:::old dogs with new tricks #2:::

Posted: Wednesday 19 September 2012 by jazzlover in Etykiety: , , , ,
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Although a four-LP Mosaic box set purportedly includes every recording led by the obscure but talented tenor saxophonist Tina Brooks, this 1994 CD has previously unreleased alternate takes of "True Blue" and "Good Old Soul" that Mosaic overlooked. Brooks is teamed with the young trumpeter Freddie Hubbard(on one of his earliest sessions), pianist Duke Jordan, bassist Sam Jones, and drummer Art Taylor for a set dominated by Brooks' originals. None of the themes may be all that memorable ("Nothing Ever Changes My Love for You" comes the closest), but the hard bop solos are consistently excellent.
:::Review by Scott Yanow:::

Tina Brooks - True Blue (1960)

01. Good Old Soul
02. Up Tight’s Creek
03. Theme For Doris
04. True Blue
05. Miss Hazel
06. Nothing Ever Changes My Love For You

Credits
Bass – Sam Jones
Drums – Art Taylor
Piano – Duke Jordan
Recorded By – Rudy Van Gelder
Tenor Saxophone – Tina Brooks
Trumpet – Freddie Hubbard

:::air cavalry #2:::

Posted: Tuesday 18 September 2012 by jazzlover in Etykiety:
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A great work "Qualia" is ? I absolutely enjoy this sophomore release by Syrinx, and I wish I had known it at the time so I could vote for it the 2009 Top lists. All I can do in the present days, in retrospect, is praise it with all my heart. This French ensemble was quite a big surprise a few years back with their debut effort "Reification", exploring a sort of progressive experimental rock that combined mystic atmospheres and dense, semi-creepy moods; in 2008, "Qualia" retook this interesting trend and instilled a renewed energy into it. As usual, the band's sonic framework is built upon the articulation pondered among the harmonies/leads performed on a much featured acoustic guitar and the driving force driven on by the rhythm section, while the keyboard inputs rigorously fill abundant spaces all over the place. 'Liber Nonacris' opens up the album with agile atmospheres, but eventually, at the 3 minute mark, the sonic development turns to slightly denser grounds. From the onward, the piece evolves in an amazing set of varied themes, abundant yet not overwhelmingly overdone. There are moments in which the keyboard orchestrations assume the leading role in the melodic developments; there is also a mysterious passage in which the bass guitar's interventions get a bigger exposure, in this way adding some stamina to the overall sound. The use of synthesized choral ornaments and emulated mellotron helps to reinforce the recurrent mesmeric ambience. 'Acheiropoietes' features soprano sax in the first passage, which assumes an air of distinction through the unhidden sense of mystery that prevails. The colorfulness portrayed in the subsequent development states a landscape of tension that ends up released during the track's closing section. 'Le Grand Dieu Pan' brings a grayish ambience, properly focused on autumnal textures. The solo piano passage bears a nostalgic beauty, conveniently balanced with the agile section that follows immediately, eventually leading to a majestic display of moderate bombast. Once again, the bass guitar manages to make itself noticed among the whole equilibrated architecture. 'Le Vingt-Et-Unieme Cercle' occupies the album's last 5 ¾ minutes. It is evidently more serene than any of the other preceding tracks, but the overall feel is totally consistent with the spirit of outworld mystery that has assumed control of the musical arrangements in the whole album. The climatic ending may bring some 70s Pulsar memories to some. Well, this was "Qualia", a superb album by one of the best French prog ensembles currently around.
:::Review by Cesar Inca:::

Syrinx - Qualia (2009)

1. Liber Nonacris (19:38)
2. Acheiropoiètes (8:40)
3. Le Grand Dieu Pan (14:45)
4. Le Vingt-et-unième Cercle (5:45)

Credits
- David Maurin / acoustic guitar
- Benjamin Croizy / keyboards
- Samuel Maurin / bass
- Philippe Maullet / drums

:::off the back of a lorry #2:::

Posted: Wednesday 12 September 2012 by jazzlover in Etykiety: , , ,
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Composer John Zorn is a man of many projects, genres and styles. When once asked about styles, in Option, he replied "I'm not afraid of styles; I like them all." He also has a short attention span and because of that his music is a unique aural crosscut of styles—be it avant jazz, classical, cartoon cutups, free improv, computer music—continuously plunging himself into less expected musical territories. Being an intrepid explorer and musical sponge, his wide-ranging interests are so vast and ever-changing that is futile to place him in anything but in a category for himself. It seems that exploration is the motivation and main engine that leads Zorn along his journey to the extreme limits of constant and rigorous research. But not only are his musical interests so wide; his literary and film interests and influences are equally maddeningly broad and diverse, too.
All those references to literary and film interests can mainly be found in the titles of records and compositions. Zorn has found equal inspiration in various literary sources, from crime novels and Japanese manga comic books to occult subjects such as the books of Aleister Crowley, various seekers of the truth and mystics such as G. I. Gurdjieff, the Kabbalah mysticism, and demonology or Gnosticism; in other words, the alternative branch of Christianity. Literary and mystical sources aside, Gnostic Preludes is a fine example of Zorn's unique and fascinating fusion of classical music with western improvisation.
It could have easily been part of his Filmworks series because of its meditative nature. The melody of opening track, "The Middle Pillars" (referencing one of the recommended practices for Sophian initiates) closely resembles the main theme of Filmworks XIII: Invitation to a Suicide (Tzadik, 2002).
Zorn uses the talents of this unusual combination of instruments—harp, vibraphone, bells and guitar—to maximum effect and, as always, he fully engages the performers to be not just dutiful interpreters, but creatively invested collaborators. The sense of beauty lies in the way these instruments are melded in a multi-textured tapestry of sound. Guitarist Bill Frisellis particularly inspired, as his playing shows him being more engaged and focused than he has ever been. Rather than hiding behind his immediately recognizable slow and weaving guitar tones and melodicity, he is more playful and virtuosic. The interplay between vibraphonist Kenny Wollesen, Frisell and harpist Carol Emanuell on "Book of Pleasure" is beautiful, with characteristically minimalistic repetitive motifs on vibes and Frisell providing Dave Gilmour-esque edgy guitar works. It is a gorgeously slow tune with lyrical imagery for the mind and the soul.
"Prelude of Light" continues down this strange yet inviting path. It alters between beautiful backwash of harp and vibes melodies and drones, with Sephardic melodies provided by the intricate guitar. The shimmering nature of the sounds produced on "Diatesseron," "Sounds of the Spheres" and "Circumbulation" creates delicate filigrees that pulsate with absorbing detail. The layered production gives these compositions a hypnotically captivating quality that induces a dreamlike state; the effect is really intoxicating. "Sign and Signal" is another delightful track, featuring beautiful and intricate interplay between Emmanuel and Wollesen's vibes and bells. 
It shimmers with Steve Reich -like pulsating repetitive motifs taken further with Frisell's overtly blissful Sephardic guitar lines. 
It is an infinitely fascinating track that begs to be revisited over and over.
Gnostic Preludes is an intriguing and seductive recording, with a gentle and contemplative feeling that resonates with emotive power. 
It combines the feel of ambiance music with lyrical and melodic prowess seldom seen in Zorn's work. As such, it is a moving work well worth surrendering to.
:::Review by Nenad Georgievski:::

John Zorn - The Gnostic Preludes (2012)

1. Prelude 1: The Middle Pillar 6:39
2. Prelude 2: The Book Of Pleasure 6:06
3. Prelude 3: Prelude Of Light 5:56
4. Prelude 4: Diatesseron 4:35
5. Prelude 5: Music Of The Spheres 8:14
6. Prelude 6: Circumambulation 6:34
7. Prelude 7: Sign And Signal 6:22
8. Prelude 8: The Invisibles 3:35

Credits
Composed By, Arranged By – John Zorn
Guitar – Bill Frisell
Harp – Carol Emanuel
Vibraphone, Bells – Kenny Wollesen