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Native_bon
Well-known member
- Nov 26, 2008
- 182
- 5
- 18,595
I'm really feeling this album. Very nice indeed. *dirol*Electro said:
Try this out you may like. OUTBOUND by Bela Fleck and the Flecktones.
BigH said:
Sublime album. I'm a big Brahem fan and can't wait to see him live next year here in Lisbon 😀
hybridauth_Facebook_100004211376004
Well-known member
- Feb 18, 2015
- 59
- 1
- 18,545
Slowly rolling camera. Slowly rolling camera
OK it's not full on jazz maybe more coffee table background type.
A bit of jazz meets triphop fusion type stuff,I'm quite enjoying this recently.https://open.spotify.com/album/1EE55TnO6MO7rybpc1J8CA?si=kJFV4gotTDSEf4O4CJqTtQ
OK it's not full on jazz maybe more coffee table background type.
A bit of jazz meets triphop fusion type stuff,I'm quite enjoying this recently.https://open.spotify.com/album/1EE55TnO6MO7rybpc1J8CA?si=kJFV4gotTDSEf4O4CJqTtQ
I'm bumping this truly excellent thread, now that I'm in the position to start making my way through the brilliant suggestions.
insider9 said:
Great choice! Just listening to Kamasi Washington's Street Fighter Mas as I type. Marcus Miller's album is beautifully recorded too, love it.
also, on YouTube, check out this super track...
Od Ebra do Dunava Live in Vilnius - Barcelona Gipsy balKan Orchestra
they're clearly enjoying themselves playing this.
Live At The Village Vanguard
A Rift in Decorum, reveals Akinmusire as a performer of extremes. Some tracks, like the opening "Maurice & Michael," or the buoyant "H.A.M.S.," find him launching into frenetic, cubist solos in which he accents his harmonically rich lines with dabs of rounded trumpet squelch, puckered vocalizations, and wide, bug-like intervals. Other times, as on the ruminate "Moment in Between the Rest" and the languid "First Page," he evokes the measured classical sound of composers like Morton Feldman and the equally nocturnal introspection of Bill Evans.
Elsewhere, tracks like the flowing "Taymoor's World" find him offering both extremes, moving dancer-like between early piano-driven sections and later, wildly gesticulated group improvs. He also makes room for several solo spotlights, as on his own largely rubato "Trumpet Sketch," Harris' intro to the aptly titled "Piano Sketch," and Raghavan's moody bass feature that leads into the languorous and pensive "Condor." Ultimately, it's the tension between Akinmusire's refined compositions and his band's robust, dynamic reading of them that makes A Rift in Decorum so compelling.
Spotify | Tidal | GPM | Qobuz
A Rift in Decorum, reveals Akinmusire as a performer of extremes. Some tracks, like the opening "Maurice & Michael," or the buoyant "H.A.M.S.," find him launching into frenetic, cubist solos in which he accents his harmonically rich lines with dabs of rounded trumpet squelch, puckered vocalizations, and wide, bug-like intervals. Other times, as on the ruminate "Moment in Between the Rest" and the languid "First Page," he evokes the measured classical sound of composers like Morton Feldman and the equally nocturnal introspection of Bill Evans.
Elsewhere, tracks like the flowing "Taymoor's World" find him offering both extremes, moving dancer-like between early piano-driven sections and later, wildly gesticulated group improvs. He also makes room for several solo spotlights, as on his own largely rubato "Trumpet Sketch," Harris' intro to the aptly titled "Piano Sketch," and Raghavan's moody bass feature that leads into the languorous and pensive "Condor." Ultimately, it's the tension between Akinmusire's refined compositions and his band's robust, dynamic reading of them that makes A Rift in Decorum so compelling.
Spotify | Tidal | GPM | Qobuz
Yet this album is so brewing with energy, it is relentlessly exciting the room and the listener.
In 1970, the members of the Art Ensemble of Chicago were living as expatriates in Paris. The group had only recently expanded to its permanent quintet status with the addition of drummer/percussionist Don Moye when they were asked by New Wave director Moshe Misrahi to provide the soundtrack for his movie, Les Stances a Sophie. The music was never used in the film but, luckily, it was recorded. The result was one of the landmark records of the burgeoning avant-garde of the time and, simply put, one of the greatest jazz albums ever. On two of the tracks, the Art Ensemble is joined by vocalist Fontella Bass, at the time the wife of trumpeter Lester Bowie and riding the success of her pop-soul hit Rescue Me. She's featured most prominently on the opening number, Theme De Yoyo, an astounding piece that has achieved legendary status as the finest fusion of funk and avant-garde jazz ever recorded.
The mix is indeed seamless, with Moye and Favors laying down a throbbing, infectious groove, Bass singing the surreally erotic lyrics with enormous soul and the horn players soloing with ecstatic abandon. The remaining pieces cover a wide range stylistically with no less beauty and imagination, including two variations on a theme by Monteverdi, intense free improvising and soft, deeply probing sonic investigations.Their extensive knowledge of prior jazz styles, love of unusual sound sources (the so-called "little instruments) and fearless exploration of the furthest reaches of both instrumental and compositional possibilities came into full flower on this record.
Spotify | Youtube
The mix is indeed seamless, with Moye and Favors laying down a throbbing, infectious groove, Bass singing the surreally erotic lyrics with enormous soul and the horn players soloing with ecstatic abandon. The remaining pieces cover a wide range stylistically with no less beauty and imagination, including two variations on a theme by Monteverdi, intense free improvising and soft, deeply probing sonic investigations.Their extensive knowledge of prior jazz styles, love of unusual sound sources (the so-called "little instruments) and fearless exploration of the furthest reaches of both instrumental and compositional possibilities came into full flower on this record.
Spotify | Youtube
Alain Gibert, Bruno Chevillon, Jean-Louis Matinier, Louis Sclavis
Bruno is an amazing bass player. He really shows his athletic skills on the instrument in this album, specifically on Se yu sabio (#2). To be able to pair with Tim Berne (Old And Unwise: 2012) and Louis Sclavis he has be good.
Accordion – Jean-Louis Matinier
Clarinet, Soprano Saxophone – Louis Sclavis
Vocals, Double Bass – Bruno Chevillon
Vocals, Trombone, Piano, Written-By, Liner Notes – Alain Gibert
Spotify | Youtube
Album is very much in the same french riviera bossa jazz modus as my favorite Macedonian band- Foltin.
Spotify | Youtube
Bruno is an amazing bass player. He really shows his athletic skills on the instrument in this album, specifically on Se yu sabio (#2). To be able to pair with Tim Berne (Old And Unwise: 2012) and Louis Sclavis he has be good.
Accordion – Jean-Louis Matinier
Clarinet, Soprano Saxophone – Louis Sclavis
Vocals, Double Bass – Bruno Chevillon
Vocals, Trombone, Piano, Written-By, Liner Notes – Alain Gibert
Spotify | Youtube
Album is very much in the same french riviera bossa jazz modus as my favorite Macedonian band- Foltin.
Spotify | Youtube
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