Billy Bang, Craig Harris, Henry Threadgill ‎• Hip Hop Be Bop

Our idea with this effort was to mix two genres - hip hop (the underlying culture of modern jazz).
 The two did not seem to exclude each other because both relied on unusual tempos and often discordant harmonies for there effect. Will believe by honoring the principles of each form, they would naturally mix.
the phrase that was used to describe the overall effect is ‘surface tension’ where the melodies and rhythms sometimes sometime challenge each other. By choosing the words and voice of a jazz poet we attempt to illustrate the literary of contemporary rap and offer the listener the relief from standard predictable rhyme schemes by choosing the diversion of the reggae form we hoped to show that another popular modern form could carry the sophistication of the jazz melody. In addition, egg has influence the evolution of rap and has drawn its inspiration from the R&B music of New Orleans, itself a jazz extension.
The listeners need not know anything except what they hear: challenging  rhythm and intricate ensemble playing.

• Billy Bang •

1. Hip Hop Be Bop
Music by Billy Bang
Words by Wayne Providence

2. Riding With Ra
Music by Billy Bang

3. Night Stich
Music by Joey Eboli
Words by Alphonzo Stanley

4. If You Like It, Lick It
Music by Billy Bang
Words by Wayne Providence

5. Breeze
Music by Joey Eboli
Words by Alphonzo Stanley

6. Shine
Music by Billy Bang
Words Traditional

7. M'am
Music by Billy Bang
Words Adapted From ‘Thank You M'am’ by Langston Hughes

8. Breezy Dub
Music by Joey Eboli


Henry Threadgill • alto saxophone
Craig Harris • trombone
Brett Allen • guitar
Wayne Providence • voice
Prince Dominique • voice
Insane Asylum • programmed rhythms

All Rhythms Produced By Insane Asylum
Produced by Billy Bang

Label: ITM Records ‎– ITM 1480
Format: 320
Country: Germany
Released: 1993
Genre: Hip Hop, Jazz
Style: Soul Jazz, Jazzy Hip Hop

Jon Hassell Words & Music with Gilles Peterson

During a hour of words and music, Jon honestly and thought-provokingly discusses that Talking Heads period and some of the regrets he has from that time, as well as touching on his experiences working with German electronic music composer Stockhausen, his admiration for Gil Evans, and his developed thoughts on the north vs south/ mind vs body divide, which have significantly informed the way he creates his music and lives his life.

Tracklist:

Jon Hassell • Earthquake Island (Earthquake Island)

Brian Eno & Jon Hassell • Chemistry
(Fourth World Part 1: Possible Musics)

Brian Eno & David Byrne • The Jezebel Spirit
(My Life In The Bush of Ghosts)

Brian Eno & David Byrne • Number 8 Mix
(My Life In The Bush of Ghosts)

Talking Heads • Once In A Life Time (Remain In Light)

Brian Eno & David Byrne • A Secret Life
(My Life In The Bush of Ghosts)

Stockhausen • Klavierstuck I (Klavierstuck)

Miles Davis • On The Corner (Take 4) (On The Corner)

Terry Riley • In C (In C)

Jon Hassell • Mombasa (City: Works of Fiction)

Jon Hassell • Blues Nile (Vernal Equinox)

Jon Hassell • Hex (Vernal Equinox)

Gil Evans • Prayer (Porgy & Bess)

Jon Hassell • Tribal Secret (Earthquake Island)

Jon Hassell • Balía (Earthquake Island)

Jon Hassell • Maarifa Street (Maarifa Street)

Jon Hassell • Dreaming (Forthcoming)

Jon Hassell • City Spot (Forthcoming)

Podcast download: right click and save HERE

Gilles Peterson

Hy Brazil Vol 10 • New Music From Brazil

I have been dipping into this series every now then. Good to hear some fresh electronic music.

GOOD VIBRATIONS, VOL. 80 • ESOTERIC AND OCCULT ASPECTS OF PRINCE, PART 1, WITH FREEMAN & MATT SERGIOU

Danny Myers vs B Dot

LABATTLEGROUNDZ SCARSAZYFILMZS

Henry Threadgill wins a Pulitzer Prize

Henry Threadgill, a saxophonist and flutist known as one of the most original composers influenced by jazz, has been awarded the 2016 Pulitzer Prize for Music for his recording In for a Penny, In for a Pound.

The jury described the piece as a "highly original work, in which notated music and improvisation mesh in a sonic tapestry that seems the very expression of modern American life." The recording was released as a 2-CD collection on Pi Recordings in 2015, and was listed among the Top 10 albums of the year in the NPR Music Jazz Critics Poll.

The Pulitzer Prize is an award that historically has celebrated compositions in the classical style. But your work blends a lot of improvisation with pre-defined composition. I wonder how you see the difference between those two, improvisation and composition.

Improvisation is a part of what I do. I write notated music — there's a balance between notated music and improvisation that occurs. What is notated is what is written, the improvisation takes place, and the composition contains all of it. That's what I do as a composer.

I'm happy that the Pulitzers' views have gotten broader, and seen fit to give me this award. Myself and others who have been working outside classical music — the rest of the artists in the United States, in North America, have been creating art for a long time, and sometimes it doesn't fall under the rubric of so-called classical music. Nonetheless, it is just as creative, and it is important. The Pulitzer Prize has made a major statement, in recognizing my work and others', that they have a bigger picture of creativity. Because that's what we need as a country and as an artistic community, is to have everything recognized. 

(Read the full article)

In for a Penny, In for a Pound is the latest installment in saxophonist/ flutist/composer Henry Threadgill’s ongoing exploration of his singular system for integrating composition with group improvisation. The music for his band Zooid – his main music-making vehicle for the past fourteen years and the longest running band of his illustrious forty plus-year career – is no less than his attempt to completely deconstruct standard jazz form, steering the improvisatory language towards an entirely new system based on preconceived series of intervals. His compositions create a polyphonic platform that encourages each musician to improvise with an ear for counterpoint and, in the process, creating striking new harmonies.

pirecordings.com

Gary Thomas, Christy Doran, Mark Helias, Bobby Previte • Corporate Art

REPOST

This quartet date by guitarist Christy Doran, bassist Mark Helias, drummer Bobby Previte, and saxophonist Gary Thomas may have been recorded in Europe by Stefan Winter, but its feel is utterly New York. Doran's playing is far more on the jazz-rock than avant tip here, giving the entire proceeding a feeling of that beautiful, edgy walk between composition and improvisation. Thomas -- normally an outside player -- reins himself in as a soloist in order to focus on the sometimes wondrous ensemble playing at the heart of the disc. Each member of the band writes on this set and it's obvious that the groove comes from within. It's knotty, sometimes intense, and often complex, such as on the opener "Blood Sugar," and on Doran's "Heitere Gelassenheit," where staggered arpeggios intersect with scalar riffs to form a kind of contrapuntal melody line. But there are wonderfully elegiac and gently swinging tunes as well, such as the flute-driven swing in Thomas' "Chiaroscuro" or the languid tempos of Helias' "21" and "Bass Minotaur." Helias also offers a jazz-funk workout with "Skin," with furious basslines driving riffed-up guitars and a bleating saxophone that stays in the pocket. The album closes with Previte's beautiful nocturne "Theme for W.," where Thomas and Doran weave around one another slowly and purposefully to erect a floating melody that seems to float and hover while actually moving toward a complex harmonic architecture with a controlled dynamic.
AMG

1. Blood Sugar 360 Degrees
(Bobby Previte)

2. 21
 (Mark Helias)

3. Mutations
 (Christy Doran)

4. Skin
 (Mark Helias)

5. Chiaroscuro
 (Gary Thomas)

6. Heit Ere Gel As Sen Heit
 (Christy Doran)

7. Bass Minotaur
 (Mark Helias)

8. The Same But Different
 (Christy Doran)

9. Theme For W.
 (Bobby Previte)


 
Gary Thomas • Tenor Saxophone, Flute

Christy Doran  • Electric Guitar
Electric Bass • Mark Helias
Bobby Previte • Drums

Engineered by Adrian Von Ripka
Produced by Stefan F. Winter

Label: JMT Productions – 849 155-2
Format: 320
Country: Germany
Released: 1991
Genre: Jazz
Style: Contemporary Jazz

Las/wɛl/ kuh m-plee-tist /ˈse·ries | 01

com·plet·ist
[kuh m-plee-tist]
a person who attempts to complete a collection or set,
especially a collector who wants to collect an example of every item in a particular field:

F. Robert Lloyd ‎• Think About Brooklyn

1. Blind Willie

2. Daly Day

3. Corkscrew Swamp Road

4. Waltzing Kate

5. Lullaby You

6. Bloody Buddy Rumba

7. Four Lives In A Day Suite

8. Proverbs From Hell

9.True Man Coyote

10. La Femme Bachir

11 .Brooklyn Fuss

12. Crossroads

13. Hellhound On My Trail

14. I Want To Drink It Straight

15. Tribute To Sun Ra

F. Robert Lloyd • guitars, words, voice

Sonny Sharrock • guitar, voice (2 to 9, 11, 14, 15)

Jean Touitou • Wurlitzer, Tibetan bells (5,8,14)

Bill Laswell • bass, fretless bass, bowed bass,

guitar sitar, percussion (1,4,5,6,7,8,9,10)

Gregoire Garrigues • Bass (1 to 9, 11, 14, 15)

Anton Fier • Drums (1 to 7, 9 to 11, 14)

Recorded in seven days at Greenpoint Studio,
Brooklyn, New York

Recorded by Oz Fritz for Hish Velocity

Mixed by F. Robert Lloyd, Gregoire Garrigues,
Jean Touitou, Oz Fritz

Produced by A.P.C.

Format: 320

Country: France

Released: 1993

Genre: Jazz, Rock

Style: Blues Rock, Contemporary Jazz

RBE • Chilla Jones vs Danny Myers

Watch the other battles from this RBE event: http://www.youtube.com/watch?v=MgytqS...