Thursday, 30 May 2013

Close Erase • Dance This

Close Erase turned electric on their third album, Dance This (Bp 01010). Together with producer Reidar Skår, Close Erase released an album which redefines the standards of modern jazz music without compromises. With references to Miles Davis in the seventies, Aphex Twin, Squarepusher and the Norwegian group Supersilent, Dance This appeals to a wide audience, stretching from dark clubs to jazznerds headphones. The album has received reviews comparable to standing ovations by most critics, including highest rating by Norwegian critic Terje Mosnes (Dagbladet).

1. Dance This Part I
2. Dance This Part II
3. Zoo Solitude Part III
4. Zoo Solitude Part II
5. Zoo Solitude Part III
6. Zoo Solitude Part IV
7. Rigid Digit

Ingebrigt H. Flaten • Bass
Per Oddvar Johansen • Drums / Electronics
Christian Wallumrød • keyboards

Produced by  Reidar Skår and Close Erase

Label: BP – bp01010
Format: 320
Country: Norway
Released: 2001
Genre: Electronic, Jazz
Style: Abstract, Future Jazz

Conjoint • Earprints

The sophomore album from Conjoint charts many of the same vibes as 1997's self-titled album for KM20, though that's hardly a drawback. Moufang and Hodge wrap Berger's laid back vibraphone lines and Ruit's sparse guitar pickings -- plus a variety of guests on reeds and organ -- with a fabric of similarly gentle (but often free-form) atmospherics and electronics. The beats range from crackly trip-hop ("Strange Ideas," "Four Nine") to more precise electro programming ("Walk On!"), even while the surface music remains surprisingly similar. Most of the songs are bookended by short interludes termed "earprints" -- unfortunately, the large number of different pieces often gives the experimentation a slight meandering quality. Though it may not survive a full listen, Earprints includes a lot of intriguing music.
John Bush

1. Earprint Nr1
Vibraphone • Karl Berger
Breath Noise • Anna-Lena Fiedler
2. Strange Ideas
Vibraphone, Melodica, Conversation • Karl Berger
Shaker, Drum Programming, Conversation • Jamie Hodge
Juno 106, Pro-one • David Moufang
3. Earprint Nr2
Vibraphone • Karl Berger
Fender Fretless • Jamie Hodge
4. Walk On!
Vibraphone • Karl Berger
Guitar •  Gunter Ruit Kraus
Human Beatbox • Andrew Pekler
Programming • Jonas Grossmann
5. Earprint Nr3
Vibraphone • David Moufang
Oboe, Breath Loop • Anna-Lena Fiedler
6. Four.Nine
Vibraphone • Karl Berger
Bass, Slit Drums • David Moufang
Ms-20, Drum Programming • Jamie Hodge
Clarinet • Christoph Reimann
Oboe • Anna-Lena Fiedler
7. Earprint Nr4
Vibraphone • Karl Berger
Guitar •  Gunter Ruit Kraus

8. La Pluie Et La Seine
Vibraphone • Karl Berger
Organ, Guitar • David Moufang
Clarinet • Christoph Reimann
9. Earprint Nr5
Slit Drums • David Moufang
Saxophone • D.D.
10. The Joint
Organ • Jamie Hodge
Juno 106, Micro Modular, Electric Piano • David Moufang
Sh-101 • Kai Kroker
11. New York Mary Disaster
Vibraphone • Karl Berger
Fender Fretless, Drum Programming • Jamie Hodge
Guitar •  Gunter Ruit Kraus
Juno 106, Organ, Drum Programming • David Moufang
Saxophone, Voice • D.D.

12. Born Under A Rhyming Planet At The Foot Of The Odenwald
Vibraphone • Karl Berger
Guitar •  Gunter Ruit Kraus
Programming • Jonas Grossmann
13. Earprint Nr6
Slit Drums • David Moufang
Guitar •  Gunter Ruit Kraus
Saxophone • D.D.

14. Bar Rock
Vibraphone • Karl Berger
Vibraphone, Talkbox, Guitar, Drum Programming • David Moufang
15. Earprint Nr7
Vibraphone • David Moufang
Oboe • Anna-Lena Fiedler
16. Instructions
Vibraphone, Instructions • Karl Berger
Drum Programming • David Moufang
Instructions • Jamie Hodge
Guitar •  Gunter Ruit Kraus
Additional Drum Programming • Burkhard Höfler

17. Deductions (Who Can Get Me The Phone# For Mark Hollis Or Tim Friese Greene?)
Melodica • Karl Berger
Clarinet • Christoph Reimann
Oboe • Anna-Lena Fiedler

18. Earprint Nr8
Vibraphone • David Moufang
19. Die Implosion Des Sterns (... Und Das Absolute Nichts Danach)
Conductor, Guitar • Gunter Ruit Kraus
Drum Programming • David Moufang
Bass • Ralf Keydel
Drums • Alex Wormit
Tenor Horn • Stefan
Organ • Holger Selig
Tenor Saxophone • Constanze Krauß
Tenor Saxophone • Dorit Schradi
Tenor Saxophone • Elmar Lehmann
Tenor Saxophone • Tilmann Westhäuser
Trumpet • DJ B
20. No Balls
Vibraphone • Karl Berger
Guitar • Gunter Ruit Kraus
Rhythm Guitar, Drum Programming • David Moufang
Clarinet • Christoph Reimann

Recorded and mixed at reSource Studio, Heidelberg
Produced by Conjoint

Buy Here

Label: Source Records ‎– 991234
Format: 320
Country: Germany
Released: 2000
Genre: Electronic
Style: Abstract, Future Jazz, Downtempo

Wednesday, 29 May 2013

Berger | Hodge | Moufang | Ruit • Conjoint

Fusion. Electronics and soloists. Bridging generations.
Vibraphonist Karl Berger born In Heidelberg/Germany, started his career in the late fifties. In the early sixties he moved to Paris where he met Don Cherry. After touring europe with Don Cherry in '65 he moved to New York where he established himself as one of the top vibraphonists in the Avantgarde Jazz scene.
He recorded with musicians like Ornette Coleman ("Symphony for improvisers", Blue Note ) and Lee Konitz ("Duets" , Milestone ) aswell as releasing several albums as bandleader for Milestone (with Ed Blackwell, Dave Holand, Jim Hall......) and other labels.
Later he worked with Bill Laswell and George Clinton (including string arrangements for "Material" albums (axiom).

Guitarist Gunther Ruit Kraus from Ruit/Germany is living in Heidelberg. With his bands he played most of the major jazz festivals in Europe like Moers, Holland and Frankfurt, Germany as well as countless concerts in clubs throughout Germany.

Jamie Hodge from Chicago released his first record as "Born under a rhyming planet" 1994 on Richie Hawtins legendary "+8" label (Detroit). It became a straight classic.Other releases on "+8" and "Plug Research" followed to make Jamie Hodge one of the most respected artists in the electronic music scene.

David Moufang aka Move D, co-founder of Source Records, released several solo projects like the electronic-listening classic "Kunststoff" on Source Records, a 12" on Warp Records and"Solitaire" on Fax Records.
He also worked in several colaboration projects such as "Reagenz" (with Jonah Sharp aka Spacetime Continuum), "View to View" (with Robert Gordon), "Koolfang"/"Move D & Namlook" (with Pete Namlook) and "Deep Space Network" (with Jonas Grossmann).
He is the grandmaster of smooth and groovy techno.
Source Records

1. The Catch
2. Neue Serie
3. Mountaineer
4. Ruit Valley
5. Tee Dum
6. Schokoladenmilch
7. Walk!
8. Deta
9. Concessions

Karl Berger • Vibraphone 

Jamie Hodge • Synthesizer, Organ, Guitar, Bass, Vocals, Programming
David Moufang • Synthesizer, Organ, Guitar, Piano, Vocals, Percussion, Programming
Gunter "Ruit" Kraus • Guitar

Produced by
David Moufang & Jonas Grossmann

Label: KM 20 – km2003
Format: 320
Country: Europe
Released: 1997
Genre: Electronic
Style: Abstract, Jazztronica

Monday, 27 May 2013

Peeni Waali ‎• Peeni Waali

In 1987 Fizzé invited the reggae Heart Beat Band to record a maxi single with him, but they hesitated because they knew he had no reggae experience.
Determined to do the recording, Fizzé flew to Jamaica and met the late producer W. 'Jack Ruby' Lindo who took him to Kingston’s Dynamics Studio to hear a Sly and Robbie session, to meet musicians, buy records and to learn. One evening in Oracabessa, Fizzé was mesmerised by the extraordinary phenomenon of thousands of fireflies. It was an inspiring moment that would be the start of a 12 year exploration of a myriad of cultures.
Eventually Fizzé also met Rico Rodriguez who was to influence him greatly. Fizzé returned to Switzerland and recorded 3 tracks for Heart Beat Band, plus some of his impressions of Jamaica and its firefly, the Peeni Waali.
Fizzé returned to Jamaica in 1988 and recorded more music and overdubbed the rhythms he had prepared, working with percussionist Leon 'Scully' Simms, Robbie Shakespeare, saxophonist Dean 'Big D' Frazer, Leroy 'Horsemouth' Wallace and Felix 'Deadly Headly' Bennet .
Fizzé was hooked on reggae, loving its parallels with the blues but also its freshness.
Fizzé returned to Switzerland and worked in advertising for another two years but Rodriguez often recorded for him. Jerome Van Jones visited and recorded Duke Ellington’s Satin Doll and Blue Moon to Fizzé's reggae lines. In 1989 Fizzé contacted Linton Kwesi Johnson and Dennis Bovell and Beacon of Hope was born. Fizzé also met Lee Scratch Perry who voiced one of Fizzé's tunes, rapping about Liecht (light) & Stein (Liechtenstein was just over the border).
Peeni Waali the album was starting to take shape and it was released on his label in 1990, along with the Linton Kwesi Johnson album Tings An Times.

1. Beacon Of Hope
Narrator, Lyrics  • Linton Kwesi Johnson
Accordion • Johnny "Alig" Human
Bass, Percussion • Dennis Bovell
Guitar • Lorenz Viennet
Drums, Percussion • Dizzi
Percussion, Keyboards • Fizzè
Hammond B3 Solo • Jerome Van Jones
Percussion • Scully
Milkpots • Pascal Cuche
Rico • Trombone
Ukulele • Cédric Vuille

2. Skarab
Bass • Robbie Shakespeare
Anne Lehmann, Catherine Broillet, Christine Freudiger
Françoise Borioli, Jacqueline Gander

Percussion • Dizzi
Percussion • Scully
Percussion • Pascal Cuche
Rico • Trombone
Percussion, Keyboards • Fizzè

3. Ricochet
Bass, Keyboards • Fizzè
Drums • Dizzi 
Trombone • Rico

4. Licht & Stein
Vocals • Lee "Scratch" Perry
Bass, Guitar, Percussion • Dennis Bovell
Drums • Bazz Smith
Balaphones • Christian Addor
Balaphones • Olivier Meury
Keyboards • Peter Weber
Balaphones, Timbales • Dizzi
Keyboards • Fizzè
Trombone • Gerhard Lampert
Trumpet • Hans Kaemmerle

5. Peeni Waali (Version)
Bass, Accordion, Kalimba, Percussion, Saxophone • Fizzè
Clarinet • Cédric Vuille
Balafon, Mbira, Percussion • Dizzi
Trombone • Rico

6. Paper Mensch
Vocals • Rams
 Bass • Dennis Bovell
Drums, Percussion • Dizzi
Guitar • Cédric Cédric Vuille
Guitar • Momo Rossel
Keyboards, Bottles, Zither, Percussion • Fizzè
Trombone • Rico

7. A No Nottn
Acoustic Guitar, Ukulele • Cédric Vuille
Alto Saxophone • Dean Frazer
Bass • Robbie Shakespeare
Cabasa, Wood Block • Scully
Electric Guitar • Lorenz Viennet
Hihat • Phil Santschi
Snare • Dizzi
Trumpet • Felix "Deadly Headley" Bennett
Trombone • Rico
Keyboards • Fizzè

8. Irish Irie
Accordion • Johnny "Alig" Human
Cabasa • Scully
Drums, Spoons • Dizzi
Harp • Asita Hamidi
Keyboards, Flute, Bass • Fizzè
Soprano Saxophone • Felix "Deadly Headley" Bennett
Trombone, Funda • Rico
Ukulele • Cédric Vuille
Violin • Christoph Habegger

9. Rockaman Soul
Bass, Keyboards, Flute • Fizzè
Drums • Phil Santschi
Guitar • Martin Millar
Vocals, Trombone, Percussion • Rico

10. Satin Doll
Bass, Guitar, Percussion • Dennis Bovell
Drums • Bazz Smith
Organ • Jerome Van Jones
Trombone • Rico

11. Mini Mali
Bass, Guitar • Dennis Bovell
Drums • Dizzi
Keyboards • Fizzè
Bass, Guitar • Dennis Bovell

12. Version Of Hope
Accordion • Johnny "Alig" Human
Bass, Percussion • Dennis Bovell
Drums, Percussion • Dizzi
Keyboards • Jerome Van Jones
Percussion • Scully
Percussion, Keyboards • Fizzè
Milkpots • Pascal Cuche
 Trombone • Rico
Ukulele • Cédric Vuille

13. Rockaman Dub #1
Bass, Keyboards, Flute • Fizzè
Drums • Phil Santschi
Guitar • Martin Millar

14. A No Nottn Dub
Keyboards • Peter Weber
Bass, Guitar • Dennis Bovell
Drums • Dizzi
Keyboards • Fizzè

15. Peeni Waali
Bass, Accordion, Kalimba, Percussion, Saxophone, Keyboards • Fizzè
Clarinet • Cédric Vuille
Balafon, Percussion, Mbira • Dizzi
Trombone • Rico
Speaking • A.C. "Bruce" Harris

Produced, arranged, recorded at Studio Mensch by

Buy Here

Label: Blue Moon Productions ‎– BM 151
Format: 320
Country: France
Released: 1991
Genre: Jazz, Reggae
Style: Dub, Roots Reggae, Pop

Sunday, 26 May 2013

Audun Kleive • Ωagoddabl

Ohmagoddabl is Generator X's third outing. Audun Kleive's occasional group is made up of some of the cream of Norway's electric jazz players, namely Jan Bang (samples), Christian Wallumrod and Stale Storlokken (keys), and Arve Henriksen (trumpet). Ohmagoddabl's predecessor (simply entitled Generator X) was an intriguing, though occasionally patchy work; its spare moments were perhaps a little too spare, though they were balanced by some marvellous future jazz experiments, so this latest release is met with some anticipation.
That Generator X's sound is so highly percussive is perhaps unsurprising given that Kleive is a drummer, but this motive power clearly harks back to Miles Davis's 1970s explorations as well as connecting to the rhythmic monomania of the electronic dance music revolution of the last 15 years.
The first moments of "Genreactor" might be mistaken for a Carl Craig techno track except that bass stabs simultaneously signal a potential junglist anthem. Then clattering drums liable to cause clubland consternation start up, sounding like they're trying to lock into a pattern. Arve's trumpet discharges haunted moans and plangent appeals over some fine, phat bass while Audun continues to pursue the beat, but instead of repetitive groove, he delivers a kaleidoscopic matrix of rhythmic possibilities. Around the five minute mark things turn heavy and monstrous, murderous even. A minute later and it's all over, all too suddenly.
"Exploded Cod" is thrash jungle complete with rubber keyboard bass. Ghost winds float over the melee like a dread fog. "Stumblin' At The Savoy" sounds like musical bricolage, as if anything that was within reach of the musicians had been grabbed and put into the service of rhythm. There's a precarious sense of parts travelling separately but towards a roughly similar destination. It's the musical equivalent of watching a Jean Tinguely sculpture negotiating its short lifespan towards an assured destruction.
The pressure gradually increases to explosive levels until the ten minute mark when events turn into something like a junkyard symphony centred upon Kleive, who seems to excel at producing a grooveless groove. He's joined by all manner of squelches, squeals and electronic squwaking over which Storlokken's high pitched synths ­recognisable from Supersilent - soar like sci-fi comets.
When compared to the previous year, Norway's musical output was relatively quiet in 2003. Perhaps its musicians were drawing their breath for the next onslaught of creative, cutting-edge hybridisation. Hopefully Ohmagoddabl is the harbinger of that riptide, but even if nothing follows on its heels, it's a vital and remarkable set of music. Any fan of 1970s Miles Davis who also enjoys swimming in the oceans of electronic music that have formed in the last couple of decades should listen to this. by Colin Buttimer

1. Genreactor
2. Exploded Cod
3. Stumblin' at Savoy
4. Sessaphêre
5. Ofcourseable

Audun Kleive • drums, keyboards, vocals, computer, loops
Christian Wallumrød • keyboards
Ståle Storløkken • keyboards
Arve Henriksen • trumpet
Jan Bang • sampler, loops

Mixed By • Audun Kleive & Robert Musso
Produced by Audun Kleive

Label: Jazzland Records
Format: 320
Country: Norway
Released: 2004
Genre: Electronic, Jazz
Style: Jazz
tronica, Experimental

Saturday, 25 May 2013

Audun Kleive | GENERATOR X • Live

I seldom get pleasure of listening to live shows neglecting to return to most after a cursory listen, which I know is probably my loss. I probably got this from dime whilst looking for something else.
I had the pleasure of seeing this band live, I think, earlier than this recording at the Jazz Cafe in London. A great live experience.

"GENERATOR X" - tour
Audun Kleive's Generator X ripping up the rule book.
FM recording July 1th, 2002 Musikcafeen Aarhus, Denmark

1. trak 1
2. trak 2

Arve Henriksen • trumpet
Jan Bang • live sampling
Christian Wallumrød • keyboards
Ståle Storløkken • keyboards
Audun Kleive • drums

Label: Download
Format: 320
Country: Denmark
Released: 2002
Genre: Electronic, Jazz
Style: Jazz
tronica, Experimental 

Friday, 24 May 2013

Audun Kleive • Generator X

Generator X is an excellent album and could rank as one of the key statements in Norwegian nu jazz. It's very interesting in its range of influences and how it combines these to create such a cohesive whole. The most arresting track is "Obelisk" which apart from its very modern rhythmic elements could almost have been a lost track from Miles Davis's Get Up With It sessions. Trumpeter Arve Henriksen opens with his trademark flute-like tone but soon moves to a more hard-edged timbre for some gritty soloing over the dense, misty backdrop painted by Kleive's rhythms and the shifting keyboard textures created by Christian Wallumrød and Ståle Storløkken, both of whom give more than a hint of Herbie Hancock in their use of harmony and the timbres conjoured from their very retro '70s array of keyboards (Rhodes, Prophet and Moog). One thing that is striking about the music is how it retains a sense of form throughout and yet remains extremely spontaneous and inspired.
The album is full of interesting textures. "Never Thought I Would" one of two live tracks adding Jan Bang to the lineup, opens with a thudding house-like bass drum beat over which Kleive's vocals and the keyboards create a range of textures very different from those on "Obelisk" On "Framework" the keyboards show Weather Report influences, but transplanted to an edgy modern environment characterised by Kleive's live drumming, very effectively fractured through editing, and other electronic textures. The more contemplative "Mainstay" also shows Weather Report influences, especially in the very Zawinalesque Moog and Rhodes parts.
Generator X can in many ways be seen as an extension of the timbres and sense of musical experimentation found in mid-'70s Miles Davis or early Weather Report, whilst combining this with many thoroughly modern elements to create a sound world not really found anywhere else.

Jon Opstad

1. Framework
2. Never Thought I Would / Bitt Decomposition
3. Mainstay
4. Obelisk
5. Generator X /  Decomposition

Arve Henriksen • Trumpet
Christian Wallumrød • Rhodes, Prophet VS
Ståle Storløkken • Minimoog, Prophet T8, Emulator III
Jan Bang • Live Sampling (2, 5)
Audun Kleive • Drums, Keysboards, Vocals

Produced by Audun Kleive

Label: Jazzland Records – 542 900-2
Country: Norway
Released: 2000
Genre: Electronic, Jazz
Style: Jazztronica

Thursday, 23 May 2013

[Komfort.Labor] • Presents ~Scape

No matter which perspective listeners take when approaching Komfort.Labor Presents ~scape, the album proves successful: as a commemoration of the celebrated Komfort.Labor club nights in Berlin; as a showcase for the ~scape label and its ambient dub-techno sound; and also as a home listener-orientated DJ mix by ~scape label head Stefan Betke, better known as Pole. Rarely does one get the chance to experience down-tempo DJ mixes -- most DJ mix albums feature dancefloor material. And because of this simple matter of fact, Komfort.Labor instantly stands out from the crowd. Furthermore, given the brand equity associated with Betke's Pole moniker in the dub-techno community, Komfort.Labor takes on yet more of a noteworthy status. And if none of that seems to spark listeners' interest when approaching this mix, perhaps ~scape's who's-who roster of affiliates will -- some of the more recognized names here being Matthew Herbert (as Dr. Rockit), Jan Jelinek (as Farben), and Betke (as Pole), as well as Kit Clayton and Vladislav Delay (as themselves). In other words, it's safe to say this album has a lot going for it. Betke doesn't drop a straightforward set, though. His set is actually quite adventurous and characterized somewhat by its idiosyncrasies. There are four primary tracks which anchor the hour-long set -- Delay's "Siru," Maus & Stolle's "Taxi," Flanger's "Quicksilver Loom," and Pole's "Rondell 2" -- interspersed with a number of shorter tracks that function as segues. The first is trademark Delay, a quiet yet chaotic piece much in the style of his more ambient Chain Reaction records; the second is the album's peak in terms of tempo and rhythm, a chugging dub-techno track; the third finds Atom Heart and Burnt Friedman seemingly making as much noise as possible with cacophonous jazzy snares and manic piano keys; and the fourth comes straight from Pole's 3 LP. As one may presume, Betke takes some unexpected directions on this mix, which should please anyone who trusts his sense of adventure while simultaneously disappointing anyone looking for a straight-ahead ambient dub-techno mix. Yet even if some of the noisier detours in the mix don't sit well with listeners, Betke never strays too far from the patented dub sound we've come to expect from him -- he may throw listeners for a curve here and there, but thankfully always comes back to the deep, dark, glitchy basslines.

1. ~Scape Berlin • Intro
2. Vladislav Delay • Siru
3. Kit Clayton • The Mimic And The Model # 1 - 8
4. Process • Smp-K Option 2
5. Maus & Stolle • Taxi
6. Farben • Stuck
7. Dr. Rockit • Photos And Pebbles
8. Cinematic Orchestra • Continuum
9. Flanger • Quicksilver Loom
10. Low Res • Evanesce
11. The Private Lightning Six • Baby FM
12. Pole • Rondell 2
13. Nils Oekland • Horisont
14. ~Scape Berlin • Outro

Stefan BetkeDJ Mix

Label: WMF Records ‎– wmfrec cd002
Format: 320
Country: Germany
Released: 2001
Genre: Electronic
Style: IDM, Experimental, Minimal

Wednesday, 22 May 2013

Flanger ‎• Outer Space / Inner Space

If you liked Templates then checkout Outer Space / Inner Space , a great example of fusing different genres to create audio sorcery.

With 2001's Outer Space/Inner Space - how apt a title and motif for this space odyssey! -- Flanger vault even further forward into the future of jazz while somehow managing to keep one foot in the roots of hard bop, free jazz, Latin jazz, and samba. The grounding element is most likely the core of guest musicians, including players from Cologne, Germany; Copenhagen, Denmark; and Santiago, Chile. On the title track a robotic voice chants "outer space" over decidedly retro Latin jazz rhythms augmented by occasional synthesizer flourishes and beats that are equal parts organic percussion and electro loops, again blurring the line between jazz old and new, which appears to be the Flanger modus operandi. "Galak" is an astronaut's floating dream with its fluid blend of spacy vibes and earthy acoustic bass, its spiraling ascent chased along by dueling congas and fusion guitar. A squelchy computer rhythm clashes with driving acoustic drums while two keyboards and processed bass and guitar battle it out furiously on "The Man Who Fell to Earth," evocative of a more down to earth (so to speak) Squarepusher. A sexy Rhodes fuels the robot dance of "Inner Spacesuit," while flailing funk bass propels the sci-fi theme "Le Dernier Combat." (Is that a Spanish-speaking musician announcing something like "I'm drunk" on the fade?) The zenith, and mission statement, of this album is "It Ain't Rocket Science," with its dueling Coltrane-esque saxophones and grimy techstep beat programming that perfectly meld the origin and the destination of modern jazz. Apparently it takes two forward-thinking and often whimsical German composer/multi-instrumentalist/deconstructionists and their host of multiethnic trad jazz players to bring the groove to the sometimes stiff world of jazz and launch it into the future.

1. Outer Space/Inner Space
2. Galak
3. The Men Who Fell From Earth
4. Inner Spacesuit
5. Le Dernier Combat
6. Unosietecero
7. It Ain't Rocket Science    
8. Hirnflug

Atom Heart • Rhodes, Motion Bass, Programming

Burnt Friedman • Gretsch Drums, Percussion, Programming


Thomas Hass • Saxophone

Carsten Skov • Vibraphone

Josef Suchy • Electric Guitar
Jorge Gonzalez • Guitar

August Engkilde • Upright Bass

Toly Ramirez • Electric Bass
Claudio Ortuzar • Percussion

Ernesto Artunez • Percussion

Argenis Brito • Percussion

Produced by Flanger

Buy here

Label: Ninja Tune ‎– ZENCD61
Format: 320
Country: UK
Released: Nov 2001
Genre: Electronic
Style: IDM, Future Jazz

Monday, 20 May 2013

Jorge Amorim and Hank Schroy • Orixás

Summoning the Orixás
Hank Schroy, co-producer with Jorge Amorim talks to Austin John Marshall, editor of Contents Under Pressure about their exploration of an ‘unfathomably ancient’ tradition…

How did the project begin?

“At the outset I could have told you something about Yemanja or Xango, but didn’t have the faintest about Nana, Ewa, Oba and many others. Jorge grew up in Umbanda; his grandmother raised him in and around the ceremonies and temples of these religious practices, and this is the foundation of his approach to the drums. But he was also vague on the story behind this or that Orixá.

“So this all began as a study of the chants and percussion patterns of various Yoruba sacred traditions; Candomblé, Umbanda, Santeria, and Ifa… The result is 16 songs, each an offering to a different Orixá. While learning more about Exú, the parallels with Elegba of Haitian Vodou became clear. Both symbolize an opening of the gates for all things to come.

“By offering up this collection for the general listener, we hope to further the cause of those musicians laying down the rhythms of a new loving universality.”

But aren’t global trance grooves derived from diverse traditions creating a new hazard; of rounding up the endangered musical treasures of the world into the land of the bland?

“The Orixás emerge from an unfathomably ancient tradition with ingredients so primal, we feel sure this collection will stir some zest & pungency into the mix!

“Artists know their best work is an offering; a stone tossed on the water, ripples spreading in unpredictable ways. The great players whom we lured into this pool became as caught up as Jorge and myself in the interplay, not just with each other but in the idea of music as an act of intercession, creating mantras whose energies are boundless.”

So are you trying to start a religious revival?

“Ancient shamanism has always been practised side by side with corporate religion; the old ways got dismissed as pagan, black magic, the devil’s work, etc… , and practitioners still get mercilessly persecuted. Countless devotees of Candomblé and Umbanda in Brasil have been strong-armed into renouncing the old ways as evil and pledging to Rome or the Carismaticos! Which is sad because at the same time we see countless awakenings worldwide to the wonder, elegance, and beauty in the panoply of Vodou and Candomblé.”

1. Exú 
is the divine trickster, the prince of the crossroads.
Exú opens the way for the others to follow.
Val-Inc • intro | Jorge Amorim • percussion | Jorjão Silva • voice | Magali • voice | Erol JosueElegba invocation | Carlinhos Almeida • cavaquinho | Gustavo Dantas • violão-sete-cordas | Jay Rodriguez • flute | Pedro Ramos • flute arrangement

2. Ibejis 
are twins, seen as children.
They are often invoked right after Exú.
Ibejis bring good fortune and prosperity.
Jorge Amorim • percussion | Magali • voice | dj Wiz • turntables    

3. Ossain 
is the master of herbs, of sacred plants and sacred medicine.
He is the son of Yemanja and Oxalá.
Reine Sophie Acadine • vocals | Hank Schroy • cavaquinho, violão, baixolão | Micah Gaugh • saxophone | Leon Gruenbaum • cz-101 | Jorge Amorim • percussion    

4. Yemanja 
is the queen of the ocean, the good, nurturing mother of all. She is fertility and abundance. Often seen as a mermaid or a woman dressed in pearls and blue.
Reine Sophie Acadine • vocals | Hank Schroy • cavaquinho, violão, baixolão | Micah Gaugh • saxophone | Leon Gruenbaum • cz-101 | Jorge Amorim • percussion

5. Iansã 
is the spirit of the wind, of change.
She was married to Ogun and later became Xango's wife.
From Xango she learned the secret of lightning.
She's always in love or falling in love. 
Mazz Swift • violin | Reine Sophie Acadine • vocals | Hank Schroy • bass, violão | Jorge Amorim • percussion, wurlitzer | Micah Gaugh • saxophone, vocals | Leon Gruenbaum • cz-101    

6. Ogun 
is the divinity of the fight, of war, of armies, of weaponry.
The oldest warrior Orixá. He is associated with iron, with metallurgy, with the path of technology.
Luis Bonilla • trombone | Reine Sophie Acadine • vocals | DK Dyson • vocals | Jorge Amorim • percussion | Hank Schroy • bass | Jay Rodriguez • sax | Micah Gaugh • horns, sax solo    

7. Omolu
a.k.a. "Obaluaé", or "King of the Earth" in Yoruba.
He is perceived as being an old man, and is an extremely important Orixá, because he is connected with health, with the absence of disease.
Chief Dayo • vocals | Jorge Amorim • percussion    

8. Xango 
is a warrior.
He is justice, severe or benevolent, depending on the situation. Depicted wielding an axe in each hand, he is responsible for thunder and lightning.
Hank Schroy • cavaquinho, bass, voice | Jorge Amorim • percussion, voice | Gustavo Dantas • guitar | Micah Gaugh • sax | Jay Rodriguez • flutes, wurlitzer | Leon Gruenbaum • cz-101 | Reine Sophie Acadine • voice | DK Dyson • voice

9. Oxossi 
is the Hunter.
Often seen with a bow and arrow, he presides over Art, over freedom of expression.
He is the one that hunts for Axé (sacred energy).
Reine Sophie • vocals | Vernon Reid • guitar | Gustavo Dantas • violão | Leon Gruenbaum • CZ-101 | Micah Gaugh • sax | Hank Schroy • bass | Jorge Amorim • percussion    

10. Ewa 
is a divinity of song, of happy and alive things.
Possessing a rare enchantment and beauty, she is the queen of metamorphasis, 
of organic and inorganic mutation and transformation.
Magali • vocals | Hank Schroy • cavaquinho, violão, bass | Jorge Amorim • percussion    

11. Oba 
is very strong and energetic.
Her children seek success with great determination and care, in order not to lose anything.
She rules over rivers, over floods, over stones at the water's edge.
Nego Gato • voice | Balla Kouyaté • balafon | Hank Schroy, Jorge Amorim, Sophie, Edith, Katty, Jorjão • choir | Hank Schroy • bass, cavaquinho, Jorge Amorim • percussion | Gustavo Dantas • guitar | Leon Gruenbaum • cz-101
12. Oxalá 
is the Supreme Father. 
He is the Orixá of peace, of balance, of fraternity, of union. 
Symbolized by white, by purity. The positive equilibrium of the Universe. 
Magali • voice

13. Nana 
is the oldest Orixá. She was the first wife of Oxalá.
Those who are ledby Nana are calm and benevolent,
always acting with dignity and gentility. 
Ileana Santamaria • vocals | Hank Schroy • vocals | 
Jorge Amorim • vocals, percussion | Suphala • tablas    

14. Oxum 
is a divinity of sweet water, of the famous river with the same name in Nigeria. The goddess of beauty, of gold, of love, of candidness, of the fresh breeze, of abundance and wealth.  
Nego Gato • voice | DK Dyson, Reine Sophie Acadine • voice | Vernon Reid • guitar | Gustavo Dantas • guitar | Micah Gaugh • sax | Hank Schroy • bass | Jorge Amorim • percussion    

15. Maria Conga
Umbanda assimilates many archetypes from Brazil's diverse history. One of these is the "pretos-velhos", which means "old blacks". They are the spirits of the old slaves, brought from Africa.
They represent sage wisdom, strength, love, and charity.
Magali • voice | Jorge Amorim • percussion    

16. Oxum-Maré 
in Yoruba, means "rainbow" He is the pot of gold at the end of the rainbow,
represented by the sacred Serpent and the Rainbow.
Dambala Wedo is Oxum-maré's counterpart among the Fon based Lwa of the Vodoun religion of Haiti.
Erol Josue • voice | Hank Schroy • bass | Jorge Amorim • percussion

Produced by Jorge Amorim and Hank Schroy

Purchase here

Format: 320
Country: Brazil
Released: 2004
Genre: Latin, Folk, Electronic
Style: Afro-Brazilian

Tuesday, 14 May 2013

Hy Brazil Vol. 1 | 2 • Chico Dub

Listening and enjoying vol.1 while putting this post together. Since being exposed to the musics of Brazil since the early 80's from Batacudas, Bossa Nova, Tropicália, Olodum, Timbalada, even briefly playing the surdo drum in a Maracatu bloco band in the early 90's (I wasn't that good but I did introduce the band to the Sergio Mendes track "What is This?" which we rip off and played out).
Anyway I will post most of this stuff in the near future. Back to this post of two free downloads of new Brazilian artists curated by Chico Dub, which I stumbled across via Technocumbia blog.
I drop in and out of discovering whats coming out of Brazil and hadn't a clue whats been happening for a time so this is welcome awakening for my ears. You can also read an interview with Chico about the albums and artists on Spin here.

 Hy Brazil Vol 1
Fresh Electronic Music From Brazil 2013
A selection of 14 tracks from 14 new Brazilian electronic music producers, with styles as different as baile funk, tecnobrega, trap, house, bass music and future beats,curated by Chico Dub, from local festivals Sónar São Paulo and Novas Frequências.

Hy Brazil Vol 1: Fresh Electronic Music From Brazil 2013 gathers 14 tracks from 14 new “Made In Brazil” electronic projects. Most of these artists have been into musical production for only a very short period of time. The age group is also quite low: many are in their early 20s. Other common factor is that almost none of them are signed with record labels. Besides that, their Soundclouds and Bandcamps are updated on a weekly basis with new tracks available for free download.

Some of the artists are more well known locally, having played at festivals such as Sónar São Paulo, Eletronika and Novas Frequências, like Pazes, the beatmaker from Brasilia and Psilosamples, a producer from Minas Gerais who blends traditional folklore music with techno and IDM. Not to mention Rio’s Leo Justi, who recorded an official remix for M.I.A. and has done beats for her new record as well.

Chico Dub  
Read more and download here

Hy Brazil Vol 2
New Experimental Music From Brazil 2013
New Experimental Music From Brazil 2013 is the second volume of Hy Brazil, a series dedicated to compile the new Brazilian music with the aim of promoting it locally and abroad. Just as in the first volume (Fresh Electronic Music From Brazil 2013), the compilation gathers 14 previously unreleased tracks from 14 new (or nearly new) “Made in Brazil"projects.

Much more interesting than joining them in groups for reasons of aesthetic affinity (musical genre) or geographical frontiers (six Brazilian States were included in the compilation), is to point out several points in common that they establish among themselves.

Chico Dub
Read More and download here

Curated by Chico Dub

Monday, 13 May 2013

Ramiro Musotto • Sudaka

Argentine master-percussionist Ramiro Musotto was born in La Plata, grew up in Bahía Blanca and at age 18 moved to Brazil, where he spent most of his professional career, although he made frequent trips back to Argentina. In Brazil, he lived in Sao Paulo, Bahia and Rio de Janeiro.

Since 1982, Ramiro Musotto explored the rhythms of Brazil and became a master of the berimbau. In his recordings, he used the instrument as percussion, melody, and with background loops. Ramiro started with pumped-up versions of Afro-Brazilian grooves, but later added multiethnic global music, with elements from Africa, South America, Asia and Europe.

Ramiro Musotto worked with just about every great Brazilian and Argentinean artist in the world today including Sergio Mendes, Caetano Veloso, Gato Barbieri, Daniela Mercury, Gilberto Gil, Marisa Monte, and Virginia Rodriguez.

Sudaka was his debut album and combined his field recordings of Amazon Indian chants, Candomble spirit rhythms, Brazilian percussion, and everyday street sounds, all layered over a percolating electronic dance-groove production. Musoto called it “a psychedelic trip throughout and into the Afro-Brazilian and South American culture; an optimistic way of interpreting the effects of technology in our everyday life and art.”

1. Caminho    
2. Ginga
3. Raio
4. Botellero
5. Bayaka
6. Antônio Das Mortes
7. Ijexá
8. Xavantes
9. Torcazas Neuquinas
10. La Danza Del Tezcatlipoca Rojo
Recorded, Programmed, Played, Mixed & Produced by
Ramiro Musotto

Buy here

Label: MCD World Music ‎– MCD172
Format: 320
Country: Brazil
Released: 2003
Genre: Electronic, Folk, Latin
Style: Freestyle, Future Jazz, Samba

Friday, 10 May 2013

Ayibobo • Freestyle

At the time of the Duvalier regime (1958-86), Roots music was considered subversive on Haiti and was banned as a result. However, groups formed in the island's forests and fought the ban with their music. Such a group was Foula, gathered around bassist and bandleader Chico Boyer. In the early 1990s, as repression increased, the musicians left Haiti and founded Ayibobo, together with Jean-Paul Bourelly, in New York. The band's concept combines Voodoo music traditions with the aesthetics of modern urban improvisation. Rosna, the band's singer, is a fascinating figure: the incarnation of gracefulness and femininity within Voodoo culture - Brooklyn style.

Freestyle's fusion of Haitian singing and drumming with jazzy horns and guitar finds Ayibobo's leader, guitarist Jean-Paul Bourelly, looking back to his heritage for some inspired new ideas. The result is danceable, pan-cultural jazz at its most enjoyable, exemplified on songs like "Voodoo Blue".
Alphonse Piard, Jr

1. Dessalines
2. Lenglensou
3. Voodoo Blue
4. Ayibobo
5. Afrika
6. Sondjemen
7. Afro Logic
8. Euzelie
9. Spirits
10. Plante
11. Tchouboum
12. Sing
13. M.C Tido

Wilfrid Ti Do Lavaud • Lead vocal, Drums, Guitar
Jean-Paul Bourelly • Guitar, Vocals
Chico Boyer • Bass, Background vocals, Drums
Ju Ju Julius House • Trap Drums
Gaston "Bonga" Jean-Baptiste • Drums, Background vocals
Booker T. Williams • tenor sax, flute
Craig Harris • trombone, didjeridoo
Vincent Henry • alto sax
Carl Bourelly • keyboards
Roy Robinson • organ

Recorded at Eastside Sound, New York,
between April 30 and May 24, 1993
 Produced by Jean-Paul Bourelly

Buy Here 

Label: DIW
Format: 320
Country: Japan
Released: 1993
Genre: Funk, World

Style: African, Funk, Jazz, Voudon