The longtime lead vocalist for Krautrock pioneers Can, Kenji "Damo" Suzuki was born in Japan on January 16, 1950. An expatriate street poet inspired by Jack Kerouac's On the Road, he spent the better part of the late 1960s wandering through Europe, and while busking outside a cafe in Munich in May of 1970 was discovered by Can members Holger Czukay and Jaki Liebezeit; asked to replace the group's former frontman Malcolm Mooney, Suzuki joined them onstage that very night, making his recorded debut later that same year on the LP Soundtracks. With Suzuki in the lineup, Can produced its most enduring and innovative work, including classic LPs like 1971's Tago Mago, 1972's Ege Bamayasi and 1973's Future Days; however, upon completing work on the latter, he left the band to become a Jehovah's Witness. Absent from music for a decade, in 1983 Suzuki began showing up unannounced to perform at shows by the band Dunkelziffer, eventually joining the group full-time and recording a pair of LPs; in 1998, he founded the Damo's Network label, issuing a series of live recordings including V.E.R.N.I.S.S.A.G.E., Seattle and the seven-CD box set P.R.O.M.I.S.E..
This is the new Dragon Dao Yin DVD which is an updated edition of our previous DVD release. Now extended to three discs worth of information this DVD contains demonstrations of the various exercises contained within the partner book ‘The Four Dragons – Clearing the Meridians and Awakening the Spine in Nei Gong’ which is published by Singing Dragon.
A Pouting Grimace is the audacious new release from pianist/composer Matt Mitchell, whose prior release Vista Accumulation (Pi 2015) The New York Times calls “a bold signature” that “simmers with deep intensity.” Not only is he one of the most in-demand pianists in jazz – Mitchell plays in bands such as Tim Berne’s Snakeoil, Steve Coleman’s Natal Eclipse, the Dave Douglas Quintet, John Hollenbeck’s Large Ensemble, Jonathan Finlayson’s Sicilian Defense, Rudresh Mahanthappa’s Birdcalls, and David Binney’s Quartet — he has established himself as a composer of bold distinction. Substantial in scope, the album, which features twelve musicians: five woodwinds, four percussionists, harp, bass, and the leader on piano, Prophet 6, and electronics, weaves an intricate web of off-kilter rhythms and logical frenzy. Produced by the acclaimed guitarist/composer David Torn, the work is completely beyond genre, a daring tour de force that headily mines the interstice between precision-plotted compositions and the thrill of improvisation.
Features 24 bit digital remastering. Comes with a description. In the early '60s, bassist Red Mitchell and tenor saxophonist Harold Land co-led a quintet in Los Angeles. The group did not catch on but they did record one Atlantic set that has been reissued on CD. In addition to the co-leaders, the quintet included trumpeter Carmell Jones, pianist Frank Strazzeri, and drummer Leon Pettis, and, although their original program of six songs was comprised entirely of group originals, the music falls easily into the hard bop area with plenty of fine solos and swinging ensembles. This is a fine effort from a group that deserved greater recognition at the time.
Lee Konitz has been a constant explorer throughout most of his career, never satisfied with a standard approach or falling into a rut with a particular instrumentation. This 1974 duo session with bassist Red Mitchell, which focuses exclusively on the works of Cole Porter, is one great example. With an inventive accompanist like Mitchell spurring him on, the alto saxophonist is able to work magical variations of the familiar Porter works, while Konitz retains his remarkable dry signature tone.
This three CD boxed set features a number of live recordings of Joni from concerts and sessions recorded for FM Broadcast in the 1960s, 70s, 80s and 90s. Starting with a number of live cuts from shows she performed in the mid to late 1960s, her full set from the Newport Folk Festival in 1968, and a couple more cuts recorded in the early 1970s, Disc One provides an excellent introduction to the girl s live material from that early era. Moving on to Disc Two we are now in the early 1980s.