Ivo Perelman - Reverie

Styles: Saxophone Jazz
Year: 2014
File: MP3@320K/s
Time: 54:07
Size: 124,4 MB
Art: Front

(10:15)  1. Transcendence
( 3:56)  2. Contemplation
(13:38)  3. Pensiveness
( 5:18)  4. Pursuance
(14:21)  5. Placidity
( 6:37)  6. Reverie

The release of Reverie marks 25 years of recording for Ivo Perelman and more than 50 albums under his own name, since his first, Ivo, in 1989.  He has released 17 of these since 2011, which is astonishing.  Many other musicians might have succumbed to the temptation to release a retrospective album and the title of this one might have led our thoughts in that direction, but this Reverie is of a very different kind and in a way that dissimilarity is down to pianist Karl Berger.  The saxophonist has in recent years been recording in his inimical, totally free style with pianist Matthew Shipp, who explores intense, impenetrable patterns and churning, spinning tempos.  Berger is quite different and makes this album an unusual venture for Perelman, as it is markedly disparate to all that he has done before. Karl Berger, too, is an avidly experimental musician, but the divergence is in the spaces left in his playing and Perelman has responded to that.  Both performers are reacting one to the other, both act in response to what they perceive aurally.  The result is calmer, more lucid even, the same extreme fervour expressed more subtly, more elusively.  Although Berger's own music often sounds like that of an old-hand, avant-garde musician of the classical calling (Heidelberg Conservatoire and University) he was in fact partnered with Ornette Coleman in establishing the Creative Music Studio in 1972 (Woodstock, N.Y.) and has played with Carla Bley, Marion Brown, Don Cherry, Lee Konitz, John McLaughlin, Roswell Rudd and Sam Rivers.  Karl is 79. So, no back-tracking, Ivo Perelman is still moving forward and at speed.  I am convinced that he will never repeat himself, never be lacking the incipient data that starts a new chain of thought that leads to the next step.  His musical future lies in the future and whatever that may be, the anticipation in itself will be precious. ~ Ken Cheetham http://www.jazzviews.net/ivo-perelman--karl-berger---reverie.html

Personnel:   Tenor Saxophone [Tenor Sax] – Ivo Perelman;  Piano – Karl Berger

Reverie

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Jeri Southern - When Your Heart's On Fire

Styles: Vocal
Year: 1956
File: MP3@320K/s
Time: 38:54
Size: 91,1 MB
Art: Front

(3:51)  1. Smoke Gets In Your Eyes
(2:49)  2. Can I Forget You?
(3:51)  3. Little Girl Blue
(3:28)  4. I Remember You
(3:45)  5. He Was Too Good To Me
(2:22)  6. You're Driving Me Crazy
(2:40)  7. You Make Me Feel So Young
(3:52)  8. Someone To Watch Over Me
(2:32)  9. Autumn In New York
(3:56) 10. My Ship
(3:33) 11. No More
(2:10) 12. Let Me Love You

It isn't the collection of suicidal torch songs indicated by the title, but Jeri Southern's When Your Heart's on Fire is by no means an exuberant, swinging LP. While backing strings move at glacier speed, Southern is similarly slow and thoughtful, seeming to weigh her words and thus transform "Someone to Watch Over Me" and "Autumn in New York" from standards into soliloquies. She reaches an obvious low point on "He Was Too Good to Me," but springs right back with "You're Driving Me Crazy," complete with a suitably noisy, raucous (and dated) arrangement. "You Make Me Feel So Young" and "I Remember You" are yet more tender ballads, just barely shifting the balance from world-weary to simply wise. Released as the back-end of a 1996 two-fer, When Your Heart's on Fire has also been reissued (as well as remastered) in Japan. ~ John Bush https://www.allmusic.com/album/when-your-hearts-on-fire-mw0000520723

When Your Heart's On Fire

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Brian Blade - Brian Blade Fellowship

Styles: Jazz, Post Bop
Year: 1998
File: MP3@320K/s
Time: 61:59
Size: 142,7 MB
Art: Front

( 9:31)  1. Red River Revel
( 7:26)  2. The Undertow
(11:06)  3. Folklore
( 4:21)  4. In Spite Of Everything
( 7:46)  5. Lifeline
( 9:11)  6. Mojave
( 4:34)  7. If You See Lurah
( 8:00)  8. Loving Without Asking

Brian Blade Fellowship is an impressive debut as a leader for Brian Blade, one of the best young jazz drummers of the '90s. Producer Daniel Lanois doesn't follow jazz conventions, letting Blade run wild and blend genres, as on "Folklore," where the adventurous, searching jazz meets pygmy chants. All across the album, there is the sigh of a steel guitar, which adds an unusual, exotic texture to a debut that is uniquely daring and richly rewarding. ~ Leo Stanley https://www.allmusic.com/album/brian-blade-fellowship-mw0000037563

Personnel:  Brian Blade – drums; Melvin Butler – soprano and tenor saxophones; Jon Cowherd – piano, Wurlitzer; Dave Easley – pedal steel guitar; Daniel Lanois – mando guitar; Jeff Parker - acoustic guitar; Christopher Thomas – acoustic bass; Myron Walden – alto saxophone; Kurt Rosenwinkel – electric Guitar

Brian Blade Fellowship

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Lonnie Plaxico - Emergence

Styles: Guitar Jazz
Year: 2000
File: MP3@320K/s
Time: 63:33
Size: 147,9 MB
Art: Front

(0:31)  1. The Mahayana (Great Vehicle) - Interlude
(4:58)  2. Transformation
(4:05)  3. Delusion
(4:12)  4. Emergence
(1:00)  5. Paramita (To Arrive at the Other Side) - Interlude
(7:34)  6. Libertarian
(3:51)  7. Changing Line
(5:37)  8. Emancipation
(7:34)  9. Red Light District
(2:29) 10. Sokoni (From the Sea) - Interlude
(5:39) 11. Equilibrium
(1:02) 12. 2 Bass - Interlude
(4:44) 13. Inner Voice
(2:39) 14. Kalomo (The Unexpeced) - Interlude
(6:30) 15. Matrix
(1:00) 16. Oji (The Gift Bearer) - Interlude

Emergence begins with a bang but then goes gradually downhill. Plaxico alternates between acoustic and electric bass, and mightily tries to reconcile the jazz and funk elements of his vision. Although most tracks feature driving rhythms, incredibly intricate horn writing, and compelling solos, the album grows numbingly repetitive as it proceeds. On the jazz side, "Transformation" begins the record with riveting post-bop fire, while "Libertarian" and "Red Light District" provide new perspectives on the standards "Dear Old Stockholm" and "Love for Sale," respectively. On the funk side, "Delusion" and "Emancipation" stand out, recalling the dissonant colors heard on Sam Rivers' acclaimed 1999 album Inspiration. But Plaxico seems to run low on ideas by the time he gets to "Equilibrium," "Inner Voice," and Chick Corea's "Matrix." Six brief interludes featuring bass and/or percussion are interspersed throughout the program, yielding mixed results the most effective being "Paramita (to arrive at the other side)." Monster players abound, including the wonderful Don Braden on saxophones, Ralph Alessi on trumpet, and Jason Moran on piano. Emergence is also distinguished by several lesser known but highly capable musicians: Larry Lunetta on trumpet, Tim Hegarty on sax, Eric Lewis on piano and organ, Lionel Cordew on drums, and Jeffrey Haynes on percussion. Haynes produced the interludes, and noted vocalist Cassandra Wilson, for whom Plaxico has served as musical director, produced the main tracks. ~ David R.Adler https://www.allmusic.com/album/emergence-mw0000055907

Personnel:  Lonnie Plaxico (acoustic guitar, electric guitar, bass guitar); Tim Hegarty (saxophone, tenor saxophone); Don Braden (soprano saxophone, tenor saxophone); Ralph Alessi, Larry Lunetta (trumpet); Eric Lewis (piano, electric piano, organ); Jason Moran (piano); Lionel Cordew (drums, percussion); Jeff Haynes (percussion)

Emergence

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Cecilia Sanchietti - Circle Time

Styles: Jazz, Post Bop
Year: 2015
File: MP3@320K/s
Time: 50:55
Size: 117,5 MB
Art: Front

(1:01)  1. Intro the Groove
(5:11)  2. Dance for G
(6:23)  3. Et-No
(5:20)  4. Witchi Tai To
(6:05)  5. Fotogramma
(4:13)  6. Circle Time
(7:19)  7. Cecilia e i misteri dell'armonia
(6:27)  8. Dance of the Elephants
(2:52)  9. Rosa
(5:59) 10. Stolen Sleep

Humanity in odd time signature, as well as saying music and society. When this combination is apart, it reveals the universal unease of our planet perpetually hanging in the balance. This is a superb artistic intuition, because it has a project underneath and, even more important, it is expression of a genuine sensitivity and humanity: the freedom in jazz improvisation creates a center of attention for social connections and welcomes different identities. It makes use of a storytelling device, by hinting to a tribal jazz, which is actually virtuous, transgressive and therefore civilized strongly contemporary, it goes beyond its origins, when music was expression of pain and oppression. The theme is circular as the time of the history, and the time is here developed by the rhythm, which allows all musicians to perform solos in a circular way, showing the perfect match with the name of this artistic project, which mixes colors, moments and atmospheres in an harmonic and universal language, such as music is (and always should be). “Circle Time” is permeated of an anthropological jazz, that dreams of a new and culturally diverse humanism which, through the music, is here ideally integrated. http://www.ijm.it/albums/display/493

Personnel:  Cecilia Sanchietti: drums; Davide Grottelli: saxophones; Gaia Possenti: piano; Stefano Napoli: double bass; Special guest: David Boato: trumpet and flugelhon

Circle Time

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