martes, 29 de julio de 2014

Dave O'Higgins - Standars (2014)

Dave is a popular & well known figure on the international jazz scene, having recorded 14 albums as leader with various lineups. He cut his teeth with NYJO, Cleo Laine, Roadside Picnic and Mezzoforte and went on to work with Jim Mullen, Ray Charles, Martin Taylor, Itchy Fingers, Frank Sinatra, Salif Keita, Jimmy Smith, Joe Locke, Kyle Eastwood, Jamie Cullum, Stan Tracey, Matthew Herbert, Chico Chagas and the BBC Big Band to name only a few.

Dave has just recorded a new cd, Standards (JVG Productions) due for release Feb 2014. The tunes are instrumental versions of some of the Sinatra repertoire, of which Dave had first hand experience playing in his band at the last London shows in May 1992.

2013’s critically acclaimed CD release, Got The Real Note (Jazzizit) by the Gascoyne/O’Higgins Quartet with Sebastiaan de Krom on drums, Graham Harvey on piano and co-led with bassist, Geoff Gascoyne comprises a selection of “contrafacts” (new tunes written to changes of favourite standards) and the CD was recorded, mixed and mastered at Dave’s new specialist jazz recording studio (JVG). “Real Note Vol 2” is due out March 2014 and the band will be on tour in April and May.

Another recent collaborative project - The Two Minds Big Band, is co-led with long time associate, Pete Wraight. Pete has been the MD an arranger of Matthew Herbert’s Big Band for 10 years, and this had been a project under discussion for a while. The Two Minds Big Band (JVG Productions) is an album of originals - 5 tunes written and arranged by each leader with the same title as it’s inspiration. 

Dave has recorded two CDs with US sax legend, Eric Alexander. These are 2-tenors and piano trio (led by Danish drummer, Kristian Leth) in the hard blowing time honoured tradition of Griff/Lockjaw, Stitt/Ammons and Hayes/Scott.He also teaches saxophone, harmony and improvisation at the London Centre for Contemporary Music, benefitting swathes of up and coming young musicians with his experience!

In his home city, London, Dave is a regular guest with the house band at Ronnie Scott’s and plays every month at the 606 Club in Chelsea with his quartet.

To celebrate Dave Brubeck’s  90th birthday Dave teamed up with Darius (piano), Chris (bass & trombone) and Dan Brubeck (drums) and toured as Brubecks Play Brubeck in the UK. The tour proved immensely popular. Since Dave Brubeck passed last year this is the “official” legacy band and will be playing in New York at Dizzy’s, Lincoln Centre, in April 2014.

Dave O'Higgins: tenor sax
Robin Aspland: piano
Jeremy Brown: bass
Sebastiaan De Krom: drums

01. I Can't Believe You're in Love With Me
02. Devil May Care
03. My Ideal
04. Witchcraft
05. Guess I'll Hang My Tears out to Dry
06. Let's Face the Music and Dance
07. Wives and Lovers
08. Close Your Eyes
09. Autumn in New York
10. Brazil

"Hearing is Everything" Peter Watkins


The Gascoyne / O'Higgins Quartet - The Real Note Vol.2 (2014)

Source: propermusic

Following on from the acclaimed 2012 Jazzizit release 'Got the Real Note' bassist Geoff Gascoyne and saxophonist Dave O'Higgins join forces again for another collection of catchy contrafacts (new compositions based on well known standards). Once again they are joined by Graham Harvey on piano and Sebastiaan de Krom on drums.

The CD opens with the burning minor blues, "Darkness" written by Gascoyne with a sound reminiscent of the Branford Marsalis Quartet. Other songs include the O'Higgins' composition "Shark Avenue", a new contrafact written on the jazz standard "Green Dolphin Street" that showcases O'Higgins' elegant soprano playing. There is a traditional rendition of Duke Ellington's "Sophisticated Lady" plus a lightning fast "Broadway". Other highlights include the contrafacts "Embrace" (Embracable You) and "Autopsy" (Topsy). Gascoyne's beautiful composition "Dedication" displays the delicate touch of pianist Graham Harvey and swinging drummer Sebastiaan de Krom flexes his jazz-chops on the O'Higgins composition "RSVP" (based on "Invitation").

The album was recorded totally live at Dave's own JVG studio in Brixton, London, all in one afternoon.

Geoff Gascoyne (bass)
Dave O'Higgins (tenor and soprano saxophone)
Graham Harvey (piano)
Sebastiaan de Krom (drums)

01. Darkness
02. Shark Avenue
03. Five Moods
04. Vision
05. I Got Arrythmia
06. Sophisticated Lady
07. Rsvp
08. Embrace
09. Autopsy
10. Dedication
11. Broadway

"Hearing is Everything" Peter Watkins


The Gascoyne / O'Higgins Quartet - Got the Real Note (2012)

Putting a couple of seasoned pros like saxophonist Dave O’Higgins and bassist Geoff Gascoyne together in a quartet session might seem like the same old thing but not so. The two main protagonists, ably supported by Graham Harvey on piano and drummer Seb DeKrom, composed a special series of contrafacts for the album – that’s the posh word for creating originals from familiar harmonic structures – which allied to the standards, blues and other pieces which round it out help to make this an out-of-the-ordinary get-together.

The album’s title track, written by Gascoyne, hardly hints at its origins in ‘Alone Together’, DeKrom’s ticking rhythm underpinning a stop-start motif, with Harvey’s piano in reflective mode, ahead of O’Higgins' engagingly sinuous tenor and Gascoyne’s supple bass solo. ‘Lady Face’ by O’Higgins, based on Dameron’s ‘Lady Bird’, has the requisite Blue Note feeling and moves well, the quartet feel-good at its best, as the composer sets out on a stirring exploration before Harvey’s nimble, boppish solo scores, emphasising his emerging status as a soloist of real consequence.

The album standout, ‘You’re Nicked’ is a tricky blues with ‘a New Orleans 2nd-line groove’ as the notes have it and they’re right. This is an infectiously danceable thing, soprano in for tenor and all the better for it with DeKrom’s street beat in step with Harvey’s classy groove. Its equal is Gascoyne’s ‘Will There Ever Be’, another reinvention with a zigzag shape that inspires everyone. And so it goes, with plenty to bite on in this endlessly varied assembly of performances. Just to hear Gascoyne’s swinging line on ‘You’re Nicked’ is a joy in itself. ((Jazzizit JITCD1258. CD Review by Peter Vacher)

Geoff Gascoyne: bass
Dave O'Higgins: saxophones
Graham Harvey: piano
Sebastiaan De Krom: drums

01. Got the Real Note
02. Lady Face
03. Earth Changing Colour
04. You’re Nicked
05. Will There Ever Be
06. Everything I Love
07. LPs Groove
08. I’m a Fool to Want You
09. One of Those Days
10. It Turned Out Nice Again
11. What Was That?
12. Far East Ferry

"Hearing is Everything" Peter Watkins


Hal Galper - Speak With A Single Voice (1978)

01 Waiting for Chet
02 Now Hear This
03 I Can't Get Started
04 Speak with a Single Voice
05 Blue in Green (bonus track)

Michael Brecker - flute, tenor sax 
Randy Brecker - trumpet 
Hal Galper - piano 
Wayne Dockery - bass 
Bob Moses - drums. 

Recorded: Live at Rosy's in New Orleans in Feb. 1978
Label: ENJA [enja-4006] LP 1982; ENJA/Solid Records [CDSOL-6506] CD (RE, RM Jp) 201 
Genre: Jazz, Post Bop


Thanks to Oldhippierick :-)


Two Jims And Zoot (1964)

Recommended album *****

01 Hold Me 2:47
02 A Primera Vez 4:24
03 Presente De Natal 3:05
04 Morning Of The Carnival 4:30
05 Este Seu Olhar 4:34
06 Betaminus 3:17
07 Move It 4:27
08 All Across The City 4:45
09 Coisa Mais Linda 4:15
10 How About You 3:55

Jim Raney and Jim Hall, Guitar; 
Zoot Sims, Tenor Saxophone; 
Steve Swallow, Bass; 
Osie Johnson, Drums. 

Recorded: NYC, March 11 & 12, 1964

Read review


lunes, 28 de julio de 2014

Lili Araujo - Casa Aberta (2012)

Em segundo disco, a cantora, compositora e arranjadora carioca confirma a boa estréia quatro anos antes. Co-autora de seis das 11 faixas. Lili se cercou de músicos de sua geração para uam MPB de pegada jazzística e ainda contou com a canja do veterano João Donato no clássico “Não tem nada não”. Site G1 do GLOBO - por Antônio Carlos Miguel, 24 de Dezembro de 2012.

Samba, jazz, bossa nova. As musicas, letras e a voz de Lili Araujo se harminizam em cada cancão deste novo trabalho qua conta com composições de João Donato, Marcos Valle, Chico Pinheiro, Paulo Neves, Ivan Lins, entre outros nomes ícones da música brasileira, alem da própria Lili que coloca sua assinatura em Vai Saber, Casa aberta, Sinceridade, Pode ir, Pra se lembrar de mi, na produção e na mixagem do CD. Gravado nos estúdiod Tenda da raposa por Carlinhos Fuchs e enrique Vilhena, e no Madre Musica, por Daniel Musy.Por Danielli Marinho.

Cantora e compositora carioca, Lili Araujo descende da linhagem nobre de Joyce e Rosa Passos. Não é por acaso que Joyce avaliza o segundo álbum de Araujo, Casa Aberta, em texto escrito para o encarte do CD. O samba que abre o disco, exaltando a alma africana da Bahia, Negro Coração (Alegre Corrêa e Raul Boeira), poderia figurar no repertório de qualquer álbum mais recente de Joyce pelo balanço que remete de imediato ao cancioneiro desta conterrânea de Araujo. Quatro anos após lançar seu (bom) disco de estreia, Arribação (Oficina Records, 2008), trabalho em que filtrou o samba e o choro pela estética do jazz, a artista continua envolvendo a música brasileira em atmosfera jazzy, sem jogar nota fora, sem abrir espaço para improvisos exagerados. A boa influência do jazz é perceptível em todo o disco, mas notadamente em certas passagens de Até Quando Durar (Daniel Santiago e Mauro Aguiar) e da faixa-título Casa Aberta (Lili Araújo), destaques do disco produzido pela própria cantora (e cada vez melhor compositora) com o guitarrista Daniel Santiago. O piano de João Donato imprime em Não Tem Nada Não (João Donato, Eumir Deodato e Marcos Valle, 1973) o tom latino típico do músico. A faixa é outro trunfo de disco que reitera o  apego de Araujo ao samba, ritmo recorrente ao longo das 11 faixas de Casa Aberta. Um desses sambas, Não Tem Perdão, é da safra inicial de Ivan Lins, parceiro de Ronaldo Monteiro de Souza no tema lançado por Leny Andrade no álbum Alvoroço (EMI-Odeon, 1973). Outro, Onde Estiver (Chico Pinheiro e Paulo Neves), é cantado em ritmo veloz por Araujo em fina demonstração de sua destreza vocal. Um terceiro, Vai Saber (Lili Araujo), confirma a evolução da compositora, que também assina Pra se Lembrar de Mim, balada interiorizada (e menos envolvente no confronto com outros temas do disco). No todo, Casa Aberta hospeda a boa influência do jazz (e de Joyce) na música brasileira, sinalizando a desenvoltura de Lili Araujo em gênero hoje mais recebido no Exterior do que na sua humilde residência. Entre com ouvidos abertos para o samba jazzy.... Por Mauro Ferreira - Blog Notas Musicais 25 de Novembro de 2012

[3:28] 01. Negro Coração
[5:15] 02. Até Quando Durar
[4:41] 03. Vai Saber
[3:13] 04. Não Tem Nada Não
[4:34] 05. Casa Aberta
[3:08] 06. Onde Estiver
[3:42] 07. Pra Se Lembrar De Mim
[3:41] 08. Sinceridade
[3:21] 09. Não Tem Perdão
[3:49] 10. Vindobona
[3:14] 11. Pode Ir

Voz/Voice: Lili Araujo
Violão/Acoustic Guitar: Daniel Santiago
Contrabaixo/Acoustic Bass: Guto Wirtti
Piano: Vitor Gonçalves
Bateria/Drums: Rafael Barata

"Hearing is Everything" Peter Watkins


Lisa Ono - Brasil (2014)

Born in Sao Paulo, Brazil. Lisa Ono spent her childhood in Brazil until she became 10 years old. She started singing and playing the guitar when she was 15 years old, and her debut as a professional Bossa Nova singer was in 1989. Her natural voice, rhythmic guitar playing, and her charming smile led her to a huge success and helped Bossa Nova to be popular in Japan. She has performed with many top musicians such as the legendary Antonio Carlos Jobim, the Jazz Samba giant Joao Donato, and has been performing enthusiastically in New York, Brazil and Asian countries. The album “Dream”, which was released in 1999, sold more than 2 hundred thousand copies in Japan, and since than she has established a determined position in the Japanese Bossa Nova community.

01.Upa Neguinho 02:33
02.Eu Quero Um Samba 04:09
03.Mas Que Nada 03:29
04.Tim Dom Dom 02:32
05.Lapinha 04:29
06.O Cantador 04:38
07.Bim Bom 02:33
08.Reza 03:08
09.Sa Marina 02:55
10.Bessa na Praia 03:05
11.Chove Chuva 03:05
12.Roda 03:17

"Hearing is Everything" Peter Watkins


Dave Douglas & Uri Caine - Present Joys (2014)

Source: greenleafmusic

“Present Joys” brings Douglas and Caine together for an intimate but exploratory outing inspired by “The Sacred Harp” tradition. The pair take on five pieces from shape-note tunebooks, as well as several new Douglas compositions undertaken in the same vein. These ten pieces engage Douglas’ trumpet and Caine’s piano in a captivating conversation full of memorable melodies and intricate digressions.

“I’ve always loved the Sacred Harp songs and started thinking about how to do them in the wake of ‘Be Still,’” Douglas says.

“Playing duo is a special challenge, especially when accompanying a singer or horn player,” says Caine. “The pianist is often responsible for keeping the groove happening as well as creating textures for the soloists. There is also a lot of freedom in playing duo as well as the chance to create a dialogue with another musician, which is a lot of fun with a musician like Dave.”

“The Sacred Harptunes are very heartfelt pieces, and I had no intention to play them with any irony,” says Douglas. “I think the music is really beautiful and hopefully the way that we play them allows the tunes to ring through in a way that jazz listeners and ‘Sacred Harp’ fans will appreciate and value.”

Dave Douglas (trumpet)
Uri Caine (piano)

01. Soar Away 03:58
02. Ham Fist 05:04
03. Bethel 04:53
04. Present Joys 04:57
05. Supplication 03:02
06. Seven Seas 04:29
07. Confidence 03:45
08. End to End 03:02
09. Old Putt 03:55
10. Zero Hour 05:26

"Hearing is Everything" Peter Watkins


Jimmy Raney - Visits Paris (1954)

1. Fascinating Rhythm
2. Too Marvelous for Words
3. Cherokee
4. Everything HAppens To me
5. Night and Day
6. Soneone to Watch Over ME
7. Tres Chouette
8. Imagination
9. Dinah
10.Love For Sale
11.Have You Met Miss Jones
12.What's New

* Jimmy Raney - guitar
* Bobby Jaspar - Tenor Sax
* Roger Guerin - Trumpet
* Maurice Vandair - Piano
* Jean-Marie Ingarnd - Bass
* Jean-Louis Viale - Drums

Recorded in Paris on Feb. 10, 1954


Jimmy Raney and Sonny Clark - Together (1954)

Jimmy Raney - guitar
Simon Brehm/Red Mitchell - bass
Sonny Clark - piano
Elaine Leighton/Bob White - drums
Costa Theselius - tenor sax

pennies from heaven
there will never be another you
body and soul
stella by starlight
you go to my head
jumpin for jane
once in a while


Jean-Philippe Grégoire - Sounds from the Delta (2014)

From Django Reinhardt and the Hot Club de France to the American jazz players who immigrated to immerse themselves in its vibrant musical scene, Paris has been an epicenter of haute jazz culture. Jean-Philippe Grégoire has been a staple of the Paris jazz scene for many years and on his debut Big Round Records release SOUNDS FROM THE DELTA the guitarist/composer presents a refined and inspired hybrid of French and American jazz styles. 

Grégoire's works show a diverse compositional style, ranging from driving and syncopated rhythmic structures to smooth and swaying melodic textures. But even the slower-tempo pieces peak with high-energy improvisations, pulling influences from his rock, blues, and classical roots which combine to form a singular fusion. 

Jean-Philippe Grégoire began his classical studies at the Conservatory of Marseille, under Régis Campo, receiving top awards there including the Henri Tomasi's Composition prize and the SACEM prize. In 2008, he went to the Paris Conservatory to study Jazz Performance. Breaking onto the Paris jazz scene, Grégoire began performing in groups including the Julian Getreau 4tet at some of the finest clubs and festivals in Paris, including Duc des Lombards, Le Basier Salé, and Jazz Festival of Flavors.

Jean-Philippe Grégoire, guitar
Baptiste Herbin, saxophones
Martin Guimbellot, bass
Nicolas Charlier, drums
Manu Codjia, guitar;
Jean-Charles Richard, soprano saxophone
Laurent Fikelson, piano

01. No te preocupes
02. Sound from the Delta
03. Histology
04. Azer-tyu-iop
05. One for Mr. K
06. Time Crunch
07. Unresolved
08. Vittorio (R.I.P)
09. Suite bergamasque: III. Clair de lune (arr. J-P. Gregoire for jazz ensemble)
10. Just Friends

"Hearing is Everything" Peter Watkins


domingo, 27 de julio de 2014

Omer Klein - Heart Beats (2008)

1.Heart Beats
2.Voices Of War
5.Ship Of Fools
8.5/8 Mantra
9.Shalvat Nefesh
10.Middle East Blues
12.Sun Light

Omer Klein – piano, drums (#1)

All compositions by Omer Klein (Dvash Music/ASCAP)

Produced by Omer Klein
Recorded by Joe Marciano at Systems Two Studios, Brooklyn, NY on October 24, 2008
Assistant Engineer: Max Ross
Mixed and mastered by Joe Marciano and Max Ross at Systems Two
Design by Tami Meir

‘Heart Beats,’ an inspired collection of original solo piano compositions steeped in North African, Middle Eastern and American jazz. 
“There is great freedom and a very deep, primal feeling in the concept of one human being playing a musical instrument alone,” says Omer on the catalyst for ‘Heart Beats.’ “You can take the music anywhere you want.”
The solitude of ‘Heart Beats’ allows its odd meters and unbounded, wordly melodies sound more casual, like one natural pulse.  
For the enigmatic “Sun Light,” “nothing was previously conceived ; it includes some of my favorite music on the record.”
“Ship of Fools” was composed as the soundtrack for a video-art work about a desperate ship captain trying to navigate his way through storms. “Yemen” is inspired by the music of that land, while “Arak” is a Middle Eastern hymn in honor of Klein’s favorite alcoholic drink, “The anise instantly reminds you of Turkey, Greece or Israel.”
As AllMusic noted, “Following up his 2008 debut Introducing Omer Klein with a solo piano work is something of a bold move, but the set of a dozen original compositions accomplishes its goal of establishing the wide parameters of Klein’s abilities.”
Omer recorded all the music during a 6-hours session at Brooklyn’s Systems Two Studio. The album includes many of Omer’s loved compositions, including Yemen and Niggun, both of which were later added to the trio’s live repertoire as well. 


Miguel Fernández - Afrikan Blues (2014)

Miguel Fernández

Hay discos que arrollan, que pasan por encima de uno sin pedir permiso, de un tirón, imponiéndose con una autoridad incontestable. Su pegada puede radicar tanto en su excelencia como en su facultad de reconciliarnos con el jazz. Sí, me temo que todo aquel que ame verdaderamente el jazz -y poco importa qué entendamos por tan manoseado término- algún día se encuentra sumido, por motivos variopintos, en una crisis durante la que se replantea el sentido de todo cuanto ha escuchado, de igual manera que uno puede levantarse una mañana y no reconocer el rostro de la mujer a la que ha amado durante años.

Discos como Afrikan Blues -dos palabras que invitan pero que no sintetizan, ni mucho menos, todos los elementos de su contenido-, ahuyentan los fantasmas de ese pairo en medio de la nada para devolvernos, aunque sólo sea por espacio de una hora, la respiración jazzística. Sin aditamentos ni paliativos, Miguel Fernández y su quinteto pisan ahora, con especial gracia y oportunidad, el terreno abonado en los sesenta por músicos como Miles Davis y su iluminado quinteto, Andrew Hill, Freddie Hubbard etc. Huellas de nombres sin duda dispares pero que de algún modo se aglutinan aquí en composiciones con mucha sustancia y solventadas con interpretaciones no menos brillantes. Bravo por el líder, que ha sabido organizar con maestría los roles de su formación precisamente para que no se note la presencia de un líder, concitando con inteligencia el orden, la sencillez formal y el empaque rítmico del hard bop con líneas y armonías más abiertas y exploratorias. Un disco, en definitiva, en el que se atisban muchos horizontes y en el que nada, absolutamente nada, es superfluo.

Miguel Fernández, tenor sax
Jason Palmer, trumpet
Leo Genovese, piano
Chris Lightcap, bass
Joe Hunt, drums

1. The Opener
2. Afrikan Blues
3. Jupiter I
4. Fuga
5. Maravilla
6. Mellow One
7. Agripa
8. Sé que te gusta, KBI
9. B Class

All music written by Miguel Fernández

Recorded and mixed by Michael Marciano at Systems Two Studios, January 24th & 25th, 2013, NYC
Mastering by Toby Mountain at Northeastern Digital
Produced by Miguel Fernández, Leo Genovese and Josué Pascual
Artwork: Ms. Bouza

"Hearing is Everything" Peter Watkins


sábado, 26 de julio de 2014


Hoy RONALDO ALBENZIO nos presenta un magnífico y variado repertorio diversificando el programa con múltiples estilos dentro del Jazz. JAZZ by JAZZ, un espacio para gozar.



de la mano de


Todos los Domingos a las 19:00h. (hora Brasil)

Anat Cohen - Poetica (2007)

Agada Yapanit; 
The Purple Piece; 
Eyn Gedi; 
La Chanson des Vieux Amants; 
Lonnies Lament; 
Quando eu Me Chamar Saudade; 
La Casa del Llano; 

Anat Cohen: clarinet, arranger (3, 5, 7, 8);
Jason Lindner: piano;
Omer Avital: bass, arranger (1, 2, 4, 6, 9, 10);
Daniel Freedman: drums, percussion (6);
Gilad: percussion (10).
String Quartet: Antoine Silverman: violin; Belinda Whitney: violin; David Creswell: viola; Danny Miller: cello.

Record Label: Anzic Records

Review By JACK BOWERS All Bout Jazz


Red Pèrill - Planeta Crunch (2014)


El músic igualadí Red Perill evoca el seu univers galàctic al seu primer disc en solitari: «Planeta Cruch»

Red Perill presenta candidatura a el quart galàctic català amb el seu costumisme surrealista de «Planeta Crunch»

Després d'haver-se foguejat amb projectes com Albatros, Bravadúnia o  Dos Tosievski, el pianista, teclista, compositor, cantant i productor de música electrònica igualadí «Red Pèrill» - altre ego de Marc Mateu - ha tret al mercat el seu primer disc en solitari anomenat «Planeta Crunch». Autoeditat i amb la col•laboració de Magí Batalla a la masterització (Anna roig i l'Ombre de Ton Chien, Cesk Freixas, Mínnim, etc.) i de prestigiosos músics igualadins com Xavi Plaza (saxo), Joan Vilanova o Jaume Llombart (guitarres), el disc només es pot escoltar i adquirir de forma digital a la plataforma Bandcamp, redperill

«Planeta Crunch» és un disc que no deixa indiferent a ningú. Fonamentat en les bases electròniques del propi Perill – que al disc programa i aporta veus, guitarres, teclats, vocoders, melòdica, saxo i percussions – i en un llenguatge molt proper al jazz de Miles Davis o Thelonious Monk, les composicions del disc oscil•len entre la psicodèlia de Radiohead, el rock progressiu i simfònic de Pink Floyd, la música electrponica de St. Germain i, sobretot, la música negra com el soul o el funk de Stevie Wonder, Jamiroquai o Guillamino en l'àmbit català. Tot i així, en composicions com «Metamorfosi formosa amb formol» evoluciona cap a llenguatges minimalistes que recorden l'estil de Philip Glass o el de Guillermo Klein, una de les persones que més l'ha influenciat musicalment.

Deixant de banda qüestions musicals i estilístiques, el disc sobresurt per la poètica de les lletres. A tots aquells que els hi agrada la cançó galàctica del triumvirat format per de Antònia Font, Jaume Sisa o Quimim Portet descobriran en 

Red Perill el quart galàctic català. Salvant distàncies, tot i que la introducció musical de Planeta Crunch podria ben bé ser conceptualment la de «Batiscafo katiuscas», l'univers poètic, evocatiu, surrealista i absurd que crea Perill és molt més histriònic i dut a l'extrem, tan en qüestions musicals com en les lletres de les cançons – que no tenen desperdici - on es fa pal•les la influència del seu perfil a twitter (@reperill) o del d'altres usuaris amb els que comparteix missatges que ratllen l'absurd. Un costumisme surrealista que beu influències variades des de Cortázar fins a Mortadelo i Filemón.

Un disc per, tal i com diu en la cançó «Fuckin' people», als que «necessiten un parabrises mental per sortir dels paradigmes habituals»

1. Planeta Crunch 03:24
2. Bravadú 02:26
3. Fuckin' people 03:27
4. Lluna d'hivern 05:26
5. Metamorfosi formosa amb formol 05:21
6. Planeta Crunch (reprise) 05:18
7. La maldición del escorpión 03:57
8. Lalipop 04:32
9. L'home dubte 06:23

Programació, veus, guitarres, teclats, vocoders, melòdica, saxo, percussions: RED PÈRILL


JOAN VILANOVA: guitarres a Bravadú

XAVI PLAZA: Saxos a Bravadú i Fuckin' people

MARC GONZÁLEZ: veus 2a estrofa a Planeta crunch (reprise) i saxo a L'Home dubte

JAUME LLOMBART: Guitarra a Lalipop

CIÓ SENSERRICH: Veus vocoderitzades a L'home dubte

JOSELETE EL PÚRPURA: Discurs a Planeta Crunch (intro)

Col.laboracions post-mortem:

Composició, gravació i producció per RED PÈRILL

"Bravadú" co-produïda per JOAN VILANOVA

Masteritzat per MAGÍ BATALLA el 2 de Juliol de 2014

Portada i disseny llibret: MARC GONZÁLEZ

viernes, 25 de julio de 2014

Emanuele Parrini - Viaggio Al Centro Del Violino Vol. 1 (2013)

Thanks to Gianbruno

Italian Emanuele Parrini confirms the solo violin’s viability in his nine-part Viaggio al Centro del Violino (Rudi Records RRJ1015 rudirecords,com), although he cheats afterwards, adding four short melodic duets with violist Paolo Botti. Parrini’s suite is organically organized, flowing from exposition to conclusion and maintaining a continuum while showcasing a case full of extended techniques. After establishing the parameters of the romantically tinged theme with sweeping echoes and dynamic stops, Parrini deliberately sets out to sabotage them on Abstract No. 1, alternating mandolin-like picking with sympathetic four-string emphasis that takes on pastoral qualities by the following track. His improvising contains too many jagged bent notes to be truly folkloric however, and midway through with the bow pressuring four strings simultaneously, the pastoral melancholy of Requiem for L.J. gives way to the rapid dynamism of Black Violin with its spiccato skips, and climaxes with Blues P. No more a standard blues than Parrini is Stephane Grappelli, his dexterity suggests a blues feeling, but with a particularly Italian cast. Scratching his way from the fiddle’s scroll to its tip, the resulting multiphonics are emotional, rhythmic and satisfyingly conclusive.

Viaggio al Centro del Violino translates as Journey to the Center of the Violin in English. The phrase aptly describes how Parrini has exposed the singular musicality of his instrument. Each of these discs does the same in a similar fashion. Ken Waxman (The Whole Note)

We must admit it: the title is challenging, yet when you listen to the suite of the same name you understand that this is exactly what Emanuele Parrini does. And let us also admit that a disc of only violin music (although the second part offers us an irresistible duo between violin and viola) is something that even experienced professionals would not accept. Yet we can claim that the challenge is won. Emanuele Parrini does this: he goes to the heart of the violin, he goes to its very nature of wood, metal and horsehair and he explores it, he goes through it, he reveals it, he is seduced and enchanted by it, he takes up the challenge without getting entangled and trapped in self-congratulatory virtuosity. In this disc we hear Parrini’s passion for the masters of jazz who had to invent a vocabulary and almost a new grammar for this instrument, from Stuff Smith to Billy Bang and above all to Leroy Jenkins, to whom the Requiem della Suite is dedicated; and there is the dedication to Renato Geremia (his predecessor in the Italian Instabile Orchestra) who succeeded in inventing a new way to approach an instrument encumbered with such an onerous classical tradition. This same tradition surfaces frequently in certain passages with effects not so very different from those of some contemporary music; the difference is however in the intentions, the attitude and the aptitude according to what Cecil Taylor told A.B. Spellman fifty years ago: (“He would never get emotionally involved in it; and dig, that's the word, they don't want to get involved with music. It's a theory, it's a mental exercise in which the body is there as an attribute to complement that exercise. The body is in no way supposed to get involved in it”). There you have it: Parrini is totally involved, he is inside the violin, his music communicates an immediate feeling of presence, of immanence, of necessary physicality. He sounds as if he is playing to nourish himself and to offer the same joy to others. Also playful, entertaining and vibrant is the duet with Paolo Botti, comrade, friend, colleague; their unisono in the themes tell of a common sensibility, a shared passion, a similar approach and an infinite love of jazz.

The conclusion of the disc with its new rendering of a piece by William Parker, rather than being an arrival, is more the perfect point of departure for a journey that has only just begun. Pino Saulo

Emanuele Parrini
Viaggio al Centro del Violino
RRJ1015 Rudi Records 2013

Suite for Solo Violin
Emanuele Parrini

Suite In Due
Emanuele Parrini, violin
Paolo Botti, viola

Mixed By, Mastered By – Emanuele Parrini, Stefano Spina (2)
Recorded By – Eleonora Tassinari (tracks: 1 to 9), Luca Di Volo (tracks: 1 to 9), Stefano Spina (2) (tracks: 10 to 13)
Viola – Paolo Botti (tracks: 10 to 13)
Violin – Emanuele Parrini

Suite for Solo Violin (Emanuele Parrini):
01. Viaggio al Centro del Violino - Intro 2.38
02. Viaggio al Centro del Violino - Viaggio 3.13
03. Abstract n. 1 1.49
04. The Undecided 4.44
05. Abstract n. 2 2.37
06. Are You Ready? 2.43
07. Requiem For L.J. 3.05
08. Black Violin  3.01
09. Blues P. 5.53

In Due

(Emanuele Parrini, Paolo Botti):
10. Mixolidian Dance 3.05
11. In Due 2.56
12. I Gemelli del Goal 1.47
13. Beauty don't Leave 4.40

"Hearing is Everything" Peter Watkins