This is the second album emanating from celebrated British saxophonist, Paul Dunmall's 2012 visit to New York City, performing at the Vision Festival, and follows his initial 2013 appearance for New Atlantis Records on a date led by guitarist Edward Ricart, titled Chameleon. Hence, top New York City-based improvisers, drummer Andrew Barker and bassist Tim Dahl—the latter appearing on three tracks, lend their faculties for a set that poses a myriad of irregular rhythmic explorations. And while Dunmall's explosive tenor sax lines emphasize the group's power-packed tactics, the musicians' remain agile amid a host of changeable motifs, including areas where gruff, microtonal idiosyncrasies alter the flows and perspectives.
Released by electronic pioneers Tangerine Dream to coincide with the recent live performances at the Melbourne Town Hall in Australia on November 16th 2014, `Mala Kunia' is the first studio work to feature a new line-up for the project…
The subject of many poor quality bootlegs, this concert - one of only a handful undertaken by Fripp & Eno - is routinely described as ‘legendary’. Hearing the tapes in fully restored audio quality, it's easy to understand why it attracts such reverence now and perhaps, why the shows attracted such hostility then. No Roxy Music hits, No King Crimson riffs, just a duo sitting in near darkness with a reel to reel tape recorder, improvising over the pre-recorded loops with a filmed background projection. Replace the reel to reel machine with a couple of laptops/iPads/sequencers and the core of much current live performance from electronica to hip-hop was there some thirty years in advance. At the time, audiences responded to such a glimpse of the future with booing, walkouts and general confusion.
On the album art of Avonmore, the record he released when he was a year shy of 70, Bryan Ferry showcases himself as a dashing young man – a portrait of an artist not as a glam trailblazer or distinguished elder statesman, but rather caught in an indeterminate time between the gorgeous heartbreak of Roxy Music's Avalon and the meticulous solo work that came immediately in its wake…
With Joy in Spite of Everything - an album of new compositions by the pianist for a trans-Atlantic quintet – Bollani has made his most beautifully textured and infectiously lyrical statement yet. He recorded these nine pieces at New York City’s Avatar Studios with the Danish rhythm section from his Stone in the Water trio – bassist Jesper Bodilsen and drummer Morten Lund plus two prominent American players and ECM intimates: guitarist Bill Frisell and saxophonist Mark Turner. As its title reflects, Joy in Spite of Everything brims with an indefatigable lightness of spirit despite the inevitable shadows of life.
Gloriously atmospheric, jagged and intense, 2004's 'The Stolen Hour' was a superb extension of Hugh Hopper's 'Jazzloops' series of explorations written to accompany the distinctive imagery of American comic book artist, Matt Howarth. Assisted by, amongst others, Robert Wyatt (cornet, voice), John Marshall and Didier Malherbe, Hopper updated the Jazz-tinged Minimalist looping he initially developed in the 1960s, evoking the innovative spirit of early Soft Machine, while simultaneously suggesting new possibilities for his music. Matt Howarth's 'The Stolen Hour', the visual inspiration for this landmark in the development of Hopper's truly idiosyncratic talent, is featured as a pdf file on the enhanced CD.
Life to Everything is the new live album by Anglo/Scandinavian trio Phronesis, recorded over three shows ‘in the round’ at The Cockpit, London as part of the EFG London Jazz Festival in November 2013. Since the success of their fourth album ‘Walking Dark’ two years ago, the trio have been on a meteoric rise, gaining acclaim from fans over two tours of the USA and Canada and a tour of Australia, whilst also rising to the forefront of the European club and festival scene.
Best known for their work with Chic in the late '70s, siblings Debbie, Kim, Joni, and Kathy Sledge – collectively Sister Sledge – reached the height of their popularity during the disco era but had been recording since the early '70s and were still active in the late '90s.