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Updated: 2017-12-10T19:15:32.521-08:00


Floros Floridis - F.L.O.R.O L.ow O.der R.oll O.ver


Floros Floridis - alto saxophone; Pandelis Stoikos - trumpet; Vasilis Komatas - clarinet; Vangelis Tsotridis - electric guitar; Nektarios Karatzis - bass; Nikos Psofogiorgos - drums; * 01. Pustseno [10:02] 02. Sarki [09:45] 03. Lahana [09:43] 04. Seriani [09:05] 05. Stergios [09:27] 06. Pavlos Melas [08:08] 07. Tis Fotias [07:33] Recorded in Magnanimus Recording Studios, Thessaloniki on March 21,22 & 23, 2002 j.n.d. re-records 002 * Greek Jazz? The phrase itself sounds like an oxymoron, even though over the past decade, it’s been acknowledged that master musicians can come as easily from Germany (East and West), Italy, Canada, Brazil, Cuba and South Africa as from either side of the Mason-Dixon Line. Still, any one of those countries was known to have a long, classical or rhythmic history. But most North Americans’ only association with Hellenic sounds was what they heard in My Big Fat Greek Wedding, Never on Sunday or the overwrought pop symphonies of Yanni and Vangelis. Floridis, who with pianist Sakis Papadimitriou made Greece’s first Free Jazz record in 1979 [!], has dealt with his isolation by writing for film, theatre and dance performances and by spreading his talents among many bands, including a German trio with the late bassist Peter Kowald and drummer Günter Sommer, the Inter-Balkan Orchestra, the Florina Brass Band and the two combos here. OUR TRIP SO FAR, matches up the Hellenic musicmaker with two foreign heavy hitters, American-Greek guitarist Nicky Skopelitis, best known for his work with fellow guitarist Sonny Sharrock, bassist Bill Laswell and tenor titan Peter Brötzmann; and to show how music transcends political boundaries, Turkish percussionist Okay Temiz, a longtime associate of cornetist Don Cherry. The results meld Greco-Turkish and rock influences with improvised sounds. F.L.O.R.O. on the other hand, finds Floridis plus a quintet of little-known --outside of Greece that is -- local musicians. Rejuvenation of some traditional Greek songs, all arranged by the saxman, takes place, with jazz, Balkan, rock and free music added to the jaunty, curvaceous themes. Balkan influences aren’t that odd, since geography places Greece and its Balkan neighbors in close proximity. They share some of the same melodies and many of the same instruments. An example of what you can do with this blend of instruments is demonstrated most clearly on tunes like “Seriani” and “Stergios”. The former, a uncomplicated andante line, finds guitarist Vangelis Tsotridis picking out muted, Johnny Smith-type chords as drummer Nikos Psofogiorgos rumbles from his kit, while the horns -- trumpeter Pandelis Stoikos and clarinetist Vasilis Komatas as well as Floridis on alto saxophone -- blend into a reedy squeeze-box sound. As the horns work off one another in counterpoint, woody clarinet tones and trilling alto lines mix with distorted guitar reverb and a walking bass line. By the end, though, intimations of the folkloric theme have been subverted by a stop-time ending with echoes of Ornette Coleman’s compositions. Coleman’s Prime Time band and Miles Davis’ electric period bands appear to be the models for the later tune. In it, legato clarinet lines mix with guitar fills that sound like they migrated from BITCHES BREW. As growling, gritty resonances from the alto man give way to deeper trills and split tones, the piece picks up Klezmer-Balkan overtones even as Tsotridis leans into his wah wah pedal and Psofogiorgos’ press rolls are more Baker (Ginger) then Blakey (Art). Taking to heart the lesson fellow reedist Julius Hemphill expressed in several of his longer compositions, Floridis knows that as long as the rhythm is catchy and constant, the soloist has freedom to do as he wishes. Thus, there are times the guitarist produces the sort of effects with his pedals that sound as if they belong on a Headhunters’ session, while the honks, snorts, trills and drones from the horn section make the tunes appear to be an admixture of Free Jazz and Greek wedding ditties. The tightness, but reticence of[...]

Atman - Ovoo


ATMAN: Piotr Kolecki, Marek Leszczynski, Marek Styczynski - various acoustic instruments from Asia, Europe & Australia, for example: dulcimer, singing bowls, didjeridoo, Slovakian fujara (wooden flute) and also instruments created by members of the group#1 & 15: Atman & Tomasz Gulinski -vocal; Anna Nacher -vocal; Tomasz Radziuk -el. Kramer bass.*01. Natural Landscapes [02:57]02. Angklungs [02:39]03. The Party [05:14]04. Dance I [05:52]05. Free Space I [00:59]06. Fly - Why Not [02:44]07. Dance II [03:14]08. The Platform [02:46]09. Free Space II [01:53]10. Dance III [03:24]11. Epilogue [03:46]12. Ovoo [01:36]13. Forest of Karma [09:54]14. Wild Way [08:46]15. The Talking Meadow (story) [16:12]Tracks 1 & 15 recorded at Polish Radio Krakow, Poland in 1996.Tracks 2-11 recorded at Polish Radio Gdansk, Poland in 1992.Tracks 12-14 recorded at Private Studio, Krakow, Poland in 1993.Fly Music *Perhaps the most creative world-music ensemble in the world was the Polish ensemble Atman, whose Personal Forest (1993) and Tradition (1999) were collages of surreal blends of Eastern and Western music, in the vein of the Third Ear Band and the Incredible String Band. Atman's multi-instrumentalist Marek Styczynski and vocalist Anna Nacher started a new project, Projekt Karpaty Magiczne, or Magic Carpathians Project, devoted to an ambient, cosmic, jazz version of Atman's pan-ethnic music on Ethnocore II (2001)...The album's tour de force is The Talking Meadow (15 minutes), a shamanic act which develops in a breeze of tibetan drones and native american rattles. Through ghostly echoes of didjeridu and buzzing of insect-like trumpets, an eerie melody on the dulcimer takes shape. Tensegretty, with its bored, "new wavish", vocals and its heavy metal riffing, may represent a more rock-oriented direction (albeit still light-years away from your average alt-rock band). *Atman (often Theatre of Sound Atman) was founded in 1975 in Cracow (PL) by Marek Styczynski and Jacek Zadora, from 1982 it was basiclly a trio: Styczynski, Marek Leszczynski & Piotr Kolecki but many musicians, dancers were invited to perform together with group. Atman was not only a band but a kind of alternative movement with their own label – FLY Music, workshops and festival Music in Landscape. Their sound is defined by using traditional, sometimes exotic, instruments, many flutes, different small percussions, violin, mandolin, cimbalom, didgeridoo, acoustic guitars and vocals also. Apart from obvious “ethnic” attitude Atman also didn’t forget about spontaneity of improvisation.* in Italian:Atman e` un gruppo polacco costruito attorno alle personalita` di Marek Styczynski, Marek Leszczynski e Piotr Kolecki. In passato hanno collaborato con diversi altri musicisti polacchi, in particolare la cantante Anna Nacher, a cui e` accreditato Tradycja (Freak Living Yourself). Atman e` fondamentalmente un gruppo di musica etnica strumentale, ma l'approccio e` alquanto diverso da quello della world-music. Il tono pacato e austero con cui dozzine di strumenti esotici (e alcuni costruiti dai musicisti stessi) vengono amalgamati ricorda semmai le partiture ambientali o le suite di Steve Roach (senza l'elettronica, ovviamente).Atman sta proponendo la world-music piu` intellettuale di tutti i tempi; sebbene radicata nei ritmi e nelle melodie del mondo, la musica folk di questo gruppo appare tanto austere, tanto complessa, tanto sofisticata e in definitiva tanto ambiziosa quanto la musica d'avanguardia....Wild Way cerca la trance con il suo strimpellio meccanico, le sue nuvole di flauti, le sue piogge di campanelli, i suoi barriti di trombe......Il tour de force dell'album e` rappresentato da The Talking Meadow (15 minuti), un atto sciamanico che si sviluppa in un abrezza di droni tibetani e rantoli amerindi. Attraverso echi spettrali di didjeridu e ronzio di trombe, il dulcimer da forma ad una lugubr[...]

Janusz Szprot - Na tureckim dywanie [On The Turkish Carpet]


Janusz Szprot - keyboards, Hohner melodica ( #1,4), Fender Rhodes piano (#5);Tomasz Szukalski - tenor sax (on # 1-3, 6-9);Tuna Ötenel - keyboards: Fender Rhodes piano ( # 1,4) alto sax ( # 6);Sibel Köse - vocal (# 7-9);Kamil Erdem - bass guitar (# 4,5);Adam Kowalewski - bass guitar (# 1-3, 6-9);Krzysztof Dziedzic - drums;*01.Na tureckim dywanie (Polonezkoy) [On The Turkish Carpet] [07:20]02.Sanktuarium w Adampolu [The Adampol Sanctuary] [06:43]03.Solilokwia [Soliloquies] [04:11]04.Jarek w ogrodzie [Jareczek's Garden] [08:53]05.Slodkie polskie sny [Sweet Polish Dreams] [08:30]06.Bilkent Blues [06:12]07.Velvet Mist [05:54]08.Bossa at Sundown [04:18]09.Lonely Avenue [05:11]Recorded at Ankara Sound Centre on November 2000.Selles SNFP 0013 (2001)*Janusz Szprot – pianist, composer, arranger, musicologist, and educator – is an experienced musician who shared a rich background as a professional jazz pianist, soloist, sideman and the leader with various ensembles. He grew up and was educated in Warsaw, Poland, where he received a Masters Degree in Musicology. While completing his studying in 1972, Janusz began to play jazz and earned his living as a musical practitioner but also as a jazz critic and educator as well. He is well known to European audiences as a pianist and arranger for an ensemble called SAMI SWOI. During his stints with this little big band he performed with numerous jazz giants such as Wild Bill Davison, Budd Johnson, Beryl Bryden, Maxine Howard, Big Bill Ramsey, Simeon Szterev, Birger Sulsbruck, Ethiopian Mulatu Astatke, and some American blues singers. He has made successful appearances at the PORI (1982), NORTH SEA (1983) and many other international jazz festivals; toured Europe, Asia, Africa, North America, and his native Poland. In addition, Janusz Szprot led a sextet called AMALGAMAT, which recorded for the Polish Radio and POLJAZZ recording company. In January 1986 he founded the BLUES DUO “SZ – SZ” (together with the top Polish reedman, Tomasz Szukalski), which became sensation on the Polish jazz scene and performed worldwide. Since 1990, when he began working at Bilkent University, Ankara, he is maintaining a busy schedule, performing concerts either in accompanying role with numerous jazz vocalists (including Sibel Kose, Liliana Rodriguez and American jazz star Joe Lee Wilson) or as a leader of his various jazz and blues ensembles. In June 1983 he founded the POLISH-TURKISH JAZZ FORMATION, a super group composed of the best Polish and Turkish musicians, which performed to enthusiastic audience response both in Ankara and at the 21st International Istanbul Festival. He has been for in partnership with Turkish musicians for many years. His longtime musical friends are Sibel Kose, Kamil Erdem, Tuna Otenel, to name but a few. The number of his students is also impressive and is still growing. As a pianist Janusz Szprot is conversant with many styles of jazz piano. His flexibility and versatility are clearly in evidence in his discography which consist of over 15 records. His last CD “POLONEZKOY”/ “NA TURECKIM DYWANIE” has been released in 2001 by ADA MUZIK (Istanbul) and SELLES RECORDS (Poland). Janusz is still very active as a composer, arranger, Hohner melodica virtuoso, musicologist, adjudicator, and educator. At present he serves as Director of Jazz Studies at Bilkent University, Ankara, Turkey. ( Bossa at Sundown -live: Sibel Köse & Dante Luciani & Janusz Szprot Group*Tomasz Szukalski is one of the most important but probably most under appreciated Jazz musician in the history of Polish Jazz. He is multi-talented artist who has contributed to the numbers of most important milestones of Polish and European Jazz, including albums by leaders like Zbigniew Namysłowski, Jan Ptaszyn Wróblewski and Tomasz Stańko. His charis[...]

Theodosii Spassov - Bratimene


01. Horo with Kaval [05:53]02. Rhodope Song [04:30]03. Old Wives' Tales [06:57]04. Paleontologomania [02:59]05. Satin Doll [05:57]06. Pendata [02:32]07. Song about the Couscous [06:22]08. Samba Rachenitsa [04:46]09. Gyurkata [05:06]10. A Little Something out of Nothing [02:06]11. Rada [04:15]12. For Nicky [04:42]13. Christmas Eve with Bells [02:52]*# No 1:Theodosii Spassov - kaval( Bulgarian wooden flute), Vesselin Koichev - guitar, Docho Panov - bass guitar;Recorded in February 1983.# No 2:Theodosii Spassov - kaval; Simeon Shterev - flute, Roumen Toskov - piano; Vesselin Vesselinov-Eco - double-bass, Stoyan Yankulov - drums;Recorded in July 1995.# No 3:Theodosii Spassov - kaval, vocals; Stoyan Yankulov - percussions;Recorded in January 1998.# No 4: Theodosii Spassov - kaval, vocals; Milcho Leviev - piano.Recorded in June 1993# No 5: Theodosii Spassov - kaval; Peter Petrov - tenor sax; Ruschuk Trio: Boris Petrov - keyboards, Nikolai Georgiev - bass guitar; Marian Antonov -drums;Recorded in March 1996.# No 6: Theodosii Spassov - kaval; Peter Petrov - tenor saxophone;Recorded in March 1996.# No 7: Vesselin Nikolov Sextet: Vesselin Nikolov - soprano sax; Yildiz Ibrahimova - vocals; Theodosii Spassov - kaval; Vesselin Koichev - guitar; Docho Panov - bass guitar; Radoul Nachkov - drums; Boris Dinev - percussions.Recorded in November 1985.# No 8: Theodosii Spassov - kaval; Yildiz Ibrahimova - vocals; Ognyan Videv - guitar;Recorded in January 1988.# No 9: Theodosii Spassov - kaval; Stoyan Yankulov - percussions;Recorded in January 1998.# No 10: Theodosii Spassov - kaval; Acoustic Version: Antony Donchev - piano; Hristo Yotsov - drums;Recorded in March 1992# No 11: Theodosii Spassov - kaval; Anatoly Vapirov - soprano sax;Recorded in October 1993.# No 12: Theodosii Spassov - kaval; Roumen Toskov - piano; Georgi Donchev - double-bass; Stoyan Yankulov - drums;Recorded in February 1997.# No 13: Theodosii Spassov - kaval; Stefka Onikian - vocals; Nikolai Dragnev - guitar; Dimiter Shanov - bass guitar.Recorded in February 1997"St. Alexander Nevsky" Cathedral bells recorded during the Christmas Liturgy in 1992.Gega New (1998)*Various video:**This is a compilation of Theodosy's best work from 1983 to 1998. Best described as Bulgarian ethnic jazz, this features Theodosy accompanied by some of the finest jazz musicians in Bulgaria: Yildaz Ibrahimova - vocals; Stoyan Yankulov - percussion; Milcho Leviev - piano; Vesselin Nikolov - sax; Simeon Shterev - flute, Peter Petrov, Stefka Onikian.*Theodosii Spassov invented a new musical genre. The American magazine is absolutely right. The Bulgarian genius developed a completely new style of playing the KAVAL, which is a shepherd’s flute consisting of wood and one of the oldest instruments in Europe.*Theodosii gets everything out of his KAVAL when playing his unique compositions. They include elements of traditional folklore music as well as jazz, classical music and even pop. His very own way of playing has not only impressed audiences during his concerts and festival appearances, but also fellow musicians, who cooperated with THEODOSII SPASSOV in the past years. Among them are Dave Liebman, Andy Sheppard, Yldiz Ibrahimova, Ennio Morricone, Jamey Haddad, Albert Mangelsdorff, Mark Johnson, Kazumi Watanabe and many others.*BiographyTheodosii Spassov was born on March 4th, 1961. He began his early training on the kaval at the Kotel Music School and The Academy of Music and Dance in Plovdiv/Bulgaria. The kaval, an eight-hole wooden “shepherd” flute, is one of the oldest Instruments in Europe, rich in tone and technical possibilities. Theodosii Spassov has developed his own unique style of playing the instrument by synthesizing traditional folklore with jazz, fusion and classical music.For over 20 years, Theodosii has toured all over Europe, Asia, the Middle East, Australia, Canada and United States. In 1994, he performed w[...]

Mihály Dresch & Archie Shepp - Hungarian Bebop


Archie Shepp: soprano, tenor sax., piano.
Mihaly Dresch: soprano, tenor sax., flute.
Ferenc Kovacs: violin.
Matyas Szandai: double bass.
Istvan Baló: drums (Duban drums -model Baló).
Kalman Balogh: cimbalom (#5)


01. Lily Of The Valley [07:59]
02. Búzai Song (based on traditional folk tune) [11:43]
03. I Was Beaten Because [10:02]
04. Steam [06:32]
05. Sorrow, Sorrow [08:48]
06. Hungarian Bebop [09:59]

Recorded at the Roxound Studio, Budapest 2002


Saxophonist and composer Mihaly Dresch is one of the most influential nurturers of a fertile fusion between Hungarian folk music and jazz, and this attractive set features him in the company of that grizzled veteran of the 1960s American free-jazz avant-garde, Archie Shepp. There are strong contrasts between Dresch's clearer, more precise, yet Coltrane-pungent tenor lines and Shepp's raw and bleary smears and lurches, and they dance some ruggedly elegant improvised counterpoint together on soprano saxes too, as well as providing haunting textural blends with violinist Ferenc Kovacs' deliciously fluttering tone and sudden surges of intensity. Shepp's famous Steam (taken surprisingly slowly, and suggesting a dance in monochrome between a solitary couple in a vast, empty ballroom) is the only non-Dresch track, and most of the melodies mingle boppish lines with gracefully weaving Hungarian folk themes. Shepp sounds unusually engaged in the whole enterprise, and though there's a melancholy flavour to it, it's a very distinctive mix. John Fordham The Guardian

This summit meeting between the Hungarian saxophonist and composer Milhaly Dresch and avant-jazz elder statesman Archie Shepp is an interesting and frequently beautiful experiment that demonstrates both how gracefully Shepp is aging and how fully developed the jazz scene is in that former Soviet satellite country. The mostly pianoless arrangements (which feature violin and, in one case, a cimbalom) recall the harmolodic excursions of Shepp's old boss, Ornette Coleman, but without Coleman's willful harmonic chaos. On the contrary, these are well-crafted compositions, all but one written by Dresch, and they give the players plenty of structural support on which to base their sometimes wide-ranging improvisations. Highlights include "Buzai Song" (which is based on a Hungarian folk tune and features some stunning duo improvisation between the two saxophonists) and the playful "Hungarian Bebop," which is only vaguely bop-flavored but shares bebop's flavor of complex but high-spirited fun. Recommended.
Review by Rick Anderson

Editor's Info:
Dresch's music touches on both areas using Afro and Euro-American idioms, also incorporating their own folk traditions. Within the area of instrumental music it's rather like what the Beatles were able to do using Negro-blues to create a new form. What we did was combine Hungarian folk and European academic music with afro-jazz elements in a way that really swings. The overall feeling of the recording is nice and fresh.


Bela Szakcsi Lakatos Trio - Na Dara!


(image) Béla Szakcsi Lakatos - piano
György Orbán - double bass
András Peczek Lakatos - drums

Mónika Rostás - vocal
Csaba Rostás - vocal

01. Red caravan [08:09]
02. 8th district [10:23]
03. Peace of the stars [06:11]
04. Little gipsy song for you [09:01]
05. Gipsy groove [01:57]
06. Bell of my soul - tribute to Péter Eötvös [11:43]
07. Django [03:46]

Recorded at Aquarium Studio, Budapest on December 2003


"I believe that what we have on this album is world music in the truest sense of the word. To my mind, world music is not when a Cuban musician or a Gypsy plays the tunes of his own people but when various musical cultures and styles merge into one. Here you have the Hungarian and Gypsy elements fusing with the strains of Oriental music, occasionally straying into the blues while phrases crop up even from Bartók’s Piano Concerto No. 1, and there is the undeniable influence of twenty-first-century contemporary music. But all through this pulses the underlying current of jazz."
Béla Szakcsi Lakatos


"Pianist Béla Szakcsi Lakatos has a lengthy history that includes playing classical music and jazz standards as well as being the first in Hungary to explore fusion. As a member of Special EFX, he toured the world and appeared on many recordings. He has also worked extensively at exploring his Hungarian heritage and turning gypsy-flavored melodies into jazz. Although one can hear a bit of Bill Evans and Keith Jarrett in his playing, much of the time Lakatos plays the piano like the folk instrument the cimbalom, a bit out of time yet swinging in its own fashion. Lakatos' originals are full of rich melodies, and the lengthier pieces on Na Dara!, particularly "8th District," are episodic, unpredictable, and intriguing. The occasional wordless vocals of Csaba Rostás and particularly his wife, Mónika Rostás, are haunting and authentic, giving this music an even stronger flavor of Eastern Hungarian music. Lakatos wraps up this continually interesting set with a stately reading of John Lewis' "Django." Recommended!" by Scott Yanow

Szakcsi Lakatos Trio [is] led by Rom pianist Lakatos with Gyorgy Orbán (bass), András Peczek Lakatos (drums), plus a pair of superb vocalists, Mónika and Csaba Rostás. Not Django, but an utterly contemporary, cosmopolitan sort of gypsy jazz. At the keyboard, Lakatos hard bops with the very best; the ideas come fast and furious, he plays with a riveting precision, and the groove he carves out carries the entire project forward with overwhelming energy (Randy Weston and Rodney Kendrick come to mind). He's literally all over the piano, reaching deep inside the box to pluck and stroke the strings like a grand cimbalom, as the bass dances and the cymbals shimmer, easing into a down-and-dirty strut to wake the dead (hear "Eighth District"), or loping up and down the track with a percussive joy that defies time itself ("Gipsy Groove"), while the John Lewis ballad "Django" closes out with what an affecting interpretation that calls down the spirit of Bill Evans. Lakatos (winner of the Lizst Prize and Hungarian Artist of Merit Award) has talent to burn, and he deserves a far wider hearing. - Michael Stone, RootsWorld

Asian American Jazz Orchestra - Big Bands Behind Barbed Wire


THE ASIAN AMERICAN JAZZ ORCHESTRA:Anthony Brown: drumset w/timbales and pedal tom, shime daiko [7]; Mark Izu: bass, sheng (mouth organ) [7]; Jon Jang: piano; Qi Chao Liu: sheng [7], suona reed trumpet [1, 10], dizi (bamboo flute) [4, 6, 8, 9, 10]; Hafez Modirzadeh: soprano and tenor saxophones [2, 6], ney (end-blown flute) [4, 8]; Wayne Wallace: trombone; Francis Wong: tenor saxophone [2, 5], flute [1, 6-10]; clarinet [5]; John Worley: trumpet.SAN JOSE TAIKO:PJ Hirabayashi: taiko, percussion, waterphone [8]; Michelle Fujii: taiko, percussion, shekere [10]; Yumi Ishihara: taiko, percussion, cowbell [6], clave and palito [10]; Crissy Sato: taiko, percussion, triangle and cowbell [10].and special guests BRENDA WONG AOKI and GEORGE YOSHIDA01. Executive Order 9066 [03:12]02. Camp Life, Tuxedo Junction, Polka Dots and Moonbeams [04:38]03. Jerome Camp, Buddhahead Blues [04:41]04. The Photograph [02:58]05. The Last Dance, In a Sentimental Mood [03:00]06. Kiryoku [07:32]07. Ichikotsu-cho [02:59]08. Prelude (Truth be Told) [04:54]09. Intro to Rhymes [01:22]10. Rhymes (For Children) [08:58]11. Redress/Blues [05:29]12. Reparations Now! [04:09]13. Ikiru [06:50] Recorded at San Jose Repertory Theater, San Jose, California on August 18, 1998Asian Improv Records AIR 0045*Anthony Brown’s Liner Notes to “Big Bands Behind Barbed Wire”In 1997, the Civil Liberties Public Education Fund (CLPEF) awarded federal grants to individuals, organizations, and projects to promote public education about the Japanese American internment experience. “Big Bands Behind Barbed Wire” was a national multimedia multidisciplinary consortium project funded by the CLPEF to create dialogue and increase public awareness about the internment experience through the vehicle of jazz. Concert programs of the Asian American Jazz Orchestra with members of San Jose Taiko and guest artists performing original works inspired by the internment experience, symposia involving former internees, musicians, and members of local communities, a traveling photo exhibit “Reminiscing in Swingtime,” of how jazz was part of life in internment camps were major components of the project.This recording consists of excerpts from extended compositions performed in concert as “Big Bands Behind Barbed Wire.” Following a weekend of concerts at the San Jose Repertory Theater, the full program was recorded in its entirety. The selections included on the CD are first or second takes with no overdubs and reflect essentially what the Orchestra sounds like in performance.E.O. 9066 is a collaborative commissioned work by Anthony Brown with San Jose Taiko, commemorating the courageous spirit of those unjustly imprisoned during World War II. The introductory Executive Order 9066 is an adaptation of a Chinese melody entitled, “The General’s Order,” co-arranged by Anthony Brown and Qi Chao Liu. The music heralds the abrupt upheaval and forced incarceration of over 120,000 people precipitated by Executive Order (E.O.) 9066. Qi is featured on suona, the Chinese reed trumpet, even playing two together (2:04-2:14)!LAST DANCE is the collaborative multimedia work by Mark Izu and George Yoshida commissioned by the “Big Bands Behind Barbed Wire” project. George played alto saxophone in the Music Makers of Poston Camp, Arizona in 1943 (front, center in the cover photograph), although he later chose drums as his instrument. He tells the story of the camps from his heart and soul; you can hear his seasoned timing in his adroit phrasing and delivery. George’s musicality prompted recording him as another instrument rather than how a singer typically would be. Adaptations of the original big band arrangements of Tuxedo Junction, Polka Dots and Moonbeams, and In a Sentimental Mood are by Wayne Wallace. Consummate performance artist Brenda Wong Aoki contributes haunting reminders in song and poetry of the nightmare World War II was[...]

Getatchew Mekuria & The Ex & Guests - Moa Anbessa


Getatchew Mekuria - tenor saxophone; The Ex:Katherina Bornefeld - drums;Terrie Hessels - guitar;Andy Moor - guitar;GW Sok - vocals; Guests: Colin McLean - bass;Xavier Charles - clarinet;Brodie West - alto saxophone;Joost Buis - trombone;Cor Fuhler - organ (# 6,9,10);*01. Ethiopia Hagere [06:30]02. Sethed Seketelat [04:31]03. Eywat Setenafegagn [05:04]04. Che Belew Shellela [04:50]05. Aynamaye Nesh [05:55]06. Aynoche Terabu / Shemonmwanaye [08:15]07. Musicawi Silt [04:22.54]08. Tezeta [04:16]09. Almaz Yeharerwa [05:35]10. Tezalegn Yetentu [06:02]11. Aha Begena [06:30]Recorded April 03-04 2006.Tracks 3,5,6,8,11 recorded live on April 08 2006.Terp Records* ‘‘A killer combination of sounds - the searing tenor sax of Getatchew Mekuria and the raspy guitars of The Ex brought together here in really unique cross-cultural formation! Mekuria's influence really transforms the sound of The Ex, bringing their anarchic spirit into a strongly Ethiopian mode, one that's further underscored by some great guest horn work on clarinet, alto, and trombone used like the kind of horn sections you'd find on Ethiopian recordings from the 70s, which lets Mekuria really do his thing by soloing over the tunes with a great deal of feeling.’’ Dusty Groove America.*Getatchew Mekuria is the most revered veteran of the Ethiopian saxophone. A real giant, both physically and musically. In his seventies, he is still in full voice, with his own, powerfully distinctive style of playing. His huge vibrato, both forceful and fragile, plays around the vocal lines, using typical Ethiopian embellishments. He started playing in 1947 in the Addis Abeba Municipal Band, then in the Haile Selassie 1 Theatre Orchestra and the Police Orchestra. He also backed up all the famous Ethiopian singers. Getatchew Mekuria is the inventor of a musical style called the ‘Shellele’, which originates from an heroic war-chant, translated to the saxophone. When he plays it, he dons a lion’s mane and cuts loose with furious solos that are a kind of free jazz, from before free jazz existed.The Ex, from Holland, often descibed as an avant-ethno-improv-punk band, toured Ethiopia twice and fell in love with its music. The Ex had their 25th year anniversary party in November 2004 and they invited Getatchew to perform there with the ICP, the Instant Composers Pool, for many decades Holland’s most amazing free-improvising jazz group.It was his first time traveling outside of Ethiopia but he accepted the ICP as if they were his own band, donned his lion’s mane, the ‘gofere’, and blasted everyone off stage. On the 25-year-Ex-convoy-tour around France, he played with The Ex.He was so inspired that he suggested to The Ex he should record his next CD with them. He gave them 10 solo saxophone versions of Ethiopian tunes, which they arranged and practiced. Then in April 2006 Getatchew traveled to the Netherlands for some concerts and recording sessions.The result is unique; Getatchew’s melodies and solos mesh with The Ex’s rhythms, noise and vocals, supported by a guest impro-horn section.There were some 80 concerts on many Jazz-, Worldmusic- and Rock-festivals and a presentation of the CD in Addis Abeba, where the record also was released on cassette. First pressing 10.000!*#7.Musicawi Silt The Ex and Getatchew Mekuria at Damrosch Park, NYC, August 20th 2008 Seketelat au Point Ephémère à Paris le 12 novembre 2008 .Aha Begena live[...]

Rondellus - Sabbatum (A Medieval Tribute To Black Sabbath)


Veikko Kiiver - organistrum and vocals Miriam Andersén - Gothic Harp on #7: Magus (The Wizard) and #2: Oculi filioli (Junior's Eyes)Maria Staak - hurdy-gurdy on #2: Oculi filioli (Junior's Eyes) and organistrum on #4: Symptoma mundi (Symptom of the Universe)Robert Staak - lute on #12: Architectus urbis caelestis (Spiral Architect) and #10: Planetarum vagatio (Planet Caravan)Cätlin Jaago - the bagpipe on #11: Via gravis (A Hard Road)Tuule Kann - psaltery on #10: Planetarum vagatio (Planet CaravanMarju Riisikamp - positive organ on #8 Solitudo (Solitude)Tõnu Jõesaar - fiddle on #7: Magus (The Wizard), #5: Post murum somnii (Behind the Wall of Sleep), #2: Oculi filioli (Junior's Eyes) and #3: Funambulus domesticus (A National Acrobat)Robert Staak - frame drum on #1: Verres militares (War Pigs), #9: Rotae confusionis (Wheels of Confusion), #5: Post murum somnii (Behind the Wall of Sleep), #2: Oculi filioli (Junior's Eyes), #3: Funambulus domesticus (A National Acrobat) and #11: Via gravis (A Hard Road)*01. Verres militares (War Pigs) [03:27]02. Oculi Filioli (Junior's Eyes) [05:33]03. Funambulus domesticus (A National Acrobat) [06:13]04. Symptoma Mundi (Symptom of the Universe) [04:44]05. Post murum somnii (Behind the Wall of Sleep) [05:00]06. Post aeternitatem (After Forever) [03:42]07. Magus (The Wizard) [03:51]08. Solitudo (Solitude) [03:50]09. Rotae confusionis (Wheels of Confusion) [03:05]10. Planetarum vagatio (Planet Caravan) [03:57]11. Via gravis (A Hard Road) [05:20]12. Architectus urbis caelestis (Spiral Architect) [04:52]Recorded at the Tallin Merchant Guild (2002)Beg the Bug Records (2002)Monsters of rock Records(2003)*“Sabbatum” is a tribute album like no other – 12 Black Sabbath classic songs played by early music band Rondellus and sung in Latin language.Can You imagine what Black Sabbath would have sounded like if Ozzy Osbourne, Tony Iommi, Geezer Butler and Bill Ward would have formed the band in the 14th century? Would “War Pigs” or “The Wizard” have been as powerful if played on medieval instruments like lute, fiddle and harp? Rondellus are a gathering of 3-5 musicians who hail from Estonia and play music based in the 14th century using only instruments and vocal techniques from that time. Maria Staak is the brains behind this project and did all of the arrangements. So what exactly is this???? Well, this is Black Sabbath songs sung in Latin and played with only ancient instruments. Pretty strange you say? well it is, but is it good? YES........ If you like Black Sabbath then you must hear this. Put this on late at night and just relax and imagine.. Most of the songs you will recognize right away like War Pigs, Solitude, Planet Caravan, as the arrangements are nearly the same as the original. War pigs starts off the CD and is basically all vocals and a drum. Very eerie and cool.. Some songs have a hurdy gurdy, gothic harp, organsitrum, fiddle, and bells. Some of the other songs played are After Forever, Behind the Walls of Sleep, the Wizard, A hard Road, Juniors Eyes, Symptom of the Universe and A Spiral Architect. I think it is pretty amazing stuff and a great project. Congratulations on a success. Reviewed by Scott Heller (from Aural Innovations #19 (April 2002)*The story of SabbatumInterview with producer Mihkel Raud. How did You meet Rondellus? When I first came to the idea of recording Black Sabbath songs as if they were written and performed during the middle ages, I started to ask around in order to find an early music band that would turn my "crazy idea" into reality. One name kept coming up - Rondellus. So I approached them and explained what I had in mind. It didn't take much time at all to convince them. They are the most open-minded people I have met during my entire life. More open-minded than the majority of rock mus[...]

George Mraz - Morava


George Mraz - bass; Emil Viklicky - piano; Zuzana Lapcikova - vocals, cymbalom;Billy Hart - drums; *01. Aspen Leaf (Na Osicce) [05:48]02. Oh, Mountain (Ej, hora, hora) [04:42]03. Gray Pigeon (Videla jsem meho holubka siveho) [04:5104. Up in a Fir Tree (Na kosatej jedli) [03:45]05. Myjava [06:17]06. She Walks in a Meadow (Chodila po roli) [04:55]07. Little Black Swallow (Lastovenka, cerny ptak) [02:46]08. Desire (Touha) [04:54]09. Wine, Oh Wine (Vink, Vinko) [06:37]10. Gray Falcon (Zalet sokol, sivy ptak) [02:05]11. The Sun Goes Down (Slunecko sa nizi) [06:17]12. Jurenko, Jurenko [03:51]Recorded at The Studio, NYC on June 09-11,2000**Although George Mraz is listed as the leader here, the session really belongs to pianist-arranger Emil Viklicky and vocalist-cymbalomist Zuzana Lapcikova. These are songs based on or inspired by Moravian (eastern Czech) folk music. But this music is given a definite jazz spin by Viklicky's outstanding arrangements and the solid rhythm section of Mraz and drummer Billy Hart. Lapcikova has a beautiful, somewhat plaintive voice that sounds like it would also do well with more traditional settings of this music. Here she's backed by an empathetic jazz trio, and it works. This reminds me a lot of John Taylor and Norma Winstone's Azimuth project, maybe with Miroslav Vitous subbing for Kenny Wheeler. Viklicky is an accomplished pianist, handling a range of material from sensitive ballads to up-tempo swingers, although the average tempo seems to be somewhere around medium to medium-slow. The occasional appearances by Lepcikova's cymbalom add a strange and interesting tinge to a familiar sound-world. There aren't any real avant-garde elements here, but the combination of ingredients adds up to an unusual and delightful CD. - Joe Grossman *In the 20th century, jazz artists were influenced by a wide variety of world music everything from Brazilian samba (Stan Getz) to Middle Eastern and Indian music (John Coltrane, Yusef Lateef) to Swedish folk (Jan Johansson). Jazz/world fusion still offers endless possibilities; regrettably, too many of hard bop's unimaginative "Young Lions" are too busy playing the same old Tin Pan Alley standards the same old way to try anything new. But if you're seeking something fresh from jazz, George Mraz's Morava is well worth exploring. Recorded in 2000, this gem finds the Czech bassist successfully combining jazz with traditional Moravian folk. Some of the songs are instrumental, but most of them feature Czech singer Zuzana Lapcíková -- a soulful, charming artist who is also known for playing the cymbalom (a dulcimer that is used in Eastern Europe). All of the lyrics are in Czech, although Milestone/Fantasy provides English translations. It isn't every day that you hear Czech lyrics and jazz rhythms at the same time, but the two prove to be quite compatible. Morava isn't the first example of a jazz artist looking to Eastern Europe for inspiration Swedish pianist Jan Johansson recorded an album of Russian folk songs (Jazz in Russian), and in 1999, Helen Merrill incorporated Croatian elements on Ana Jelena Milcetic, aka Helen Merrill (which employed Mraz on double bass). But even so, it's safe to say that post-bop/Moravian fusion isn't something that the jazz world has been inundated with. Consistently risk-taking and exploratory, Morava is among Mraz's finest accomplishments. ~ Alex Henderson, All Music Guide*George Mraz's "Morava" is an ambitious project which yielded gorgeous results. A native of Czechoslovakia, and one of jazz's great bassists, he decided to meld the folk music of his native land (Moravia) with the jazz music of his adopted country (the U.S). Some musical experiments succeed, while others fail, but "Morava" is definitely in the former category. This is just a gorgeous album, full[...]

Emil Viklický - Zuzana Lapciková - Jiri Pavlica - Prsí dést [Fast Falls The Rain]


Emil Viklicky - piano;Zuzana Lapcikova - dulcimer, vocals;Jiri Pavlica - violin, hurdy-gurdy, tromba marina, Jew's harp, vocals;additional musicians on tracks 2, 5, 8-10,13, 15: Frantisek Uhlir - double bass;Josef Vejvoda - drums;*01. Prolog [01:45]02. Prsí dést [04:58]03. Grumla [04:34]04. Kvítí milodejné [04:04]05. Sibenicky [03:41]06. Bazalicka [04:40]07. Bylo lásky [03:59]08. Kone moje vrané [03:47]09. Ked sa Janko na vojnu bral [06:17]10. Mal som 7 penazí [02:07]11. Na horách, na dolách [04:18]12. Dyby ne tak bylo [03:57]13. Masíruju na Francúza [03:00]14. Touha [04:51]15. Epilog [03:50] Recorded at Demovina Studio, Prague on April 1994Lotos LT 0014-2 531*“…When most American jazz buffs think of the Czech Republic, they probably think of bassists George Mraz and Miroslav Vitous or keyboardist Jan Hammer. However, Europeans knowledgeable about the same topic probably think of Emil Vicklický, the acknowledged "Patriarch of Czech Jazz Piano." Known for combining the melodism and tonalities of Moravian folk music with modern jazz harmonies and classical orchestration in a distinctly individual style, Vicklický grew up in the former Czechoslovakia, where his father was a university art professor. He graduated in 1971 from Palacky University with a degree in mathematics, and applied to graduate school with a view to becoming a professor himself. His first postgraduate lesson was also his last: learning that in communist Czechoslovakia circa early 1970s, political correctness was more important than academic merit, convincing him to pursue a musical career instead. In 1974 he was awarded the prize for best soloist at the Czechoslovak Amateur Jazz Festival, and in 1976 he was a prizewinner at the jazz improvisation competition in Lyon. His composition "Green Satin" earned him first prize in the music conservatory competition in Monaco, and in 1977 he was awarded a one-year scholarship to study composition and arrangement at Berklee College of Music in Boston. Since returning to Prague, he has led a variety of quartets and quintets and lectured at summer jazz workshops in both the Czech Republic and Wales. From 1991 to 1995, Vicklický served as president of the Czech Jazz Society, and since 1994 he has worked with the Ad lib Moravia ensemble, which had a highly successful concert tour of Mexico and the United States in 1996. Vicklický often performs in international ensembles with American and European musicians, including the Lou Blackburn International Quartet and the Benny Bailey Quintet. He has made frequent appearances in Finland with the Finnczech Quartet and in Norway with the Czech-Norwegian Big Band, and he has performed throughout Europe as well as in Japan and Israel. The editor of Rolling Stone magazine once wrote of Vicklický that, "it was a delightful surprise to see such first-class, top-of-the-line jazz in Prague."…...AAJ: You're known for combining Moravian folk music and jazz. I'm curious, given that your audience tonight will be primarily Czech-Americans, will you do anything different than you might if you were, say, just playing at some jazz club in New York or Chicago?EV: No, I don't think so. That is my trademark, and the only thing that might be different tonight is that the audience might be even more responsive, and they may know some of the folk songs I use. On the other hand, I've reharmonized, even changed them rhythmically pretty far from the original, and they might not recognize them. Something I do in the Czech Republic which has been commercially successful is touring with Zuzana Lapcikova, a folk singer who is educated in ethnography. She's a very good singer; she dresses in the traditional folk garb, gives some background, and she sings the melody in its[...]

Kocani Orkestar meets Paolo Fresu & Antonello Salis "Live"


(image) Paolo Fresu - trumpet, flugelhorn;
Antonello Salis - piano, accordion;
Furio Di Castri - bass
Kocani Orkestar:
Durak Demirov - saxophone,
Turan Gaberov - trumpet,
Sukri Kadriev - trumpet,
Nijazi Alimov - bariton tuba,
Saban Jasarov - tapan,
Suad Asanov - bass tuba,
Dedzai Durmisev - bariton tuba,
Sukri Zejnelov bariton tuba,
Dzeladin Demirov - clarinet,vocals,
Ajnur Azizov - vocals.


01. Notti a Mogadiscio [06:15]
02. Gajda [08:20]
03. ...Del Viaggio [06:13]
04. Papigo [08:32]
05. Variazioni Sul Ballo [06:53]
06. Jacquelina [07:19]
07. Siki Siki Baba [08:22]
08. Good By Macedonia [09:09]
09. Red Bull [07:01]

#1,3,5,7,9 Recorded live in Ravenna, on February 25, 2004.
#2,4 Recorded live in Foligno on February 29, 2004.
#6,7 Recorded live in Roma on March 01, 2004.


This one leaps out to the edge, with the inimitable Balkan brass band joined by two Italian jazz experimenters for a raucous, surprising and completely unexpected set of musical adventures. 60 minures of great music from various live performances during late February and early March of 2004

Kocani Orkestar arrive in Sardinia to play at Time in Jazz Festival 2007:
Time in Jazz 2007:

Photo gallery:

Olo Walicki - Kaszëbë


Olo Walicki - double bass, guitar, keyboard, Piotr Pawlak - guitar, Kuba Staruszkiewicz - drums, timpani, Cezary Paciorek - accordion, Hammond organ; Damroka Kwidzinska - recitation, Maria Namyslowska - vocal, Karolina Amirian - vocal, voice of Roza Ostrowska in #6 (from radio broadcast recorded at Radio Gdansk on December 31, 1972)*01. Wanoznice [04:08]02. Czas Ca goni [06:18]03. Wiedno Te [07:07]04. Zemia Mojo [06:43]05. Przechodom do Ce [06:44]06. Te Dwa [06:12]07. Tatczezna [05:46]08. Bro [02:57] All Kashubian lyrics by Damroka Kwidzinska Recorded in Wdzydze Kiszewskie, autumn 2006* Olo Walicki (Olgierd Walicki) - double bass player and bass guitarist, born on 21 December 1974 in Gdansk. In 1989 Olo Walicki together with the clarinet player Jerzy Mazzoll founded his first band Niebieski Lotnik. In the 90's he was a co-author of the yass scene. He performed with Miłość, Maciej Sikała Trio, Chamber Meeting, Mikołaj Trzaska Quartet and with Łoskot. He worked with outstanding musicians: Zbigniew Namysłowski, Jan "Ptaszyn" Wróblewski, Zbigniew Preisner, Adam Pierończyk, Brandon Furman, Frank Calberg, Greg Tardy and a vocalist Christine Correa. He cooperated with the Muniek Staszczyk Band, Szwagierkolaska, and with such groups as: Oczi Cziorne, Chili My, Agape. He performed in duo with the vocalist Mika Urbaniak and in trio Euro Commissars with Finnish guitarist Kall Kallima and German percussion player Maurice de Martin. In 2003 he started working with Polish writer Ingmar Villqist. He composed music for theater "Sprawa Miasta Ellmit" (2003) and "Helmucik" (2004) and for the performance "Oskar and Ruth" (2006) in Katakomben Theaters in Essen. Together with Leszek Możdżer, Maurice de Martin and The Gdańsk Philharmonic Brass Quartet created a project "Metalla Pretiosa", which premiere took place in 2003 at the 45th Festival "Jazz Jamboree" in Warsaw. He is an author of the project Olo Walicki Kaszëbë (Damroka Kwidzińska - vocal, Maria Namysłowska - vocal, Piotr Pawlak - guitar, Olo Walicki - double bass, Cezary Konrad - percussion), - a mix of jazz with traditional music from the region of Kaszuby. The project was presented in 2005 at 26. Folk Festival of the European Radio Union. Since 2000 he has been running his own record label Olo Walicki Production.* Recently it has been talked a lot about the record Kaszebe by Olo Walicki, which got excellent reviews in the music circles. In one of them, published in Tygodnik Powszechny, Janusz Jablonski wrote that Kaszebe "is based on brave jazz and contemporary Kashubian poetry. Olo Walicki's septet consists of Damroka Kwidzinska - poetess, who wrote all the lyrics and recited some of them, Karolina Amirian and Maria Namyslowska, who sing the rest, Cezary Paciorek playing accordion and Hammond organ, guitar player Piotr Pawlak, drummer Kuba Staruszkiewicz (Pink Freud) and the leader, playing contrabass, acousting guitar and keyboards. Just for the arrangement of voices, Walicki deserves an award. A duo of the light, girlish voice of Karolina Armiran and the misty, full ofharmonical subtleties alto of Maria Namyslowska makes an immense impression from the first until the last not (...) Personal lyrics by Kwidzinska strongly place the music in its local context. Thanks to them, the listener is convinced s/he is listening to an important work, and that it was created in purpose (...). For a long time I have not heard such a moving music. I have been listening »Kaszebe« since two weeks, and after having played it a few dozen times, I still have not enough".* "Wanoznice" "Przechodom do Ce "!v=GsaFItjXIX[...]

Veronika Povilioniene & Petras Vysniauskas - Islek, sakale [Fly, Falcon, Fly]



Petras Vysniauskas - soprano saxophone
Veronika Povilioniene - vocal


01. Islek, sakale... (Fly, Falcon...) [06:14]
02. Bliuzas (Blues) [03:56]
03. Vai tu dziemed... (Oh, You Wormwood...) [02:45]
04. Sutartine [04:24]
05. Eik, ozeli (Go, Little Goat...) [05:22]
06. Lek gervele (A Crane Is Flying...) [03:14]
07. Kad jau saulute (Cause The Sun...) [04:44]
08. Sutems tamsi (Dark Night Is Coming...) [06:38]
09. Sutartine (Lament) [03:50]
10. Rauda [01:43]
11. Ein motuse (Mother Is Going...) [03:07]

Recorded in Vilnius, Lithuania in 1992.

Veronika Povilionienė, the most famous performer of Lithuanian folk songs, has become a symbol of national culture. Originally from Dzūkija, the singer has inherited the tradition from the old singers of this region. Veronika Povilionienė's voice is strong and evocative; it reveals, with expression, the extraordinary beauty of the Dzūkian monodic songs, their modes and melodic turns. Apart from abundant solo performances and recordings, the singer frequently gives concerts with the folk ensemble Blezdinga and the ensemble of Indian classical music Lyla. The singer is also famous for her collaborations with jazz musicians and contemporary classical composers (saxophonist Petras Vyšniauskas, composers Vidmantas Bartulis and Bronius Kutavičius), other renowned artists, poets and film directors. One of her most notable recent projects is the program of historic and war songs Kada sūneliai sugrįš (When Our Sons Come Back), arranged by the composer Giedrius Svilainis and recorded with the Lithuanian Armed Forces’ Honour Guard Band.

"Soprano saxophonist Petras Vysniauskas, a Lithuanian, is I believe one of the most profoundly original musicians concentrating on that instrument -- his jagged phrases expanded on determinedly original intervals and his sound is powerful -- stronger and more pointed than Sam River's has become, for instance, more densely concentrated than the late Steve Lacy's, if not polyphonic in the manner of Evan Parker." - Howard Mandel, NYC, USA, 2007

"... Petras Vysniauskas is one of the best soprano saxists we've heard in many years ... " - Bruce Gallanter, Downtown Music Gallery, NYC, 2006

"Something of the rugged beauty of the Lithuanian countryside and the passion of many of his fellow countrymen has been breathed into his music. For me Petras Vysniauskas' music remains unforgettable because of his clear, individual concept. The use of themes from traditional folk music is one facet of this saxophonist, who reflects both the modern development in jazz and the sound idioms of the new and latest improvised and composed music. However, as he himself says, his feeling for folk music is part of his musical identity. And he adds: "In Lithuanian folk songs I hear echoes of John Coltrane; I try to combine this with the free form of expression offered by modern jazz". (Bert Noglik/1990)

Enver Izmailov & Geoff Warren - Dancing over the Moon


(image) Enver Izmailov - electric guitars;
Geoff Warren - flute & soprano saxophone;

01. Terrain turquoise [03:36]
02. Touch Down at Falconara [02:23]
03. Ancona danza [08:45]
04. Among the Hops [04:15]
05. Near the Grapes [03:55]
06. Boina [09:10]
07. Dolu [03:25]
08. Lonely Dancer [06:49]
09. Enver's Mood #2 [03:08]
10. Departure [06:38]
11. White Minarets [03:43]

Recorded live at Loft Hinkelstein, Essen, Germany on June 19 & 20, 1995.
Tutu Records

Enver Izmailov is an unique musician who invented "tapping" - a highly original technique of the electric guitar playing (he plays guitar with his both hands on the neck as if it were a keyboard) - knowing nothing about Stanley Jordan who invented the same in US at the same time. His music is a combination of many elements - jazz, Mediterranean and oriental folklore, classical harmony and astonishing virtuosity.
Enver Izmailov:
live 2006 part1
live 2006 part2
Geoff Warren:
Donna Lee

Michal Czachowski - Indialucia


Michal Czachowski - flamenco guitars, palmas, tanpura, kanjira, shakers, palo de agua, swarmandal, djembe, cajón, gong, voice, arrangements;Avaneendra Sheolikar - sitarSandesh Popatkar - tablaPierluca Pineroli - cajón, tabla, sabar, caxixi, triangle, konnakol, choirsPrasad Khaapadre - vocal;Domingo Patricio - flute;Giridhar Udupa - ghatam, morsing, konnako;Maria Pomianowska - sarangi;Carlos Troya - zapateado, jaleo;Sagar Jarel - dholak;Yrvis Mendez - fretless bass guitar;Tomasz Pala - piano;Adam Glosnicki - bass guitar;Ireneusz Wyrobek - palmas;Barbara Czachowska- choirs;*string quartet [members of "Aukso" Chamber Orchestra]:Marta Huget-Skiba - violin;Natalia Walawska - violin;Anna Grzybala - viola;Aleksandra Steczek -cello;01. Raag & Olé (Rumba) [05:22]02. Nagpur (Sevillanas/Dhun) [04:08]03. Herencia hindú (Soleá por Bulerías) [06:42]04. Taliquete (Jaleo) [03:26]05. Mohabbat ka khazana (Tangos/Qawwali) [05:16]06. Gujari todi (Raga) [08:05]07. Kyabathe (Bulerías) [06:37]08. Indialucía (Intro) [02:15]09. Indialucía (Zambra) [05:15]10. Amanecer (Martinete) [02:53]Recorded in India & Spain 1999-2004IndialuciaThis musical project combines two musical styles – Classical Indian Music and the Flamenco. The original concept is from producer / musician – Michal Czachowski himself. The result of his work is an album which shows how much Flamenco and its “distant roots” - Indian Music have in common.**Miguel CzachowskiFlamenco guitarist, composer, architect. Born in 1974 into a family of flamenco lovers where he was raised in a flamenco music environment. At the age of 12 he began learning to play the guitar. After his initial studies he took master classes from professional flamenco players such as Rafael Cortés, Salva del Real and Gerardo Núñez, which solidified his complete dedication to flamenco. In 1992, he formed a flamenco group gradually enlarging the numbers of the artists from a duo to septet. His group "Viva Flamenco!" plays both traditional and contemporary flamenco mixed with influences of Indian and Jazz music. Performing both as a solo artist and also with his musical group, Miguel has won first prizes in many folk festivals and is now the leading flamenco player in his country. He has performed and recorded with many great artists and groups and he concretised all over Poland as well as abroad (Austria, Germany, Italy, France, England, Belgium, Holland, Slovakia, Czech Republic, Hungary, Belarus, Oman and India). For several years he has been teaching flamenco guitar, and writing articles and interviews, promoting the art of flamenco music in magazines as "Flamenco International Magazine", "Jazz Forum" and "Swiat Gitary". In 1998, after a performance in Italy, he was invited to India to teach flamenco guitar at the Academy of Music and Fine Arts in Nagpur. There he started studying Indian music, learning to play the sitar under the guidance of Avaneendra Sheolikar. His fascination for flamenco and Indian music inspired him to go back to the roots of the Gypsy music and record CD titled Indialucia.Indialucia is a musical project, which fuses two fascinating styles of music: Indian and Flamenco music. The album expresses both the human and musical fusion of these cultures, which could have had a common ancestor. Improvisation and rhythm are the common elements in both styles and are essential to the continued existence of this music. The recordings were made between 1999 and 2004 mostly in India and Spain. Many great artists from the two continents performed. This album is the result of the years of work, which for the first time demonstrates the common elements of flamenco a[...]

Ti Jaz - Ti Jazz en concert: Musiques Bretonne Aujourd'hui


(image) Olivier Mell - bombards;
Richard Dilly - electric bass;
Olivier Le Gallo - drums;
Camille Ollivier - alto & soprano saxophone, bombard;
Bruno Brochet - tenor saxophone;
Didier Queron - tenor & baritone saxes;
Eric Richard - accordion;
Vincent Bucher - harmonica.
Recorded in Paris on February 19,20 & 21, 1993.


01. Les filles de Lannion [05:28]
02. Suite de gavottes (rotavator 1) [04:40]
03. Concept [01:56]
04. Rotavator 2, le retour [06:53]
05. An daou vreur [03:48]
06. Terre battue [08:49]
07. Bamenjou [05:25]
08. Suites plin (ton simple) [03:35]
09. bal [02:10]
10. ton double [03:15]
11. Loudia [07:21]
12. Kost'er hoed [05:32]
13. Tricot [03:08]

"C’est le groupe mythique du jazz celtique de l’Ile de France ... 1982, date de naissance du groupe et pendant 20 ans, ils se sont produits dans de nombreux pays. Quelle notoriété ! Pendant 20 ans, ils ont fait le bonheur des passionnés de musiques celtiques adaptées à notre époque, et des danseurs dans les bals folk car c’est aussi très dansant ...
Répertoire musical : un mélange de swing, jazz, funk aux airs traditionnels ; des mélodies du Trégor ou de Spézet et le rythm’n blues ... . quelle originalité et qualité musicales !" (

"While there are bands in abundance resurrecting the folk traditions of Brittany, there are only a handful that are expandiing those traditions. Ti jaz is one of them. Starting with a band of bass, drums and accordion, they have added the instruments of jazz: saxophones, and the instrument of ancient France: the bombarde, a raspy, woodwind with a bagpipe-like sound. So, too, have they melded these musical elements, the melodies and ideas of early French music with the improvisation of free jazz and the gut of rock. They pay hommage to the "ideal jazz" bands of 1940s and players like Yves Menez, who used horns, fiddle, accordion and banjo to create a new French folk music. In that same spirit, Ti Jaz sprawl across the musical landscape, one minute a dark dirge on bombarde, the next firing off a slap bass and drum riff that would settle in nicely at The Knitting Factory. The eight instrumental works on Rêves Sauvages are sometimes chaotic, often lyrical and always challenging. They achieve power without electricity, a power intrinsic in the instruments and the source material." (


Olivier Mell:

Bronislaw Duzy & Jorgos Skolias - Do It


Bronislaw Duży -trombone;Jorgos Skolias -vocals, percussion;*01. Afryka [06:00]02. Piec napiec [05:07]03. Kolo [06:08]04. Bluesdla [07:06]05. Imena [04:55]06. Zolo [03:34]07. Foxy Lady [03:43]08. Zeimbekiko [06:19]09. Pentagon [05:52]Recorded on November & December 1997 excerpt # No 7. Recorded in Saloniki, Greece on February 27, 1997 & March 06, 1997CD Sound CDSCD 110*Skolias / Duzy -Zeimbekiko / Duzy - Foxy Lady*About musiciansin English:JORGOS SKOLIAS – vocalist, composer His parents were Greek political refugees. He grew up in a cosmopolitan and culturally diverse young environment. He took part in events organised by the Greek minority, becoming involved not only in Greek music, but also trying rock and blues. He remembers his youth in Zgorzelec as being extremely inspiring.In the 1970s he became involved with Wroclaw’s very active and exciting rock and blues scene, working with the bands Nurt, Grupa 1111 and Spisek Szesciu.His own professional career began in 1982, when he joined the jazz rock formation “KRZAK”, soon attracting the interest of a number of searching, innovative musicians, from whom he received offers of live concert work and recording opportunities. He spent over a year with the band Osjan. Between 1988 and 1991 he was the vocalist with Young Power, a group of young, unorthodox artists that demonstrated an important and innovative approach to jazz.His work with Radosław Nowakowski (the percussionist in Osjan), the bands Tie Break, Pick Up, Free Cooperation, and Tomasz Stańko, Zbigniew Namysłowski, Terje Rypdal, Nikos Touliatos and Bronisław Duży led him to experiment with new visions of music.He has taken part in several recordings of music for theatre and film.Jorgos Skolias is a musician seeking not only his own individual formula for the use of the human voice in music, but also inspiration, whether from blues, jazz, rock, or ethnic music, whether that of Greece, Africa or India. He studies ancient forms of vocal techniques, which has enabled him to master the technique of harmonic singing (taking three parts at once).( DUZY - trombone. During his career he had an opportunity to participate in many jazz, blues and rock festivals such as: Jazz Jamboree, Jazz nad Odra, Jarocin, Jazz Juniors, Solo Duo Trio, Rawa Blues and other festivals in Austria, Belgium, Norway, Russia, Germany, U.S.A. and Canada.His CD "Do it" is the result of cooperation with Bronisław Duży with whom Skolias has been working since 1993.This music is a synthesis of different kinds of music genders where inspirations of folk and a varieties of rhythms and tones play a key role. In his music one can find the mood of blues, the expression of soul and a ballad narration. They all are supported by the rhythmic pulsation of trombone."&in Italian:Jorgos Skolias e Bronislaw Duzy: voce e trombone Lo stile del complesso è dato dalla sintesi di diversi generi: ispirazione dal folklore, il clima del blues, la narrazione della ballata, l’espressività vocale del soul.JORGOS SKOLIAS Il cantante polacco più originale, noto per la sua tecnica di canto multivocale. Negli anni ‘80 ha lavorato col complesso Krzak, e coi gruppi Tie Break, Basspace, Free Cooperation, Green Revolution, Ossian, Young Power, Pick up. Con Radoslaw Nowakowski ha inciso il disco Zulu. Ha partecipato a tutti i festival jazz polacchi e ai festival in Belgio, Svezia, Germania, Russia, Norvegia, Grecia.BRONISLAW DUZYDiploma[...]

Jazz Meets Asia


(image) 1-4: Hideo Shibaki Quintet feat. Terumasa Hino & Three Koto Girls
01. Yosakoi-Bushi [04:07]
02. Yamanaka-Bushi [06:48]
03. Matsuri No Genzo [06:15]
04. Suwa [06:13]

5-6: Irene Schweizer Trio & Dewan Motihar Trio with Barney Wilen & Manfred Schoof
05. Sun Love [17:44]
06. Yaad [05:19]

7-11: Tony Scott & The Indonesian All Stars
07. Djanger Bali [06:03]
08. Gambang Sulling [07:11]
09. Ilir Ilir [04:00]
10. Burungkaka Tua [05:20]
11. Summertime [08:13]


Hideo Shiraki - drums
Terumasa Hino - trumpet
Takeru Muraoka - tenor & soprano saxophone, flute
Yuzuru Sera - piano
Hachiro Kurita - bass
Kinuko Shirane - koto
Keiko Nosaka - koto
Sachiko Miyamoto - bass koto

Recorded November 1, 1965 in Berlin;
Original released on "Sakura Sakura" MPS Records 15.064

Dewan Motihar - sitar, vocals
Keshav Sathe - tablas
Kusm Thakur - tambura
Irene Schweizer - piano
Uli Trepte - bass
Mani Neumeier - drums
Manfred Schoof - cornet, trumpet
Barney Wilen - soprano & tenor saxophone

Recorded October 23, 1967;
Original released on "Jazz Meets India" MPS Records 15.142

Tony Scott - clarinet
Bubi Chen - piano, siter, ketjapi
Jack Lesmana - guitar
Marjono - tenor saxophone, flute, vocals
Yopi Chen - bass
Benny Mustafa - drums

Recorded October 27&28, 1967 at SABA Recording Studio, Villingen;
Original released on "Djanger Bali" MPS Records 15.145

Jon Jang Sextet "Two Flowers on a Stem"


Jon Jang - pianoDavid Murray - tenor saxophone, bass clarinetJames Newton - fluteSanti Debriano - bass, daluo (Chinese large gong) Billy Hart - drums Chen Jiebing - erhu*01. Two Flowers On A Stem [04:12]02. Meditations On Integration [18:21]03. Eleanor Bumpurs [05:22]04. The Procession/Woman Shaman Of Alishan [11:19]05. Variation On A Sorrow Song Of Mengjiang Nu [15:56]06. Butterfly Lovers Song [07:09] Recorded in NYC on June 08, 09 & 11, 1995 Soul Note 121253-2, 1996.***Pianist/composer Jon Jang has long created music that combines advanced jazz with aspects of his Chinese heritage. For this superb disc of inside/outside music, Jang utilizes a sextet also featuring the remarkable flutist James Newton, David Murray on tenor and bass clarinet, bassist Santi Debriano, drummer Billy Hart, and Chen Jiebing on a haunting cello-like instrument called the erhu. Strong passionate melodies give way to straight-ahead jamming, free sections, and other themes. As with Charles Mingus (one of his influences), Jang's pieces are sometimes quite political, and his music often unfolds like an episodic suite. Performing Mingus' "Meditations on Integration," four Jang originals, and "Butterfly Lovers Song," the sextet's many colorful voices somehow blend together as one in service to the consistently powerful music. This highly recommended set deserves and rewards repeated listenings.(Review by Scott Yanow)**The story of the making of "Two Flowers on a Stem":On a warm evening in April,1994. I had return to my home in San Francisco from Berkeley where I spent another long and exhausting day of rehearsal for the dramatic adaption of Maxine Hong Kingston’s book,"The Woman Warrior" which was to be premiered at the Berkeley Repertory Theatre. I was in the final stage of refining the score for "The Woman Warrior." I was not content with the score because it contained too many Chinese traditional folk songs. I wanted more of my music. Like a filmmaker who temporarily selects pre-existing source music during pre-production period before the composer becomes part of the process, the idea was for me to use pre-existing music to give the director a sense of the musical feeling and then later replace the pre-existing source music with my original music. However, the director became very attached to the pre-existing music, particularly "Kang Ding Love Song" which was used during a romantic scene of two young lovers.Beginning with the first three pitches (3-5-6) of The "Kang Ding Love Song" as a point of departure, another melody began to "blossom" in me like a new petal from the same stem and I began to compose a new melody. Somewhere in the process, I had just remembered that I left my score in a bag inside the trunk of my car which was parked three blocks away. After retrieving the score, I was half a block away from my home when I heard a voice shouting,"Give me your money!" I turned around and there were two young Chinese men with a gun facing me. I gave them all the money in my wallet. Unfortunately, they saw my gold wedding ring which was custom made in Hawaii and removed it from my finger. After telling Joyce, my wife, about the mugging and filing a police report, I finish composing the A section of "Two Flowers on a Stem," which became the final version for the play. The dramatic adaption of "The Woman Warrior" was staged at Berkeley Repertory Theatre, Huntington Theatre in Boston and the Center Theatre Group in Los Angeles duirng 1994-95. In Decem[...]

Jean-Marc Padovani - Jazz Angkor


*Jean-Marc Padovani -saxophones; Geoffroy de Masure -trombone; Francois Thuillier -tuba; Ramon Lopez -drums; Alain Bruel -accordion; L'Orchestre de Universite Royale des Beaux-Arts du Theatre National de Phnom-Penh.Yun Khean: 2-string trebble violin; Tuy Sovannara: 2-string bass violin; Ing Wanna: 3-string crocidile citara; Kao Dorivan: flute; Soy Sareth: percussion; Keo Sonan Kavei 21-bar trebble xylophone; Suo Somali: flute, oboe; Meas Sambo: 16-bar bass xylophone;Recorded in Phnom-Penh, Cambodia from April 27 - May 04, 1997.*01. Solo flute [0:01:23.12]02. La longue nuit [0:08:22.48]03. Au bord du Toulé Sap [0:07:29.47]04. L'écho de la foret [0:02:22.13]05. L'eau dans la mare [0:05:44.37]06. La danse des Lumas [0:05:01.05]07. Samara [0:01:39.20]08. Moi Pi Bei Boum [0:06:18.40]09. Bay Khon Tchang Day [0:02:40.28]10. L'image du park Khmer [0:03:47.57]11. Hom Rong [0:05:54.05]12. Soam Poong [0:02:27.40]**Saxophonist and major French Jazz composer, Jean-Marc Padovani, born at the start of the 1960s in Villeneuve-Les-Avignon and living in Nîmes, has always nourished his love of Jazz with southern feeling – incandescent lyricism, brassy tearing, melancholy, sensuality. It was through the guitar, which he started playing when he was twelve, after 7 years studying the piano at the Conservatoire, that Jean-Marc Padovani took his first steps with southern music. For four years he devoured the scores of the greatest Brazilian composers and plunged into Flamenco. However a passion for Jazz steadily growing in him he decided to take up the saxophone. He did not however repudiate his taste for sunny music, for straight away he decided to join the group Cossi Anatz, which brings together twelve musicians and blends jazz and traditions from Africa and Occitanie. The early 1980s saw the start of his personal experiments. In 1982 he formed a quartet with Philippe Deletrez (ts), Claude Barthélemy (gt) and Denis Fournier (dms). With this quartet he recorded a first album in 1983 with some choice guests: Henri Texier, Jean-Louis Ponthieux and Siegfried Kessler. The atmosphere was warm and joyful, the record peppered with feverish rhythms and spirited improvisations. In 1986, he recorded with Michel Godard, who had just been revealed by Marc Steckar’s Tubapack, for an intense tribute to Mediterranean music. The following year the two of them formed a quintet with Bobby Rangell (as, fl), Bruno Chevillon (b) and Jacques Mahieux (dms). For this formation Padovani wrote compositions linked to the Mediterranean universe and even went to Algeria to record One for Pablo. Following his inspiration, as ever, he created in 1987 Tres Horas de sol, a show for “Banlieues Bleues”, which was subtitled Jazz-Flamenco and was a great success. Based on the rites of the Corrida, this show mingled texts by Picasso and Lorca, read by Enzo Cormann, playwright and director. He renewed this experience in 1989 with Le Rôdeur, based on a text by Enzo Cormann, and accompanied by a trio bringing together Gérard Marais on the guitar and Youval Micenmacher on percussion. The experience was completed by the homage that Padovani decided to render to Mingus with his album Mingus Cuernavaca (Label Bleu, 1992) where Enzo Cormann recounts the last hours of the brilliant double-bassist-composer. From 1993 Padovani directed a Brass Band, the Minotaure Jazz Orchestra, in a creation born in September at the Arles Feria: ten brass instruments revisit the paso-doble and recover the luminous acce[...]

Hazmat Modine "Bahamut"


(image) Hazmat Modine:
Wade Schuman - lead vocals and harmonica
Randy Weinstein - vocals and harmonica
Joseph Daly - tuba
Pamela Fleming - trumpet
Steve Elson - saxophone
Pete Smith - guitar
Michael Gomez - guitar
Richard Huntley - drums
Huun-Huur-Tu on # 2, 8, 14
01. Yesterday Morning [05:08]
02. It Calls Me [03:10]
03. Bahamut [06:03]
04. Fred Of Ballaray [01:28]
05. Broke My Baby's Heart [07:20]
06. Almost Gone [03:25]
07. Steady Roll [05:34]
08. Everybody Loves You [06:16]
09. Lost Fox Train [03:39]
10. Dry Spell [04:44]
11. Ugly Rug [01:24]
12. Who Walks In When I Walk Out [04:47]
13. Grade - A Gray Day [03:36]
14. Man Trouble [11:11]
15. bonus # [00:15]
This long-awaited debut CD is a uniquely intercontinental sonic collage encompassing a tremendous range of instrumental, vocal, and conceptual originality--all with a lot of soul and groove. Like the mythological beast of its title track, HAZMAT Modine's BAHAMUT holds the world in it's eye. Its fourteen songs are steeped deep in American roots but merge influences as diverse as Romanian brass, Middle Eastern fable, Jamaican Calypso, and Tuvan-Mongolian ballad…

"…HAZMAT MODINE is surely one of the most remarkable musical groups that has made one of the most remarkable records I’ve ever heard… My ears turned inside out in every direction to hear all of it. What fantastic music!” Bengt Eriksson – Roots, Denmark

"Hazmat Modine is the kind of ensemble that could have come only from New York. The core group consists of harmonica virtuosos Wade Schuman and Randy Weinstein, tuba player Joseph Daly, drummer Richard Huntley, guitarist Pete Smith, and Pamela Fleming on trumpet and flugelhorn. The fifteen-track CD presents an ensemble with a Sybil complex of multiple musical personalities. "Yesterday Morning" resembles a New Orleans funeral dirge with a reggae beat. "It Calls Me" melds the Mississippi Delta with Huun-Huur-Tu's Asian-born Tuvan throat singing. The exotic array of instruments includes the Romanian cimbalon, zamponia, Hawaiian steel guitar, electric banjitar, contrabass sax, claviola, and bass marimba. In the hands of lesser musicians this stuff would sound like a mess, but these guys make it work, with dancing diplomacy that would put the U.N. to shame. If this isn't world music, I don't know what is." -- Eugene Holley, Jr. -

More reviews:

Hasidic New Wave "From The Belly Of Abraham"


*Frank London: trumpet, flugelhornGreg Wall: tenor and soprano sax. clarinetDavid Fiuczynski: guitarFima Ephron: bassAaron Alexander: drumsYakar Rhythms: Alioune Faye, Ousmann Sall, Abdoulaye Diop: sabar, djembe, dun-dun.Special Guest: Jamie Saft: organ (on Yemin Hashem)Tracks 1,4,7,8: was recorded on April 10,11, 2001 in BrooklinTracks 2,3,5 was recorded on November 04, 2000 in Weehawken,New JerseyTrack No 6 was recorded February 26, 2001 in Jersey City*01. Waaw-Waaw [05:18]02. Yemin Hashem [08:52]03. Bread Of Affliction [11:26]04. Sea of Reeds [06:57]05. Frydginator [05:31]06. The Sacred Line [02:34]07. Bo-Peep [06:50]08. Spirit of Jew-Jew [08:23]**Following a wave of klezmer revivalism that happened in the '80s (ushered in by Andy Statman's Klezmer Orchestra, the Klezmer Conservatory Band and Klezmorim), a number of renegade klezmer units began popping up on the alternative music horizon, including the Klezmatics, Naftule's Dream, David Krakauer's Klezmer Madness and the New Orleans Klezmer All-Stars. One of the brightest and most fiercely uncompromising alternative klezmer band to emerge in recent years is Hasidic New Wave. Formed by trumpeter Frank London and clarinetist/saxophonist Greg Wall, this renegade bunch has combined the signature scales of Jewish music with the fatback grooves of James Brown, free-jazz leanings and plenty of freak-out electric guitar work courtesy of David Fiuczynski, perhaps the most original and audaciously talented plectorist on the scene today. After a string of solid recordings as a working quintet, drummer Aaron Alexander came up with the novel idea of grafting African drummers onto the group's uniquely Jewish sound. The result is this inspired collaboration that at once harks back to shtetls (villages) of Eastern Europe and mother Africa; a brilliant Afro-Semitic fusion best represented here by Alexander's "Bo-Peep" and London's cleverly named "Spirit of Jew-Jew." Another standout track is "Yemin Hashem," where tenorman Wall wails with muscular authority on top of a Fela Kuti-esque groove created by bassist Fima Ephron (of Lost Tribe and Screaming Headless Torsos), drummer Alexander, guest organist Jamie Saft and a phalanx of drummers from Dakar collectively known as Yakar Rhythms (Abdoulaye Diop, Ousmane Sall and lead drummer Alioune Faye). For a change of pace there is Wall's noirish ballad "The Sacred Line," the only piece that is performed sans African drummers.One of the most provocative tracks is "Bread of Affliction," which is underscored by a tightly woven interlocking cadence set up by Yakar Rhythms. Both Wall and London unleash with free-jazz abandon on this deeply hypnotic groove (with London showing his debt to Don Cherry) while Fiuczynski follows up with some of his patented jazz-punk stylings (heavy on the whammy bar and wah-wah). London's minor-key "Sea of Reeds" carries an early '60s Blue Note flavor in its muted trumpet and tenor sax harmony theme (somewhat reminiscent of Herbie Hancock's "Cantaloupe Island") while the battery of drummers and bassist Ephron bring an Afro-reggae sensibility into the picture. Fiuczynski manages to use his whammy bar to good Middle Eastern effect here. The giddy "Frydginator" is an uptempo, authentic-sounding klezmer romp than might go over well at a Jewish wedding, although the blistering trading of fours between London's trumpet and Wall's tenor sax might be frowned upon by the elders, as no doubt would Fuze's Led Zep[...]

Michael Blake "Kingdom Of Champa"


Michael Blake - tenor & soprano sax, bass clarinet;Steven Bernstein - trumpet, cornet, slide trumpet;Thomas Chapin - flute, bass flute, piccolo, baritone sax;Marcus Rojas - tuba;David Tronzo - slide guitar;Tony Scherr - electric bass, acoustic bass, moonlute;Rufus Cappadocia - cello;Billy Martin - percussion;Scott Neumann - drums;Bryan Carrott - vibraphone.Recorded at Sorcerer Studios in NYC on August 20 & 21, 1996.*01. The Champa Theme [08:05]02. Dislocated In Natrang [07:04]03. Folk Song [05:56]04. Purple City [10:03]05. Mekong [07:37]06. Hue Is Hue? [04:06]07. Perfume River [03:214]**"Vietnam is a mystical and strange place. After centuries of rule by Chinese, French, and Americans, the Vietnamese have become an independent nation and the people have begun to rebuild their lives. The spirit, beauty and hardship of these people would be the foundation for a suite of music I call Champa. To a certain extent this documentation of my experience living with my wife and her family in Vietnam is a metaphor of a journey into the self. In this place I encountered an infinite sadness that forced me to reevaluate many ideals I had established and conditionally accepted. It also brought great joy to me and an opportunity to realize my potential. My mind and soul were awakened by the extremes of the culture, no matter how I resisted to adapt to it."Michael Blake (1997) Kingdom of Champa is the debut album from saxophonist and composer Michael Blake, whose work with the Lounge Lizards has gained him recognition everywhere that band plays. He is joined on this recording, produced by master Teo Macero, by his band Free Association, augmented by several musicians with whom he has played, both in and out of the Lounge Lizards. A well-known member of what has been referred to as the second generation of Knitting Factory musicians, Blake composed all the material on Champa, basing it on his experiences in Vietnam. The permanent members of Blake's band are fellow Lizards David Tronzo (on guitar) and trumpeter Steven Bernstein and former Lizards' percussionist Billy Martin and vibraphonist Bryan Carrott. On this recording, the ensemble is rounded out with flautist Thomas Chapin, Marcus Rojas (tuba), Rufus Cappadocia on cello, bassist Tony Scherr, and drummer Scott Neumann. As band leader, composer, and saxophonist, Blake's talents are wonderfully showcased on this recording. The idea for Kingdom Of Champa came to Blake while he was travelling from Ho Chi Minh City to Hue (listening to Miles Davis's Sketches Of Spain). The emotions engendered by that journey, the music, the people, the food, the smells of Vietnam, as well as the music of his own life in the United States, all blend together on Champa to create an exciting compositional hybrid. The album is named after the Cham people, who despite their small numbers are an important part of Vietnamese history. All the compositions are Blake's, with the exception of Folksong, a traditional Vietnamese song Blake heard being played by a blind guitarist in Ho Chi Minh City, for which he did the arrangements. Champa is a very immediate and emotional musical travelogue of a country both well known and extremely foreign to North Americans.Kingdom Of Champa is saxophonist Michael Blake's first opportunity to perform completely in an environment of his own creation; in conjunction with Free Association, producer Teo Macero, and engineer Scott Harding, he has co[...]

Ya-Sou featuring Tomasz Stanko & Osjan "Tribute To Don Cherry"


Ya-sou: - Milo Kurtis - percussion, vocal Horatio Altan - percussion Peter Apfelbaum - saxophones, flutes, percussion, vocal Jai Uttal - dotar, guitar, charango, percussion, vocal * Tomasz Stanko - trumpet (2,3) * Osjan: - (3) Jacek Ostaszewski - recorders, kaya-kum, vocal, percussion Wojtek Waglewski - guitar, vocal, percussion Radosław Nowakowski - percussion Milo Kurtis - percussion *Recorded: February 2nd, 1996 at Theatre "Maly", Warsaw, Poland.Gowi Records01. Ya-Sou Suite - Tribute To Don Cherry (Ya-Sou) [26:42]02. Rumba Multi-Kulti (Don Cherry) [09:16]03. Malinye (Don Cherry) [09:00]**Music belongs to all of us. Music has no borders, and the Earth should have no borders, because were made by people and not by nature. The band Ya-sou was founded and created with these ideas in mind. In 1973, Dimitrios Milo Kurtis formed Ya-sou to play and make music based on different cultures from all over the world. Its music is a mixture of jazz, contemporary, classical, folk and ethnic music as well as being influences by music from continents of Asia, Africa, North and South America. Indeed, a performance by Ya-sou is like a trip around the world. Many times we visit a region for a while, sometimes we pass quickly through. We meditate somewhere, dance in the mountains, get thirsty in the desert, float like a leaf on the ocean wave and arrive happily back home. Furthermore, Ya-sou's sound is natural. The band uses only acoustic instruments including dotar, acoustic guitar, charango, mandolin, saxophones, flutes digirdu, congas, Arabic percussion, gongs, kalimbas, talking drum and many others. Some people call Ya-sou's music "ethnic jazz", some call it "avant-garde". And some simply refuse to categorize the unique sounds of this remarkable band. Ya-sou stopped performing when Mr. Kurtis became a member of the legendary Polish band OSJAN. This band, like, Ya-sou, created the music influenced by different ethnic cultures and had already established a position within the Europe market, as well as collaborating with the famous trumpet player Don Cherry, sadly recently deceased. Milo traveled with OSJAN allover the Europe performing with other bands and musicians and resided in Switzerland from 1985-87, than moved to the Francisco Bay Area. Deciding to come back to his musical roots, he re-established Ya-sou in 1994. Milo, on various percussion instruments and vocal is joined by fellow percussionist Horatio Altan from Guatemala, a student and researcher of Pre-Columbian and Native American people's musical forms. Horatio also performs with jazz groups and collaborates with dance and theatre companies. The other members of Ya-sou are: on saxophones, flutes, percussion and vocals, the Grammy Award nominee, Peter Apfelbaum; on dotar, guitar, charango, percussion and vocals, Jai Uyttal. Both musicians play in Jai's Pagan Love Orchestra and Peter's Hieroglyphics Ensemble, as well as having performed with Don Cherry's Multi-Kulti and one or another of Don's musical configurations. The members of Ya-sou are hoping you will be joining then soon on a musical journey. (Original line notes of this album)[...]