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nenad
dobar raspored za neđelju veče.Slušao sa matorim Patrišu u SC pre par godina, žena je zmaj.
steta je samo sto je istog tog dana u pesti spektakl: "thunder tour" by stanley clarke, marcus miller i victor wooten. mislim da cu ipak biti u pestipozdrav

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bup
steta je samo sto je istog tog dana u pesti spektakl: "thunder tour" by stanley clarke, marcus miller i victor wooten. mislim da cu ipak biti u pestipozdrav
hej, i ja planiram da idem na to, mada jos nisam skroz siguran, neke obaveze.

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Rise of Death Jazz:

This year's London jazz festival may be stretching the jazz envelope a little further than usual. Alongside appearances by Acoustic Ladyland and Led Bib, two bands who have made their name through combining jazz with a hefty quota of punk and heavy rock, the festival plays host to Fraud, once memorably described as the jazz equivalent of The Texas Chain Saw Massacre. While these bands might inspire familiar it's-not-jazz outcries from Wynton Marsalis disciples, from a broader perspective they are merely the tip of an iceberg whose frozen depths are far more terrifying. Owing a debt to German sax lunatic Peter Brotzmann, Lou Reed's Metal Machine Music, avant metallers God and Cynic and in particular the thrash-jazz of John Zorn, these musicians combine a jazz sensibility with a naked primal rage that is more usually found in hardcore punk or heavy metal.It's a fragmented scene, the majority of which is still decidedly underground, but it is sufficiently vibrant as to be already attracting attempts to define it. Dirty jazz, trash jazz, post-jazz and the PC-baiting spazz jazz are among those already floated. Yet no term is as evocative as death jazz, derived from the title of a record by Billy Shaw's Shovin' Sunshine.Weasel Walter of the Flying Luttenbachers, a California act who peddle an "amorphous fusion of all things extreme and dissonant", is not a man who likes to be part of musical scenes. Yet he probably speaks for many death jazzers when he says: "What I'm trying to express is a very well-cultivated violence in sound. I have had an interest in the more extreme forms of jazz for several decades but I am only interested in the most violent, radical aspects, which would probably make me highly unpopular at the latest Ronnie Scott's jam session."His craving seems to be for the sort of wild ecstasy that the beat generation found in bebop. Yet in the era of MP3s, when Nina Simone can sit quite naturally between death metallers Nile and industrial rockers Nine Inch Nails, there's no need to confine this search to a single genre. "I'm interested in hearing certain kinds of energies in music," continues Walter, who lists his prime influences as free jazz, hardcore punk, No Wave and death metal. "I see no contradiction in searching for this energy in different places.""Jazz and hardcore are both extreme kinds of music," agrees Seb Rochford, drummer for Acoustic Ladyland, among numerous others, and multiple Mercury nominee. "I like Slayer, the Stooges and Lightning Bolt. The jazz that I like is played with as much attitude as Pig Destroyer. Mingus, I feel, has the same kind of intensity as Napalm Death."Not surprisingly given this range of influences, death jazz is a broad church. Some of its exponents are graduates from jazz college who may even continue to also play in "straight" jazz acts as well. Others are open-minded rockers making the reverse journey towards the free jazz of Ornette Coleman and Albert Ayler. Wunderkind sticksman Chris Corsano started out as a punk and hardcore drummer before becoming one of the most in-demand players in free jazz.Geographically, too, death jazzers stretch from Leeds, represented by cheekily monikered improv upstarts Death Qunt, to Zu and Jooklo Duo in Italy, to Brooklyn, home to jazz-thrash-everything quartet Gutbucket. Their respective backgrounds are evident in musical differences. The Thing's Swedish saxophonist Mats Gustafsson's insistence that free jazz and pre-punk are "all the same as far as I'm concerned" shines through in the trio's garage rock aesthetic. Norwegian duo MoHa! offer an electronica-tinged take on death jazz, while the Fish, on the suitably-named Ayler records, are more rooted in the straight ahead free- jazz tradition of old.Despite these differences, however, this motley group of musicians have arrived in a remarkably similar place. They even turn up regularly on each other's records, in particular Original Silence, a kind of death-jazz supergroup, featuring the ubiquitous Thurston Moore of Sonic Youth, alongside members of the Thing, Zu and Dutch experimental rockers the Ex."It's a whole circle," explains David Keenan, member of Glaswegian sax'n'drum duo Tight Meat and a man whose free jazz obsession started with a love of acid rock freak-outs. "Once you go beyond the avant garde, you're back to being absolutely primitive, and I like to think that we blur that line. The first time music was ever made, it was improvised - yet to me, a lot of the improv that came out of free jazz became impossibly cerebral. What we want to do is to return improvisation to its role as the primal musical gesture."Whether or not that has yet been achieved, the recent growth of death jazz is undeniable; so much so that the term has spread beyond the specific sub-genre defined here. The Vile Imbeciles, a compelling trio in the Birthday Party mould, have a jazz component that is close to negligible, yet they still boast a bass player with the words "death jazz" tattooed on his arm. Self-proclaimed death-jazz act Soil & "Pimp" Sessions, meanwhile, are in essence a relatively straight jazz sextet with an over-eager marketing department.For further evidence of death jazz's continued expansion, witness the move by Acoustic Ladyland to major label V2, the multiple awards and nominations bestowed on Fraud and the appearance by Chris Corsano on Volta, Björk's latest album. Raoul Björkenheim, guitarist in Box and the aptly named Scorch Trio as well as an improv veteran of over 20 years' standing, says he's noticed audiences not only growing of late but also getting markedly younger. Ken Thomson of Gutbucket confirms: "I think there's a noise jazz or punk jazz or death jazz scene opening up. Eight years ago, when we started, it seemed we were the only ones doing this, and now it feels like we have company."Reasons for this recent growth are manifold, including the ability of the internet to unite niche groups and the simple ebb and flow of musical fashion. This is accentuated by the state of both mainstream jazz (visually boring and musically "outdated and highly unimaginative", if you believe Gutbucket's Thomson) and rock, blasted by Death Qunt's Craig Scott for being "advertised as extreme when it's the most commercialised horrible nonsense with nothing rebellious about it whatsoever". Others see broader social factors at play. Björkenheim regards this kind of improvisation as "a cathartic experience in a society where people are getting more and more scared of making mistakes", while Tight Meat's Keenan sets it in still grander context: "This music is always inherently political, because it's about absolute freedom at all costs. Things feel politically and culturally apocalyptic right now and when everything goes to pot and the grid goes down, we can keep jamming because we don't need electricity. We can make wild noise music in caves."It seems then that Zappa was right: jazz isn't dead, it just smells funny. Whether in some post-apocalyptic dug-out or in the slightly more relaxed confines of the London jazz festival, this bizarrely perfumed music - an attempt, in the words of Weasel Walter, "to find beauty in the madness and horror of life" - is on the rise. Just don't expect a No 1 single any time soon. As Walter says, "My music is very personal and not geared towards mass acceptance in any way. I don't really expect anyone to like it."

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johnnioza

zanimljiv clanak, s tim sto se radije sluzim odrednicom punk-jazz, nekako je sveobuhvatnija od izraza death -jazz, koji se fokusira na puku agresiju. punk jazz ne referira nuzno na jednostavno spajanje sa punk muzikom - mada ima i toga - vec na nacelnu orijentaciju ka iscasenom miksu svega i svacega i otklonu od glavnostrujaskog tradicionalnog i fusion jazza. treba pomenuti pionire - lounge lizards, i njihov istoimeni album sa arto lindsayem na gitari, koji je veoma blizak no-waveu, zatim doctor nerve (u kome je dave douglas poceo plodnu karijeru) i curlew, na cijem debitantskom albumu su se nasli tom cora i bill laswell, a kasnije su kroz bend prodefilovali jos neki renomirani downtown muzicari. peter brotzmann i njegov sastav last exit smatraju se evropskim rodonacelnicima. od novijih brotzmanovih albuma, treba obratiti paznju na krljachinu pod nazivom full blast.danas su gutbucket bez premca, odmah iza njih italijani zu (ove godine bili u bg-u sa mike pattonom), zatim mats gustafsson u raznim varijantama (thing, original silence) i za nijansu "ozbiljniji" vandermark 5. od manje poznatih valja pomenuti lucien dubuis trio (album tovorak), koji cesto sviraju sa marc ribotom, zatim denison/kimball trio (ovi likovi su iz jesus lizarda, obratiti paznju na album "neutrons" sa kenom vandermarkom), a tu su i njujorcani the hub. trevor dunn's trio convulsant prave zanimljiv miks metala i avangardnog jazza, sa odlicnom marry halvorson na gitari.

Edited by johnnioza

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maheem

eo malo o death jazzu:the bPm talks to Paul Bradshaw about "Death Jazz".... and plays a few tunes instigate some kinda understanding.Gilles Peterson Worldwide - Vol.01, No.26 - Death Jazz pt.1Duration 00:55:59Published 10/07/2008Download podcast pt1Gilles Peterson Worldwide - Vol.01, No.26 - Death Jazz pt.2Duration 00:53:24Published 12/07/2008Download podcast pt2

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HoboCan

U nedelju 19. oktobra u Gistro FM-u na b92, negde izmedju ponoci i jedan - intervju sa Ethanom Iversonom, pijanistom The Bad Plus

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johnnioza

rispekt! jel ce da bude i transkript?

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HoboCan

Aha, tijekom sledece nedelje na Pboxu i na gistrofm.mojblog.rs/

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John Coltrane

shta cete "pohadjati" na predstojecem BG festu?...btw jel ima neko neki info o NS?...

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maheem

ns fest je 12-15. novembra...sajta nema, line upa nema, nekoliko dana ranije pocinju radionice,....toliko znam i da dodam da su organizatori jedna odvratna sekta!

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johnnioza

evo sta se, izmedju ostalog, kaze u press materijalu bg jazz festivala:Festival će otvoriti ambasador Sjedinjenih Američkih Država u Srbiji g. Kameron Manter, koji će tom prilikom pred beogradskom publikom nastupiti kao pijanista i uživo odsvirati muzičku temu „Mo’ Better Blues“, kompoziciju Brenforda Marsalisa (Branford Marsalis) poznatu širokoj publici iz istoimenog filma reditelja Spajka Lija (Spike Lee).Zajedno sa njim nastupiće Konrad Tarner, savetnik za medije i kulturu i Robert Kokta iz političkog odeljenja ambasade SAD.ovih dana ce biti odrzan i jazz festival u indjiji, a sviraju dana leong, matt dariau paradox trio, vasil hadzimanov i torsten goods. kompletna vest. nezvanicno, matt dariau ce odrzati koncert sutra u 15h na uciteljskom fakultetu, pre nego sto se zaputi u indjiju.

Edited by johnnioza

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John Coltrane

ja sam bio na otvaranju i mogu reci da me je Jon Faddis odushevio (zato shto volim muziku Dizzy-ja), a Christian Scott razocarao...Jon Faddis je u Dizzy repertoar ubacio i Monk-ovu 'round midnight koja je odlicno zvucala...tu su josh bile i Night in Tunisia, Manteca (gde je prilicno "iscimao" Big Band :) ), Emanon, Jesica's day itd...na scenu je izvodio i svoju ritam sekciju (japanac na basu i amerikanac na bubnjevima koga je predstavio kao Obaminog rodjaka) i pijanistu cije ime bash sad trazim na netu obzirom da je ostavio jak utisak na mene....tu je bio i US ambasador koji je otvorio fest sa dve lagane kompozicije, a koga je Faddis izveo i kasnije da improvizuje malo sa njima...naravno pravio je male uvode vezano za pesme i zivot Dizzy-ja i njegove predjashnje boravke u BG, a inace ubacivao je veoma duhovite opaske i napravio vrlo lepu atmosferu i dobar odnos sa publikom...posle njega je na scenu nastupio "buduci Miles Davis" kako su ga najavljivali, 23godisnji Christian Scott koji ima i nominaciju za Grammy...klavir solidno, bubanj ubica, a gitara (tip iz Toronta) vrlo kreativno i upecatljivo...lider vrlo ''tanak", pozer, bez neke energije, vrlo smoren na sceni, svidela mi se samo kompozicija posvecena njegovoj devojci i kako kaze buducoj zeni u koju je ludo zaljubljen...verovatno je na njega uticalo i to shto se u pauzi sala malo i ispraznila i shto je posle prvih par numera dosta ljudi odlazilo, kontam da je nekima to preteshko, al shta da se radi...bis je bio OK i tu su ubacili malo funky-ja, valjda da razbiju sivilo sa prethodnim pesmama (jedna je bila posvecena najboljem drugu koga su zapalili sa sve zenom, a pred njihovom decom :( )...kasnije u ponocnom programu u Domu omladine sam prisustvovao 1 sjajnom muzicaru japancu koji je svirao trombon i violoncelo na pojacalu sa sve distorzijom i ostalim pedalama za zvuk...njima se kasnije pridruzio i Vasil Hadzimanov sa onom plavushom (mislim da se zove Ana) shto je pevala sa njim i napravili su dobru zurku za prisutne sa hip-hop, funky prizvucima (shto ja bash i ne ljubim preterano, al aj sad)...

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bup
ns fest je 12-15. novembra...sajta nema, line upa nema, nekoliko dana ranije pocinju radionice,....toliko znam i da dodam da su organizatori jedna odvratna sekta!
video par plakata u gradu. ime festivala, datum, i na ostatku povelike povrsine neke zebraste straftice. nema informacije gde se odrzava ni imena izvodjaca. :)naleteo sam na ovo, vest je od pre par nedelja:Deseti novosadski džez festival, u organizaciji Kulturnog centra Novog Sada, biće održan od 12. do 15. novembra u Srpskom narodnom pozorištu.Završne pripreme za festival su u toku, a urednica festivala Vesna Kaćanski kaže da će imena učesnika s tačnim festivalskim programom bit objavljeni krajem nedelje. Ovogodišnji festival biće upotpunjen s više pratećih programa, pa će tako svako veče nakon glavnog koncertnog programa u „Tremi“ biti organizovan džem sešn. Tokom festivala će u Galeriji „Nova“ u SNP-u biti postavljena izložba „Nemački džez“. Pripremljen je još jedan prateći program - internacionalna muzička radionica koju će realizovati novosadski muzičar Vladimir Samardžić zajedno s četiri strana muzičara, koji će, iako je deo festivala, biti održan nešto ranije - od 6. do 11. novembra. Edited by bup

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