lunes, 11 de diciembre de 2017

Kjetil Mulelid Trio - Not Nearly Enough To Buy a House (RUNE GRAMMOFON RECORDS 2017)

Kjetil Mulelid Trio is a exciting new Norwegian jazz piano trio which plays modern acoustic jazz. Our music is a mixture of compositions written by Mulelid and pure collective improvisations. The music is both energetic and intimate with beautiful melodies and complex rhythms, inspired by contemporary Nordic jazz groups. Separately, the three members have released a number of well-received albums and can be spotted at clubs and festivals with different projects, such as Megalodon Collective (Norwegian grammy awards nominated in 2016), Round Trip and Wako.

"It took me several listens to fully realise just how magical this album is" - Andy Hamilton, The Wire (UK) 

" They play their namesake's ideas with exuberant dedication and tremendous understanding of every nuance. The songs sound logical, as if they have always been there. (...) Mulelid and his two equally young colleagues reveals timeless quality" - Volkmar Mantei, Baby Blaue (DE) 

"This trio is really speaking with its own voice and they left me with huge hunger for more, so I will stay alerted and will be looking forward to the next chapter to come – Not Nearly Enough To Being Done With Them." - G point audio (UK)

"We must commend this outstanding trio for its original exploration of the possibilities of the trio" - Fritz Balwit, Audiophile Audition (US)

"There are both something Nordic and some Keith Jarrett in this trio, but most of all is there a stability and a motion in the music, that grows for every listen in an inspiring way." - Niels Overgård, Jazznyt (DK) 

"This is really a great first album by a trio with multiple strong assets: compositions that let glow new facets with each listening, performers who flawlessly feel each other and support one another generously" - Paul Godderis, JazzHalo (BE)

"Keith Jarrett floats past, but Trio Mulelid turns the story to their own advantage. The interaction consists of flaws they should be proud of and the natural melodies of Mulelid come with charm" - Arild R. Andersen, Jazz i Norge (NO)

Nduduzo Makhathini - Ikhambi (2017)

Every generation has its own leading lights. For the current generation of South African young jazz musicians, pianist, and composer, Nduduzo Makhathini stands as a key torchbearer. It’s useful to note the refreshing virtuosity with which the 34 years old jazzman articulates a decidedly spiritual vision of the world with the piano, and his compositional clarity.

Makhathini plays with a bright lyricism and a full sound pallet that gives him a markedly wide melodic vocabulary. His music is as open as it is invigorating. Makhathini commands the sort of remarkable talent and thematic focus that posits him among an illustrious pantheon of forbears. The late jazz pianist, Bheki Mseleku comes to mind as a musical stylist and visionary who sets a lofty precedence. Their music shares a comparative searching sensibility along with a keen spiritual focus.

This is a quality that earned him the respect and camaraderie notable peers and elder jazzmen. Makhathini has toured extensively, and recorded with other strongly rooted titans like Zim Ngqawana, Busi Mhlongo, Feya Faku, Carlo Mombelli, Salim Washington and Herbie Tsaoeli to name a few. Their appreciation of music as something more than beautiful sounds ballasts Makhathini’s commitment to asking deeper questions with his music. This is not only owing to his virtuosity as a player but what he represents for the music in this part of the world. Makhathini is a consummate musician born and raised in uMgungundlovu in South Africa’s Kwa-Zulu Province. It’s significant historically as the royal capital of the Zulu king Dingane between 1828 and 1840, and one of several military complexes of the time. The area enjoys a convergence of a heritage of ritual practice and music. It’s important to note that the Zulu, in fact, African warrior code deeply relies on music for motivation and healing. This twin heritage of music and spirituality is central to understanding of a Makhathini’s musical project and vision and as jazz man. However, this is only one part of his vast roots. Makhathini’s late father, Sibusiso was a singing guitarist.

It’s an occupation that enjoys deep history in Southern Africa too. Think Maskandi music here. Sibusiso ploughed music into his family life. It was in one of his isicathamiya outfits that young Makhathini got his first taste of life as a musician; this along with important piano lessonsand mentorship Makhathini got from his mother, Nomajerusalema. She was also responsible for raising her son immersed in a life of choirs and church music. This elegant mix of heritage and modern sensibilities underscores Makhathini’s new project; his first with Universal, iKhambi. The record takes its title from a Zulu word used by traditional doctors and herbalists to refer to a mix or concoction of healing herbs. Makhathini is mindful of music making as a process not unlike a mixing of sonic elements that heal. So, in the context of this record, ikhambi speaks to ‘a projection of a healing energy through a sonic experience’. Bearing in mind that Makhathini is himself a healer too, it possible to conceive of him as a kind of musical activist on behalf of African traditions of healing. He recently delivered a TEDX talk in Gaborone which looked at ‘A new look towards ubungoma practices and articulations.’ ubungoma is a Zulu word that refers to the gift and practice of healing and divination – the word ngoma means song. Hence music, often drumming and dance are central to the spiritual rituals.

Beyond his proven prowess as a brilliant pianist, Makhathini is also an astute producer with a sharp ear for harnessing the best possible sounds of other creative musicians. The successes of the records that bears his contribution. This accounts for his award-winning pedigree. We count his SA Music AWARD winner Best Jazz album and Standard Bank Young Artist Award winner for 2015. He has produced for a number of notable award winning and nominees: Mbuso Khoza ‘Zilindile’: won best contemporary jazz album at the 2013 Metros; Lindiwe Maxolo ‘Time’: Nominated best jazz album at the 2013 SAMA’s; Sisa Sopazi ‘Images and Figures’: Nominated best jazz album at the 2014 SAMA’s; Tumi Mogorosi ‘Project Elo’: Nominated best jazz album at the 2014 SAMA’s; Thandiswa Mazwai ‘Belede’: Nominated best urban jazz album at the 2017 Metros; So far, Makhathini has released six albums as a band leader: ‘Sketches of Tomorrow’; ‘Mother Tongue’: nominated for best jazz album at the 2015 SAMA’s; ‘Listening To The Ground’: nominated for best urban jazz album at MMA’s 2016 and Best Jazz Album SAMA 2016; ‘Matunda Ya Kwanza’; ‘Icilongo-The African Peace Suite’; ‘Inner Dimensions’; Reflections (solo piano).

This rapidly growing catalogue was made in part possible by a creative and life partnership he shares withhis wife, Omagugu who he describes as “my anchor and partner.” Together they built the platform though which his earlier records were released, Gundu Entertainment. Makhathini is active as an educator too. He is head of the music department at Fort Hare University in the Eastern Cape. He is also reading for his master’s degree with Stellenbosch University. As an awardwinning player, Makhathini is ever in demands as a headline act on the international jazz festival circuit. He recently headlined National Arts Festival, Standard Bank Joy of Jazz, Cape Town International Jazz Festival, Essence Festival both in New Orleans and South Africa, International Jazz Extravaganza in Durban, SA. Makhathini star continues to rise and as his musical vision broadens.

01. Amathambo 11:13
02. Ithemba 9:56
03. Umthakathi (1st Movement) 6:54
04. Umthakathi (2nd Movement) 3:05
05. Umthakathi (3rd Movement) 4:33
06. Holy, Holy 3:56
07. Umlahlankosi [7:49]
08. Impande (1st Movement) 0:37
09. Impande (2nd Movement) 7:30
10. Impande (3rd Movement) 2:24
11. Innocent Child 6:27
12. Windows Of Our Hearts 4:46
13. Umakhelwane 6:33

David Friesen - Structures (ORIGIN RECORDS 2017)

"One of the most eminent exponents of the instrument, he maintains an astonishing level of virtuosity." LOS ANGELES TIMES

With 50 years of designing sublime musical architecture where risk-taking, rhythmic rapport, originality, and giving of oneself to the music are the vital ingredients, legendary bassist David Friesen has reached a creative pinnacle. The two-disc set, "Structures," highlights his capacities and his original compositions through duos with two dynamic improvisors he's partnered with over the years. Disc One offers saxophonist Joe Manis and Friesen in a live duo performance in Ukraine while on tour in early 2017. On Disc Two, David carries on with an eclectic musical relationship started back when master guitarist Larry Koonse was still a student. Together they have created an intimate album, sharing conversations full of vitality, warmth, and great musical respect.

"Few solo musicians on any instrument have made music as powerful and deeply moving as David Friesen." - Oakland Tribune


1. Wrinkle 4:41
2. Basic Strategy 4:56
3. Brilliant Heart* 5:11
4. Martin's balcony 2:56
5. Left Field Blues 3:26
6. New Hope* 3:41
7. Roof Tops 4:45
8. Seam Line 6:11
9. Going Forth* 6:14
10. Lament for the Lost/Procession 8:16


1. Make Believe 4:12
2. New Hope 4:16
3. Romantic 3:45
4. Quietly Unfolding 4:18
5. Alaskan Waters 4:25
6. Undisclosed 5:20
7. At Last, At Rest 4:05
8. Passage 3:58
9. My Faith, My Life 4:07

David Friesen - Hemage bass, piano 
Joe Manis - tenor & soprano saxophones 

David Friesen - Hemage bass 
Larry Koonse - electric guitar

Organized Noise Trio (feat. Pete Rodriguez, Rudy Royston & Ricky Rodriguez) - The Wink of a Coward (YOU KNEW! RECORDS 2017)

On The Wink of a Coward, Rodriguez presents us with a new band configuration. Known as Organized Noise Trio, the improviser and bandleader puts together a superb trio. 

While Rodriguez’s original compositions dominate the record, the other two members also contributed with just as impressive original compositions for the album. The trio consists of Rudy Royston on drums and Ricky Rodriguez (no relation) on bass with special guests Gil Del Bosque on tenor saxophone. This new album is Rodriguez’s first on the You Knew! Records label.

1. Never Too Late (Pete Rodriguez)
2. Your Help’s Not Wanted Here (Pete Rodriguez)
3. They Smile at Your Face the Backstabbers (Pete Rodriguez)
4. What a Day (Pete Rodriguez)
5. Mayone (Rudy Royston)
6. Shamae (Rudy Royston)
7. The Chair With No Legs (Pete Rodriguez)
8. The Dark City (Ricky Rodriguez)
9. The Wink of a Coward (Pete Rodriguez)
10. Past Due (Ricky Rodriguez)
11. The Wink of a Coward (Pete Rodriguez)

Tracks 1, 2, 3, 4 ,7 , 9 , & 11: El Conde Negro Music / ASCAP
Tracks 8 & 10 Riguezmusic / ASCAP
Tracks 5 & 6: RudyRoyston Publishing / ASCAP
Recorded & mastered by George Shalda
Rudy Royston endorses Vic Firth Sticks, brushes & mallets, Canopus Drums & Sabian Cymbals

Special Guest:
Gil Del Bosque: tenor saxophone on The Chair With No Legs

domingo, 10 de diciembre de 2017

Bendik Hofseth / Jacob Young / Mats Eilertsen / Paolo Vinaccia / with Mike Mainieri - The Maze (OSLO SESSION RECORDINGS 2017)

A meeting between five jazzmusicians from different places and representing different generations. US vibes star Mike Mainieri joins top Norwegian International players like Mats Eilertsen (bass), Jacob Young (guitar), Bendik Hofseth (sax) and Paolo Vinaccia (drums) for an evening of musicmaking. Meldodic and original.

Nytt jazzalbum "The Maze". Ute på 180 grams eksklusiv vinyl med bonus CD. Denne praktutgaven av en utgivelse med sin gjennomtrengende estetikk både musikalsk og visuelt- med det slående coverbildet fra Oslo av Erlend Michael Sæverud, er nesten politisk. 

Hvordan kan man lage slik musikk i dag? Er det frekt? Er det et stille opprør? Er det ironi? Hvordan kan man finne roen til det. I all støyen og alt tullballet i mediene og i vår bevissthet om fake ditt og fake datt...så kommer den kunstneriske gåtefulle "The Maze". Og ikke nok med det, i en tid da alle tror det er over, det er nærmest armageddon i platebransjen, så skjer det: det kommer et nytt selskap seilende opp! Oslo Session Recordings. Ja, det er fremdeles mye som skjer i Oslo. 

Det er i jazzmusikkens natur at man skal møtes, på tvers av generasjoner og landegrenser, krysse innbilte stengsler og usynlige tidssoner og samtidig ha et håp om å kunne møtes i studio med noen sketsjer av noen temaer, en kort gjennomgang, kanskje en konsert som forberedelse dagen før - også spille inn et album som er noe helt for seg selv. 

Noen ville tenkt det er risikosport. Men sannheten er at det er dette musikerne har trent til. Det er det disse musikerne kan. Det er slikt man kan kalle erfaring. Og derfor er mye gjort bare man klarer å få disse musikerne samtidig i studio. At Jan Erik Kongshaug har tatt det opp og musikerne sammen har produsert er også kvalitetstegn. 

Musikken på "The Maze" er skrevet av Mats Eilertsen, Bendik Hofseth og Jacob Young og er både stillfarende, leken, fortellende og tidvis ulmende. Den er som en rolig vulkan med boblende lava som ikke trenger å eksplodere i fartsfylt bonanza av raske løp eller energi på utsiden av tiden. Det er slik den er. 

Lytteren må selv skape rammene å høre den på. Musikerne er alle representanter for moderne jazzmusikk og dens mange sjatteringer og sjangerkrumspring. Legenden Mike Mainieri, vibrafonisten fra New York City med en CV over samarbeidspartnere så lang at det blir meningsløst å ramse opp alle, er i topp form i sitt 78 år. Mike er gjest på tre låter på The Maze og er stadig og fremdeles på veien med sitt Steps Ahead hvor Bendik Hofseth, fikk sin amerikanske "break" på slutten av 1980 tallet, som arvtager etter saxikonet Michal Brecker.

I New York City, møttes også Jacob og Bendik og litt senere startet de sitt sammarbeide, med Bendik som produsent på Jacobs debut i 1994 "This is You" og Jacob som medlem av Bendiks senere grupper og på album som "Smilets Historie" og "Itaka". Paolo Vinaccia er en legende i både den alternative jazz m.m. og den populære musikken i Norge og ellers i verden og har snart i fire tiår bidrat til at dette er en bedre klode å være på og i. Han er kjent fra utallige pop/ rock prosjekter og som del av Arild Andersen og Terje Rypdals grupper.

Mats Eilertsen som i likehetstrekk med Jacob Young er en del av den nye generasjonen norske musikere på ECM har markert seg som en av de mest interessante bassisten i denne musikken. Det er også gøy at Mats ble plukket opp av Jacob på albumet "Pieces of Time" og var del av Youngs ensembler i nesten 10 år før denne innspillingen som skjedde i 2016.

Members: Paolo Vinaccia (Drums) Jacob Young (Guitar) Mats Eilertsen (Bass) Mike Mainieri (Vibes) Bendik Hofseth (Sax)

1. The Void 06:36
2. Capital 04:22
3. Bordeaux State of Mind 06:55
4. Bolero 08:11
5. Bora 05:15
6. Kokomlemle 05:45
7. Blue 03:40

Paolo Vinaccia / Jacob Young / Bendik Hofseth - Rathkes Gate 12:21:58 (OSLO SESSION RECORDINGS 2017)


Rathkes gate 12:21:58 er et nytt album fra musikerne i trioen, Paolo Vinaccia (trommer) Jacob Young (gitar) og Bendik Hofseth (saxofon). Det er den andre utgivelsen til plateselskapet Oslo Session Recordings, som debuterte med albumet "The Maze" tidligere i sommer.

Ideen til albumet kom etter at vi hadde gjort en konsert langt ute på landet i Finnskogen på et lite galleri, vinteren for tre år siden. Konserten gikk sånn passe - med ideen ble født i bilen hjem etter konserten. Vi ble tent på å lage noe mer helhetlig i dette lydlandskapet med de mulighetene som åpner seg når man musiserer sammen - uten bass.

Fraværet av bass frigjør mer plass til de andre instrumentene og klangen av dette låter mer orginalt enn vi kunne ha forventet oss. Det er ikke veldig mange jazztrioer med denne besetningen, som spiller uten bass, men det finns noen og vi må nevne spesielt trommeslager Paul Motians trio og diverse album fra 1990 tallet med Bill Frisell (gitar) og Joe Lovano (saxofon) - som noe som brøyta vei - i alle fall med formatet.

Musikken er skrevet av Jacob og Bendik (tre låter hver) og en låt er improvisert frem av alle tre, (den med banjo på).

Alle musikerne er gode venner og kollegaer fra flere år tilbake, og da vi bestemte oss for å lage denne plata allierte vi oss raskt med lydtekniker og produsent Giert Clausen i Fersk Lyd AS på Majorstua. Giert er en felles venn av bandet og har jobbet sammen med oss hver for seg eller sammen, på mange forskjellige prosjekter i en årrekke. Da han var med på laget begynte det å skje ting, vi gjorde noen flere konserter også gikk vi i studio.

Det meste av materialet er spilt inn live i Fersk lyd studioet hos Giert og på hans kjøkken. Paolo er musikalsk produsent.

Tilslutt mikset og mastret Giert albumet også fikk vi lov til å bruke fotoet til Erlend Mikal Sæverud som coverbildet. Erlend tok også bildet på The Maze.

Oslo Session Recordings er stolte av å kunne presentere sin andre utgivelse og albumet “Rathkes gate 12:21:58"

på 180 gram vinyl. Finns også på CD og digitalt.

01 Oh, My Country 4:19
02 Here We Go Again 5:21
03 The Man, The Myth & The Legend 2:09
04 Horizon 6:19
05 Lille Berlin 6:44
06 Kilamba 7:40
07 Bird Ballad 3:46

Wiebke Schröder Trio - Episodes (UNIT RECORDS 2017)

The trio specializes in writing their own music- nonetheless, they love to strech out towards arranging jazz-standards, classical songs, or popular music. These three musicians have a clearly worked out path of how they want their music to be: communicative, instinctive and profound. The musical nucleus of their compositions range from novels, paintings, poems, to lived experiences, or mere sensations in the blink of an eye. This trio draws influences from jazz as well as classical music, to nurture a music with a seemingly limitless audial spectrum - once philosophical and earnest, their playing may take every direction towards the lyrical, the playful, the experimental, or groove- orientation. Although the compositions provide a thorough structure, they nevertheless provide plenty of room for improvisational jaunts, in which the magic of this bands unique sound can flourish.

1 SNCF 6:21
2 Hexenkind 5:54
3 On & On 7:22
4 The Saga of Harrison Crabfeathers 4:40
5 Angst 10:20
6 Perseverance 4:13

Wiebke Schröder – Piano
Silas Jakob – Drums & Percussion
Matthias Kleiner – Double Bass


5 generations – 1 world

Socrates said, some 2000 years ago: «The children nowadays love luxury. They have bad manners, contempt for authority; they show disrespect for elders and love chatter in place of exercise».

In today’s western world lives a total of 5 historically distinguishable generations. The track titles on Nakama’s 4th album is named after them: The Lucky Few, Baby Boomers, Generation X, Millennials and Plurals. Zooming out in both time and space and looking at the current state of the world these five generations must truly be the «Worst Generation» ever in human history. They are all part of- and have contributed to the current state of affairs. Paradoxically, new generations also bring with them a sense of hope and change, and maybe when we look back again 100 years from now this current amass of generation might turn out to be the best one?! 

Worst Generation is Nakama’s first album with new member Agnes Hvizdalek. It is also their first fully improvised album, recorded live in Amann Studio in Vienna as part of their 2017 Europe tour 

Releases officially on the 17th of November 2017

Unique cover features

The titles on the CD is in English on one side and Japanese on the other with the imprint in beautiful UV-gloss. The LP version is in lenticular – the motif changes when viewed from a different angle! One thing is always something different and at the same time two sides of the same coin...

Just check out this video and see for yourself:

Sylvain Rifflet - Re Focus (VERVE RECORDS 2017)

Les obsessions n’existent que pour être vécues. 

Certaines ronronnent, tristement centripètes, et en reviennent sempiternellement à l’objet du désir ; cela consiste à toujours tourner le même film, enregistrer le même album, écrire le même livre avec quelques décors placardés à la hâte et de rapides arrangements, principalement avec la réalité.

Rares sont les obsessions centrifuges, séminales, qui régulièrement viennent se désaltérer à la source pour parcourir à grands pas de nouveaux horizons. La passion ancienne de Sylvain Rifflet pour le Focus de Stan Getz est de celles-ci. Il se confie dans l’interview qu’il nous accorde, mais le projet bouillonne depuis 2013, puisqu’il parlait déjà alors de s’attaquer à ce monument du flirt entre jazz et classique aux côtés d’un Fred Pallem qui serait son Eddie Sauter. Cette idée fixe irradie sa musique de longue date sans pour autant la vampiriser, de Beaux Arts jusqu’à Mechanics. Elle est désormais assouvie avec ReFocus, en compagnie de l’orchestre à cordes Appassionato et édité - comme le disque de 1961 - par Verve, une condition sine qua non.

Il ne s’agit pas de redites. Pas plus d’un exercice de style : les partitions sont inédites pour la plupart et l’esprit de Getz est davantage dans la méthode que dans le résultat. Dans « Echoplex » qui débute sur les marimbas de Guillaume Lantonnet, le son si caractéristique du ténor de Rifflet badine un moment, avant de se laisser ensevelir par les cordes. Le choix de l’instrumentation et des musiciens a été primordial. L’option d’un vibraphone/marimba était évidente, tant la musique de Rifflet se nourrit de ces timbres. La présence de Jeff Ballard, qui tient le rôle de Roy Haynes pour Getz, est audacieuse. Avec le contrebassiste Simon Tailleu, il alimente le dialogue avec les quinze cordes de l’orchestre grâce à un colorisme savamment distillé. Le batteur peut aussi entretenir une tension vite acidulée par le travail des archets (« Le Kinétoscope »).

Ce qui pourrait virer au sirupeux garde, à l’instar de ce qui était le miracle de Focus, une distance. Une savante alchimie qui ne consiste pas à farcir son jazz de classique - praline de bas étage - mais à créer une passerelle éphémère, douce mais pas smooth où l’action discrète de Pallem sur les arrangements offre une pléthore de pistes. Ainsi « Egyptian Riot », belle construction contemporaine où les slaps du saxophone ouvrent la porte à des motifs répétitifs. Une énergie qui évoquera « I’m Late, I’m Late » de Getz sans jamais le citer. ReFocus n’est pas un jeu de piste ; c’est un point d’étape sur la question des relations entre jazz et musique écrite occidentale, 55 ans après l’influence de Bartók et Weill. Sylvain Rifflet l’exprime très bien dans notre interview : « On repart des moyens de 1961 et de s’interroger sur la démarche de Sauter et Getz s’ils avaient été inspirés par Glass ou Riley et toute cette branche répétitive et tonale contemporaine américaine ».

Évidemment, le limpide « Another From C », structuré sur les cymbales de Ballard et le cycle des violons, en est le symbole, mais le mouvement circulaire de « Harlequin On The Strings » en représente incontestablement le morceau le plus abouti. ReFocus est comme son aîné ; clair, précis, avec cette soyeuse profondeur de champ qui fait les beaux portraits. 

Le plaisir d’un fantasme qui a pris corps.

1 Night Run 3:52
2 Rue Bréguet 4:35
3 Another 'From C' 3:37
4 Harlequin On The String 4:17
5 Egyptian Riot 6:08
6 Echoplex 5:06
7 Une de perdue, une de perdue 4:45
8 Le kinétoscope 4:55
9 Hymn 4:30

Sylvain Rifflet (ts, comp)
Fred Pallem (comp, arr)
Guillaume Lantonnet (vib, mar)
Simon Tailleu (b)
Jeff Ballard (dms) + ensemble à cordes Appassionato

sábado, 9 de diciembre de 2017

Don't Miss This Weekend's $5 Album... (CUNEIFORM RECORDS)