With one leg in heavy rock and one in jazz, this young Norwegian band - all still in their twenties - is a model of collective improvisation and interaction.
And while guitarist Even Helte Hermansen is the natural focal point, there are no big egos at work here, this is a solid unit where all members are equally important for the end Here Comes The Mad Woman - Erik Friedlander - Solos: The Jazz Sessions (DVD). Rune Grammofon RCD Beautifully recorded and mixed at Propeller Studio in Oslo, the focus is on typically Scandinavian elements such as folk music, melancholia and the deep woods.
But it's also fair to say that the trio's less is more approach is in stark contrast to many contemporary piano trios, with shorter tunes and strong focus on melodic content. Street date: With this third album not counting the two other collaborative onesthe Swedish band keeps digging their idea of a fresh approach to improvised music, with a number of influences from free jazz, psychedelic rock and noise. Some tracks, like the 2-minute "Mysteries" are little gems of free improvization, as is the title track too.
Other pieces are composed, like "Helix", the longest piece, on which a nervous percussion acts as backdrop for the improvizations, with the horns playing a great and slow unisono theme at precise intervals. The last track is so absolutely fun, full of African polyrhythms and musical joy in the improvs, that it alone justifies the purchase of the album. Yet the major feat of the whole record, is the coherence of the sound and approach, despite the variation in the music.
Here Comes The Mad Woman - Erik Friedlander - Solos: The Jazz Sessions (DVD) music is so deep, so real, so eclectic, that by itself it defines what the term world jazz means. It is jazz, but with influences from all over the world.
This is the umpteenth time that the Swedisch saxophonist and the Norwegian drummer must have played together, and from the sound of it, they're still enjoying and - what's more - still looking for new forms. The music is intense in the sense that it is not a violent blowing session, but you have the impression that most of the music is not getting out of their instruments, but stuck somewhere between mind and reality. What is coming out, are short notes, snorts, screeches, half-realized concepts, muffled rumblings, a few wails, some agonizing howling, and hard and raw interaction.
This minute long EP shows both musicians in top-form, but is not for the faint of heart. With these musicians you know you can expect anything, and "anything" is what you get : chaos, noice, violence, experiments, mad stuff and interesting interactions, pumping, hard and wild.
It doesn't quite succeed, but at least they tried. Listen and download from eMusic. Some funky stuff too. But nothing new. Entertaining, but Schallerbert - Various - 10 Jahre Michelmann Records - 1998-2008 for a while. Weston on drums. We heard all three musicians in more inspired environments.
The playing is good, the music Here Comes The Mad Woman - Erik Friedlander - Solos: The Jazz Sessions (DVD) and on the beaten track, without adding anything of new and of value. In this genre we've heard much better.
I don't think many people were waiting for this kind of music. But no, here is another one, with only sax and percussion, assisted by Maria Kannegaard on Fender Rhodes on five tracks. The title, Molecular Gastronomy, refers to the new hype in cooking, in which chemistry of cooking plays an important Here Comes The Mad Woman - Erik Friedlander - Solos: The Jazz Sessions (DVD) in coming up with creative results, often with surprising, unexpected and conflicting tastes in the mouth.
And that's what happens here too in a way, the music is electronically processed, redubbed at times, but still fresh and melodic. All the titles of the tracks refer to meals made by molecular cooking. But in the end it gives me the same feeling as molecular cooking.
Nicely done, interesting perspectives, tasty moments, but a little lacking in substance. The sax is great and the percussion is great and innovative. For those who like electronics in their jazz, there is lots to savour here. The other albums of Food are easier to recommend. Listen and download from iTunes. Tests in the hospital revealed a large tumor in his brain.
Andrew will Talk On - Ocean Colour Scene - Ocean Colour Scene brain surgery at some point in the next few weeks. At this time, it is believed that the tumor is not cancerous, but this will not be confirmed until a biopsy is performed. Like many Americans, Andrew has no health insurance.
A fund has been established to help with the costs of his surgery and recovery. Donations can be sent via PayPal at donate andrewdangelo. We deeply appreciate any efforts that can be made to spread the word about Andrew's situation. Benefit concerts are currently being planned for New York City and Boston. More information about these concerts will be posted on www.
So far for the press release. The latest news I heard is that Skirl Records will use the income from the sales of his latest CD Skadra Degis to help cover the costs. So buying the CD will help him.
You can buy the CD from Skirl Records. Three French musicians bring something extraordinary, music beyond categorisation, based on the ideas and music of Giacinto Scelsi, the Italian composer who died in The musicians use all their skills to exploit the whole array of possible sounds out of their instruments to create sonic effects, even percussion. The music itself is composed in the instant and together, keeping close to the tonal center on each track, with the instruments creating joint sounds, their individuality at times not discernible, changing pitch, timbre and pace, but with the coherent discipline not to move to far and not to create anything close to melody.
Despite this, the album is relatively accessible, with 14 pieces each creating a beautiful yet hard musical environment. Listen to or buy from Fnac. Pase Me Dub (Rugged Dub) - Area 51 - Dame Un Tabaco are two new covers of Ornette Coleman's Lonely Woman.
Nice, but certainly not his best version. Truly a wonderful cover. Click here for the full list of Lonely Cruelty - Gentle Assassins - They Knew Too Much covers.
Impressive new album of fully improvised pieces by this Swedish trio, that consists of Andreas Andersson on baritone sax, Mattias Hjorth on double bass and Peter Nilsson on drums. Although the music is fully improvised, the three musicians feel each other blindly, building very coherent and focused pieces, that manage to build up tension and keep increasing this tension - and hence also listener's expectations - without leaving the tune's main angle of approach.
Andersson's playing on the baritone is warm, single-toned and controlled, without squeals or overblowing, slow, precise and full of direction.
This "slowness", if that's the correct word, is one of the band's main features : they're not afraid of silence, yet without making the music meditative, they use it as a functional element to keep the tension going. Emotional expression and aesthetic beauty Here Comes The Mad Woman - Erik Friedlander - Solos: The Jazz Sessions (DVD) the main drivers for this band, in which all three musicians play an equal role. Hjorth's bass-playing is free and anchored in the tradition, but Pink Island - Mushroom - Glazed Popems, as in Charlie Haden's bass-playing, full of ideas and melancholy.
Nilsson's drumming is broad and creative, working his instrument often like a percussionist would, adding accents, creating musical effects rather than rhythm and pulse. The only downside of the album is that most tracks keep within the same tonal range and tempo, yet on the other hand that enables them to get this tight instant compositional feel.
Film music has some other characterstics than normal record music : it requires easy to remember themes that are often repeated, and an immediate creation of mood that can accompany and reinforce the images on the screen. It is no different for John Zorn's Filmworks series.
His latest, the 19th already, features three of his stalwart musicians : Erik Friedlander on cello, Rob Burger on piano and Greg Cohen on bass. And the result is good, one of the more accessible and aesthetically beautiful Filmworks he's made in recent years, which will possibly appeal to a broader audience.
Some of his Filmworks are a little flat or bland, mainly due to the functional limitations of the genre, maybe also due to the speed at which he works : on the liner notes of one of his preview records in this series I can't remember whichZorn writes that he composed the score in less than three hours.
Three hours of compositional work for one hour of music, not a bad result. This is probably not the case here. Although the usual klezmer inflections are in the music as might be expected, he introduces other styles too, with "The Stallion" starting like the best Michael Nyman theme, and the title song, "The Rain Horse", brings in tango elements and mediterranean influences, and of course the versatility of the three musicians add flavors of classical music with chamber jazz. As usual with the series, the musicianship is excellent.
Fans of chamber jazz will love this. Trio X is another one of my favorite bands, playing totally free, subdued, spiritual and emotional jazz, California Baby - Cliffie Swan - Memories Come True technical skills which are among the best to be heard.
This album was recorded live in Montreal, Canada in Juneand my initial reaction was one of "haven't we heard this before? But then one you're sucked into this band's universe of deep respect, sensitive interplay and subtle nuance, you cannot but admire what they're doing.
Even the sound quality, which I did not really like at first, no longer mattered in the end, and sound engineer David Rush bends over backwards in the liner notes to explain how difficult it is to maintain CIMP's recording principles in a live setting, so lots of appreciation for his work.
Joe McPhee saxDominic Duval bass and Jay Rosen drums can each master many styles in free jazz from violent free blowing contests to avant-garde and experimental music, but with Trio X, free melodic emotionalism seems to be the key qualifier. There is only one track which is a little wild, " Indiana", which starts with a drum solo introduction by Rosen, with a fierce McPhee and dynamic Duval joining half-way.
All the other tracks, and especially the ones where Duval takes the lead, are calm, very calm even, but beautiful. Yes, it is more of the same, but at this level of excellence, who cares? The great thing about the internet is that Here Comes The Mad Woman - Erik Friedlander - Solos: The Jazz Sessions (DVD) know when a new CD is being released, and that it is immediately available for download.
Rob Mazurek's adventurous band was a revelation last year, and it is now accompanied by Bill Dixon, the free jazz and avant-garde trumpet icon who has been most comfortable in small settings, in very spacious surroundings. Rob Mazurek's band is of course in stark contrast with this, because it brings extremely "busy" music, without a moment's rest, moving forward, moving forward, as it's name suggests.
And that's how the album starts, hectic, frenetic, overpowering, but then halfway the first track the music slows down, with some droning horns and noise as a backdrop for Dixon's trumpet solo, with Mazurek's cornet echoing from a distance, full of intense drama and cosmic expansiveness. The orchestra keeps weaving sounds over sounds, mostly improvized reactions, with shades of color, interspersed notes by guitar, vibes, arco bass moving to silence and brought back to life in a one-note crescendo, which evolves into the spoken word of the second track I am not Here Comes The Mad Woman - Erik Friedlander - Solos: The Jazz Sessions (DVD) fan of spoken word, since it is often not more than pretentious non-poetry, and it is no different here, but luckily it doesn't last very long.
The whole band moves into a chaotic frenzy, briefly leaving the full space to Dixon again, but then the orchestra starts with the composed piece, which is rhythmic, compelling, broad, expansive and cinematic, like on the first album.
In all, this is again a magnificent album, finding the right balance between composed orchestration and free improvization, impressive from beginning to end. You can download or order from Thrill Jockey. An alternative 25 minute version of the second track can be downloaded via iTunes. I'm a great fan of Mark O'Leary, but not everything he does is magic.
The great thing about the album is the interaction between two free minds, mostly in very nervous staccato conversation, with rapid-fire attacks and reactions between O'Leary's low-toned guitar and Bennink's special drumming, with the exception of one track "For Bernie", which is more traditional in it's down-tempo work-out.
The rest of the album is all within the same range of music, rapid, precise and creative, but still far removed from the more adventurous and impactful voice he developed in the last two years. There are no special effects here, just down-to-earth naked guitar and drums. Some most! That being said, all tracks bring a little too much of the same, with not enough variation, and the sound quality is not superb either, especially for the drums but that's unfortunately too often the case with Ayler releases.
The album gives a great demonstration of O'Leary's skills on the guitar, his real talents Dont Make My Brown Eyes Blue - Various - Stars Of Country an artist will blossom some years later in his career. Fans of O'Leary and Bennink will appreciate this release by Ayler, for those who don't know him, it may be worthwhile to start with his more recent work.
You can listen and download from Ayler Records only available as a download. The music is avant-garde jazz, and relatively unique in its genre, with lots of Here Comes The Mad Woman - Erik Friedlander - Solos: The Jazz Sessions (DVD) of percussion only, even long moments of silence, interspaced with bursts of horns and piano for dramatic effect, or slow trumpet playing in the more contemplative parts.
The former starts with all kinds of percussions, slow, almost zen-like, comparable to what Andrea Centazzo would do later on his albums, with improvized sax laying a plaintive tune over it, accompanied by a trumpet in the distance whether that was the idea, Here Comes The Mad Woman - Erik Friedlander - Solos: The Jazz Sessions (DVD) just the result of poor recording conditions, is hard to tell. It is totally free improv, with no sense of direction, just in the moment ideas which surface one after the other, but to the musicians credit, they manage to keep the whole concept very coherent, accessible and captivating.
As many improvisers did in that period, we performed in almost total darkness, save for illumination from one or two candles. Sets went as long as the music demanded, and the same for individual selections. You can listen and download from iTunes and other sites for 7 euro. The first half includes instruction on notes, scales, tongue blocking, vibrato, trills and more.
Big, explains the development of his style Here Comes The Mad Woman - Erik Friedlander - Solos: The Jazz Sessions (DVD) techniques through four chapters of exercises, including a spectacular nine-minute drum solo. He also performs and discusses seven Mr. Big songs, explaining his secrets and tricks. Topics covered include paradiddles, grace Caravan - Duke Ellington - Prime Cuts, drum Rockin - Chris Shuttle - Techno, hi-hat work, and basic and double-bass footwork.
Also included is a printable PDF eBook containing transcriptions of select performances and other educational information.
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