STEPHAN MICUS » Inland Sea

 

Inland Sea is Stephan Micus’ 22nd solo album for ECM, each one taking his audience on musical journeys to far-flung places and unique sound worlds. For decades, he has been travelling, collecting and studying musical instruments from all over the world and creating new music for them. Micus often combines instruments from different cultures and continents that would never normally be played together, adapting and extending them, and rarely playing them in a traditional manner. The instruments then become a cast of characters that help tell the particular story of that album. While he plays nine different instruments on Inland Sea, the lead role belongs to the nyckelharpa – a keyed fiddle from Sweden, with an array of other instruments and vocals providing layers and textures throughout.

 

ECM records

 

Stephan Micus   Balanzikom, Nyckelharpa, Chord and Bass Zithers, Shakuhachi, Voice, Steel String Guitar, Genbri

 

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BOWMAN trio » Bowman Trio

 

Bowman Trio has written their music around the imaginary adventurer J. Bowman, portraying his lively phases on, for example, Mount Everest. The trio’s sound could be described as swinging, catchy and nuanced; the narrative melodicity of “Hard Work”, tender melancholy of “Summer in Visby and the tight gangster swing of the closing track, “How to Win a Gunfight”, the album’s moods and atmospheres surprise and delight the ear. The album captures the intimate milieu of the coffee shop and the trio’s smoky, cool swing in all its hues wonderfully.

 

WE JAZZ records

Tomi Nikku, trumpet / Joonas Tuuri, bass / Sami Nummela, drums

 

MIROSLAV VITOUS » Music of Weather Report

 

The great Czech bassist returns once more to the music of Weather Report, the group he co-founded with Joe Zawinul and Wayne Shorter in 1970. It’s the improvisational freedom of the early Weather Report that most interests Vitous, and he abides by their old rallying call “everyone solos and no one solos”. Well-known Report repertoire re-explored includes “Birdland”, “Seventh Arrow”, “Scarlet Woman”, “Pinocchio” and “Morning Lake” and Miroslav’s group also plays “Acrobat’s Issues” a piece which the first Weather Report line-up played but didn’t record. Interspersed along the way are three new blues tunes from Vitous’s pen. The band, driven by the astounding double drumming of Gerald Cleaver and Nasheet Waits, is energetic and daring, juxtaposing time playing and rhythmically free pulses, with Miroslav’s arco bass playing sometimes sounding like a third horn in between the two saxophones.

 

ECM records

Miroslav Vitous   Double Bass, Keyboards
Gary Campbell   Soprano and Tenor Saxophone
Roberto Bonisolo   Soprano and Tenor Saxophone
Aydin Esen   Keyboards
Gerald Cleaver   Drums
Nasheet Waits   Drums

 

 

AVISHAI COHEN » Triveni II

 

Trumpeter Avishai Cohen, voted a Rising Star in this year’s DownBeat Critics Poll (2012), releases Triveni II his second album with the Triveni band – his bold, electrifying trio with double-bassist Omer Avital and drummer Nasheet Waits. Triveni II is the follow-up to Introducing Triveni, which New York City Jazz Record called “easily one of the best jazz recordings of 2010.” Both albums were recorded in the same blockbuster two-day session in Brooklyn, with Triveni II featuring not only exciting originals by Cohen but inspired interpretations of tunes by Dizzy Gillespie, Charles Mingus, Don Cherry and Ornette Coleman. Sparks fly on each of the 10 viscerally recorded tracks as Cohen, Avital and Waits engage in interplay that is as fleet as it is muscular, as progressive as it is full of soul.

ANZIC records

Avishai Cohen: Trumpet  Omer Avital: Bass  Nasheet Waits: Drums

 

 

CHICK COREA DAVE HOLLAND BARRY ALTSCHUL » A.R.C.

 

The simple thought of having them playing together makes me smile!

 

ECM records

Chick Corea  Dave Holland  Barry Altschul

 

ALBERT AYLER trio » Spiritual Unity

Starting your adventure in the new sounds would comprise Albert Ayler – so did I – blowing hard and a trio really listening to each other – a real Spiritual Unity!

ESP’s first jazz recording session was on July 10, 1964, in the tiny Variety Arts Recording Studio, just off Times Square. 

Just before 1 PM, Sunny Murray arrived, a large, genial walrus, moving and speaking with an easy agility that belied his appearance. Gary Peacock was next, tall, thin, ascetic looking, and soft spoken, with an introspective and kindly demeanor. Albert Ayler was last, small, wary and laconic. The walls of the reception area were covered with Latin album jackets. The engineer quickly set up the mikes and began the session. ESP-Disk’ owner Bernard Stollman sat outside in the reception area with Annette Peacock, Gary’s wife. As the music was heard through the open outer door of the control room, felt a sense of jubilation. At one point, the engineer fled the control room for a few minutes, but returned in time to change the tape for the next selection. When the session was over, Bernard learned that it had been recorded in monaural, although he remembered requesting a stereo recording. Happily, the engineer Joe had properly miked and mixed the session, and the recording stands today as a classic of the genre. After the session, the participants sat in a coffee shop next door, while they were paid and signed recording agreements. A few days later, B saw them off on their flight to Europe from Idlewild International Airport for a European tour. Don Cherry was with them. (…)

ESP-DISK’

Albert Ayler  Gary Peacock  Sunny Murray

 

NILS PETTER MOLVAER » Buoyancy

 

(…) Molvaer’s topography of sounds reaches unforeseen dimensions on Buoyancy. Impressions when diving form the conceptual starting-point of the album as a whole and of each track. Molvaer and his merry men are simultaneously everywhere and nowhere. Each song offers the Norseman new deals between various composites of tradition and avant-garde. More than ever, his sounds are grouped around imagined spaces whose contrary parameters can be best described in terms of silence and chaos. Each piece describes a new primal impulse in the sense of a genuine process of creation. Molvaer gives the listener insight into the perpetual cycle of coming-to-be and passing-away. The music is beautiful and yet full of contradictions. It follows a logic that has far more to do with life than with artistic concepts. (…)

OKEH records

 

Jo Berger Myhre: Double Bass, Bass Guitar, Baritone Guitar, Twelve–String Guitar [12–String Guitar], Electric Guitar, Synth [Synths], Electronics, Electronics [Radio], Noises, Handclaps
Erland Dahlen: Drums, Bells [Handbells], Bells [Blossombells], Bells [Rackbells], Tom Tom [Marching Toms], Drum Machine, Frame Drum [Frame Drums], Slit Drum [Log Drum], Xylophone, Percussion [Metalplate], Piano, Shaker [Shakers], Performer [Knives And Forks], Handclaps
Geir Sundstøl: Pedal Steel Guitar, Guitar [Shankar Guitar], Electric Guitar, Guitar Banjo, Resonator Guitar [National], Handclaps
Nils Peter Molvær: Trumpet, Electronics, Voice [Voices], Loops, Handclap