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
Format:320
Country: Norway
Released: 2000
Genre: Electronic, Jazz
Style: Jazztronica

[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.

AMG

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 Betke • DJ Mix

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

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.

sty•lo

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.

AMG

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



 

with


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

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.”

newritual.com

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 Josue • Elegba 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

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

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.

Sty•lo

 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

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.”

Discogs

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

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 

U.M.A. • JA-CK

In the wake of a tremendously great Japanese-only CD featuring Bill Laswell's extreme bass talents in their best light (Akira Sakata's "Fusherman's.com" with Pete Cosey and Hamid Drake) comes another great "blow"! This time another quartet - Laz with 3 great Japanese players: drummer Hideo Yamaki of Toshinori Kondo/IMA fame (whose  impossible-to-get 1992 CD "Shadow Run" ranks as one of the great recordings featuring the "Laz" as both player and producer outside of his own work); multi-saxman Genji Sawai (remember the 1984 "Sowaka" LP where he's backed by Material?) and madman sampler/synth/keys player Hoppy Kamiyama!. Together they come up with something that straddles various areas of great improv, a unique jazzy take on "jam" bands. A great Rave-Up!

DMG

1. Nagare
(U.M.A.)

2. Wa
(Sawai)

3. Mizu
(U.M.A., Konda)

4. Yen
(Sawai)

5. Minamoto
(U.M.A., Konda)

6. Nagare (Remix Version)
(U.M.A.)

7. Ki
(U.M.A.)


Genji Sawai • alto saxophone, soprano saxophone
Hoppy Kamiyama • digital president, slide geisha, ass hole box,
scum tape from garbage, klavier, gram pot
Bill Laswell • bass
Hideo Yamaki • drums
Kiyoto Konda • guitar (3, 5, 6)

Recorded at Sound Dali Studio, Tokyo, Japan
Produced by Genji Sawai
Co-Produced by Hoppy Kamiyama

Buy Here 

Label: Tokuma Japan Communications – TKCB-72370
Format: 320
Country: Japan
Released: 2002
Genre: Electronic, Rock
Style: Avantgarde, Experimental

Burnt Friedman & The Nu Dub Players • Just Landed

JUST LANDED catches Burnt Friedman romping in green New Zealand with antipodean allies the Nu Dub Players. Crucial Guenther’s bass is the bottom line here, providing the rock-steady seismic undertow that buoys the crew’s piping, old-school-Kingston melodies and expertly integrated nu-school digital mischief. DJ Booth’s trippy turntable effects, Bernie the Bolt’s crafty drumming, and Friedmann’s constant production tampering send the dream-paced JUST LANDED skanking down the daffiest of digi-dub detours. And when dubwise heritage, high spirits, and microprocessor monkeyshines meet, as they do so vividly in “Hut Selector,” “Cassock Attack,” “Railway Palace, Melbourne,” and “I Shot the Fashion Victim,” it all makes for a memorable, marvelously musical mixing-desk melee.

Pete Antonio

1. Hut Selector

2. Just Landed

3. Cassock Attack

4. Worldwide Watchdog Peepshow

5. The Big Black Other

6. Railway Place, Melbourne

7. Hohoura Heads, Far North

8. I Shot The fashion Victim

9. It´s Thunder
10. Dub To The Music

The Cousin Of The Sausage Smearer • Guitar, Jew's Harp
DJ Booth • Keyboards, Effects, Turntables
Crucial Guenther • Bass, Strings
Bernie The Bolt • Drums, Percussion, Programming

Recorded on the Great Barrier Island, NZ

Mixed and premastered in Cologne 1999

Produced by Burnt Friedman

Buy Here

Label: ~scape ‎– ~scape 004 cd
Format: 320
Country: Germany
Released: 2000
Genre: Electronic, Reggae
Style: Dub, Future Jazz, Downtempo