http://www.kzmu.org/listen.m3u ~ Use this link to access the show online.
martes, 27 de junio de 2017
Ted Chubb is an American trumpeter that delivers a fresh approach to modern jazz, drawing the listener in with an individual voice, striking originals and reimagined classics. Ted tells a musical story reminiscent of the sophistication of Miles Davis, Chet Baker, Frank Sinatra, and Ahmad Jamal, mixed with the funky swagger of Lee Morgan, interpreted through the lens of a new era, and a wide palate of diverse musical influences, told through the culture of the blues he was nourished.
"Ted Chubb is a very talented trumpeter, composer, improviser, bandleader and educator. Ted is the total package, and most of all, he is just one great guy." - Christian McBride
01. Gratified Never Satisfied 04:37
02. Space 10:27
03. East of the Sun 06:46
04. Little Sid 05:20
05. My Ideal 05:39
06. Adam's Apple 05:23
07. Tuesday 07:00
08. Everywhere I Go 05:46
Bruce Williams - alto saxophone
Seth Johnson - guitar
Oscar Perez - piano and fender rhodes
Tom Dicarlo - bass
Jerome Jennings - drums
Recorded at 9 Lives Studios on Jan 2nd and 3rd 2016, Jersey City, NJ
Produced by: Ted Chubb
Audio Engineer: Nicola Stemmer
Mixing Engineer and Audio Direction: Todd Whitelock
Mixed at: Whitelock Audio Post
Mastering Engineer: Trevor Fedele
Art Direction and Design: William Kochi
Photography: Richard Conde
"One of the most exciting jazz soloists and composers in the world" --Peter Margasak, Chicago Reader
Blurring the edges between philosophy and mysticism, modern art and radical political critique, the Afrofuturist impulse has been a cultural force since the mid-20th century. That’s when jazz visionary Sun Ra and his Arkestra first touched down on Planet Earth and told humanity that space (outer and inner) is indeed the place. It’s an impulse that in the new millennium has only grown more diverse thanks to a proliferating number of African-American musicians who use Afrofuturism as a platform to launch their own, unique visions. Among these explorers are cosmic jazz saxophonist Kamasi Washington, post-everything beat maker Flying Lotus, R&B cyborg Janelle Monáe and dystopian noise-rappers Death Grips.
The innovative, boundary-smashing work of Nicole Mitchell, whom Chicago Reader music critic Peter Margasak has hailed as the “greatest living flutist in jazz”, has contributed new life to Afrofuturism in the 21st Century. A voracious reader of science fiction since her youth (Afrofuturist author Octavia E. Butler in particular has exerted a heavy influence on her music), the musician, composer and educator has released a string of albums that fold themes centered around technology, spirituality, race and gender into profoundly exploratory jazz that oftentimes reaches far beyond the genre in which it is rooted. Her vast sound can and often does encompass contemporary classical, globally oriented fusion, gospel, spoken word, funk-inspired groove research and even brittle shards of avant-rock.
On Mandorla Awakening II: Emerging Worlds (FPE Records; May 5), her second and latest full-length for the Chicago-based FPE Records, she uses science fiction to pose the question, “What would a world look like that is truly egalitarian, with advanced technology that is in tune with nature?”
Recorded in May of 2015 at Chicago’s Museum of Contemporary Art, it features a new version of her Black Earth Ensemble. In addition to longtime collaborators Renée Baker (violin), Tomeka Reid (cello, banjo), Alex Wing (electric guitar, oud) and Jovia Armstrong (percussion), Mitchell brings in Tatsu Aoki (bass, shamisen, taiko) and Kojiro Umezaki (shakuhachi). Also in the mix is Chicago artist, scholar and poet avery r young, who brings the composer’s lyrics to life with visceral humanity.
Mandorla Awakening II explores what Mitchell describes as the “collision of dualities.” The work chronicles the journey of a couple as they find themselves navigating between two civilizations: the World Union, a crumbling society rampant with injustice and inequality, and Mandorla, a utopia where spirituality, technology and nature coexist harmoniously. The former is masculine, hierarchical and violent while the latter woman-centered, egalitarian and peaceful.
“I’m African-American, and I have a lot of anxiety living in this world today,” Mitchell explains. “Mandorla isn’t an altogether ‘hopeful’ piece, though optimism peaks through at times. I tend to be pretty optimistic, because I believe humanity has the power to co-create its future. Yet it does seem lately that my feelings about living in the U.S. is tainted by the failure and closing of so many schools populated by poor people and people of color, the intense lack of employment in our major cities, and the intensifying of violence on Black men.”
But despite these realities, Mitchell isn’t a dystopian by a longshot. She remains steadfast in her Afrofuturist utopianism, and Mandorla Awakening II can be seen as her attempt to will it into existence for the sake of all of us. As Mitchell points out, “Someone once wrote me something that helps me to keep going. He said, ‘Keep playing music, because while you are playing, your vision of a positive alternative future lives, even if it’s only until the song is over.’”
Released May 5, 2017
1. Egoes War 07:36
2. Sub-mission 05:35
3. The Chalice 02:49
4. Dance of Many Hands 05:48
5. Listening Embrace 12:06
6. Forestwall Timewalk 04:54
7. Staircase Struggle 09:48
8. Shiny Divider 08:06
9. Mandorla Island 10:22
10. TimeWrap 07:15
Mandorla Awakening: Emerging Worlds is a recording of the world premiere performed at the Museum of Contemporary Art in Chicago on May 2, 2015, as part of the Creative Music Summit.
Nicole Mitchell’s Black Earth Ensemble
Avery R Young: vocals
Kojiro Umezaki: shakuhachi
Nicole Mitchell: flute, electronics
Renée Baker: violin
Tomeka Reid: cello, banjo
Alex Wing: electric guitar, oud
Tatsu Aoki: bass, shamisen, taiko
Jovia Armstrong: percussion
Nicole Mitchell: Mandorla Awakening: Emerging Worlds was commissioned by the Museum of Contemporary Art Chicago. The MCA presentation was in conjunction with the 50th anniversary celebrations of the Association for the Advancement of Creative Musicians (AACM), and contributes to the legacy and continuing bold and exciting directions that the AACM has charted for decades. Emerging Worlds was presented as a multi-arts project featuring the experimental video of Ulysses Jenkins. The project was supported in part by the Doris Duke Foundation.
Big thanks to the Creator, to our families and friends, and to the Museum of Contemporary Art, the Doris Duke Foundation and University of California, Irvine, for their support towards helping us to manifest this project. Special thanks to the musicians of Black Earth Ensemble, Yolanda Cursach of the MCA, the AACM, Matt Pakulski, and to my husband Calvin Gantt.
Recording engineering by Caleb Willitz at MCA stage on May 2, 2015.
Mixed by Dorian Gehring, Fox Hall Studios.
Mastered by Shelly Steffens, Chicago Mastering Service.
Artwork by Damon Locks.
Layout by Leticia Arioli.
All music and lyrics composed and arranged by Nicole Margaret Mitchell, Wheatgoddess Creations, ASCAP.
This is FPE Records #12, 2017.
Christian Scott aTunde Adjuah - Trumpet, Siren, Sirenette, Reverse Flugelhorn, SPD-SX, Sampling & Sonic Architecture
Elena Pinderhughes - Flute (tracks 1, 3, 6, 7, 8, 11)
Lawrence Fields - Piano, Fender Rhodes (tracks 1, 2, 3, 4, 6, 7, 8, 10, 11)
Kris Funn - Bass (tracks 1, 2, 6, 7, 8, 10, 11)
Cliff Hines - Guitar (tracks 1, 2, 3, 6, 8, 10)
Corey Fonville - Drums, SPD-SX (tracks 1, 2, 3, 4 6, 7, 10, 11)
Joe Dyson Jr. - Pan African Drums, SPD-SX (tracks 1, 2, 3, 4, 5, 7, 8, 9, 11)
Weedie Braimah - Djembe, Bata, Congas (tracks 1 & 9)
Chief Shaka Shaka - Dununba, Sangban, Kenikeni (tracks 1 & 9)
Special Guest: Sarah Elizabeth Charles - Vocals (track 11)
Diaspora written by Christian Scott, (Stretch Music Publishing - SESAC), Lawrence Fields, (Khameleon Music - BMI)
IDK written by Christian Scott, (Stretch Music Publishing - SESAC), Lawrence Fields, (Khameleon Music - BMI)
Bae written by Lawrence Fields, (Khameleon Music - BMI)
Uncrown Her written by John Key Jr., (One John Key LLC - SESAC)
Lawless written by Christian Scott (Stretch Music Publishing - SESAC)
Lawrence Fields, (Khameleon Music - BMI)
The Walk written by Christian Scott, (Stretch Music Publishing - SESAC)
Lawrence Fields, (Khameleon Music - BMI)
Sarah Elizabeth Charles, (Sarah Elizabeth Charles Music - ASCAP)
Produced by Christian Scott aTunde Adjuah & Chris Dunn
Executive Producers: Christian Scott aTunde Adjuah & Louis Marks
Recorded April 16-21, 2016 by Matt Grondin and Nick Guttmann at The Parlor, New Orleans, LA
Mixed by Nick Guttmann at The Parlor, New Orleans, LA
Mastered by Paul Blakemore, Cleveland OH
1. Diaspora [Feat. Elena Pinderhughes] 04:57
2. IDK [Feat. Braxton Cook] 04:17
3. Our Lady of New Orleans (Herreast Harrison) 03:44
4. Bae (Interlude) [Feat. Lawrence Fields] 02:11
5. Desire and the Burning Girl 05:35
6. Uncrown Her 03:52
7. Lawless [Feat. Braxton Cook] 03:59
8. Completely [Feat. Elena Pinderhughes] 06:18
9. New Jack Bounce (Interlude) 03:00
10. No Love 06:10
11. The Walk [Feat. Sarah Elizabeth Charles] 05:19
Trommeslager Lars Wagner har hevet inspiration fra sine fusions-80’er-ikoner som Brecker Brs.,
Karizma, Yellowjackets og Miles Davis frem af gemmerne, og skrevet sin egen moderne
fusionsmusik, der udkommer medio juli på albummet ’This Sounds Odd’.
’This Sounds Odd’ er blevet til lidt utraditionelt - som et Dropbox-projekt, fortæller Lars Wagner:
”Vi har indspillet albummet vidt forskellige steder i landet. Jeg har indspillet en demo i mit studie,
og derefter er musikken sendt rundt til de medvirkende musikere via Dropbox. Og de har arbejdet
videre i deres egne respektive studier. Fordelen er, at hver musiker kan arbejde med og fordybe
sig i musikken, når de har tid og lyst til det. Udfordringen er at opnå det sammenspil, som kan
opstå, når man indspiller sammen. Det stiller store krav til musikerne, at spille musikken som om vi
alle stod der, og reagere impulsivt på det vi hører. Ligesom vi plejer. Og missionen er lykkedes!”
Det skyldes en række eminente musikere, som har løftet den anderledes indspilningsopgave. Bl.a.
Michael Bladt, Samuel Hejslet, Jesper Riis, Jesper Nordal, Mikkel Riber og Thomas Risell.
”Stilen er gennemført til mindste detalje, og musikken udfordrer virkelig lytterens ører!” – Jan Glæsel
Tilbage til fremtiden.
Har du glemt, hvordan ægte fusionsmusik på nye flasker lyder, så lyt med på Wagner Fusion, der
spiller instrumental musik, i et mix af funk, jazz, rock, reggae og electronica. Musikken er fyldt med
power, energi, masser af improvisation og leg, men er samtidig stemningsfuld - nærmest som et
Lars Wagner (1969), uddannet på Rytmekons., Kbh.
• Har komponeret, arrangeret og produceret musikken på albummet ’This Sounds Odd’.
• Har gennem de sidste 20 år spillet med navne som Michael Bladt Kvartet, Aarhus Jazz
Orchestra, Jens Christian Kwella, Jan Glæsel’s Ork., samt div. Teater-koncerter/turnéer
m.fl. Og har derudover medvirket på mere end 100 udgivelser.
• Har eget studie – ”The Hitting Room”, hvor han indspiller ”on-demand-trommer”.
• Er klar til at spille på sommerens jazz-festivaller, sammen med et stærkt live-hold, med
bl.a. Samuel Hejslet og Jesper Nordal.
01. WagYou! 4:40
02. This Sounds Odd 5:39
03. Polizei 3:14
04. Catching Some Z's 5:36
05. August ´12 5:48
06. Ma-Na-Na Song 6:18
07. Spoof 5:45
08. Spam 6:38
09. Radiator 7:38
10. Apocalips 5:00
DRUMS RECORDED AT THE HITTING ROOM.
MIXED BY CHARLIEJ AT LUNDGAARD STUDIO.
MASTERED BY BJARNE HANSEN.