R.I.P. Captain Beefheart

Captain Beefheart died yesterday on the 17th of December 2010. He died at a Northern California Hospital of complications from multiple sclerosis.
His most well-known and influential album is "Trout Mask Replica" from 1969 recorded with his group "The Magic Band". It is a masterpiece of psychedelic rock with a lot of blues and free-form aspects. He was a formative figure for experimental rock music and well respected by the famous Frank Zappa. Rest in peace Captain.

John Zorn - Mycale

"Mycale" is a beauty of an album. In John Zorn's ouvré it holds a special place. Zorn rarely writes music for voice and "Frammenti Del Sappho" from the album "Mysterium" released in 2005 is one of the even fewer record pieces for voice only. It's a quite traditional madrigal with a beautiful harmonic structure. "Litany IV" from the 2007 release "Six Litanies for Heliogabalus" gave Mike Patton a solo spot. This was of course drastically different from Zorn's other voice only pieces but nevertheless the overall impression for many people in recent years was, that Zorn's becoming mellow and too melodic. His vocal only work was never heard over the course of a complete album and due to that didn't change opinions.

People thinking Zorn becomes tame are still proven wrong by the evolving Moonchild project, the great contemporary classical record "What thou wilt?" and the comeback of the file-card composition with "Femina", "Dictée/Liber Novus" and "Interzone" being some of Zorn's most interesting experimental records of the past decade.

Still some may continue to doubt Zorn's recent melodic work. The Dreamers and its many facets are a hit and miss affair for most. A lot of the Masada related music even more so.

Now there is "Mycale". It's both. It's beautiful and very melodic, it's based on Zorn's Masada music. Still it's experimental using different vocal techniques, sounds and even languages. It's a first for Zorn's A Cappella work and every first for Zorn after all these years putting out a few to many albums a year is worth examining.

Zorn records that intertwine beauty and experiments in the past decade tend to be best, when there's a certain feminity about them. "Femina" released in late 2009 was dedicated to women in contemporary arts and plain said important thinking women in the history of mankind.

"Mycale" seems to evoke all that and mix in more middle-eastern folk influences, instead of the classical approach of "Femina". Instead of lyrical string sections and percussive breakdowns and improvisations this set of A-Cappella pieces seems more human. "Femina's" approach wasn't any less sensual, but more intellectual challenging, more sophisticated. The beauty of "Mycale" speaks to your heart and soul, but it indeed speaks utilizing nothing but the human voice, where "Femina" drew images out of visions and dreams for you to interpret. 

"Mycale" is a record full of passion and spirit. There are no prejudices, just the bare, naked emotions evoked through the beautiful sound of female voices. It's cosmopolitan music. It speaks French, Yiddish, Hebrew, Ladino and Arabic because you can't stick to just one language if you're mind is open and you want to reach everyone hearing this music. World music in the truest sense, accepting no borders in influences and languages utilized and celebrated.

Basya Schechter, Ayelet Rose Gottlieb, Malika Zarra and Sofia Rei Koutsovitis are the vocalists on this album and their performances are all outstanding. Without their down-to-earth teamwork "Mycale" would be good, but they deliver exactly that on every single track, making it a highlight of not just Zorn's 2010 releases but of this decade.

The only downside for some people might be the short duration of just 33 minutes. To everyone complaining about that I can only say one thing. Most musicians spent their whole career searching for the level of musicianship and beauty presented on "Mycale".

Cd time: 33:51

Personnel:
Ayelet Rose Gottlieb: Voice
Sofia Rei Koutsovitis: Voice
Basya Schechter: Voice
Malika Zarra: Voice

Standout tracks:
All of them. This record has an impressive flow that

shouldn't be disrupted.

Links:

Mycale on:

Tzadik Records

Myspace

Official Website

John Zorn’s last.fm site

Ayelet Rose Gottlieb
Sofia Rei Koutsovitis
Basya Schechter
Malika Zarra

John Zorn @ Jazz In Marciac 2010 Video

If you need prove that "The Dreamers" are a totally different deal in concert, compared to their records..
Here it is:

John Zorn @ Jazz In Marciac 2010 from The Holy Filament on Vimeo.

The Kilimanjaro Darkjazz Ensemble

The new Kilimanjaro Darkjazz Ensemble record will be fan-funded through pledgemusic.com. Their artist page is up and running and you're now able to pledge for their new album (which is like an early pre-order and gives you access to updates and samples of cover-artwork and music).

You can pledge here.

They are aiming for a March 2011 release.

Jamie Saft - A Bag of Shells

Another tzadik release from 2010 is Jamie Saft's "A Bag of Shells". Saft is a multi-instrumentalist and producer, playing everything from Guitar and Bass to organ in John Zorn's "Electric Masada" and remixing David Gould's "Adonai & I" album. Quite a prolific guy. "A Bag of Shells" is a collection of Saft's soundtrack work, made for four documentaries. From "Murderball" to "God grew tired of us" these documentaries vary greatly in content and so does the music accompanying them.

The variety of genres represented here is quite insane. The "Murderball" theme is pounding groove metal, there are several short piano pieces, acoustic guitar ballads, a lot of middle eastern folk influenced pieces, even reggae and blues songs (both with a organ as lead instrument) and a jazz trio of piano, saxophone and contrabass are featured on this album.

With the exception of "Murderball" and "Brooklyn Exile (Theme)" all songs can be described as "easy listening" music. That said the musicianship here is great and it's not boring in any way. Still it's an album nearly without any edges.

What this album delivers is an overview over Jamie Saft's variety as a composer and a musician. Though it's not challenging the mixed order of the songs still gives the album a nice dynamic flow. Also worth noting are the guest spots. Highlights include Cyro Baptista, Erik Friedlander  (accompanying Saft's piano on the beautiful, albeit short "Piano for the Masses" with his beautiful cello phrasing) and Shanir Ezra Blumenkranz from Rashanim. You won't hear any virtuoso statements here, these guys just deliver one thing:
Beautiful and fully enjoyable music.

"A Bag of Shells" is recommend for two kinds of listeners. The first being new to Jamie Saft's work and curious to get an overview over his output. The other being fans of his work and curious to hear new of his own compositions.

This record is mellow and soft, especially compared to his other records on Tzadik Records. Both "Breadcrumb Sins" and "Sovlanut" found him experimenting with electronic and noise music elements and combining these with middle-eastern vibes and jazz. "Black Shabbis" was a mixture of doom metal and middle-eastern folk music.

If you’re looking for experimentation and a healthy dose of craziness you'll be disappointed. (Except for "Brooklyn Exile (Theme)" which features an all out acoustic death metal piano blast beat fest) If you're comfortable with an album of just enjoyable tunes which work as great background music but still have enough musical substance to stand on their own, this is a record for you. Still this is a collection of some of Saft's nuances and I urge you to also experience this musician on his other records, playing out his aesthetics and strenghts on the full length of an concept album like "Sovlanut" or "Black Shabbis".

Cd time: 49:46
Personnel:
Cyro Baptista: Percussion
Shanir Ezra Blumenkranz: Oud
Erik Friedlander: Cello
Bobby Previte: Drums
Jamie Saft: Fender Rhodes, Synthesizers, Guitars, Bass, Organs, Mellotron, Wurlitzer Electric Piano, Piano, Drums, Percussion, Programming
Vin Cin: Bass
Bill McHenry: Saxophone
Dmitriy Shnaydman: Drums
Yacouba Sissoko: Kora

Standout tracks:
My Biggest Fear 4:27
Social Security 0:50
Piano for the Masses 1:10
Job Corps 1:27
Dezert Blues 4:25

Links:
Jamie Saft on:
last.fm
myspace
official website
on Tzadik Records

Ned Rothenberg - Ryu Nashi/No School-New Music For Shakuhachi

Ned Rothenberg released two great albums on Tzadik Records in 2010. One being "Quintet for Clarinet and Strings" with the Mivos Quartet and himself playing clarinet. The other being "Ryu Nashi/No School-New Music For Shakuhachi".

"Ryu Nashi" is a concept album focussing on the traditions of the shakuhachi (a traditional Japanese bamboo flute) and some of Rothenberg’s own, unique views and techniques, making this record more than a traditional Japanese piece of music.

The album features five players. Riley Lee, Ralph Samuelson and Ned Rothenberg play a variety of shakuhachis, Stephanie Griffin plays viola and Yoko Hiraoka sings and plays Jiuta Shamisen. Ned Rothenberg plays two shakuhachi soli (track 1 "Emergent Vessel" and track 4 "Shadow Detail"). The other tracks are duets, fathoming the possibilities of the shakuhachi in combination with the viola, the shamisen and in a shakuhachi duet.

The recurring theme holding this record together conceptually and acoustically is obviously the shakuhachi. Its tonal expression is dominated by long, slowly changing tones. Hearing the three players on this album I can’t help myself but feel they are somehow more aware of what they play, than many other musicians. Here is no place to hide behind shredding a fretboard like a maniac. No filters, samples or overdubs to make your sound thicker and more polished. This music is pure, handcrafted and honest. 

Overall the album is slow but nevertheless there’s a great sense of dynamic going on. Rothenberg uses space very knowingly and let’s the music breathe and float through the room. Players circle around each other more in a fashion of meditating together, than having a jazz like dialog. Then one instrument steps back, with the other instrument soloing more playful than before.

Regarding this careful pacing, "Dan No Tabi (Journey on a Staircase)" is the most dynamic song presented here. Fitting the title there are quite a few up and downs and the violin sometimes strives to dominate the song, tempting the shakuhachi to play some quicker and higher notes. The shakuhachi succeeds, increasing it’s range but never sounding frantic or hectic.

Rhytmically "Naki Tokoro Nite (Where there is neither)" is the most interesting song. Showing the experimental interests and of Ned Rothenberg, it doesn’t utilize the 2/4 meter of most traditional Japanese music. Instead Rothenberg uses the meter of the tanka poem(5-7-5-7-7), opening and closing the piece for most of the songs rhythmical structure. 

Both "Naki Tokoro Nite" and "Dan No Tabi" use some traditional western elements, such as counterpoint composition. As traditional this record seems on the surface, it’s nevertheless an avant-garde perspective on an 1200 years old instrument.

Rothenberg is really lucky to have these highly talented players on this record. Knowing that, he uses their contributions to create a highly fascinating record with a lot of fine nuances. Despite the variety of Rothenberg’s compositional approach "Ryu Nashi" clearly shows his love and respect for the instrument.

If you’re even loosely interested in the shakuhachi or Japanese traditional music this record is highly recommened.

Cd time: 55:04

Personnel:
Riley Lee: Shakuhachi
Ned Rothenberg: Shakuhachi
Stephanie Griffin: Viola
Yoko Hiraoka: Jiuta Shamisen, Voice
Ralph Samuelson: Shakuhachi 

Standout tracks:

Naki Tokoro Nite (Where there is neither) 12:26

Dan No Tabi (Journey on a Staircase) 22:45

Cloud Hands 8:41

Links:
Ned Rothenberg:

on last.fm

on Tzadik Records

official website

El-P free track from Weareallgoingtoburninhellmegamixxx3 sessions

El-P leaked a track from the sessions to his recent album just a few hours ago via twitter. A download link can be found here. A relatively short track, albeit clearly showing why El-P is short for El-Producto. This is definetly beyond the borders of hip-hop and should be taken as what it is by everyone; good music.

And the title really is priceless: "Lab Rat Bravely Escapes On Hovercraft Only To Crash Directly Outside of Gates"

cover of Weareallgoingtoburninhellmegamixxx3