This is a re-release of an album that has long been out of print. It is also a fresh remaster, albeit with original art. And of course, I should not need to introduce the man! What you get on this album are 22 tracks in a total playing time of some 62 minutes. Most of it is Keith (R.I.P.) playing piano, while on a couple of tracks he is accompanied by drums and bass. There are also a couple of live tracks.
And all this serves testament to the legacy of Emerson. A virtuoso, at home in and famous for progressive rock with Emerson Lake and Palmer, but also active in film music, in jazz, boogie, you name it. Since the centre of this is him playing piano, you should not expect wild progressive pieces. This is much more delicate and sometimes jazzy or bluesy, yet all done with flawless taste and impeccable execution.
Thank you Keith Emerson for your music, and thank you Emerson Estate for making this possible.
I guess the cover art and the title says it all really. Yet if you know that the album is out on Moonjune Records, you might also suspect that this will not be a regular covers album. And you would be spot on with that assumption.
Machine Mass is a trio consisting of Michel Delville on guitar, samples. loops and electronics, Tony Bianco on drums and Antoine Guenet on piano and keyboards. And they have taken a lot of liberty with the 9 Hendrix songs they choose to record. Even to the extent that many of them are hardly recognisable anymore. To some extent that has to be praised because of the creativity. On the other hand, if it sounds unfamiliar, why cover it?
So I guess it is a double edged knife for me. Musicianship is always tight on the label’s releases. But the rocker in me misses much of the hooks that identify the songs. You have a listen and decide for yourself what you make of it.
The previous album from Spanish drummer Xavi Reija was one in which he excelled in jazz and free form songs. On his new album he works with New Yorker Nitai Hershkovits on piano and Pau Lligadas on upright bass. And while they both may be young, they already have an impressive curriculum. The result is an album that quite surprised me! And the first hint is that the 11 songs on the disk clock in at just under 40 minutes. Which in comparison to previous output is fairly short.
Now, when you start reading the inside text it reads that this is a recording of dance music. Though definitely not in a regular sense. But when you listen to the CD, it becomes clear that there is a certain lightness on offer here. Restrained elegance as it is so aptly described. While there are still parts that remind us we are dealing with virtuoso players who like to experiment and improvise, there is no denying that these songs speak easy to (at least) my ears.
So, while a drummer, bassist and pianist are reasonable common in jazz land, this trio have managed to come up with a rather delightful album. Joyous and emotionally charged, living and breathing music performed by authentic musicians.
If anything, this proves that music from the heart always reaches out and touches anyone who will listen. Wonderful album.
If you take a look at the cover and the title of the album, I am quite sure a lot of you dear readers will already have a clue as to what is on offer here. Yes, this is a re-imagination of the Pink Floyd classic Dark Side Of The Moon. And to top that, this is not a note for note imitation. No, this is a very bold personal interpretation!
Lead by singer (and electronics handler) Boris Savoldelli, the other main musicians are Raffaele Casarano on saxes and electronics and Marco Bardoscia on double bass and electronics. Guesting are the great Dewa Budjana who plays guitars on Us And Them, WK569 with additional sound manipulation and Maurizio Nobili, reciting.
So limited instruments (although the sax and double bass are often featured prominently), lots of electronics and vocals and vocal noises…. And yet, it surprised me how this album grabbed me. Of course, some songs or parts of songs are still recognisable. But should there be anyone on the planet who does not know the original, I am quite sure he would consider this original material.
So while I normally am not very fond of tributes and or covers, this is done with style, conviction and a clear view of how to interpret these songs and make them their own.
For me an impressive achievement with an album that is considered holy by many.
And finally time to write some words on Zhongyu. Okay, that was a play with words, as Zhongyu apparently means finally in Mandarin Chinese. The band is composer Jon Davis (chapman stick, guzheng, mellotron and arp 260), teaming up with 3 members of Moraine, and an experienced jazz drummer. The aim is to balance opposites: composition and improvisation, serenity and chaos, harmony and dissonance as well as simplicity and complexity.
Well, one thing is for sure, all those words pass by in your mind when you start listening. Some themes have a distinct Eastern flavour and sometimes you wonder what the heck is happening. So parts of this are easy and beautiful, and at times you are lost without a clue. As often is the case with Moonjune Records releases, this takes time and is not for those looking for an easy fix.
This will grow on you with every spin, but a Marco Polo attitude comes in handy…
And while on the subject of Moonjune (go check their website for current Celebration offers), here is another release from them, the Vasil Hadzimanov band. I am sorry to say I have never heard of them, and I rarely write about live album either. But since this was an unknown force, I’d reckon I try spent some words on it.
When you are familiar with the label, you will have a clue as to what to expect. And indeed, this band is no exception. Instrumental music between Jazz, fusion and a tad of prog, with musicians that all are ace players. But the downside of release like this for me is that the music needs large amounts of time to be able to connect with it. There is a lot of free styled jamming and soloing going on, so for a lot of people this will be hard to digest.
Of course there are parts of songs that are based on melodies and groove. Like pieces of songs like Nocturnal Joy or Otkrice Snova for instance. And like I said, the band is terrific, I am sure they impressed every audience they performed for. Which in this case would be during a Serbian tour in 2014.
Anyway, lovers of the label or the genre are in for a treat, others should listen in first.
This is the sophomore album by singer and trumpeter Ellis Williams. And before you click away, I urge you to stick around and continue reading. Self described as a jazz funk album, to me this is much more than that. In fact I am tempted to say that any lover of music will find something to his liking on it.
Yes, in a lot of songs the trumpet rules, but in all honesty you completely forget about that. Not because it is tucked away on a few spots. No, the trumpet is used to maximum effect here. It can be the vocalist singing nice melodies. It can be a player soloing away. Often parts are doubled or even tripled, with counter melodies and all.
And talking of vocals, Ellis sings too, and not half bad either. In fact I love his voice, a lot of soul in it, and he really reaches out.
The songs are very varied, exploring many genres in between them. Jazz and funk yes, but also rock, pop, soul, the list goes on. And the good thing is, it never sounds far fetched or in-cohesive.
For me an album that deserves a huge audience. Real music from a guy that puts his heart and soul in it. I am very impressed, so please go check him out!
There are a couple of reasons to write some words about this album. First, the new album from Jeff Young called Choose Your Own Unknown, will be released coming march 2016. Second is that this album deals with songs from the musical One Hit Wonder, written in 2009 by Jeff. And I don not often have musicals on offer… And most importantly is reason 3; this is damn fine music!
The songs are a mix of soul, blues, pop, jazz and rock. Brought to you by a cast that impresses on all accounts, even when I think I do not know all the musicians involved. But names like Jackson Browne, Jorgen Carlsson or Robben Ford should ring a bell.
The CD tells the fictitious story of Pure Herringbone, who dreams of changing his life with just that one hit record. The songs deal with vision and ambition, obstacles and the machinations of the music industry. And I must say, from the moment I started listening I was impressed. There is something about this music that grabbed me. Something like a warm bath or an putting on that old coat. Instant very comfortable. So this is delivered from the heart and that is what you will also feel listening to this.
If the new album is anything like it, count me in!
Despite this being the fourth release of this Italian progressive eclectic gypsy jazz septet (what???), and the third on MoonJune Records, it is the first time I hear anything by them. After a 4 year hiatus, they serve us this platter (pun intended) with 8 new songs. And yes, the press sheet rambles on with variations on meals and so on, so we are not going to take that route.
First a look at the instruments within the band: tenor and alt sax, electric and acoustic violin, trumpet and harmonica, along side guitars, drums and bass. Not your average formation. And hints at why MoonJune refers to this as post-Zappa modern jazz, a phrase that certainly caught my attention.
Listening to the album, I am pleased to say it is by far more melodic as I had hoped for. Sure, there are some parts that come across as improvised on the spot, but that is mainly regarding the solos on various instruments. Overal the songs all have themes and melodies that are recognisable as such. And the mood swings within are quite enjoyable as well. Of course this music is not your average radio pulp, there is still too much going on for those who are not into the music this label releases.
But for me Slivovitz succeed in delivering interesting themes and songs and the instrumentation mentioned surely adds an extra dimension to the appeal. Give them a try!
As the title so clearly reflects, this is instalment 3 of the Dictionary albums by Ligro. Still with the same players as on their previous one, and, still as challenging.
This album holds 5 tracks, of which 4 clock over the 10 minute mark, with the whole of the album closing down after 63 minutes. I deliberately say tracks because once again this feels to me as spontaneous jams that were recorded on the spot. Which also says that the guys have lost nothing of their will to experiment, and neither stopped developing as musicians.
From whisper soft to really loud, from groovy to freaky, this is not for the faint of heart.
No doubt about the skills of these musicians. And even while I am tempted to think I sometimes start to understand this, the free styled, avant jazz of the trio will not be everyone’s cup of tea. Okay, track 1, Bliker, with special guest Ade Irawan on keyboards (who is an 18 year old phenomenon) is more accessible, and there are moments here and there that are a bit more easy on the ears. But overall you really have to be into this to be able to enjoy it. Which probably says more about my listening skills than about the quality on offer 😉