv Magazine November 2006 Continue reading