GA Russell

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About GA Russell

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  1. Baritone Sax Aces Kjetil Møster and Mats Gustafsson Join Forces in the Band 'The End', thePowerhouse Collaboration Releases Svårmod Och Vemod Är Värdesinnen Out on RareNoiseRecords in June CD, VINYL AND MULTIPLE DIGITAL FORMATS AVAILABLE IN STORES AND ONLINE THROUGH WWW.RARENOISERECORDS.COM. Sofia Jernberg voice Mats Gustafsson baritone and tenor sax, live electronics Kjetil Møster baritone and tenor sax, electronics Anders Hana baritone guitar Greg Saunier drums, voice When Norwegian baritone saxophonist Kjetil Møster joined forces in the studio with Swedish baritone sax burner Mats Gustafsson, Norwegian noise-jazz guitarist Anders Hana (MoHa!, Ultralyd, Noxagt), versatile, powerhouse drummerGreg Saunier (of the San Francisco-based avant-rock band Deerhoof, who participated in the album, but has now been replaced by Børge Fjordheim of Cloroform) and the extraordinary Ethiopian-born experimental singer Sofia Jernberg, the resulting sonic maelstrom was so fresh and ferocious, so daring and audacious, so darkly apocalyptic thatThe End seemed like the only name for this band of rebels. Their uncompromising debut on RareNoise Svårmod Och Vemod Är Värdesinnen (a title whose approximate translation from Swedish into English could be stated as "Dark melancholy and sadness are senses to be valued"), is delivered with sledgehammer authority by the subversive crew. The two-baritone onslaught of Møster and Gustafsson with the addition of Hana's baritone guitar provides a low-end assault on Svårmod Och Vemod Är Värdesinnen that feels like a gut-punch to complacency. "The double baritone has lots of raw power, which is a big part of what this music is all about," says Møster, who has previously appeared on two RareNoiseRecords releases, Jü Meets Møster and Reflections In Cosmo. "We try to break through to the raw senses, the expressions of energy that wants to burst but never does." "We have talked about such a collaboration for many years," adds Gustafsson, who previously appeared on RareNoise releases by Slobber Pup (Pole Axe) and in collaboration with Japanese noisemaker Merzbow (the Cuts series). "And when Giacomo of RareNoise offered us the chance we grabbed it immediately, of course. We just needed to really put together the most kickin' band ever." With Jernberg, Hana, Saunier (now Fjordheim), they have put together a dream team on Svårmod Och Vemod Är Värdesinnen. "Now that we have The End as a working unit it feels extremely exciting to see where we can take the music together," says Gustafsson. "It's amazing for me to play alongside Mats' boundless energy," adds Møster. "He has revolutionized articulations of saxophone playing and has been one of my big influences ever since I heard The Thing's self titled album from 2001." Add the potent contributions of Hana and Saunier to the mix and you have a combustible crew capable of nuanced ambient expression with Jernberg's ethereal vocals floating over the top and hellacious crescendos fueled by her intense banshee wailing. "Anders is one of the most creative guitar players I have ever heard," says Gustafsson. "He stopped playing guitar seven years ago but Kjetil and me convinced him to pick it up again to join this group, which he happily agreed to. He ROCKS!" Møster adds "Anders and me have driven thousands of kilometres together all over Eastern and Western Europe in old tour vans playing numerous concerts with Ultralyd, which released five albums, most of them on Rune Grammofon. He's a very unique player." Hana's chainsaw guitar work, reminiscent of Jimi Hendrix's noise guitar explorations on "EXP" from Axis: Bold As Love, fuels the dark opener Svårmod (Troubled Mind), which also introduces The End's muscular and imposing two-bari sound. Hana's repetitive guitar riff provides a catchy hook on the Captain Beefheart-like Vemod (Sad Mind), underscored by Saunier's polyrhythmic drummer and featuring Jernberg's freewheeling wordless vocals. The epic Translated Slaughter, which sees Jernberg whispering/talking Gustafsson's lyrics at the ethereal opening, gradually builds to a frantic crescendo that has the singer wailing with cathartic abandon over the top. Jernberg repeats her riveting performance on Don't Wait in which she once again recites/sings Gustafsson's cryptic lyrics. "Text, music, should all be read and listened to in open ways and manners," says the composer. "It is not up to me to explain, really. It is up to the listener/reader to understand, or try to understand. Or at least to ask the questions to find out more. All creative art and music should point out new doors, not open them up. To open a door, you have to do it yourself. We can't do it for you. So the lyrics pretty much speak for themselves, especially in 'Don't Wait.' That message should be pretty obvious for anyone." Møster's Both Sides Out has a particularly dark, almost requiem kind of feel to it, which he acknowledges. "Requiem is a good association," he says. "What I had in mind was actually some kind of mourning for the state of mind that the western world has entered post-Trump. In the lyrics I am Trump's psychoanalyst, letting him pour out his inner feelings so he can stop being so tense and hard." With a discography numbering over 150 records, Gustafsson explains what his latest RareNoise release represents to him: "Just sheer joy of sharing ideas and music together. We had time to rehearse and to play three gigs before jumping into the studio - that was worth a lot for us because I feel that everything really fell into the right place for us in the studio. The music we recorded is really a wet dream of favorite influences to bring together for me. And I think me and Kjetil share the most essential sources and inspirational platforms here. We wanted elements of free jazz, noise, alt rock and more to blend and create something new. And it all led to a music that, at least me, I have never heard before." "We are never into creating a special mood in the music," maintains Gustafsson, who is also member of bands The Thing, Fire! and Nu Ensemble. "That is up to the listener to create or hear. We don't entertain, we don't illustrate. We play music. New music. I don't wanna analyze it too much here. Everyone should listen freely and think and act freely upon hearing it all. It should all be open." Regarding the translation of the The End's album title, Møster says: "To me it says something about appreciating difficulties, that we don't necessarily have to please each other all the time, that expressions that go against the grain and cause friction are valuable too." Those renegade expressions are readily apparent on Svårmod Och Vemod Är Värdesinnen, The End's formidable RareNoise debut. TRACKS 1. Svårmod 2. Vemod 3. Translated Slaughter 4. Don't Wait 5. Rich And Poor 6. Both Sides Out
  2. Cuong Vu - Change in the Air

    Trumpeter Cuong Vu Rekindles Chemistry With Bill Frisell on Second RareNoise Release Change in the Air CD, VINYL AND MULTIPLE DIGITAL FORMATS AVAILABLE IN STORES AND ONLINE THROUGHWWW.RARENOISERECORDS.COM. Cuong Vu trumpet Bill Frisell guitar Luke Bergman bass, additional guitars on track 5 Ted Poor drums, fender rhodes on track 5 As a follow-up to 2017's acclaimed Ballet: The Music of Michael Gibbs, Seattle-based trumpeter Cuong Vu joins forces once again with guitar great Bill Frisell, bassist Luke Bergman and drummer Ted Poor on the boundary-pushing quartet outing for RareNoiseRecords, Change in the Air. With all the members of the quartet contributing compositions, this one finds the four participants on equal footing on ten adventurous originals. From Poor's dreamy, noirish opener "All That's Left of Me Is You" and his lonesome echo-laden waltz "Alive" to Bergman's dynamic "Must Concentrate," Frisell's delicate "Look, Listen" and his beguiling heartland melody "Long Ago" and Vu's angular "Round and Round" and his edgy and electrified "March of the Owl and the Bat," these four stellar musicians are truly on one accord and dealing with a rare level of nuance and depth of communication on Change in the Air. "It was a team effort," said Vu. "The only real leader thing that I did was make sure everyone had the studio dates in their calendars, set up rehearsals, made sure they knew where the studio was; more like secretarial work, is what I did. My only intention was that we should all bring in tunes to make it as collective as we could. This collection of people allowed me to let go and trust, and I knew that we all just wanted to make the best music that we could together." Poor added that the team effort developed quite naturally. "Cuong invited us all to contribute and I'm very pleased with how the band was able to sincerely welcome such a broad range of compositions into the fold. We needed repertoire and I think everyone felt comfortable and confident bringing in their own music. At that point we had played a lot of music together and I for one felt as though we were well on our way to developing a clear band sound and identity." Vu commented on the various compositional qualities that his three band mates brought to the table on Change in the Air. "Bill's writing, like his playing, at first glance is seemingly simplistic though always full of character. And when you patiently zoom in you find that it's filled with multi-layered info that is cohesively bonded. His pieces can be played on any collection of instruments and arranged in any way, and the truth of what he intended will come through as the listener will find it as deeply moving as it is beautiful. Luke's writing is smart, clever, ironic, funny and feels inevitable. He comes from having seriously investigated a wide and eclectic range of music but he's rooted in a rock band-based type of viewpoint. I think it all comes out in the music that he writes. And Ted is one of these guys who sounds like the source music for whatever genre he plays, and he sounds like a wise, experienced elder playing it. What I find impressive is in how he's able to get deep into whatever type of music and so quickly absorb it. He's like a jack-of-all-trades type of drummer because of that ability, along with the technical freedom to execute it all. I'm not surprised that his writing reflects all that. The three tunes that he brought to the table are so different from each other and they all feel extremely rooted and focused in the specific context that each inhabits." Regarding his three stylistically wide-ranging compositions on Change in the Air, Poor offered: "I liked the idea of trying to writing something that could pose as an old standard found in an archive somewhere, and that's how I came up with 'All That's Left of Me Is You.' The title is a potential lyric for the final melodic phrase of the song. While the song does not in fact have lyrics I wanted us to play it as if we were playing an instrumental version of a standard song like 'Embraceable You' or 'If You Could See Me Now.' For 'Lately' I just had the sound of Cuong and Bill playing the melody and chords vividly in my ears, and I wrote it in one sitting not long before our recording session. 'Alive' was written back in 2012 for a gig I had in New York with Mark Turner and Pete Rende. I have enjoyed playing that tune with a number of different bands but until now it hasn't been recorded. We needed a few tunes with intensity and tempo to balance the set and 'Alive' felt like an obvious choice." Poor's sublime brushwork is beautifully showcased on "All That's Left of Me Is You," "Lately" and particularly on the rubato closer "Far From Here," which bears the stamp of the late drumming great and longtime Frisell collaborator Paul Motian. "Paul Motian is a hero of mine," said Poor. "Seeing him at the Village Vanguard with Frisell or with his own bands is something I'll never forget. His playing was riveting, provocative and pure music. Regarding brushwork, he's definitely one of my favorite drummers, along with Andrew Cyrille, Elvin Jones and Philly Joe Jones (his brush playing on 'Young and Foolish' from Everybody Digs Bill Evans comes to mind). All of those great players are able to extract infinitely nuanced sound and a powerful specificity of mood and feel. Brushes are exciting for me because they allow you to create sustain and offer such a wide range of attack, from staccato to a legato bloom of sound that has no attack at all." Frisell, who moved from New York to Seattle in 1988 and remained there for 30 years before returning to the Big Apple, says the chemistry for this particular quartet began in the Emerald City. "I was lucky to have first met Luke Bergman and over the years we have been playing more and more in all kinds of different situations together. It's been awesome connecting with him. Then as soon as Ted moved to Seattle we started playing a lot together too, just getting together at his house and playing tunes. It was the same with Cuong. As soon as he came to Seattle we started playing together. So it was great to have someone to be able to get together with and practice together and just play music together. That happened with all those guys separately and then eventually the four of us got together as a quartet. Cuong has been such an incredible inspiration-energizer for music in Seattle. Luke and Ted too. They all make things happen." While the quartet tackled the music of composer-arranger and Frisell's mentor Michael Gibbs on its first RareNoise record together, they decided to stick strictly with originals onChange in the Air. Vu's trumpet work is brilliant throughout. Whether its his extraordinary lyricism on Frisell's "Look, Listen" and Poor's dreamy jazz ballad "All That's Left of Me Is You," his plaintive call on Poor's melancholy "Lately" or his staccato bursts and skronking statements on his own "March of the Owl and the Bat," his playing is marked by bold instincts and nuanced expression. Poor cited one possible influence on Vu's "March of the Owl and the Bat": "Cuong has written a number of pieces over the years that are based on driving, angular syncopated rhythms. We are both huge fans of the Swedish heavy metal band Meshuggah and their rhythmic language informs our approach significantly. We worked off of a chart in the studio and the biggest challenge was to internalize the rhythms and meters and make them feel good. From there the embellishment and shaping of the tune flowed naturally." Frisell offers authoritative solos and beautiful, pianistic accompaniment to the fabric of these ten tunes on Change in the Air. "I'm just trying to listen and do the right thing," he said. "I'm a huge fan of master accompanists like Hank Jones, John Lewis, Tommy Flanagan, Richie Powell, Horace Silver...all guys that are working from the inside out. I for sure love hearing someone play a great solo but much more than that what really gets me off is trying to figure out what's going on with the whole band and how all the pieces fit together. When I listen to Miles' band with Herbie Hancock, Ron Carter, Tony Williams and Wayne! Every note from all of them all the time is astounding and essential. The magic is in how they play together." Vu also commented on his uncanny chemistry with Frisell, which is especially apparent in their intimate interactions on Frisell's chamber-like "Look, Listen" and the sparse closer, "Far From Here": "It's pretty much a necessity for me to be surrounded by deeply empathetic listeners whose main priority is to serve the music being created in each instance. And it takes a long time to find the right people who'll create the right mixture together. I really do think that all three of us (Luke, Ted, and I) have a natural strength in 'empathic listening' - making the others sound better while stating your own opinion with an openness to all possibilities in the immediate moments. And I do really think that we're pretty decent at that approach. But add Bill to the mix...that's his genius! He makes everybody that he's ever played with sound better and always puts them in a different light. It helps that I'm in that same zone of thinking, but it's really about Bill making it happen." Frisell also commented on the source of the quartet's remarkable chemistry: "You play with someone for the first time and you feel something that makes you want to come back for more. And I think the key to that is pretty simple. We listen. The best things happen when everyone's attention is focused on everyone else around them ...away from themselves." Regarding the source of the album's title, Vu pointed to the state of world affairs today as a kind of dark undercurrent to Change in the Air. "I've never felt so much anxiety about the future on so many levels - environmentally, politically and especially with the 'leadership' in our country - than I do now," he said. "In terms of what's going on and how we've gotten to this place, it feels overwhelmingly ominous, dangerous and as if it's only the beginning of what will come. I'm scared but, hopefully, just paranoid." Born on September 19, 1969 in Saigon, Vietnam's largest city, Vu moved with his family to Seattle when he was six years old. He picked up trumpet at age 11 and later received a scholarship to attend the New England Conservatory of Music in Boston. After moving the New York City in 1994, he formed the group Ragged Jack with keyboardist Jamie Saft, saxophonist Andrew D'Angelo and drummer Jim Black in 1997. During his time in New York, Vu worked with Laurie Anderson, David Bowie, Gerry Hemingway, Myra Melford, Bobby Previte, Dave Douglas and more. He appeared on Pat Metheny's Grammy-winning albums Speaking of Now (2002) and The Way Up (2005). Vu returned to Seattle in 2007 to teach at the University of Washington, where he is currently a full professor. TRACKS 1. All That's Left Of Me Is You 2. Alive 3. Look, Listen 4. Must Concentrate 5. Lately 6. Round And Round 7. March Of The Owl And The Bat 8. Round And Round (Back Around) 9. Long Ago 10. Far From Here 3, 9, 10 composed by Bill Frisell 6, 7, 8 composed by Cuong Vu 4 composed by Luke Bergman 1, 2, 5 composed by Ted Poor Recorded May 14, 15, 16 2017 at London Bridge Studio, Seattle Recorded by Julian Anderson Mixed by Luke Bergman Mastered by Nich Wilbur at Anacortes Mastering Executive Producer for RareNoiseRecords : Giacomo Bruzzo Artwork and Design by Petulia Mattioli Cuong Vu is a Yamaha Artist Bill Frisell appears courtesy of OKeh Records, a Sony Music Entertainment label Bill Frisell uses D'Addario strings Bill Frisell's management: SONGTONE LLC, Phyllis Oyama - Lee Townsend
  3. Red Kite

    RareNoiseRecords Presents Norwegian Jazz-Rock Power Quartet Red Kite CD, LP AND MULTIPLE DIGITAL FORMATS AVAILABLE IN STORES AND ONLINE ON JUNE 28, 2019 AND THROUGHWWW.RARENOISERECORDS.COM. Even Helte Hermansen guitars Trond Frønes bass Bernt André Moen keyboards Torstein Lofthus drums Concocting a head-rush tempest of swirling psychedelia, heavy rock crunch, prog virtuosity and free-jazz experimentation, Norwegian jazz-rock power quartet Red Kite releases its highly anticipated self-titled debut June 28, 2019 via RareNoiseRecords. The exploratory and electrifying supergroup features members of some of Norway's best-known prog outfits, including Elephant9, Shining, Bushman's Revenge and Grand General. Red Kite brings together guitarist Even Helte Hermansen, bassist Trond Frønes, keyboardist Bernt André Moen and drummer Torstein Lofthus, four incredible musicians able to navigate complex prog-jazz architecture with both risk-taking, improvisatory jazz spirit and a brain-rattling hard rock intensity. "We all grew up listening rock and heavy music," says Lofthus, "but later discovered jazz, prog and all kinds of other great stuff along the way. It's all just music to us, to the point where it all just melts together into one big organic stew now." That stew offers the listener a hearty, churning cauldron of sound to taste from over the course of the band's stunning debut, Red Kite. The album's 40 densely layered minutes comprise four expansive original compositions by guitarist Hermansen, each offering a vast, intriguing but wide-open terrain for the band to traverse. In addition, the quartet delves into Alice Coltrane's "Ptah, the El Daoud," the title track from the pianist/harpist's classic 1970 Impulse! album, honing the original's spiritual transcendence to a keen, serrated edge. Lofthus and Hermansen met while both were members of the long-running Norwegian hard rock band Shining. The drummer was a founding member in the group's early days as an acoustic jazz quartet; Hermansen joined a decade into the influential ensemble's history, as it was veering further into avant-garde metal sounds on albums like Grindstone and Blackjazz. Both were familiar with Frønes' distinctive powerhouse style from his work in the rock band Cadillac; Hermansen went on to work with him in the progressive jazz fusion quintet Grand General. When the bassist left his home base of Trondheim for the capital city, Oslo, the three were, according to Lofthus, "all just looking for an excuse to jam." The results, he recalls, were "too much fun not to repeat at a later date." Lofthus and Hermansen had each already established a thrilling trio on their own since leaving Shining: Lofthus formed the acclaimed Elephant9 with keyboardist Ståle Storløkken and bassist Nikolai Eilertsen, while Hermansen led the explosive Bushman's Revenge with bassist Rune Nergaard and drummer Gard Nilssen. To differentiate from these bands as well as offer even more possibilities as this exciting jam session gelled into a working band, it was decided to expand the line-up with a fourth member. The instant choice was Moen, who had played alongside Lofthus and Hermansen on Shining's Blackjazz and its live follow-up. With the membership in place, the four members stole as much time as possible from their other diverse projects to explore together in rehearsal spaces and on festival stages, and together forged a sharply focused group identity. The results can be heard in their dizzying glory on Red Kite. "The story of the album, for us at least, is discovering and cementing our own sound," Hermansen explains. "It's been about finding out what sets us apart from our groups, accentuating our own eccentricities, and doing so naturally. That's been our journey as musicians, at least; for the audience we've tried to put together a set, a musical journey that makes sense on its own terms." That journey launches with the atmospheric introduction to Alice Coltrane's "Ptah, the El Daoud," one of the first tunes Red Kite ever jammed on together. While Moen eventually lurches into the familiar bass line (memorably played on the original by the legendary Ron Carter), Coltrane's spiritual march here becomes an aggressive steamroller of sound, trading the original's spiritual musings for exhilarating vigor. The remainder of the album was penned by Hermansen, though all four members are also composers, and the guitarist's skeletal themes serve more as instigations for group investigation. "The compositions are just jumping off points for the band," Hermansen says. "We just need a starting point, so we're just looking for ideas that are articulated enough and to the point without getting in the way. They could have been anybody's;" Each of the pieces is given a provocative title, beginning with the mixed message of "13 Enemas For Good Luck." As Hermansen says, "Naming such a thing as abstract instrumental music is, on its face, kind of an absurd notion to begin with. So one might as well underscore the absurdity of it. A few words are generally needed and you might as well choose them carefully, even if it might be a joke. If something can work on more than one level, then that's a good thing." The piece itself, with its grinding momentum and roiling rhythm, is anything but a joke. Hermansen's howling guitar echoes in the vastness, gradually swelling in potency until bursting into the monolithic melody. The intensity continues to build until it fragments into shrapnel-like outbursts. The album's shortest piece, "Flew a Little Bullfinch Through the Window," is also its most relaxed, though hardly the delicate lilt the title might suggest. It's built instead on an elusive groove, with Hermansen and Moen tracing filigreed lines away from the rotating rhythm. Anyone hypnotized into a lull by that song's relative gentleness will be shocked awake by the incendiary jazz-rock volatility of "Focus on Insanity," a play on the title of the Ornette Coleman classic from The Shape of Jazz to Come. The title change is apt for the tune's derangement of Coleman's Harmolodic excursions. The album draws to a mesmerizing close with "You Don't Know, You Don't Know," its philosophical ambiguity vividly expressed through a haze of narcotized psychedelia. The release of Red Kite's self-titled debut is cause for celebration among those with a taste for the adventurous and extreme. It's a delirious set that fluidly elides genre boundaries with staggering vibrancy and galvanizing imagination. TRACKS 1. Ptah, The El Daoud 2. 13 Enemas For Good Luck 3. Flew A Little Bullfinch Through The Window 4. Focus On Insanity 5. You Don't Know, You Don't Know Produced by Red Kite. Artwork and Design by DridMachine. Executive Producer for RareNoiseRecords: Giacomo Bruzzo. Red Kite would like to thank Ivar Loe Bjørnstad, Ellen Brekken, Hedvig Mollestad Thomassen, Per Kristian Rekdal, Ludwig, Zildjian, friends and family. They would also like to thank Fond for Lyd og Bilde and Fond for Utøvende Kunstnere (Ffuk) for their support. Cat. No. : RNR105/ RNR105LP
  4. The Jamie Saft Quartet Announces New Album Blue Dream On RareNoiseRecords CD, DOUBLE-VINYL AND MULTIPLE DIGITAL FORMATS AVAILABLE IN STORES AND ONLINE ON JUNE 29, 2018 AND THROUGH WWW.RARENOISERECORDS.COM. Jamie Saft piano Bill McHenry tenor saxophone Bradley Christopher Jones acoustic bass Nasheet Waits drums Jamie Saft continues his collaboration with eclectic UK-based label RareNoiseRecords in 2018. On a roll after releasing his first ever solo piano album in January, the aptly named 'Solo A Genova', the Upstate New York-based artist presents a further facet of his seemingly boundless talent for composition, performance, invention and in this case, for acting as master of ceremonies to a group of exciting and innovative musicians. His latest formation, the Jamie Saft Quartet sees repeated collaborators, celebrated saxophonists Bill McHenry and bassists Bradley Christopher Jones as well as in rising star of the drums Nasheet Waits. Recorded in the Autumn of 2017 in Jamie Saft's Potterville International Sound studio Upstate New York, co-produced by Saft and Chris Castagno, mixed and mastered by Chris Castagno in Colombia, Blue Dream showcases nine new vibrant, spiritual and energetic compositions by Jamie Saft, as well as three mesmerizing standards. The album will be released on 29th June and will be available on CD, double vinyl and digital download. Plenty of connotations emerge in the album title, yet as soon as you start listening you will realize, that Blue Dream won't allow you to think about connotations. This is direct. The muscle is shown straight away in "Vessels," and not just in the playing but the tone: dark, with four musicians moving like ships in the night, a tenor sax echoing over the water between them. That's saxman Bill McHenry, and stirring the water beneath him is drummer Nasheet Waits, splashing into the basswaves of Brad Jones bellowing up, heavy and low. On the piano, Jamie Saft both holds it down and works in new melodies, like clouds in a rotation of sunlight and darkness. Blue Dream moves. "Equanimity" keeps it fast - punk jazz fast. The drums lead it off, and you get the feeling the other musicians aren't coming in until Waits lets them in. They know to hold off. The vibe into which Waits swings himself is a tunnel for one, only breaking daylight a minute and half into the song, when everybody explodes together at once in the record's biggest and brightest moment yet. But "Sword's Water" brings it back into the low light, opening with a hot flourish that swirls on for two minutes before Saft begins to follow the melody down one of his paths. Saft can slide effortlessly over the keys, to be sure, but it is when he lingers, teasing out perhaps the same several notes, that we get a sense of the restraint in place. This sounds like a record of standards-yes, new standards-but there are only three oldies on here ... and they're goodies. Sinatra's "Violets For Your Furs" is the first, setting the second of this album's four sides alive with an interpretation that finds Saft digging into the melody as only its patent simplicity allows (there's that restraint again). Following that, Brad Jones finds room cleared out for him in the title track to pluck his heaviest path, accelerating through the heart of the record while Saft drifts overhead, clouds over boiling water. "Infinite Compassion"shoulders its way back into those big dark movements on the piano, both sustaining and running away past the margins wherever it is needed. The second half of the album kicks off with Bill McHenry cooling it down, and he does it through "Sweet Lorraine," Cliff Burwell's 1928 standard recorded by the King Cole Trio in 1940, which is the version taught to Saft by the late Geri Allen. Some 90 years later it's a vehicle strong enough to summon a breeze into the whole second half of the album, carving out abundant room for "Walls." Building on the big air of "Sweet Lorraine," Saftgoes off into outer space without a care in the world, and all of them ride out the vibe. Saftcan flourish and arpeggiate with the best of them, but it's in his open spaces that he shows he can be sometimes shy, sometimes flirtatious, but always confident-quietly-and relaxed. That is the foundation on which the musicians around him can build, with Saft then almost pleading with them to follow him into uncharted territories. Then there's the drums. Waits has both a shimmer and a modern architecture to his playing, the latter of which has him building a chess board in "Decamping,"where the band can check one another, trading on, trading off. Who's got the end game? We don't need to know. We only know they enjoy the field. The music nourishes the life beneath their feet. "Words And Deeds" feels like something by which each of them is living, expressing it through this music, right now, while "Mysterious Arrangements" furthers the language created by this quartet, bringing it into a new conversation that is obviously holding some tension in its palms. You'll be relieved to know that tension all gets worked out in the end. Closing out the record is the 1937 Mack Gordon and Harry Revel classic "There's a Lull In My Life,"blissfully stretching out the last seven minutes of the album like a long holiday party full of old faces. Memories abound of the song's place in jazz history, and the voices that interpreted it in years past: Ella Fitzgerald, Chet Baker, Tony Bennett, Alice Faye, and Nat King Cole. The standard torch song, love ballad, classic, becomes buoyant in their hands. It does not wallow, but revels in its ache. Shouldn't we all? TRACKS 1. Vessels 2. Equanimity 3. Sword's Water 4. Violets For Your Furs 5. Blue Dream 6. Infinite Compassion 7. Sweet Lorraine 8. Walls 9. Decamping 10. Words and Deeds 11. Mysterious Arrangements 12. There's a Lull In My Life All Music written by Jamie Saft and published by RareNoisePublishing (PRS), except 'Violets for Your Furs' : music by Matt Dennis and lyrics by Tom Adair 'Sweet Lorraine' music by Cliff Burwell and lyrics by Mitchell Parish 'There's a Lull In My Life' written by Mack Gordon and Harry Revel Recorded by Jamie Saft and Brian Gunn at Potterville International Sound, NY, Fall 2017 Mixed and Mastered by Christian Castagno in Minca, Colombia Art and Design by Steven Erdman Additional Layout assistance by Graham Schreiner Piano Tuned and prepared by Steve Greenstein R.P.T. The Jamie Saft Quartet Hidden Corners CD, LP AND MULTIPLE DIGITAL FORMATS AVAILABLE IN STORES AND ONLINE ON JUNE 28, 2019 AND THROUGHWWW.RARENOISERECORDS.COM. Jamie Saft piano Dave Liebman tenor & soprano saxophone, flute Bradley Christopher Jones acoustic bass Hamid Drake drums On the transcendent new album Hidden Corners, visionary keyboardist, producer and composer Jamie Saft embarks on a spiritual journey along the searching path unveiled by such iconic forebears as John and Alice Coltrane, Pharoah Sanders, and Albert Ayler. Inspired by concepts from Jewish mysticism, the album features an outstanding quartet of deeply exploratory musicians: Saft, longtime collaborator Bradley Jones on bass, the wide-ranging drummer/percussion master Hamid Drake, and legendary saxophonist David Liebman. Due out June 28, 2019 via RareNoiseRecords, Hidden Corners is the latest manifestation of Saft's ceaselessly adventurous musical spirit, one that has allowed him to veer across genres with a staggering list of collaborators- a list that includes John Zorn, Beastie Boys, Bad Brains, John Adams, Iggy Pop, Donovan, and The B-52s. This new quartet focuses his intrepid imagination on the realm of the cosmic and consciousness, with results that are mind-expanding as well as sonically exhilarating. "Hamid Drake, Brad Jones, and Dave Liebman are each masters of conjuring mystical states through music," Saft enthuses. "The re-arrangement of notes, tones, sounds, textures, timbres - each musician here has the power to transport the listener to higher realms through the music." As elusive and strange as it is by definition, the mystical plane is hardly unfamiliar territory for any of these musicians. Liebman enjoyed formative experiences with such pioneers of the audacious as Elvin Jones and Miles Davis and has delved deeply into the work of John Coltrane, while his seeking nature is revealed through the names of his own bands, Quest and Expansions. In addition to his work with such inventive jazz giants as Don Cherry, Pharoah Sanders, Archie Shepp and Alice Coltrane, Drake has long meshed his musical and spiritual lives. His lifelong study of the Chinese martial art and health exercise T'ai chi ch'uan has long informed his music, which has connected with his thorough investigations of rhythmic traditions from around the world, bringing him together with deep-rooted musical thinkers from master Gnawa musicians from Morocco to blues icons from his hometown of Chicago. Jones, too, has collaborated with many of the most innovative minds in modern music, including Ornette Coleman, John Zorn, Muhal Richard Abrams, Elvin Jones, Dave Douglas and The Jazz Passengers, with an eclectic resume that includes work with everyone from Elvis Costello to Sheryl Crow to David Byrne. He's traversed similar terrain in league with Saft in the past as part of the keyboardist's spiritual jazz/roots reggae group New Zion Trio. That trio is just one manifestation of Saft's enduring love for spiritual jazz, which is one thread that has woven throughout the rich tapestry of his multifarious career. He counts albums like Alice Coltrane's Ptah, the El Daoud and Pharoah Sanders' Thembi among his most profound influences; the title track of Thembi was a regular part of the repertoire of his high school jazz band, in fact. "I've been fascinated and inspired by the Spiritual Jazz path for years," he explains. "Alice Coltrane, Pharoah Sanders, John Coltrane, Albert Ayler - all of these artists seek ecstatic states of consciousness in the music. These transcendent experiences can be traced through art, music, spirituality, exercise and meditation. Jewish Mysticism considers these same paths." In his liner notes, the Brooklyn-based rapper and producer Eden Pearlstein - better known as ePHRYME - cites the Sefer Yetzirah, "an ancient Kabbalistic text of unknown authorship" that explores the connections of music and numerology through the letters of the Hebrew alphabet. "Invoking practical methods of vibrational magic found in the Sefer Yetzirah," ePHRYME writes, "Jamie Saft and his esteemed collaborators take us on a multi-dimensional journey through the 231 Permutational Gates, allowing us passage through the Four Worlds by entrusting us with the Seven Sets of Double Keys, and inspiring us to Turn at Every Moment by revealing the Hidden Corners of Consciousness and Creative Potential concealed within." Saft makes the connection between this source of inspiration and those jazz icons who've come before: "A critical element of this is Gematria, the mystical aspects of numerology. In Kabbalah, letters have numerical values - mystical numerical values. John Coltrane explored these mystical states within his arrangements of numbers and musical geometry. All of these paths converge at any number of points." The session that became Hidden Corners was initially planned to be the latest recording of the New Zion Trio, in this incarnation comprising Jones and Drake. Having crossed paths at countless festivals over the years, Saft invited the drummer to join the band for recent dates, including the 2018 Tampere Festival in Finland. "Hamid is a legend of improvised music," Saft says. "Yet he has an incredibly broad range of musical and life experiences beyond jazz and improvised music. He'ss worked in every possible style and situation in music, and he comes from New Orleans, where much great American Roots music comes from. This range of experience and breadth of musical knowledge is rare and unique." The universe interceded, however, when Saft was enlisted to perform a concert of John Coltrane's late works with Liebman as the featured saxophonist. "We quickly struck up a friendship and a musical connection," Saft recalls. "When Liebman plays there is the greatest depth in every facet of his playing. His sound on his instruments, his tone, is otherworldly. Lieb has a true mastery of harmonic concepts at the very highest level. Suddenly I saw a possibility to connect all these masters together." The long histories and interwoven network of associations that Liebman and Drake share - which most recently converged in their trio with master percussionist Adam Rudolph on the RareNoise release Chi - was among the influences that Saft drew upon for the music of Hidden Corners. "Historic associations are important when considering Dave Liebman and Hamid Drake," he says. "Musicians at this level believe in and understand the transformative powers of music and specifically improvised musical paths. There is a high level of trust at work here- in the process, in our mutual abilities, and in the respect and love we have for each other. So the music is merely a vehicle to continue this conversation amongst ourselves. But always with the goal of creating music that heals the listener. That makes us all feel better." The healing intention of Saft's compositions is evident from the outset, with the transporting opening moments of "Positive Way," a brief meditative introduction that sets the stage for Jones' singing, soulful bass melody. The blissful and the combustible meet with the entrance of Liebman's piercing, muscular tenor. The tumultuous "Seven Are Double" follows, before Liebman switches to his soaring, diving soprano for "Yesternight," which seems to float atop Drake's ethereal rhythms and Saft's crepuscular chords. The pianist crafts an air of mystery for "231 Gates," an elusive and shadow-shrouded piece that Liebman investigates with his probing, questioning flute. Jones' achingly bowed bass combine with the shimmering curtain of Saft's piano to cast the spell of "Turn at Every Moment," while the album's title track feels redemptive and prayerful. With Saft evoking Alice Coltrane's harp by strumming the strings inside his piano, "The Anteroom" fully conjures the liminal space suggested by its title, with delicate, pointillistic echoes rippling through the quartet. "Landrace" closes the album on a powerful note, its surging rhythm propelling Saft and Liebman into fierce ecstasies. As these descriptions suggest, it's ultimately the interactions between these four distinctive voices that makes the music of Hidden Corners so majestic and transformative. "In the end," Saft says, "it's strong personal relationships that make a session like this work. We are all close friends and colleagues. There is great love and respect all around. These personal relationships make the process of creating music together easy and fulfilling." The "Positive Way" mentioned in the title of the first piece is one key to the music's intent, Saft concludes - the proper mindset, perhaps, for discovering those Hidden Corners where beauty is created. "I'm always trying to make a record that I myself would enjoy listening to. When I'm able to make music with masters at this level, positivity and clarity of purpose are both just always right there in each moment. We follow the path of positivity in the music." TRACKS 1. Positive Way 2. Seven are Double 3. Yesternight 4. 231 Gates 5. Turn at Every Moment 6. Hidden Corners 7. The Anteroom 8. Landrace Produced by Jamie Saft and Christian Castagno. Executive Producer for RareNoiseRecords: Giacomo Bruzzo. Recorded by Jamie Saft and Brian Gunn at Potterville International Sound, NY. Mixed and Mastered by Christian Castagno in Minca, Colombia. Cover painting by Eugene Gregan. Additional Art and Design by Steven Erdman. Additional Layout Assistance Graham Schreiner. Piano tuned and prepared by Steve Greenstein R.P.T.. All music written by Jamie Saft & published by RareNoisePublishing (PRS).
  5. 2019 #CFL season

    Dana, good point! We have Fajardo in Sask, Davis in Ottawa, Franklin in Toronto and Adams in Montreal who now have the chance to show what they can do. That's half the league. If one of them fails, somebody might trade for Streveler. And Matthew Cauz has nominated the game for Game of the Year. ***** power rankings ***** Mike Goodpaster lists his top 15 favorite running backs. ***** The Eskimos have cut Korey Jones, and signed J'Michael Deane. ***** Zack Medeiros has signed with the Argos because Ronnie Pfeffer was hurt. Mercer Timmis has retired due to concussion issues. ***** Branden Dozier has signed with BC. ***** Marquay McDaniel has joined the Als as an offensive assistant coach. ***** Antonio Pipkin hurt his leg, and will miss four to six weeks
  6. 2019 #CFL season

    Week 2 results Ottawa 44....Sask 41 ***** Edmonton 39....BC 23 ***** Hamilton 64....Toronto 14 The Tigers were founded in 1869, the Argos in 1873. This 50 point margin of victory ties the Ticats' team record for beating the Argos. Rico Murray ran an interception back for a touchdown on the last play of the game. If the Ticats had kicked the convert they would have had a new team record, but instead the ref decided that they would not attempt a convert, and he just declared the game over. ***** Week 2 Plays of the Week ***** 6/24 quarterback index ***** Week 2 summaries
  7. 2019 #CFL season

    This year the games will be on Mexican television. ***** Team analyses Ottawa Sask Montreal Calgary Edmonton Winnipeg Toronto ***** John Hodge discusses his Top 50 Players ballot. ***** I need to go to a Redblacks game. They are selling a two-foot hot dog smothered with mac and cheese and Doritos! For Jim Sangrey's benefit, I have determined that we're talking about 0.62 meters here. ***** John Hodge predicts each team's MOP. ***** I am delighted to tell you that the league's new Command Centre policy will be what I have always thought it should be: For a call to be overturned, it has to be obviously wrong. If the Command Centre NEEDS to see slow-motion stop-action, then the call isn't obviously wrong, by definition. ***** Brandon Bridge has signed with the Als. ***** The Eskimos have put Don Unamba and Anthony Orange on the six-game list. ***** Quarterbacks
  8. Nick Papadakis - Just a Gigolo

    Nick Papadakis "Summertime" Impacting: June 21 2019 Format(s): Jazz, Smooth Jazz Bubba Jackson KJAZZ 88.1 FM : "You need to listen to this, it's different it's unique and Nick has something you're not going to find anywhere else, listen to that voice." Pioneer of the jazz-pop genre Nick Papadakis covers jazz classic “Summertime” made popular by the likes of Billie Holiday, Ella Fitzgerald, and Willie Nelson. Nick’s version, however, has its own soulful swing, complete with a twangy guitar, lush horns, and an organ solo that starts off lazy and soft then intensifies, surely leaving you to press play over and over. Nick’s love for music began early on. At age of 6, Nick knew he wanted to become a jazz singer when his parents bought a stereo and his father told him to listen to a Frank Sinatra album. After listening to it front to back, Nick knew his destined career path. Over the years Nick took singing lessons, and voice acting instruction, taking voice-over jobs for commercials, documentaries, television and radio, podcasts, industrial video and more. In addition, he formed a band and performed around L.A. where he developed his dapper stage presence. "I had to work harder and longer hours than ever before. My story and the sacrifices I made to work to achieve my dream, which is, to earn the privilege to sing for a live audience and make a genuine connection with the people. For me, it is an all or nothing life decision achievement. And none of it has come easily."
  9. Reunion4

    REUNION4 "REUNION4" Impacting: June 18 2019 Format(s): Jazz Artist Title Time REUNION4 BRIDGES 05:56 REUNION4 OCHO RIOS 07:17 REUNION4 DONTE'S INFERNO 06:27 REUNION4 NOTE FROM J. C. 05:35 REUNION4 PASSAGES 03:16 REUNION4 YOU GUYS ARE WILD 07:46 REUNION4 INTUITION 05:43 REUNION4 EXISTENTIAL TRUTH 08:26 REUNION4 BLUE NIGHTS 06:19 REUNION4 CAJUN LOVE CALL 03:39 Reunion4, whose members are Mitch Holder/ Guitar, Eddie Arkin/ Guitar, Abraham Laboriel/ Bass, and Paul Leim/ Drums, started playing all original material written by Eddie and Mitch at the renowned Donte's Supper Club in L.A. from 1977 to approximately 1982. During that time, the group never recorded. We all went forward with our individual careers and now, after all these years, we've gone back and recorded several of the original songs dating from 1977 to tunes written over the course of thirty plus years. That's the theme of this project and as we started the first of two days recording, Paul said, "It's like we never stopped playing; we're just picking right up right from where we left off." The four of us are very excited about this project and we hope all of you will like hearing a span of music that covers all these years between our last live gig as a quartet right up to the present. Vintage Gu.. Eddie Arki.. Mitch Cred.. REUNION4 –..
  10. Play ball! 2019 MLB season thread

    I think I had Phil Regan's card in '61, but maybe not!
  11. 2019 #CFL season

    more Week 2 picks
  12. 2019 #CFL season

    6/19 checking down ***** Week 2 picks ***** Anthony Coombs has signed with Hamilton. ***** Jabar Westerman has signed with Calgary. ***** Remember Robert Gordon? Khari Jones has hired him to be the Als' new receivers coach. ***** With Zach Collaros on the injured list, the Riders have signed Bryan Bennett.
  13. 2019 #CFL season

    Simoni Lawrence laid a helmet-to-helmet hit on Zach Collaros Thursday. Lawrence has been suspended for two games. The union will appeal. Collaros has been placed on the six-game list. Cody Fajardo will start for the Riders. Fajardo's backup is rookie Isaac Harker, who looked surprisingly good last week.
  14. Artist Title Time Wayne Wallace Latin Jazz Quartet Vamanos Pa'l Monte 06:59 Wayne Wallace Latin Jazz Quartet Take Five 05:41 Wayne Wallace Latin Jazz Quartet All The Things You Are 06:21 Wayne Wallace Latin Jazz Quartet So What-Softly, As In A Morning Sunrise 07:57 Wayne Wallace Latin Jazz Quartet The Rhythm Of Invention 08:45 Wayne Wallace Latin Jazz Quartet In A Mist 04:58 Wayne Wallace Latin Jazz Quartet El Arroyo 05:27 Wayne Wallace Latin Jazz Quartet Se Me Cayó El Veinte 06:04 Wayne Wallace Latin Jazz Quartet Atardecer Matanceco (Evening In Matanzas) 05:21 Wayne Wallace Latin Jazz Quartet Mi Descarga 04:37 On his previous album, the critically adored Canto América, Wayne Wallace broke with his own tradition to co-lead a chamber orchestra featuring horns, winds, a double string quartet, and an array of vocalists. On The Rhythm of Invention Wallace set an equally ambitious goal: to combine these added resources with his Latin Jazz Quintet, whose albums have garnered three of Wallace’s four previous GRAMMY nominations. “I wanted to come up with a way of coherently mixing the quintet with the brass and strings from Canto,” explains the esteemed trombonist, innovative arranger, and notable educator. That desire now finds voice in a dazzling set of new compositions and classic jazz standards (and even one impressive mashup) on which Wallace uses the expanded sonic palette of an orchestra to highlight the strengths of his core conjunto. Undergirding it all is an effortlessly instructive survey of Latin rhythms, from the familiar to the arcane, that reflect Wallace’s lifelong study of these sounds. “I wanted to retain the energy of Canto without repeating it,” he explains. To do so, he chose to redirect the music’s focus onto the quintet, while retaining the almost tangible richness of brass chorales and the elegance of string ensemble writing; peppering the proceedings are solos from such luminaries as Mary Fettig (flute) and Melecio Magdaluyo (baritone saxophone). Wallace also features rapper and spoken-word artist Akida Thomas on the title track, where he contributes a spontaneously composed ode to this music – and to the spirit of all music – that also utilizes an interview with Wallace’s colleague and mentor, the late Dr. David Baker. To tie all this together, Wallace came up with a three-layered approach, built upon the foundational expertise of his longtime musical co-conspirator, percussion master Michael Spiro. “The concept was to have Michael play four congas” – the usual conga setup has three at most – “and to have him play as melodically as possible.” As a result, “A good way to hear the record is to listen all the way through and focus on Michael, and then to drummer Colin Douglas’s cymbal work – and then put it together. It’s like a history of Latin music.” From there, Wallace created a second layer by highlighting the other members of the Latin Jazz Quintet’s rhythm section, pianist Murray Low and bassist David Belove, and leaving space for his own forceful yet lyrical trombone solos. Only then did he add the composed material; the vital frosting to this multi-tiered concoction, it draws its flavors from the previous ingredients. As its title suggests, the album doesn’t lack for inventiveness. One case in point is Wallace’s arrangement of the durable Paul Desmond composition “Take Five,” which famously contains five beats in each measure (instead of the usual four). After some research, Wallace realized that no one had previously recorded this song with a clave rhythm, the heartbeat of Latin music – despite the fact that the clave itself comprises five notes (within four beats). The finished product marries these two views of musical time; add in a Santeria-derived coro section sung by the quintet, and you have a memorable new take on a 60-year-old jazz hit. Another example comes on “So Softly,” in which the ancient pop standard “Softly as in a Morning Sunrise” – from the 1928 operetta The New Moon – slides seamlessly into Miles Davis’s “So What,” written three decades later. The idea to combine them arose from one of the Latin Jazz Quintet’s earliest experiments, in which the band presented these two songs as a medley; but, says Wallace, “After time I pleasantly found that the two melodies worked conversationally without detracting from each other. This inspired the idea of re-imagining them as a mashup” – an idea that, he points out, “stretches back to the beginnings of recorded music.” Less complex (but no less inventive) are several homages, including Wallace’s slightly shrouded cover of “Vamanos Pa'l Monte” one of Eddie Palmieri’s biggest hits. Although this version mimics the blend of trombone and flute that characterized Palmieri’s famous band La Perfecta, “The melody is really an extrapolation of what Eddie wrote,” says Wallace. (But anyone who knows the original will recognize it as the framework of this arrangement.) Meanwhile, the completely unexpected inclusion of “In a Mist” – an impressionistic piano composition by the legendary early-jazz cornetist Bix Beiderbecke – represents a sort of personal triumph for Wallace. “It took me eight years to figure out how to arrange it, because it’s just so idiosyncratic and challenging,” he admits. “The original piece was a kind of collision between ragtime and danzon rhythm; I tried to combine the danzon with clave to get a Cuban feel. And I thought that a string quartet was applicable because it would bring out the sonorities in a modern way” – not to mention hinting at the classical roots of Beiderbecke’s small masterpiece. The album highlight is the title track, which brings together funk, bata, and traditional Cuban rhythms and encompasses three generations of musical wisdom. On one end is Dr. David Baker, “the father of jazz education,” with whom Wallace worked closely as a professor at Indiana University before Baker’s death in 2016, and whose resonant voice is heard, midway through the track, discussing the essence of jazz rhythm. On the other end is Wallace’s son-in-law, Akida Thomas, channeling the music to speak of The pulse gyrating through the system . . . Boom-clacks all rolled into one, stay connected through the soul of the drum. “There’s this crazy counterpoint between the strings and the horns,” Wallace says; “it’s some of the most texturally adventurous writing I’ve done. Akida just listened to the track and started writing.” The invention took on a rhythm of its own. But The Rhythm of Invention refers to something altogether different from the riot of Afro-Latin beats and layered percussion that characterize the album. For Wallace, the rhythm of invention is the pace that allows him to be open to creativity: the tempo “that allows a space for the muse to be available to me,” as he puts it. It is the rhythm of a gentle river, slowed but not stilled: the “flow” that banishes mere busy-ness in favor of reflection and, yes, invention. “That’s when I get the best ideas,” he says; in fact, the “Take Five” arrangement “literally came to me when I was pulling weeds out of my garden.” When you slow the rhythm enough, you can better see the speed of thought. About Wayne Wallace: In a career that spans four decades, San Francisco native Wayne Wallace has collaborated with artists ranging from Count Basie to Stevie Wonder, Sonny Rollins to Carlos Santana, Tito Puente to Lena Horne and Aretha Franklin, lending his talents as sideman, composer, arranger, and producer. His debut album as a leader, 2000’s Three In One (Spirit Nectar), showcased his writing skills and his encyclopedic knowledge of Afro-Cuban rhythms, which he developed in the close-knit Bay Area jazz community – most notably in his role as music director of John Santos’s Machete Ensemble, where he spent 20 years as music director. Wallace’s outsized role in Bay Area jazz includes his creation of Patois Records, with a catalog that includes not only his own albums but also recordings by vocalists Kat Parra and Alexa Weber Morales as well as two highly regarded anthologies of Bay-Area salsa and Latin jazz. A gifted educator, Wallace now spends the academic year as professor of jazz trombone and practice in jazz studies at the Jacobs School of Music at Indiana University, having previous taught at San Jose State University and Stanford University. Attachments Wayne Wall.. Wayne Wall..