Arturas Bumšteinas - Pastoral (2010)

Arturas Bumšteinas (ur. 1982 w Wilnie) – kompozytor,  artysta, muzyk specjalizujący się w improwizacjach, formach eksperymentalnych oraz instalacjach dźwiękowych. Członek oraz współzałożyciel zespołów Refusenik, Twentytwentyone, Zarasai, Works&Days. Współpracował z takimi muzykami jak Denitsa Mineva, Liudas Mockūnas, Piotr Kurek, Ilia Belorukov czy Vladimir Tarasov.  Jego dzieła z pogranicza sztuk prezentowano na takich festiwalach jak The Holland Festival w Amsterdamie, AngelicA Festival w Bolonii, Vilnius Jazz w Wilnie czy Festiwal „Kody” w Lublinie. (ninateka)

Arturas Bumšteinas (b.1982, Vilnius) is composer / sound artist working in the fields of electro-acoustic and instrumental music, radio art, installations and experimental electronic music (under his Refusenik moniker). He is founding member of ensembles Quartet Twentytwentyone, Works & Days, Zarasai and Wolumen. Since the year 2000 he collaborated with many international musicians and artists. His interdisciplinary projects were presented in dozens of exhibitions around Europe and festivals where his music and art projects were presented include The Holland Festival, Sensoralia / Romaeuropa, Angelica, Vilnius Jazz, Kody, Skanumezs, Cut & Splice. His music is published by labels such as Bolt, Cronica, Unsounds, Con-v, Sangoplasmo and others. In year 2013 he was awarded “Palma Ars Acustica” prize for radiophonic arts. (refusenik)

Sun Ra - Some Blues But Not The Kind That's Blue (1977)

Pioneering bandleader Sun Ra recorded very few small group recordings in his lifetime. Those existing albums rarely focus on standard material, which makes Some Blues But Not The Kind Thats Blue unique in his vast discography. Taking up where the Evidence label left off in the late 1990s, Atavistic's Unheard Music Series has begun reissuing some of Ra's rarest and most intriguing sessions.

Following the 2007 reissue of the iconic albums Strange Strings (Atavistic, 1966) and The Night of the Purple Moon (Atavistic, 1970), Some Blues But Not The Kind Thats Blue unveils yet another facet of the wildly prolific innovator. Originally released in limited quantities on Ra's own El Saturn records, this 1977 studio album is augmented by a previously unavailable collective improvisation and two variations on "I'll Get By" recorded in 1973.

Among Ra's contemporaneous recordings, only Atlantis (Evidence, 1967), The Night Of The Purple Moon (Atavistic, 1970), Cymbals (Evidence, 1973), New Steps (Horo, 1978) and Other Voices, Other Blues (Horo, 1978) feature similarly stripped-down line ups, with none focusing on standards like this set.

Ra's take on standard material, as might be expected, is anything but. These slightly off kilter re- interpretations remain melodically faithful, while drifting into jaunty abstraction, unimpeded by rigid time signatures or conventional concepts of harmony and tonality.

A haunting reading of "Nature Boy" and an expansive take on "My Favorite Things" that features a stellar solo from tenor saxophonist John Gilmore, further cement Ra's reputation as an under-sung visionary and bandleader. Gilmore's progressive tenor excursions affirm why John Coltrane looked to him for ideas on modal improvisation.

Eschewing his usual array of electronic keyboards, Ra primarily plays acoustic piano on these old chestnuts, working intricately modulated variations from their classic chord changes and harmonies. With no bassist present on the majority of the tunes, Ra's left hand plies fractured bass patterns, laying down an unconventional, but swinging pulse.

The only non-standard tunes are the opening title track and "Untitled." The titular track rides a swaggering bluesy clip over a languorous modal groove, while "Untitled" is the album's only free improvisation, featuring a gaggle of caterwauling horns and some especially turbulent tenor from John Gilmore.

Sun Ra rarely had access to exceptional recording technology, and while this session is no exception, it is typical of the time and entirely listenable. Some Blues But Not The Kind Thats Blue is a welcome rediscovery featuring a devilishly askew take on the tradition, one can only wonder what the folks from Atavistic will uncover next.

Track Listing: Some Blues But Not The Kind Thats Blue; I'll Get By; My Favorite Things; Untitled; Nature Boy; Tenderly; Black Magic; I'll Get By; I'll Get By.

Personnel: Sun Ra: piano, organ (8-9); John Gilmore: tenor saxophone; Akh Tal Ebah: trumpet, flugelhorn (8); Marshall Allen: alto saxophone and flute; Danny Davis: alto saxophone and flute; James Jackson: flute and bassoon; Eloe Omoe: bass clarinet; Richard "Radu" Williams: bass (1); Ronnie Boykins: bass (8-9); Luqman Ali: drums; Atakatune: conga. --- Troy Collins

Tomasz Stanko - Polin (2014)

Materiał na płytę został nagrany w Nowym Jorku w słynym SearSoun Studio, w którym nagrywali m.in. John Zorn, Dave Douglas, Uri Caine jak i Eric Clapton czy Pati Smith. Tomaszowi Stańce podczas sesji nagraniowej towarzyszyli pianista David Virelles – dobrze znany nam z płyty „Wisława” – saksofonista Ravi Coltrane, a także kontrabasista Dezron Douglas oraz perkusista Kush Abadey.

Choć trudno w to uwierzyć, album „Polin” to pierwszy album Tomasza Stańko w klasycznym jazzowym kwintecie z saksofonem i fortepianem! (Kajetan Prochyra)

“I accepted the assignment from the museum with great personal joy,” Stańko says, quoted on the museum’s website. “ [A] musician’s primary tool of expression is sound. I believe that it is a duty of every positive-thinking person, both a Pole and a Jew, to search for various forms of closeness. Our histories have been intertwining for a thousand years. It is our common land. Our obligation is to make our relations beautiful and inspiring creative values and ideas. I am a Pole, of course, I live here and I speak Polish but to tell you the truth, I identify myself, first of all, as Tomasz Stańko. It seems to me that in future, people will feel like – to quote Witkacy – single monads, and will have various, intertwined roots which will bring magnificent results.”

The Museum of the History of Polish Jews opened in April 2013 and is located in what was once the heart of Jewish Warsaw – an area which the Nazis turned into the Warsaw Ghetto during World War II – the museum’s remit spanning the thousand-year history of Polish Jewry.

Polin is bound to be a much sought-after rarity occupying a parallel place in the 72-year-old’s discography to another Polish museum commission, 2005’s Wolność w sierpniu (‘Freedom in August’). The new album recorded in New York where Stańko lives for part of each year features a five-part suite named for the Hebrew word for Poland with the painter Gela Szeksztajn and the writer/painter Bruno Schulz among the trumpeter’s inspirations. Stańko’s last album, Wisława, which takes its title from the first name of Nobel laureate Wisława Szymborska, was released in 2013. SG

Dezron Douglas, Kush Abadey, Tomasz Stańko, David Virelles, and Ravi Coltrane top at the recording of Polin. (source)

Kup / Buy

Max Frost and the Troopers - Shape of Things to Come (1968)

Max Frost and The Troopers was a fictional rock music group created for the exploitation film Wild in the Streets, released in 1968. The film featured Christopher Jones as the highly influential singer Max Frost. The songs performed by Frost and his band, a group that was never formally named in the film, was credited to Max Frost and the Troopers in subsequent singles and album.

The band name "Troopers" is based on the term "troops," the designation Frost used in the film to refer to his friends and followers.

A studio group appeared on the soundtrack album for the film, along with incidental music penned by Cynthia Weil and Barry Mann, and composed by Les Baxter, however the songs were not originally credited to Max Frost and the Troopers, but rather to The 13th Power.

Due to the success of the song "Shape of Things To Come" as a single, an accompanying album by Max Frost and The Troopers, Shape of Things to Come, was issued on the Tower record label in 1968. Musicians playing on the album are believed to include members of Davie Allan and The Arrows (who also released the "Shapes of Things to Come" without lyrics), with lead vocals by Paul Wibier (who also wrote a majority of the songs on the album). The music is high-energy rock with some psychedelic touches.

The group was produced by Harley Hatcher and Eddie Beram for Mike Curb Productions. Their first single was recorded with Curb's Tower subsidiary, Sidewalk Records. Subsequent singles were taken from their album.

Their final single, "Sittin' In Circles," was performed in the film Three in the Attic, by Davie Allan and the Arrows. The B-side of that single, "Paxton Quigley's Had The Course," was a Chad & Jeremy composition.

The soundtrack album for the 1968 film The Glory Stompers, starring Dennis Hopper, contains two additional songs credited to Max Frost and the Troopers: "There's A Party Going On" (which was released as their first single) and "You Might Want Me Baby."

Later, "Max Frost and the Troopers: Original Motion Picture Soundtrack" was released which included the singles from the original "Shape of Things to Come" LP and included an additional four songs - "Wild in the Streets", "Listen to Music", "Love to Be Your Man", and "Fourteen or Fight". None of these four songs have ever been released on CD.

The cultural historian Greil Marcus borrowed the Troopers' song title for his 2006 book, "The Shape of Things to Come: Prophecy & The American Voice."


Kenneth Patchen - Reads His Poetry With The Chamber Jazz Sextet (1958)

Allyn Ferguson on “Kenneth Patchen with The Chamber Jazz Sextet”

Written in 1958:

It happened in an offbeat bistro. Kenneth Patchen read his poems. The Chamber Jazz sextet underscored his voice. It wasn’t background music, but a weird cacophony. And the sounds supported each other. And cuts clean through the smog of smoke and talk and tinkle. Archie was there. He caught the strange electricity. He felt the communicable fever. He brings you the stirring mélange of words and music on this cadence record

The poet:

Kenneth Patchen was born. The place was Niles, Ohio. The date, Decemebr3, 1911. He attended a small school somewhere in Arkansas. From there he went to Alexander Meiklejohn Experimental College at the University of Wisconsin. After one year he left to work in a steel mill. Patchen was seventeen. All kinds of jobs followed. In recent years however, Paten has been a writer and a painter exclusively. At various times he’s lived in New York, Boston, Santa Fe, Phoenix, New Orleans and Conn. Currently he’s married and settled on the California coast.

The chamber Jazz Sextet was conceived with the purpose of synthesizing jazz and ‘serious music’. To further this end, the group uses the tools of jazz to the utmost. These tools naturally include the instruments basic to the jazz medium, musicians well schooled in the phrasings and interpretations, compositions and arrangements calculated to take full advantage of contemporary jazz sounds and techniques.

An extensive study of western music gives the group a free familiarity with established musical forms and they are not afraid of experiment with them. This comes from each of the six musicians being artists in his own right – a student as well as a player of jazz.

The Pact:

When first discussing the possibility of setting poetry to jazz, Kenneth and I agreed that the usual procedure of setting text to music would have to be abandoned. The final product, we felt should be conceived in terms of the poets interpretation of the text. It seemed evident, however, that the music would be quite unnecessary were there no attempt to bring about a meaningful union between the two mediums. We decided, therefore, to tape-record the readings and underscore them. The procedure would have the double value of retaining the spontaneity of the original reading while still allowing freedom of the creation of a significant musical entity

The music, then, was composed to the poet’s readings – and designed to fortify the emotional content of the poetry. Musical material was borrowed for only poem “the lute in the attic”. The song “when corrina to her lute softly sings” by Thomas Campion was used as a theme for variations. No history of this enterprise would be complete which did not record the fact that it was at the home of Richard Bowman, the great jazz fan and painter, that the poet and members of the band first met and discussed what might be done in this medium. (source)

San Francisco All Stars - Amityville, New York, 5th March (1979)

The San Francisco AllStars toured the first time in 1978 and were formed by the musicians pictured above. Although, it was Joey Covington (drums) who put together the San Francisco Allstars via an agents call from the east. Joey Covington once played with Jefferson Airplane. Buddy Cage (pedal steel guitar) and Steve Love (vocals/guitar) had just left the New Riders of the Purple Sage. They were not satisfied with the band's direction and needed a change. Both returned to the New Riders later, though. For John Cipollina (guitar) this was one of many band projects. Mario Cipollina (bass), ex Sound Hole, had just returned from Japan where he had supported Tony Williams and was already on his way to Huey Lewis and the News.

One of the first ideas was to call the band Bad Dog- named after Love's real bad dog Mercedes. The story on that name can be found in an interview with Buddy Cage (link provided underneath.) Eventually they ended up as the San Francisco AllStars.

They have no offical release but two Italian vinyl bootlegs exist - recorded live at the Pastime, Amityville, N.Y., May 20, 1979. Most interesting for Huey Lewis and the News fans might be that Mario sings lead vocals on "All Worth The Price" a tune written by Greg Douglass. Although the album's sound quality is not always the best it is a lot of fun to hear these guys play live.

There's another San Francisco AllStars concert from October 8, 1979 that can be found at Archive.org (see link underneath). The line-up includes Mark Nielsen on drums though.

Regarding the name San Francisco AllStars, there have been many bands who used this name. It only takes some famous SF musicans to claim this name. Joey Covington/John Cipollina's San Fransisco AllStars toured many times until 1986 with different line-ups.(source)

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