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.
Avishai Cohen: Trumpet Omer Avital: Bass Nasheet Waits: Drums
A taste of GOGO PENGUIN before their February release!
pianist Chris Illingworth bassist Nick Blacka drummer Rob Turner
Never one to limit her creative journeys, Lundy explores the realms of Jazz, Blues, Brazilian Samba and Pop with a multitude of messages that reflect not only the complexities of her own mindset, but the disparity of the world at large. Poignant, heartfelt, joyous, shocked, saddened and impassioned are just a few of the emotions conveyed by this wonderfully evocative singer on CODE NOIR in a highly personal musical voyage.
Carmen Lundy: vocals, keyboards, guitar, background vocals; Patrice Rushen: piano;
Ben Williams: acoustic and electric bass; Kendrick Scott: drums, percussion; Jeff Parker: electric guitar;
Elisabeth Oei: background vocals
The simple thought of having them playing together makes me smile!
Chick Corea Dave Holland Barry Altschul
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. (…)
Albert Ayler Gary Peacock Sunny Murray
(…) 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. (…)
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