Saxophonist Kazutoki Umezu first gained international recognition in the 80s, touring and recording with the Doctor Umezu Band, which led to collaborations with John Zorn and friends. Apart from many jazz and avant-garde projects, he is the founder of the first (and to my knowledge only) Japanese Klezmer big band Betsuni Nanmo Klezmer (featuring Makigami Koichi's Yiddish throat singing). He has also collaborated with Fanfare Ciocarlia, B.B. King, and Ian Dury, among others. Am I allowed to say "eclectic"?
In 1988 the Japanese Umisushi (or Umiushi) Records label released "Abandon" (or "Abandon All Improvisation", the details are a bit sketchy), a duo concert of these two outstanding improvisers, recorded live at Roulette in New York in October 1987. This is a true rarity, impossible to find and not listed in most discographies. Enjoy the music, all you friends of free improvisation and prepared cello.
First Act: Part 1 Part 2 Part 3; Second Act: Part 4 Part 5 Part 6 Part 7 Part 8
A não perder, com muito interesse sobre este caso particular e sobre muitos outros, é a Universidade de Jazz e Blues do Professor Freddy Dwight…
Doyle? Já passa...
Ornette Coleman no final dos fifties em sessão californiana no Hillcrest Club, 1958. O material que compõe este disco nunca antes havia estado todo reunido numa só edição. Um pedaço daqui (Fabulous Paul Bley Quintet), uma pitada dali, esta é, finalmente, a oportunidade de, de uma só penada, escutar a prestação do quinteto tal como se ouviu na noite do Hillcrest Club. Ornette desamarrava-se convictamente do bebop e do R&B e experimentava avançar noutras direcções, em período de transição, já com o pessoal do famoso quarteto a bordo (Don Cherry, Charlie Haden e Billy Higgins) e um então jovem pianista canadiano chamado Paul Bley. Ornette Coleman, Complete Live at the Hillcrest Club (Gambit, 2007).
Preparam-se um pouco por todo o lado as comemorações dos 95 anos do nascimento de John Milton Cage, compositor experimentalista, homem do Fluxus, da música aleatória, pioneiro da música electrónica e escritor, ocorrido a 5 de Setembro de 1912. Tempo e espaço, novas linguagens, a observação do som. Muita coisa mudou no modo como se passou a entender o mundo dos sons depois de John Cage.
In honor of John Cage’s 95th birthday, Avant Media Performance presents an evening of two multimedia realizations of works by John Cage on September 5, 2007. Four6 (for any way of producing sounds) will be performed in an electro-acoustic realization featuring Patrick Davison, video; Randy Gibson, electronics and percussion; Mike Rugnetta, guitar; and Megan Schubert, Voice. The second half of the concert is a true musicircus with Winter Music, Atlas Eclipticalis, and Song Books realized for singers, actors, videos, and lighting being performed simultaneously. The evening will also see the world premiere of Randy Gibson’s “One Wall – for John Cage” assisted by Mike Rugnetta and Guy Snover.
Considerado um dos nomes mais influentes da arte do século XX, o compositor, artista visual e poeta John Cage nasceu em Los Angeles, em 05 de setembro de 1912 e morreu em Nova Iorque, no dia 12 de agosto de 1992.
Para rememorar as duas datas, um grupo de artistas ligados a áreas como música, poesia, artes visuais e artes cênicas realizará, no próximo dia 30/8, quinta-feira, às 19h, no Museu das Telecomunicações, a performance intermídia + 95 – 15 = john cage.
Cada um ostentando graus diferenciados de relação com a obra do artista norte-americano, Ana Caetano, Benedikt Wiertz, Antônio Loureiro, Marcelo Dolabela, Marcelo Kraiser, Izadora Fernandes, Letícia Castilho, Ricardo Aleixo e coletivo Território Mudo levarão à cena números especialmente preparados que buscam inspiração em Cage para demolir as fronteiras entre as linguagens artísticas.
Idealizada e dirigida por Ricardo Aleixo, a performance + 95 – 15 + john cage será realizada no Multiespaço do Museu das Telecomunicações, que fica na avenida Afonso Pena, n° 4001. Entrada franca (75 lugares). - jAGuaDArTE - pOSsE dE rICarDo aLEiXo, Belo Horizonte, Brasil
posted by eduardo chagas @ 28.8.07
Space Solo 1 dividide-se em cinco peças, gravadas em diferentes locais de Lisboa (Studio 4, Galeria ZDB e estúdio Noise Precision) entre 2005 e 2006. Os títulos adquirem a denominação do artefacto electrónico que lhes dá corpo em cada caso, aparelhos que Rafael Toral constrói ou adapta às suas ideias e necessidades, de modo a desenhar sons com um recorte personalizado e a criar uma permanente sugestão de movimento. Assim, temos Portable Amplifier, título do primeiro segmento, seguido de Echo-Feed, Bender, Electrode Oscilator, e, a fechar, Portable Amplifier 3 – denominações dos “brinquedos” – é evidente o fascínio de Toral com o bricolage instrumental – com que compõe a sua música, entidade despojada de adereços, sucinta e concentrada na exposição, personalizada no modo de se apresentar. Influências? Notam-se as de alguma da música electrónica vintage que despontou no pós-Guerra, que Toral privilegia sobre a electrónica digital (laptop), ensinamentos teórico-práticos de John Cage e de Alvin Lucier, tal como processos acústicos que evocam diferentes formulações estéticas de investigadores tão diferentes como Jack Wright, John Butcher ou Sei Miguel (que participa em Space), a que não faltam sons que lembram jogos electrónicos japoneses (space invaders) ou o canto de aves robotizadas.
Neste sentido, Space Solo 1, que retoma alguns dos aspectos enunciados em Space, enquanto quadro de referência, ponto de partida e de chegada, apresenta-se simultaneamente como desenvolvimento e condensação do trabalho anterior, no modo como exprime uma relação íntima e intrínseca com a acção corporal. Assistir a uma actuação ao vivo de Rafael Toral é, por isso, uma experiência sensorial alargada, graças à utilização de efeitos visuais, como por exemplo, luvas especialmente concebidas para pôr em movimento sons e efeitos luminosos em sincronia. A música de Space Solo 1 é toda criada em tempo real, num único instrumento por peça de composição instantânea, segundo processos idênticos aos que por vezes ocorrem na improvisação ligada ao jazz, aquela que procura abrir caminho e que não se limita a repetir fórmulas do passado. O objectivo é comum a ambas as formas de criação: buscar modos únicos e alternativos de expressão artística através do som.
Those five missing years were probably the busiest times for the school musical groups that I teach. We were playing as many as two or three concerts a week, even though this is a very specific, almost esoteric style of music, where Mariachi, Tejano, and Latino musics intersect. This kind of music is very popular in this part of the US and Northern Mexico, and because of that, we were never without a gig! At this particular time, I had coincidentally started my Tejano trio, Banda de Brujos, due to the demands of the people who would come and listen to my student groups. They would ask me, “Do you have your own accordion group?”, and after being asked again and again, I decided to put together Banda de Brujos. At first, it included my old friend, the bassist Drew Phelps, a student of Dave Holland’s, and a few years into the “experiment”, I replaced him with my son, Aaron, even before we formed our family jazz trio, Yells At Eels. We were featured on television and on radio, and we played festivals and special events, including the grand openings of new stores and art exhibits, plays, dance recitals…anything and everything! But jazz did not interest me at this time, until my sons asked me to form the Yells At Eels trio with them.
My sons had been playing as a hardcore punk duo for a year or so and one day sat down with me and asked why I wasn’t playing jazz anymore. I gave them my reasons, which were many, and they told me that it was time for me to start again. They had both been around as young children when Charles Brackeen, Fred Hopkins, Malachi Favors, Andrew Cyrille, “Kidd” Jordan, and the young Roy Hargrove (and so many others) were at the house playing and rehearsing for some of the Silkheart recordings, and they remembered those exciting days well.
In May of 1999, we sat down for a week of rehearsals and got our repertoire together, called up our old friend from New Orleans Tim Green (he plays with The Neville Brothers and Peter Gabriel, among others) and our button accordionist Jesús Vasquez, and played our first show as a group, in our own neighborhood!
According to your answer, in 1995 you lost interest in jazz. That’s the main reason for your disappearance from the jazz scene and the concentration of your efforts in Tejano and Latino music as well as teaching your students. To me you are definitively a jazz musician. Do you agree with this? How do you define yourself as a musician?
I’ve considered myself a jazz musician since around 1975 or ‘76...that was the time I consciously began playing my horn in an improvisatory way, with the ideas in my head reflecting earlier sounds I heard in my mind now arranged in a way that I could communicate those sounds and rhythms in a “jazzy” way. Of course, I’d listened to jazz in one form or another since my childhood, since my father was a great fan of the 1940’s Big Bands, and since my mother taught me the great Negro Spirituals, which we played and sang in church from the time I was 5. In high school I was given the album Contours by Sam Rivers, and this set my ear on its side. And then in college I discovered the great jazz musicians who I still admire greatly, Stanko, Garbarek, Towner, Rava, Miles, Shorter, Zawinul, Schoof, Namyslowski, and so many others. I was interested in a world view of improvised music and how it related to my ethnic roots and my church upbringing. Then, as I began to shape my sound and concept, I began to idolize the Great Black Music practitioners, The Art Ensemble of Chicago as well as the St. Louis school of Free Jazz, and even the purveyors of funk and reggae, then on to the diatonic music of Istria and the Arab-African tinged music of Sardinia. Eastern European “Dark” music and the music of India and the Middle East were next, and on and on in a globe-circling odyssey of sound. But always, these sounds were organized in simpler and simpler ways under the blessing of jazz, in order to make the music have a form and a context.
One of your great influences, which you didn‘t mention before - I’ve read it somewhere and couldn’t agree more - is Don Cherry. Not in the mannerisms of playing and certainly not in the world semiotics that you employ in your music. I think that Don’s way is present in your music in the form of thinking and putting together a composition; in the openness of spirit and in the liberty you give to your colleagues to help develop a song. Do you agree with this?
I think that, though I tend to agree with your assessment that it’s not Cherry’s mannerism’s or the world semiotics in my playing that show his influences in my music, it’s those very similarities and hints that give away this influence of Cherry in my music! I have never copied him, although for a while, I played the pocket trumpet almost exclusively. I listened to specific albums of his music, which I loved and was influenced by, but much of his music was not to my liking. By this, I mean that I have always loved his playing, a very spirited and original conception, but his music itself, especially later in his career, was not my favorite by any means, although I love Complete Communion (1965), Symphony for Improvisers (1966), Where is Brooklyn? (1966), and Brown Rice (1975).
I think that the thing that always impressed me about Don Cherry was his spirit and his openness, his search for the music that made me understand that the most important thing is to be kind to your fellow human beings, and that there is nothing nobler than inciting them to freedom, to liberate themselves from artificial constraints and tyrannies. His music showed that somehow.
Another idea that I learned from him was the path of peace, which is a harder weight to bear - being on this road - than being on the road to war and violent behavior. He was always a champion for the sanctity of life.
Probably the most important lesson he taught me, in which I was influenced, and which changed my playing is the way he used his very blatant mistakes and changed them into correct notes by his attitude and technique. Much of my earlier music relied on this concept of an instantaneous permission for a note to be right, whereas in other musics and contexts it would be considered wrong. As I have walked along my path in music, I have refined this way of playing, and it has made much of my playing exotic and beautiful.
For a few years before his death, my CD’s began to be regularly reviewed in the major jazz magazines alongside his concurrent releases, and it was always such a thrill to see that others understood the musical bond I felt with him from the first time I heard him play.
I saw him twice in my life - once in concert in Warsaw with Ornette and once at reception in a New York hotel, at a respectful distance - and had a chance to meet him twice, once at that very reception desk when I was too afraid to disturb him, as he was obviously very tired; and once when his scheduled airliner arrived in Oslo without him…he had missed his flight to record a CD for ECM, and I was an invited guest to the session, but he didn’t arrive until the next day. He was supposed to be the leader, but he ended up playing on only half the CD, which was called Dona Nostra. He died a year and a half later in Malaga, Spain.
I don’t listen a lot to trumpet players, because I learned my jazz techniques and playing style from saxophonists. But to the trumpeters: My favorite trumpet player now, even after he’s been gone for 7 years, is Lester Bowie. His playing style was amazing, and totally his. I have adapted a very few of his techniques to my playing, but it’s impossible to copy him - and of course I wouldn’t try. The two things about him that I am grateful for were his love of life and his sense of humor. Another master of the trumpet who I am constantly amazed at is Wadada Leo Smith. I love his ideas and his playing, and he is active all the time, new recordings arriving all the time, and his progress as a trumpeter can be tracked and studied, which is good for my listening. I still idolize Enrico Rava for the heart and honesty in his playing, even though the musical contexts that he puts himself into are not as innovative as 30 years ago. And for sound, I listen to Tomasz Stanko, again, another musician who through the years has settled into an easy groove, not that I blame him after all the years of paying his dues. But I still love the man.
Your second question is quite distinct from the first, and to answer it, I must say that Leo Smith is also on this list, as I have pointed out that he keeps innovating and he stays creative. I love the fire and daring of Taylor Ho Bynum, the young trumpeter now living in New York whose most high-profile gig is holding the trumpet (and brass) chair in Braxton’s ensembles. He is also, after his trial-by-fire and surviving so much strong music, a very fine person, and we are slowly becoming good friends. Perhaps the most different innovator who I did not understand for a long time, but now I see how important his sound and style is, is Jon Hassell. His slips and slides and wobbly sounds, gleaned from arduous studies with the masters Karlheinz Stockhausen, LaMonte Young, Terry Riley, and most importantly, Pandit Pran Nath, have placed him above the fray of the usual trumpet technique. And then three guys who I met during a solo trumpet concert in London in 2004, and who play the trumpet using totally different techniques, in which they use the whole instrument differently are Matt Davis, Jamie Coleman, and Guillermo Torres.
Miguel Prado, membro do colectivo de improvisação galego Volontè - Roberto Mallo Garcia (guitarra e efeitos), Rafael Mallo Garcia (bateria e percussão), Óscar Vilariño (baixo e efeitos) e Miguel Prado (guitarra e efeitos) - disponibilizou Máscara de Sangre, disco a solo que o guitarrista gravou recentemente. DO WHATEVER THE FUCK YOU WANT WITH THIS FILES...
Três temas: Ruinas de la no-acción, Vacilación y Traba e Maniobra contra los límites irrebatibles.
Máscara de Sangre is the first solo album of Miguel Prado. This project is born of the need to solve questions penetrating into the sonorous structures. Dense and dark improvisation from the Atlantic Ocean. Miguel Prado, native of the Galician territories, the northern spanish landscape that have left a mark of dark, dusty, creepy howling feedback in his sound. Rudimentary frecuency builder through the six electric strings creates a wrapping-up, evolving noise of the droney kind.“Mascara de Sangre” (mask of blood) consists of three cuts of this, his very own nature. Recorded by Roberto Mallo last month of June.
Improvised Music from Japan (Nippon Columbia, 1975)
Takehisa Kosugi / Ryo Koike / Yukio Tsuchiya / Michihiro Kimura
Seiji Nagai / Tokio Hasegawa / Kinji Hayashi / Hirokazu Sato
August 1974 is surely one of the most hallowed and whispered about documents of the avant-garde artifact-era (a set of these on original LP would set you back $1000+ even 10-15 years ago & have very rarely been offered anywhere). The sound is floating like coming from distant loudspeakers, coloured back and forth from hand made electronic devices and delayed throug echo machines. Bass, harmonica, trumpet, synthesizer, oriental percussions are added. There are no interractions between the musicians, each one is having his own inner discussion with the instrument, however the result of merging them all together is a pulsating feedback of complex sound waves. Music drifts slowly like autumn sunsets or a peacefull lovemaking offer. Zen-like approach to ethnic japanese music and gets into an intergalactic mind trip. Full of cosmic electronics, kosugi's violin effects, tibetan chanting, ethnic drones, oscillators the band displays one track of eerie haunting galaxial music full of quiet tension.
"Places and times of the trip: coffee houses, small galleries of Tokyo. They perform also on lonely beaches at dawn or on deserted hills in the afternoon. Also in Sweden, India, Iran, and England. Wherever a power supply is available. 'This music is not rehearsed, it happens. Without written notes or oral instructions; without an ensemble leader, each one having his own discourse immediately integrated into a slow, irregular throbbing of complex sound waves. Sound waves surfing.' Verfremdung: instruments are amplified with delay through echo machines. Previously produced sounds delivered by distant loudspeakers have already become something beyond reach when heard. This feedback - actually a time-space lag - is the basis of their music. The instrument arsenal: a violin played with glissandi in the same manner as the Indian sitar, string bass, guitar, drums, harmonica, small synthesizers, santurs (Iranian dulcimer played with two spoon-shaped mallets), a shahnal (Indian oboe), voices (Japanese Buddhist chanting, harmonic singing such as La Monte Young does or as heard in Stockhausen's 'Stimmung'). Amplifiers: a heterodyne (voltage controlled filters connected to infrasonic wave sources) which changes tone colors back and forth very slowly. Also, other rather primitive hand-made electronic devices. All these contribute to the everchanging diversity of the ensemble. Close your eyes, relax and musically receive passing clouds, breezes, surging waves. This music is slow as a Japanese tea ceremony and as peacefully full of cheer as ancient scroll paintings. - Yuji Takahashi
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"A leitura é, por exemplo, um interpretante de todos os interpretantes: é ela que nos faz entender o que o cinema, a música ou a dança e a pintura são e que sentido transportam".
A showcase & source for free jazz/free improv & creative composition. Offering a catalog of vintage performance and contemporary New Music from the heart of the heartlands. Breaking the sound barrier to wake up your ears and blow up your imagination!
John Coltrane / Pharoah Sanders / Joe Brazil / McCoy Tyner / Donald Rafael Garrett / Jimmy Garrison / Elvin Jones
“Om means the first vibration - that sound, that spirit that sets everything else into being. It is the Word from which all men and everything else comes, including all possible sounds that man can make vocally. It is first syllable, the primal word, the word of power”.
![[CartazJazzemAgosto2007.jpg]](https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJmjEmFzk8s1PV9ga_wbdqouPYGuy_1sa3P-FcZx1Dk95vx7WeHn8aI55GgwowmAs997uKTDCfttJ7kvIzQ3a4HJljDwtUGDmvYxCvFVB0l4dw8WuRJbSz3RF6Uzu93hfqeSqBZg/s1600/CartazJazzemAgosto2007.jpg)
complementaridade das diferentes sensibilidades estéticas, sobressaiu a veterania do saxofonista suíço Urs Leimgruber, cujo som de saxofone soprano emerge algures entre o final de Steve Lacy e o princípio de Evan Parker; e no interesse pela pesquisa de outras direcções que o saxofone tenor ainda tem para tomar. Ao piano, Marilyn Crispell, mais discreta que o habitual neste contexto como noutros – tendência que segue desde que, no início da presente década, começou a gravar para a ECM – ouviu mais do que tocou, não sei se por contemplativa disposição momentânea, se com a intenção de deixar brilhar os colegas, todos em noite inspirada. A par de Leimgruber, Joëlle Léandre esteve bem nos acertos com o percussionista Fritz Hauser, eficientes gestores do colorido tímbrico, disposto no vastíssimo campo de ductilidade sonora aberto à exploração que é a música do Quartet Noir. Um concerto feliz, produto multipolar resultante da interacção entre os músicos, nascido da cumplicidade criativa entre quatro grandes improvisadores.Na tarde de sábado, 11, assistiu-se a um notável recital de contrabaixo solo, por Joëlle Léandre. Não exacta
mente contrabaixo solo, porque Léandre cantou e percutiu o instrumento. Numa abordagem de fora do jazz para dentro dele (mesmo se a contrabaixista por mais de uma vez já afirmou que o que toca não é jazz, sabemos que não, mas sabemos que sim, porque se fixa em territórios amplos em que já não se pode sequer falar de vizinhança de géneros, entre a new music, a livre-improvisação europeia e o jazz. Certo é que na música de JL se ouve tanto a tradição europeia como o legado afro-americano. E foi por aí que enveredou naquela tarde, quando improvisou sobre peças da sua autoria, dialogou consigo própria através da passagem de fita magnética e interpretou duas peças (canções) de John Cage e uma de Giacinto Scelsi. Melhor nas improvisações livres, interessante no canto sobre Cage e menos interessante nas peças com fita, onde permaneceu mais “presa” às linhas que seguiu, ela que prima pela exuberância agressiva e inquietação irreverente irreverência, necessariamente mais compatíveis com trâmites menos pastorais. Enfim, deu-nos a conhecer vários aspectos da sua arte, o que só enriqueceu a prestação daquela que pode justamente considerar-se uma das vozes mais marcantes do contrabaixo actual.
icana, deu um concerto agradável de seguir. Metade feminino (Lauren Newton e Elisabeth Tuchmann) e metade masculino (Oskar Mörth e Bertl Mütter), o grupo, que já leva vários anos de canto conjunto a cappella, foi-se aproximando do palco vindo da entrada do auditório, em avanços lentos e canto de notas longas e vizinhas. Chegados ao palco, cruzaram registos, timbres, amplitudes, dinâmicas, ritmos e harmonias, para formar um conjunto sonoro atraente, a que juntaram humor, particularmente Bertl Mütter, que também acrescentou sons de trombone.O som de Ornette Coleman (saxofone alto, trompete) continua forte, e o fraseado, rápido, articulado e vigoroso, como se pode comprovar na noite de sábado, 11, no concerto de encarramento da edição de 2007 do Jazz em Agosto. Individualmente considerado, o músico esteve sempre à altura do seu passado de grande figura do jazz, que o fez avançar a partir de meado
s dos anos 50, quando a maior parte ainda não tinha descolado das formas arreigadas do bop e da improvisação sobre acordes. Os equívocos na noite do Grande Auditório da Fundação Gulbenkian chegaram do lado dos acompanhantes. Ornette Coleman surgiu em palco acompanhado de três baixistas (dois acústicos, Tony Falanga e Charnett Moffett, e um eléctrico, Al MacDowell) e de um baterista, Ornette Denardo Coleman. O filho de Ornette mostrou que pouco evoluiu desde que se estreou a tocar com o pai aos 10 anos (The Empty Foxhole, para a Blue Note). Pesado, “quadradão” e sem subtileza, com alguns erros de marcação, Coleman filho empobreceu a música. O amor de pai deveria ter limites... Tony Falanga teve pormenores de gosto duvidoso, ao chamar para ali trechos da Sagração da Primavera, de Stravinski, e das Suites para Violoncelo, de Bach, que soaram a tentativas deslocadas de convocar grandes “clássicos” (Ornette não carece daquela espécie de “legitimação”, a sua fonte é originária e, mais, original), e de evidenciar um virtuosismo que Falanga não tem por aqueles padrões, situações em boa altura resolvidas com o retomar do imparável tropel ornettiano. Mal se percebeu a necessidade de tanto baixo, quando, estando os três a tocar em pizzicato, a música se embrulhava numa amálgama indistinta de registos graves, sobre os quais Ornette entretanto irrompia fulgurante até resolver a bem o que poderia ter sido (assim entendi) uma relação criativa entre as diferentes abordagens do mesmo instrumento. Por outro lado, Ornette, que dispensou quase sempre o piano ao longo da sua longa carreira, chamou desta vez um baixo eléctrico para lhe fazer as vezes, sem que se tenha percebido o alcance da medida, já que pereceu quase sempre redundante. O que não teve solução foram os problemas de afinação entre o baixo eléctrico e o contrabaixo de Falanga, que amiúde se faziam notar, bem como a sensação geral de que o quinteto estava ali para despachar serviço e ir à sua vida. Paradigmática, foi a execução do clássico Lonely Woman, o inevitável e mais que esperado encore, aquele por que boa parte do público salivava desde o início. Em ritmo acelerado, Ornette desenhou a melodia, improvisou brevemente, toca a andar, apressado, curto na emoção ... e pronto. Sendo certo que Ornette Coleman não tem que provar coisa alguma, não chega emocionar-se a gente apenas com as memórias do passado da figura de fato azul turquesa e chapéu. Assim aconteceu, de Follow the Sound a Lonely Woman, com incidência maior na temática de Sound Grammar, o mais recente e excelente disco do Ornette Coleman Quartet, trabalho de plenitude, a que não falta coesão formal e material. Aquém desta marca recente, este Quintet que veio a Lisboa esteve perto de ter dado um grande espectáculo. Valeu sobretudo pelo som do saxofone alto de Ornette Coleman. De longe, o melhor homem em palco. Pena ter estado tão sozinho.
Foi mais uma edição do Jazz em Agosto, o melhor, mais plural e diverso festival de jazz que se organiza em Portugal, desde sempre atento tanto às propostas mais recentes deste género transfronteiriço e desta forma de soar a que ainda se chama jazz, como à memória dos grandes momentos do passado recente, que se recicla e refunda na actualidade, deixando entrever o que está para vir.
Mats Gustafsson (na foto) / Anders Jormin / Christian Jormin - Gravação de um concerto realizado para a Swedish Broadcasting Corporation, Estocolmo, em 11 de Dezembro de 1997.
Mats Gustafsson (saxofones, flauta), Anders Jormin (contrabaixo, violoncelo, líder) e Christian Jormin (bateria)
Num set influenciado pela música de Ornette Coleman, Gustafsson surge apoiado por uma secção rítmica robusta, que não o deixa ir à frente sózinho. O trio, mais intimista e sereno que o habitualmente tórrido e explosivo THE THING (com os noruegueses Ingebrigt Håker Flaten e Paal Nilssen-Love) passa em revista cinco temas de Opus Apus, belo disco de 1996, editado pela sueca LJ Records, com distribuição lusa pela Sonoridades, Porto.
sportar as pessoas para outras esferas.
Ces séries enregistrées rendent compte de la formidable créativité des joueurs de l'instant; les règles du jeu sans cesse rejoué laissent apparaître de sublimes harmonies dans un chaos apprivoisé.
Contrairement aux studios de prise de son traditionnels, nous proposons une image sonore inscrite dans un «espace vivant» (théâtre, abbaye, chapelle, grotte, cave, usine, carrière, plateau, château, rivière, colline, canyon, etc..).
Ce choix implique un matériel d’enregistrement spécifique, une exigence professionnelle, de la mobilité et de la légèreté. Des séances courtes, peu de contraintes techniques, un parc de micros réduit mais de haute qualité, une prise de son qui révèle le jeu de l’artiste dans un contexte acoustique naturel sont les critères fondamentaux qui conditionnent l'approche de la prise de son d' Alain Michon.
Adquirir os discos (CDR) é na Metamkine.
Ned Rothenberg e Evan Parker, Live At Roulette (Animul Records);
Bennink & Terry Ex, The Laughing Owl (Terp Records);
ONJO: Otomo Yoshihide's New Jazz: LIVE Vol.1 (Doubtmusic);
J. Baker, S. Hunt, B.Sandstrom e M. Williams, Extraordinary Popular Delusions (Okka);
Na ESP-DISK... Don Cherry, Norman Howard e Movement Soul Vol.2;
Joe McPhee. Soprano (LP Roaratorio).
(Ned Rothenberg & Evan Parker. Live at Roulette, NYC, 2006)
posted by eduardo chagas @ 9.8.07
