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TIMELESS
Cascading keyboard notes and flurries of guitar; soon they are dancing through a frenetic dialogue as dextrous as it is energising. Welcome to “Lungs”, the unexpectedly manic opening to Timeless, the entrancing 1975 album by John Abercrombie. “Lungs” was composed by the keyboard player Jan Hammer, he of Mahavishnu Orchestra fame. In group leader Abercrombie, Hammer found a six-string foil fully…
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Avec le temps
Oregon - Yet To Be - 1975 Ralph Towner - guitar, piano Collin Walcott - percussion, sitar Paul McCandless - reeds Glen Moore - bass Oregon is an American jazz and world music group, formed in 1970 by Ralph Towner, Paul McCandless, Glen Moore, and Collin Walcott Towner and Moore had been friends and occasional collaborators since meeting in 1960 as students at the University of Oregon. By 1969, both were working musicians living in New York; while collaborating with folksinger Tim Hardin they were introduced to world music pioneer Paul Winter's "Consort" ensemble, particularly member Collin Walcott, with whom Towner began improvising as an informal duo. By 1970 Towner and Moore had joined the Winter Consort and met fellow member McCandless; the four began exploring improvisation on their own, while their contributions continued to be seminal in redefining the Winter Consort "#sound" in compositions like Towner's "#Icarus". The four musicians made their first group recording in 1970, but the label, Increase Records, went out of business before it could be released (it eventually was issued by Vanguard in 1980 as Our First Record). Oregon made its "formal" debut in New York City in 1971 (originally named "Thyme — Music of Another Present Era", the name change to Oregon was suggested by McCandless). The group's first release Music of Another Present Era was issued on Vanguard in 1972 (the four also recorded for ECM, though the recording, 1973's Trios Solos, was billed as "Ralph Towner with Glen Moore"). With those initial recordings and the follow-ups Distant Hills (1973) and Winter Light (1974) (all on Vanguard), Oregon established itself as one of the leading improvisational groups of its day, blending Indian and Western classical music with jazz, folk, space music and avant-garde elements.The group released numerous albums on Vanguard throughout the 1970s, also making three records for Elektra/Asylum between 1978 and 1980 (including the highly acclaimed Out of the Woods and a live recording taken from performances at #CarnegieHall and in Canada in late 1979). After a couple years' hiatus devoted to individual projects (including the birth of Walcott's daughter in 1980), the group reassembled, recording for ECM, releasing the eponymous Oregon in 1983 and Crossing in 1984. Before the latter's release, however, during a 1984 tour Walcott was killed in an automobile accident in the former East Germany. Oregon temporarily disbanded, but regrouped in May 1985 at a memorial concert for Walcott in #NewYorkCity, with Indian percussionist Trilok Gurtu sitting in (Walcott's own choice for his replacement should it become necessary). In 1986, Gurtu was invited to join Oregon; the band resumed touring and released three albums, #Ecotopia, 45th Parallel and Always, Never and Forever, during his five years as a member. After Trilok Gurtu's departure, the group continued as a trio, issuing two #albums during that period. The 1997 album Northwest Passage marked a return to the inclusion of percussion, featuring either drummer Mark Walker or Turkish Armenian percussionist Arto Tunçboyacıyan on most tracks; subsequently, Walker was taken on as a full member. In 1999, the ensemble traveled to Moscow, Russia, to record with the Tchaikovsky Symphony Orchestra of Moscow Radio, premiering orchestral compositions that had been in development for years, some dating back to their first days with the Winter Consort; that project's 2000 release, Oregon in Moscow, garnered four #GrammyAward nominations. 2002 saw the release of #Live at Yoshi's, recorded in San Francisco, the first live Oregon recording in two decades. In March 2015, it was announced that Glen Moore was departing from the group, with bassist Paolino Dalla Porta replacing him. As of 2019, Oregon has no further plans to exist as a touring ensemble. #RalphTowner #guitar #piano #CollinWalcott #sitar #PaulMcCandless #GlenMoore #jazzlegend #jazzfest #jazzmusic #oregon #worldmusic
Jack DeJohnette's Directions - Untitled
Jack DeJohnette’s Directions – Untitled
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Japanese musician Eiko Ishibashi’s 2020 album For McCoy is back with a new and improved version mixed by Jim O’Rourke.
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Jusell, Prymek, Sage, Shiroishi - Setsubun (節分) - they’ve tagged this as “ECM jazz” on Bandcamp, but it’s a throwback to a certain type of ECM jazz -- almost-but-not-quite-New Age -- that only Stephan Micus still plays, as far as I know (cachedmedia)
The season has changed. Chris Jusell, Chaz Prymek, Matthew Sage, and Patrick Shiroishi continue forward with what follows 2020’s Fuubutsushi. Here, it is a new year, and it is time to shake the demons off and make a fresh start. Setsubun is the Winter chapter in the cycle (yes, Spring and Summer will come one day), but don’t conflate this “winter music” with the holidays; this is music for the stretch between January and the first peals of spring. The days in this chasm that may be getting longer, however slowly, but the nights are still long. The air is crisp. The natural world lays dormant, but the imagination flutters. These four players have learned more about each other since the amber nostalgia of Fuubutsushi and here they are more comfortable taking risks, ramping up, and pulling back. Prymek’s guitar and bass lines offer a fundamental structure on many of the tunes, in his distinct style that is both uniquely folky but patiently soulful. He more often opts for electric guitar, slide, shimmering fingerpicking, and those touches feel like frost in an empty tree canopy. Shiroishi’s crystalline voice sets a tone on the first track, but from there, he spends his time painting scenes with his saxophones and clarinet. The departure from his more oblique solo works into harmonious melody in this combination showcases the incredible range and skill he possesses over his instruments. He is your breath on the air. Sage shifts from piano onto rhodes for this album, where he continues to split the difference between ambient minimalism and cool jazz vamping. His drumming takes a new presence here, with more pronounced rhythms, deceptive stutters, playful push and pull dynamics. He is the ice under your feet. Sometimes you almost have to catch yourself from slipping. Jusell’s violin continues to soar in the combination, often in conversation with Shiroishi’s horn. His playing is ornate but never flowery, expressive but never maudlin, sweet but never saccharine. He is that warmth we carry inside of us on those cold days. Setsubun is the Japanese new year. February 2nd. Traditionally people celebrate by screaming in the streets, shooting off fireworks, making a collective ruckus to scare the demons of the year past away. If there aren’t demons to shake off… you must be from a different timeline. So, here is something for you and something for your demons too. Something to keep you warm until Spring arrives. Something warm, familiar, friendly, but fresh and full of possibilities. Happy New Year.
Chris Jusell - violin Chaz Prymek - bass, guitar, synthesizer, clarinet, field recordings Matthew Sage - keyboards, percussion, radio, field recordings Patrick Shiroishi - alto, tenor, and soprano saxophones, clarinet, glockenspiel, samples, voice
Harald Weiss
Trommelgefluster
@ 1982 Germany Pressing
******
Harald Weiss (surname also spelled "Weiß") (born 26 May 1949 in Salzgitter) is a German composer, director, screenwriter, and free-lance artist.
Weiss's compositions are influenced by minimalism, as well as jazz and rock musics. Numerous trips (in the context of theater workshops and tours) to Africa, Asia, Europe, and South America have also had a significant influence on his music.
Weiss has received many awards for his musical compositions and films, including the Niedersachsen Kulturpreis (1982), the Kulturpreis of Bielefeld (1984), and a fellowship from the Villa Massimo in Rome (1985-1986).
In 2009 Dorothee Mields and Andreas Karasiak were the soloists in his requiem composition Schwarz vor Augen und es ward Licht dedicated to the Knabenchor Hannover, premiered on 31 October 2009 with the NDR Symphony Orchestra
Weiss has lived in Majorca, Spain since 1984, and his music is published by Schott Music.
Looking at the title of Harald Weiss’s only album for ECM, which means “Drum Whisper,” leaves us with no mysteries regarding what we are about to hear. This simplicity of purpose is characteristic of a composer whose modest discography has sadly left him little represented outside of his native Germany. As percussionist, vocalist, writer, and actor, Weiss brings a love of the theater to his performance style and world, which here is overrun with a thousand bare feet along the dusty earth. Weiss is also well traveled, and from his widely cast net hauls a wealth of local influences onto the vessel of his craft. And so, while flashes of Ramayana re-creation and Peking opera paint Trommelgeflüster as a disjointed pastiche, in the context of this recording these references take on a life of their own. Each percussive cell circles itself into an Ouroboros of change in a larger chain of being. Between the steel drummed steps and melismatic chants of Part I and the darker territories of Part II, which begin as if an offshoot of “Lucifer’s Farewell” from Karlheinz Stockhausen’s Samstag aus Licht before spreading into a diffuse palette of outbursts and whistling dreams, Weiss renders something intensely organic toward the concluding twang, steady and distant like a jaw harp in the mouth of providence.
A wonder of an album that defies categorization in the most pleasant way, Trommelgeflüster has the makings of a ritual, even as it uses itself as a stepping-stone into non-ritual realities, where regularity is but the dream of a nomadic soothsayer. The music skirts the edges of consciousness, even as it plumbs the depths of wakefulness.
Weiss is the recipient of numerous awards, and was just coming into prominence when Manfred Eicher decided to put him into the studio. The result is an intriguing session, and an artist, not be overlooked.
ECM Review
John Abercrombie, Dave Holland, Jack DeJohnette - Gateway 2
John Abercrombie, Dave Holland, Jack DeJohnette – Gateway 2
Released in 1978 on ECM Records Format: LP, Promo Style: Atmospheric Jazz, Jazz Fusion Vibe: Airy, Ethereal, Open, Adventurous, Triumphant Musical Qualities: Collective Improvisation, Instrumental, Technical, Atmospheric
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