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"EXPANDED (WITH/FROM) JAZZ" & beyond jazz
review page 2

Simak Dialog ('05,'09)
Natural Food ('72/'07)
Hepa Halme ('08)
Claudia Quintet ('04)
Joachim Gies & Lauren Newton ('07)
Lauren Newton & Park Je Chun ('08)
Denis Beuret ('08)
Dorf, The ('08,'11)
Szilárd Mezei Wind Quartet ('08/'09)
Franco Baggiani ('09)
Julie Tippetts & Martin Archer ('09,'10)
Eldad Tarmu Chamber Jazz Ensemble ('09)
Rudy Smith Quartet ('84/'10)
Tim Perkis : V.A. : Noisy People ('06) (DVD)

see also : Wang Wei 4tet ('09)->

Moonjune Rec.simakDialog : Patahan (INDO,2005)***'

After the reissue of Simak Dialog’s latest release for the Western market I promised to give this release a second listen. My previous approach to the group was from a “progressive music” interest, which took me immediately to their debut. This last album which is recorded live at Goethe Haus, Jakarta, is much more of a tasteful jazz record, where the piano is jazzy, the percussion has certain more exotic flavours, but not in a Latin, Cuban way as we often hear it, but in a way that must have its grounding in more the specific Indonesian heritage and their taste for rhythm. After a piano improvisation, the electric guitar takes over the mood, before smoothly returning to the piano, to conclude with it together. Next track takes the improvisation to the next chapter, with more hand percussion, small Indonesian elements (bells, jazzy vocals improvisations), while especially the electric guitar widens the improvisation progressively. Then a female vocalist improvises solo, not exactly jazz-wise, but with a different more exotic flavour, partly Indonesian, with melodic touches of what sounds like sitar. The next track is again led by piano and guitar, with some great “fusion” guitar, as people would recognize this. The last track starts with an introductory poem, translated into German (for some Goethe institute members). It is the longest, well structured improvisation, where they show well their individual talents. Vocalist Nyak Ina Raseuki adds several fine sections of free wordless vocal fantasies, from jazz to an African feeling (at a certain point she seems to imitate a bird in a semi-African way). There are various nice guitar solos and also Rhodes and piano improvisations, or combining their talents, showing well the importance of both players, Riza Arshad (keys) and Tohpati. The themes are fluently changing, once introduced and stimulated by the bass player, Adhitaya. This is all accompanied by Indonesian percussion instruments, played by Emy Tata.

Reviews of previous releases including a first review of this record : http://progressive.homestead.com/INDOREVIEWS.html#anchor_53

Audio : "One Has To Be","Spur Of The Moment", "Kemarau", "Worthseeing", "Kain Sigli"  
& on http://www.myspace.com/simakdialog & http://www.moonjune.com/MJR015-N.htm
& on http://cdbaby.com/cd/simakdialog2 ; video's on http://www.youtube.com/..
Homepage : http://www.simakdialog.net/
Label info : (with audio) http://www.moonjune.com/MJR015-N.htm
Info on Simak Dialog in English : http://www.kathmandujazzfestival.com/simak.htm
Description : http://www.worldsrecords.com/pages/artists/s/simakdialog/simakdialog_61120.html
Other reviews : http://www.allaboutjazz.com/php/article.php?id=26013
& http://www.abstractlogix.com/xcart/product.php?productid=23201
& with audio : http://ssl.adhost.com/jazzloft/baskets/pos.cfm?CD=12577             next album ->
Moonjune Rec.   Simak Dialog : Demi Masa (Indo,2009)****'
Like Earth Rec.                 SimakDialog : Demimasa (ID,2009)****

I have been told how Simak Dialog especially in live concerts is able to show something unique and advanced. It was not until I heard this album that I realised how much this must be true. Founded in jazzfusion-rock areas where electric guitar and Rhodes piano dominate the style (Chris Corea/Wheather Report,..) with some contemporary melodic switches and much mood, this band has all the qualities needed for both the guitarist and the keyboardist or the combination of both. But to this comes another new factor : the percussive fundament, based upon conga-alike hand percussion and more drum-alike touches of which the variation is exotic and changes mood and range. This percussion is based upon Sundanese kendang percussion mostly, but besides the Indonesian touch gives or add flavours that might be associated with African, South American and even occasional flamenco rhythms without necessarilly being assiciated with those origins. The smoothness and improvisations are very strong so that time perspectives of over 10 up to 20 minutes still feel natural and well constructed the whole way through. Recommended to jazz-fusion lovers. Other surprising details include some background electronic sound-effects.

Audio on http://www.mindawn.com/albums/5564?PHPSESSID=bf03a
Info & audio : www.myspace.com/simakdialog ; more audio on http://www.squidco.com/...
Article : http://www.thejakartapost.com/news/2008/10/26/simak-dialog-a-thunderous-display-traditional-influences.html & http://jazzuality.com/album-reviews/simakdialog-demi-masa-2009/
Label info with audio : http://www.moonjune.com/MJR024.htm
Other reviews : http://www.progressiveears.com/asp/reviews.asp?albumID=4801
& http://www.connollyco.com/discography/simakdialog/demimasa.html
& http://www.progarchives.com/Review.asp?id=323616
Portuguese review : http://progbrasil.com.br/ExibeResenhas.php?eID=1284
Leo Rec.   Joachim Gies & Lauren Newton : Tenderness Of Stones (D/US,2007)****'

The strength of this album is that it holds the perfect middle between extremely conscious micro-tonal sound exploration, improvisation and composition, freedom and abstract sound versus structure and composition, words and sounds, with a natural feeling of inspiration with a strong relation between all these mentioned aspects. This is not just free music to explore or to keep balance between breaking apart and synthesis, but is constantly building up, developing as well as concluding, constructive and creative in all its details. It is immense the range used of the instrument, the bodily consciousness over the sax, to produce its sounds, which differ from sounds on the edge of breathing into it, sorts of rhythmic breathings in it, talking with it, breaths as if the sax is a pipe/ pump, tapping breaths sounds and so on, to melodic touches, always used with subtlety and at the right moments. Also the range of Lauren’s voice is huge, from poetry reciting, breathing and throat-singing capacities; I even heard her singing with double voice with perfect overtone harmonies to the sax sounds, communicative to the compositions and words, (three poems of Michael Speier were used by her) as well as being conscious of the sound buildings. To this, the sounds have been enriched with improvisations by Michael Walz on electronics and sampling, with soft dusty noise, ticking and motor-like, or radio-wave like, nice in harmony with the development of the compositions. This mature album is much more than free music, desserves to be heard and could eventually widen people’s scope of tastes.

Homepage Lauren Newton : http://www.laurennewton.com
& Joachim Gies : http://www.joachimgies.de
Label info : (with audio) http://www.leorecords.com/?m=select&id=CD_LR_481
Info & audio : http://www.joachimgies.de/cds09.html
& http://www.joachimgies.de/projekte02_english.html
Description : http://www.lulu.com/content/761841next->
Leo Rec.   Lauren Newton & Park Je Chun : 2 Souls in Seoul (US/S-KO,2008)****

This is a concert of ‘free music voice’ Lauren Newton with South-Korean percussionist Park Je Chun.
The inspirational idea seems to refer to ‘pansori’, the old narrative folk vocal style to perform stories with dramatic content, important to witness through it the depth of emotions of the narrated and sung experiences.
The folk style reference is changed into a conceptual musical idea transmitted into and for free music, so without bringing a specific story to remember of life experiences with the real emotions guiding this to tell the story. Instead the whole empathetic variation lies at first in a more abstract visualization, then thoroughly discovers the voices and stories related with that discovery from within.
At first, within the musical freedom of expressions, only the ghosts of experiences are traced, first only like shadows of a past existence that had a voice of their own. The piece, with calm rhythms, builds up slowly like a meditative painting. Thoroughly Lauren’s voice takes shape of the idea of real persons, first singing just like an American native Indian when concentrating on a story, like a shaman (3).
The percussionist Park Chun continues to play sparsely, carefully, attentively, waiting off any movements of the lion. Further on (7) the voice starts babbling, and then is singing again (10), as if here an essence of language is turning back thoroughly to its previous expression of a singing voice (like Asian languages were).
This singing then becomes like a free entertaining jazz form (11) while seemingly narrating a story. From then on, suddenly, real words come to the surface (12), like boiling bubbles where with the loosening air, hidden contents appear, still embedded in a quiet careful sense of waiting even through the notice of flashes of appearances. The voice becomes an inner cry, like in some part of the story of a usual ‘pansori’, calming down to turn into the native shamanic singing again, then showing a possessed voice briefly, which jumps off in the scene like a spark of flame, this voice appears in the images. Later, the singing becomes a song in the environment, with couch bells-alike percussion, and shows a moment of contemplation (14) and also the voices of whispering off-scene vividness. Near the end, also Park Chun takes part in the singing briefly (recorded rather quietly), a point where I recognize the essence of the pansori-style percussion, as rather off-beat but on-fact tensions to the story. His solo voice is caught by Lauren who sets in for a last outburst of her voice accompanied by Park’s adaptive percussion. Both artists here work with increased tension as with conclusive energy (16), but not until another strong contemplative moment accompanied by singing bowls. 

Altough I did not expect at first that this could be convincing to try, the performance succeeds to do something with ‘pansori’, even when it is with a different context and fundament, the alternative experience is rewarding.

Also notes on the performance by Stuart Broomer entitled ‘border songs’ are able to give a preparation for additional depth to this experience.

Homepage Lauren Newton : http://www.laurennewton.com
Label info : (with audio) http://www.leorecords.com/?m=select&id=CD_LR_509
Porter Rec.    Natural Food (US,1972,re.2007)****/***°

Natural food’s lead pianist Mait Edey (who plays here a Wurlitzer more often) started the private Seeds label as a sort of musicians collective in the Boston area. Thanks to a mixed musical background (blues, funk, jazz) and a warm playing they succeed to make a very pleasant album which basically sounds like a big part of blues style inspirations but played by jazz musicians, who turned it into a jazz style (with various sax arrangements). Vocalist Latifah (Brenda James) adds her own element of (at least twice) a soul-jazz flavour (a third time a bit bluesier), with overdubbed singing (she appears only on three tracks in a row), while the electric wah-wah blues guitar (Lance Gunderson?) gives a slight psych tingled rock touch. The whole combination has the relaxed feeling of bebop jazz, but just follows its own roads, smoothly, logically and therefore comes over as a heart warming record.

John Abercrombie is the guitarist (only on track 6) and Phil Morrison is the bassist of Stark Reality. Phil around this time was also working with T-Bone Walker, while Lance Gunderson (guitar) also worked with Joe Henderson and Chico Hamilton.

Audio : "Auld Lang Sine", "Siren Song", "Granny on the Gramophone", "See See rider"
& (with review) on http://digital.othermusic.com/...
Label info : http://www.porterrecords.com/id21.html
Description on http://www.dustygroove.com/...
Other review : http://audiversity.com/2007/09/porter-records-birigwa-and-natural-food.html
Dogsoul Music/Presence Rec.  Hepa Halme : Prospektor (FIN,2008)****

When ready for the perfect conditions, of course also the ‘room’ where the actual planned performances are done create with it the sound and magic of a performance. For this release it’s the ‘attic’ which makes the performers’ setting. The music sounds partly improvised (woodwind parts), partly composed (the woodwind/brass arrangements), and this is absolutely clearly led by a woodwind player (sax, trumpet, flute). (The baritone sax really sounds lovely). We hear different themes following a melody, swing and mood in a magical somewhat groovy cooperation with these qualities leading as elements.

It had been a while since I have reviewed a previous album of this sax player. Last one was a brilliant mix of jazzfusion with electronica. Here he proves himself to be a talented jazz composer and performer. Hepa Halme was also featured on, also previously reviewed albums from Gnomus (new prog) and Gourmet (chamberprog). Strong !

Audio & info : http://www.myspace.com/hepahalme
Label entry : http://www.samsararecords.fi/...
Introduction : http://www.samsararecords.fi/...
or http://www.nordicnotes-shop.de/Finnland/Jazz/Halme-Hepa-Prospektor-CD::518.html
Biography : http://www.fiaskorecords.com/artists/onttonen.en.php
2001 release I reviewed on http://psychevanhetfolk.homestead.com/FUSION.html
Cuneiform Rec.   The Claudia Quintet : I, Claudia (US,2004)***

Over the last 5 years jazz has been used more often with more "modern" styling. After acid jazz and other jazz lounge grooves and sample-like examples (-I lately heard the nice St.Germain's Tourist acid jazz meanderings which seemed to be a combination of jazz improvisations and semi-sampled rhythms-). Especially rhythmically, various groups seemed to be also influenced by the more advanced techno genres. Under the lead of drummer John Hollenbeck this ensemble (here with its second release) also does not show at all a kind of typical genre related inspiration. Without ever being inaccessible, it covers often its own independently developing sound, close to a catchy rhythmic freedom, and a catchy joy in playing together, to eventual accidental accessible kind of avant-garde touches here and there, but always lead by a rhythmical structural vision of an ever changing improvisation like melodic composition or evolution, and in general always coming back to the most moody jazz. Other members are Drew Gress, acoustic bass (most know for his quartet Joint Venture), Balkan vibraphonist and percussionist Matt Moran, clarinet & tenor saxophone player Chris Speed (Tzadik,..), and accordionist Ted Reichmann (Tzadik). The compositions shows the same kind of openness musically as in inspiration and a philosophical world vision reflected in its music. Very good!

Info (with soundfile) : http://cuneiformrecords.com/bandshtml/claudia.html
& http://www.johnhollenbeck.com/frontpageclaudia.html
Other review : http://www.dustedmagazine.com/reviews/1351
& http://www.allaboutjazz.com/php/review.php?id=11556
& http://www.scaruffi.com/avant/claudia.html#icl
& http://www.jambands.com/CDReviews/content_2004_01_27.11.phtml
& http://jazzcornertalk.com/speakeasy/showthread.php?t=4889
& http://jazzreview.com/cdreview.cfm?ID=6854
& http://www.providencephoenix.com/music/otr/documents/03553084.asp
German review : http://www.babyblaue-seiten.de/album_3747.html
Leo Rec.  Denis Beuret : Alone (CH,2008)***°'

I always liked the live electronics to wind instruments, because they enrich the sound to wider perspectives, without needing too different sounding new instruments to complete this. The earliest interesting, real sonic experiment with brass and electronics in jazz that I have heard before was from a 60s recording of Steve Lacy, something which I remember well. We’re so many years further now and the abilities to do so are also much more advanced. But the most necessary fundament remained the same : such a context of pure improvisation with it, needs the right combination of an explorative ear to the sound as well as the creative attention to the harmonic evolutions with it in time.

The album sounds for the most as if it’s a recording done with multiple layers. The introduction however says : bass trombone and live electronics. The programmes and graphic interfaces were built in Max/MSP and Logic Pro. It still is hard to believe this was all done in one take. Because even if this was not some of the results are rather impressive and sonically interesting. I also don’t understand how he really added the different brass sounds on top of one another, with just this equipment. On most live electronics you hear an overuse of repetitive loops, or at its best you notice a master in pedal sounds changes on some instrument, and a good use of programmed pre-recorded ideas. In any case, for such an idea of an exploration, this album is a relief.

At first the electronics add a slight deformed sound effect now and then, or they stretch a tone to a never ending drone to makes an echoing loop. Except for the last two tracks every idea, whatever it is, is used intelligently enough not to overload the improvisations themselves, extremely moody improvisations. The third track gives, just sporadically, a different sound effect to the trombone as if Denis Beuret plays with a human voice instead, as if adding subtle throat singing effects to the lead voice (now the trombone). Some other effects, on this track, sound a bit more like electronic sounds, with droning looped waves. The fourth track uses some direct live and reverb recordings of breathing in tubes, before adding another trombone solo. This piece contains some more melodically-improvised jazz playing. The fifth track reaches from tuba, trumpet to balloon-whistle (-with and without distortion-), showing a whole range of harmonic improvisations, more comparable once more to a vocal group improvisation than to a usual brass band harmonic tension. The only slightly blurry and sleep-provoking idea is the loops of soft trombones on the background with one slower one on top on the “Polyloop 8”, where Denis might have tried the effect of what was a certain theoretic idea to explore something differently. More impressive as an idea are the almost electronic music machinery and industrial effects used on “Nouvloop2”. On “Nouvloop3” it sounds as if one brass instrument is playing close to a ‘paper under a glass with pressure’, vibrating a bit with some rhythmically processed notes, against other intelligent contra-rhythms and arrangements on trombone, bass drone brass, and what sounds like a more silent human whistle.

The last two tracks are from a whole different idea, a for me less interesting starting point I have talked about before. “MP-04” is more clearly loop-based. One of the used sounds is a vibrating breathing snoring drone, clearly based upon a breathing sound a trombone, mixed with other pure-rhythmical sound-combinations and ideas, with this time, a little bit less room for the improvisations themselves. The final effect of this is first of all slightly natural, like the produced sounds from singing insects (and further on a lower bass barking frog perhaps), and at some other stage, like a wind blowing into a metallic machine. It has this natural feeling in the sounds just because it based its sounds on a semi-acoustic fundament, but at the same time it is also a bit more mechanical. Never the less, Denis keeps it interesting and changing in theme and foundation, so that the improvisation and its sonic exploration also this track wins the game. Also the last track uses a droning carpet of waves and distorted sounds with an improvisation on top. It might be the least complex track to end with, but still is enjoyable.

Audio on http://www.europamp3.org/...
Homepage : http://www.denisbeuret.ch/
& with audio : http://www.myspace.com/denisbeuret
Label info : http://www.leorecords.com/?m=select&id=CD_LR_511
Leo Rec.    The Dorf (D,2008)***'

I had to listen a few times to this huge big band (15-25 musicians at once out of 30 musicians) who play monthly for a whole day, for around a year, with one concert in the evening at jazz club Domicil in Dortmund. On the first tracks I first found the compositions a bit too clearly linearly paper-written composed and led by one man (Jan Klare), (so missing any contra-reactive communicative layers, and linear as a rhythmic/melodic evolution) although the swollen sounds (from big band to contemporary jazz-rock, at first) were in fact too interesting to neglect. But listening through the whole CD I realized that the potential of the band and with a combination of all that is happening there is enough to find a balance within these limitations. And when I heard the free-est improvisation on the end, these shown improvisation skills compensated completely for the range I prefer to hear within a band’s approach. And so, because there is also much more to say than that they are completely composition led, with my second it made in fact much sense. There are bits of progressive moves (keyboards or guitars led), with the jazz/brass never too far away to swing to.

Label info : http://www.leorecords.com/?m=select&id=CD_LR_523
Homepage Jan Klare : http://www.janklare.de/ & with audio : http://www.myspace.com/janklare
& info on http://www.parliament-of-music.de/musicians/germany/klare/klare.htmlnext album->
Leo Rec.      The Dorf : Le Record (D,2011)****'

The Dorf is a Big, no! a Huge Band. They describe themselves as a Village where people come and go with still a sense of community, an entity on its own. This community group plays monthly in the Dortmund Jazz Club and is still led by Jan Klare.

The first track, “Now” shows the huge band, led by brass and communal conversations of improvisation while the guitars repeat a monotone, fast 4/4 oscillating rhythm. The band is more like a jazz band who plays like a rock band. Also the energy often is pushed to a wilder energetic level, freaking up the tension. Some electric guitars at a point takes over the lead only to have another melodic response on brass. These oscillating guitars give this piece something minimalistic while the band enjoys the freedom they can add on top.
The second track, “Spin” is somewhat vaguely melodically evolving with several individuals playing a separate continuation part. The guitar pushes the piece up again rhythmically together with the drums, and there are also electric solos this time, but leaving the lead melodic part to the brass arrangement again.
The third track, “Deep” is much slower with long electric notes, brushed rhythms and lounge keyboards, then with some brass coming in, before the track breaks again into separate individual continuations with each note and accents by different instruments, before the theme concludes itself while leading back to the first part with slightly more harmonic full band arrangements.
The fifth track, “Riff” has a wilder pushing electric bass rhythm and a chaotic freaky improvisational element which tends to become berserk and chaotic amongst a returning to the lead brass theme and a simple fast stomping rhythm finding ground.
“Count” is one of the stranger tracks, based upon counting, with mostly a slow and steady 2/2 rhythm (while the band at some stage is counting from 1 to 4), where the band improvises around it, again with here and there some separated instruments and their accents or notes one by one, with the full band sound being heard only sporadically. The chosen rhythm is pretty linear and unusual for jazz which in a bigger concept of creative band members it usually does not limit itself that much. So also this has another Terry Riley-like minimalism incorporated, but perhaps also reveals a strong dominance by a band leader for it has just one direction. With so many members and each still having its rightful place, mixed perfectly also, this still works very well.
“Pulk” I think is another unusual track. It clearly describes a circus, first with a circus theme, then with different actions as if something visual is happening, say a clown. This is first more theatre than composed music. We hear a straw flute theme, -the clown-, with responding brass instruments like reactions of the public or witnessing band, then many different actions are shown with certain cacaphonic fun of happenings creating confusion to the senses, a form of chaos, until a fast round-walking rhythm returns the actions to a marching rhythm band with a strong and returning focus to a circus melodic theme. I really love this track because so much is happening and it is very unusual compared to normal jazz. I would love to hear a full album like this.
“Feed” is again very different, starting with a cello/violin contemporary music duet adding new, somewhat chaotic sounds and elements, including slowly played feedback on electric guitars, until the band finds a rhythmic focus, on which the electric bass guitar and such pushes forth the energy and a trumpet improvises freely, up to a wild and then also sudden conclusion.
Also the last track “Back” starts with confusing rather electric tension of creation out of chaos finding different elements and rhythms, then harmonies and themes including a lead solo by violin with trumpet leaves us to a lasting shadow of the unborn, leaving tones and wobbling rhythms to fade away with the scene.

The band through experience surely gained power and also their entity as a voice is more distinctive. Well done and well mixed.

Label info : http://www.leorecords.com/?m=artists&id=Dorf
Homepage Jan Klare : http://www.janklare.de/ & with audio : http://www.myspace.com/janklare
& The Dorf : http://www.myspace.com/janklarethedorf & homepage : http://www.thedorf.net/
Release info : http://www.janklare.de/klare/wordpress/?page_id=500
Leo Rec.  Szilard Mezei Wind Quartet : We Were Watching The Rain (SERB,2008/re.2009)***°

Having read about this album first, I thought this might be interesting because it was introduced as not fitting well with any genre (folk/jazz/contemporary), so it could very much mean an interesting creative exploration. Szilard Mezei, a former Yugoslavian born viola-player and composer was active in many countries (Eastern Europe, like Serbia, Hungaria, Poland, Germany, Austria and Danmark, and France) with tours in many more areas. From what I have read Szilard was influenced by Bartok’s contemporary chamber-music approach to folk (which Szilard himself did with Hungarian folk), and Lutoslawski's and Braxton's improvisation methods.

And in these compositions we can hear those influences, from which I can distil a combination of ideas into sections of his compositions. The first and last piece is more like chamber music (the last a bit more “romantic”- even), but are clearly composed by viola. For “Milos”, the first track, the brass section adapts to this idea and point of view of a soloist into a chamber-music context (bass clarinet/alto sax/clarinettist with a trombonist and a tuba player). Noticeable is  a small touch of a folk association. This is all but a usual chamber arrangement, because it has a minimum of instruments to make it sound like this. Brass usually is not used this way. And for this first composition, it seems as if these brass instruments are composed from a viola viewpoint mostly, and like I said this whole idea sounds different to jazz, and closer to a contemporary classical quartet. The other parts show more aspects. There are sections with contemporary chamber music, following a certain compositional harmony, but often with a strange and new music harmony. This could sound like a form of singing (improvising : lalala. Then the instruments change perspective from singing to an improvising with sounds, like a singer could switch from vocals to lip noises and breathing sounds. There are free jazz parts, with each member remaining mostly in a similar position of ideas, but with the distance of an individual space while staying aware of the main theme of freedom, before the composition returns to some contemporary chamber-music rather melodic lead. Each member, like in jazz is able take the lead. The tuba could feed at some point with some rhythm, but also breath and pick it more melodically, while the higher tones mostly improvising in a quicker way. The album succeeds in capturing and keeping the attention vivid. The ideas behind the improvisation clearly are from a matured vision.

Label info : http://www.leorecords.com/ (soon)
Info on artist : http://www.creativesourcesrec.com/artists/s_mezei.html
& http://www.allaboutjazz.com/php/musician.php?id=17260
Sound Rec.   Franco Baggiani : My Way Through The jungle (I,rec.2006-2007,pub.2009)**°

I have heard Franco’s previous album which was based on trumpet improvisation upon a groove which wasn’t entirely jazz. On his own track he does something similar but this time the groove is different, and groovier, based upon rather funky repetions and a great example of Miles Davis’ wildest, most energetic, groovy up to over-the top psychedelic period of Miles Davis, here is played with much pleasure to especially the funky jazz groove. “Black Satin” comes from this period of Miles. Especially Franco’s band guitarist Bernardo Baglioni knows how to handle this inspiration. It isn’t entirely the trumpet line which has all the freedom of melody improvisation, this time also Franco, with Miles in his mind know more often how to push the band forward to something different, so that the groove changes, speeds up and/or becomes almost psychedelic, like Miles used to become in that period. Especially his own tracks (there are two Miles Davis interpretations and one of Joe Zaniwul) are more smoothly and rhythmically bound, but the Miles inspiration is a fine injection towards a next level.

Audio : http://www.soundrecords.it/view_album.php?id=35
Homepage : http://www.francobaggiani.it/
Italian reviews : http://www.eventiintoscana.it/..
& http://www.nove.firenze.it/vediarticolo.asp?id=a9.03.29.21.13
Discus-Music    Julie Tippetts & Martin Archer : Ghost of Gold (UK,rec.2007-2008,pub.2009)****

I remember Julie Tippets from her earliest works, as Julie Driscoll (a solo album with progressive jazz leanings and lead vocals and a fine album with Brian Auger & The Trinity) before she married jazz musician Keith Tippet and changed her name and direction towards more improvised (jazz related and expanded jazz) music.  This latest album shows experience in improvisation on the moment. Not one track was rehearsed and still it gives the impression of well thought over compositions and ideas. The setting for this album was an anthology of poetry written between 1994 and 2004 and the spontaneity between soundscape-like moody ideas, -Martin Archer’s lead mostly-, and certain vocal expressions and extra arrangements with voice and instruments and the choice of poems by Julie Tippetts. The soundscapes could be based upon natural and vivid electronica with sequences or sounds and laptop-arranged percussive like accents or sound-based moody improvisations by different saxophones or ideas derived from fuzz bass or from resonating metal string-base percussion or so, and for the last track a great Chinese-sounding odd harmonies-driven combination of instruments (harmonium with recorders and such ??). The vocal interpretations are rather whispery spoken word, often with stretched words here and there creating a more musical approach with words, breathing into the vivid sound landscape. But on two tracks Julie is actually singing, soulful and with moody overdub of what sounds like backing vocalists. A truly entertaining, rather meditative release. On the edge of a visual abstract world as a recognisable expression.

Audio : “Moonshine”, “The Bear that Walks at Night”, “Run Another Road”, “The Winging”, “Rainsong
Label info : http://www.discus-music.co.uk/dis37cd.htm
Other review on http://www.waysidemusic.com/ProductInfo.aspx?productid=DISCUS%2037
Info on Martin Archer : http://www.allaboutjazz.com/php/musician.php?id=3466
Info on Julie (Driscoll) Tippets : http://www.mindyourownmusic.co.uk/julie-tippetts.htm     next album->
Discus-Music    Julie Tippetts & Martin Archer : Tales of Finin (UK,rec.2009-2010)***°


not easy to review, to grasp, but I hope to include a review soon



Label info with audio : http://www.discus-music.co.uk/dis39cd.htm
Other review : http://www.guardian.co.uk/music/2011/jan/20/julie-tippetts-martin-archer-review
Private pressing   Eldad Tarmu Chamber Jazz Ensemble :
Songs for the queen of Bohemia (RO,2009)***°

Eldad Tarmu is professor in jazz studies at the Tibiscus University in Timisoara, Romania with a master degree in Afro-Latin music from the California State University Los Angeles, and has played with people like Taj Mahal, Freddie Hubbard, Billy Higgins, Jeff Hamilton, Joe LaBarbera, Poncho Sanchez, Ernie Watts and Frank Morgan.

Eldad’s way of playing the vibraphone has the warm playing I can only expect from the best jazz vibraphonists, besides he succeeds to add interesting changes in his compositions like for instance ethnical flavours, where he sounds a bit Indonesian more than once (like on 2,5,6 for instance), then marimba-like, then more melodic like a song driven part (occasions on 5,7), then organising or joining a more classical theme or with a synthesis power in fusion with all these elements of classical, jazz, or song-melody all in one track. Also his band smoothly develops smooth jazz, with elements of chamber music, then sounds much more classical like a chamber orchestra, even leading this forward, and then I also heard an occasional oriental element (like some percussion on 2). There were some East European elements were mentioned in the introduction by the distributor but I personally did not hear the so clearly ; -after a second/third listen I could understand some flavours in some melody lines, but overall they are not so dominant-. A wonderful warm feeling speaks strongly in this album.

Info & audio : http://www.myspace.com/etcje & http://www.cdbaby.com/cd/etcje
Audio : http://www.tradebit.com/...
Homepage : http://www.eldadtarmu.com/
Distribution info : http://www.crossovermedia.net/index.cfm?fuseaction=artists.details&artistID=299
EM Records   Rudy Smith Quartet : Still Around (TR/DK,1984,re.2010)*****

I’d like to mention this masterpiece of jazz (bebop style) and jazz fusion, led by the alto steel drummer of Trinidad origin Rudy Smith, with a Danish duo, Ole Mathiessen on piano and Niels Prastholm on double bass (with a few wonderful bowed off-key solos), and with Gilbert Mathhews on drums. Not only are the jazz tracks wonderful, but we also have two very good flamenco-inspired tracks (one slightly Middle Eastern) and one Bach inspiration, ranging from a classical arrangement to jazz in a typical ’70s style in a very inspired way. Recommended!

Audio on http://www.honestjons.com/...
& http://www.rushhour.nl/...
Video of later concert : http://www.youtube.com/...
Info with audio : http://www.undomondo.com/2008/02/rudy-smith-quartet/
Label info : http://www.emrecords.net/records/00088.html
Homepage : http://www.rudysmith.dk/ & http://www.myspace.com/rudysmithjazz
Description : http://www.dustygroove.com/...
privateTim Perkis : noisy people -improvising a life- (US,2006)**'

The introduction and liner notes of Tim Perkis are rather interesting and they work as a statement to the making of the film. “The artists in the film remind us that there is another way to live: persueing a passion directly, independent of its economic value. They exemply an alternative political and social reality, a way of life largely outside the dominant consumer culture of the USA.” Being amateurs or professional, being inside a band or not, this is about living in this area of free music for all, resulting in either garbage and noisy fill-ups or sudden magical and in community shared moments. There’s less discipline revealed than I expect there must be, rather is focused upon the attempt to find the magical moment in just remaining free in its expressions. That’s how Anthony Braxton as an example briefly came into the film, or that Fred Frith was taken as a reference and focused upon, or John Cage was mentioned, but not entirely followed, and that’s how with at least one musician the Art Ensemble has left its marks in ideas. The philosophy is hanging, like a life’s dialogue. Somehow the musicians seems to remain with some dependency towards what would bring their free moments. The documentary leaves most traces on the surface of their social engagement and commitment rather than leaving us moments of the creative wow-effect. So that “noisy” fill-ups remain dominant over the scenery. More than once musicians make a reference to a European way (to Berlin for instance), not really knowing the difference that in Berlin for instance the fundament was discipline before freedom, here in the Californian scene it seemed like the idea that a personality seeks its freedom is a much more an important goal. Many musicians show these sparkles of the right experiences, with ideas in the process coming forth from them, while the main core remains vibrantly chaotic, like a distorted cacophony with an occasional surprising note or new invention of sound. It’s the crack that is meant like a healing process towards the real, which still remains a variant expression of the noise that is left behind from what has not been reached yet. The director himself is perhaps too much part of the social process and interviewing, the real magic in the movie still is hardly there to comprehend from an outsider’s vision. I still love best the electronic mix used for the introduction (by Tim Perkis himself), and the surprising sounds produced from Tom Djll’s trumpet when using its whirling plastic wire extension.

Tim Perkins had been part of this Californian scene of experimenters, and had participated with electronic music improvisation with the League (reviewed on next page) and the Hub, Anthony Braxton amongst many others. He knew and often had played all these people involved.

Info : http://www.noisypeople.com/ & http://noisypeople.com/index.php?pg=about_tim
& http://www.noisypeople.com/epk.html & http://www.filmbaby.com/films/1904
& http://metropolis.free-jazz.net/tim-perkis-noisy-people/
About Tim Perkis : http://www.perkis.com/
Other reviews : http://sanfrancisco.about.com/od/artsentertainment/a/noisypeople.htm
& http://www.sfgate.com/cgi-bin/article.cgi?f=/g/a/2007/04/19/derk.DTL
& http://blog.erlingwold.com/2007/05/noisy-people.html
Interview with the director : http://sanfrancisco.about.com/od/artsentertainment/a/timperkis.htm

Audio on http://www.honestjons.com/...
& http://www.rushhour.nl/...
Video of later concert : http://www.youtube.com/...
Info with audio : http://www.undomondo.com/2008/02/rudy-smith-quartet/
Label info : http://www.emrecords.net/records/00088.html
Homepage : http://www.rudysmith.dk/ & http://www.myspace.com/rudysmithjazz
Description : http://www.dustygroove.com/...
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