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http://www.patriciabarber.com

Patricia Barber - piano & vocals
Neal Alger - guitar
Michael Arnopol - bass
Eric Montzka - drums

Recorded in March and April 2004 at clubs in three French cities (L’Arsenal in Metz, La Coursive in La Rochelle and La Cigale in Paris), Live: A Fortnight In France features Barber delivering five originals and five covers rendered with romance, edginess and esprit. “This recording is a concert,” says Barber. “What you hear is what we play at the Green Mill [in Chicago] on any given night. It’s a typical show: fifty percent covers and fifty percent originals.”

"This is what Patricia Barber has: adventurous piano playing, a low-vibrato alto on perpetual rhythm and timbre alert and smart songs about the way we think and live, not just the way we love... This is the kind of art we need to be on the lookout for everywhere. The 21st century has started. We can’t afford to be left behind." New York Times

"Cross Diana Krall with Susan Sontag, and you get Patricia Barber, whose throaty, come-hither vocals and coolly incisive piano are displayed to devastating effect." Time Magazine

"The coolest singer/songwriter around." Los Angeles Times

With voice, words, and piano, Patricia Barber delivers intelligence and insouciance. She is a singular jazz singer and pianist, but for the last few years it is her songwriting that has been attracting big attention. In concert, she confides by whispering a song of sweet nothings into the listener’s ear, then surprises with a rock-edged and trashy song about a one-night stand. She comes across more street-smart than book-smart.

And now Barber’s gone academic, though the result is perhaps the most accessible music of her career. Over the past two years, Barber has been busy recording an eleven-song cycle. She titled it Mythologies and based it on The Metamorphoses of Ovid – the centuries-old classic of Western literature, filled with gods, mortals and apparently, humor.

“Ovid was a Roman poet who was putting a spin on Greek mythology,” says Barber. “I just couldn’t believe what a wonderful writer he was – how funny and smart and brilliant are these characters he created. He doesn’t flesh them out so I can understand why opera composers and librettists throughout history have used Ovid again and again.”

But – a jazz song cycle based on characters from Greek mythology? “I was definitely looking at other song cycles for inspiration, but they tend to be more in the classical realm. There were very few that I can recall in what I would call popular music, and jazz song cycles just don’t seem to exist. It occurred to me that I could write a song cycle based on these characters but it was something that I thought would be a luxury and I would need some time off.”

Time off does not come too easy to a career-focused jazz performer like Barber who has spent years developing a unique sound and an international following. For close to fifteen years, the Chicago-based singer/pianist has led her own band, toured tirelessly and is now, in every sense of the word, a success. She has recorded a series of utterly original and critically acclaimed albums, including Cafe Blue, Modern Cool, Nightclub, Verse, and Live: A Fortnight in France.

http://quart.hu/cikk.php?id=1485

"25 év múltán, remaster, extra számok. Hiperintenzív törzsi funk és poliritmikus transzcendencia (a két projektvezető mellett tizenegy zenész játszik az albumon és mindegyik dobos/ütőhangszeres vagy basszusgitáros) rövidhullámon és etno-lemezeken talált énekesekkel (müezzin-féleségek és amerikai rádiós prédikátorok leginkább). A Blade Runner igazi zenéje.
Nem is az, hogy nem lenne hangmintákra épülő zene, nem lenne dance-kultúra és nem lenne világzene, ha nincs a Bush Of Ghosts, mert nyilván lenne. Hanem az, hogy milyen intenzitással és milyen színvonalon fókuszálja ez a lemez mindazt, amit aztán a következő két évtized popkultúrájának több meghatározó áramlata fejtett ki részletesen. Nem korszakalkotó - mint egy Sgt. Pepper -, hanem profetikus: hagyományos dalok helyett textúrák/groove-ok, lélekből éneklő dalszerző-művészek helyett hangmintákat pászítgató, célfeladatokra behívott vendégeket mozgató producerek, a néprajzosok által rögzített autentikus/egzotikus felvételeket popzenei kontextusba helyező world music. Érdekes, de valójában teljesen mindegy, hogy mindezt akkor találták ki és csinálták meg, amikor nem volt sampler, nem volt digitális hangrögzítés, orsós magnókat kellett ritmusra indítani-állítani, szalagokat vagdosni és ragasztgatni ahhoz, hogy létrejöjjenek a ma egy közepes pc-n vidáman előállítható hatások. Ugyancsak érdekes, de a mű szempontjából szintén nem különösképp fontos, hogy mint mindennek, ennek is voltak előzményei: John Cage, Steve Reich, Karlheinz Stockhausen és más komoly zeneszerzők az ötvenes évek eleje óta kísérleteztek talált hangokkal, magnókkal és rádiókkal, a bimbózó hiphop/break-kultúra éppen feltalálta, hogy hangszerek helyett lemezekkel is lehet zenélni, s a Can és Holger Czukay is próbálgatta a talált hangok kínálta lehetőségeket Movies című albumán. A különbség ezek és a Bush Of Ghosts között elsősorban az, hogy utóbbi ma is úgy hangzik, mintha egy párhuzamos dimenzióból keveredett volna ide valamily tér-idő anomália következtében. Táncra ragadó, fenyegető, révületbe ringató - gyakran ugyanabban a pillanatban. Tökéletes popzene. Csak hát a kísértetbozótból.

Az egykori Roxy Music-billentyűs, ambient-feltaláló és leendő U2-producer nem-zenész Eno, valamint fiatal barátja, a Talking Heads zenekarban éneklő és gitározó Byrne - akik Tina Weymouth, a TH basszusgitárosa szerint ebben az időszakban annyira együtt voltak, hogy még az öltözködésük is egymáshoz hasonult - 1979-80-ban készítette a Bush of Ghosts felvételeit (a címet Amos Tutuola nigériai írótól vették kölcsön). A kiinduló, Jon Hassell trombitással hármasban megálmodott elképzelés az volt, hogy borgesi gesztussal egy nemlétező kultúra muzsikájaként prezentálják majd az elkészülő zenét, ezt írta felül - megszüntetve és megőrizve - a talált énekesekre épülő koncepció. Az első késznek gondolt verzió lezárása után kezdődött a felhasznált hangok jogosítása, ami ma rutinművelet és megvannak a szakemberei, akkor viszont nagyjából ismeretlen terület volt és a tervezettnél sokkal tovább tartott. Néhány "énekest" ki kellett hagyni, s ha már hozzányúltak, szinte minden dalt átalakítottak. A Bush Of Ghosts végül csak a később rögzített (producer: Eno), nyilvánvalóan az itt szerzett tapasztalatok, az itt kipróbált módszerek felhasználásával monumentálisra sikerült Talking Heads-album, a Remain In Light után jelent meg. Brian Eno nagy bánatára: ő úgy érezte, még nagyobbat kellett volna szólnia a Bush Of Ghostsnak. Ez persze már régen mindegy, meg nem is arról van szó, hogy az album valamifajta elfelejtett klasszikus lenne. Sokan hallgatták az elmúlt 25 évben és közvetve vagy közvetlenül ott van az elmúlt 25 év legjobb/legfontosabb/legsikeresebb zenéi közül nagyon sokban (csak a példa kedvéért: Adrian Sherwood, a 82-ben megújult Peter Gabriel, a Public Enemy, DJ Shadow, Moby és sok tízezer hangminta-manipulátor). A jelen újrakiadás első és legfontosabb erénye a megszólalás: az új cd hangzása úgy viszonyul az eredeti, 81-eséhez, mint a borbuzik által dekantálni ajánlott borok szellőztetés utáni illat- és ízvilága a szellőztetés előttihez. Kinyílik, megjelennek a részletek, a mangó, a kéksajt, a csokorba kötött vadvirág, a fahéj és a bors. A nyolc extra track érdekes, de semmi extra, az eredeti tizenegy szám agyrobbantó élményéhez - 1. oldal: rituális-húzós, 2. oldal: ijesztő-elszállós - nem járul hozzá semmivel az új 3.oldal.

Btw, az eredeti tizenegy szám az eredeti cd-n tizenkettő volt, ahogyan azonban a - nem a mostanihoz hasonló kritikai, hanem csak olyan mezei - korábbi újrakiadások többségéről, innen is hiányzik a Qu'ran című darab - feltehetőleg a muzulmánok vélt vagy valós érzékenységére való tekintettel (mint a cím elárulja, a talált vokál itt a Koránból énekel). A helyére, a 2. oldal elejére az eredeti cd bónusza, a Very, Very Hungry került, ami azért nem ugyanolyan hatásosan rúgja el a parttól a hipnotikus részt. Ez egyrészt kár, de legalább elgondolkodhatunk azon, a sok egyéb prófécia és előérzet mellett milyen pontosan vetítette előre a Bush Of Ghosts azt, ahogyan a nyugati kultúra ma tekint az iszlámra: a Másik megtestesülésére."
http://bushofghosts.wmg.com/watch_studio.php

Date of Release 1976 Produced by Brian Eno Obscure 5 1. All Day (Steele) 7.10 Janet Sherbourne : voice Stuart Jones : solo guitar Fred Frith : guitar Kevin Edwards : vibraphone Steve Beresford : bass guitar Phil Buckle : percussion 2. Distant Saxophones (Steele) 10.39 Jan Steele Utako Ikeda : flutes Dominic Muldowney : viola Steve Beresford : bass guitar Martin Mayes : piano Arthur Rutherford : percussion 3. Rhapsody Spaniel (Steele) 5.38 Jan Steele Janet Sherbourne : piano 4. Experiences No. 1 (Cage) 4.08 Richard Bernas : piano duet 5. Experiences No. 2 (Cage) 4.56 Robert Wyatt : voice 6. The Wonderful Widow of Eighteen Springs (Cage) 2.38 Robert Wyatt : voice Richard Bernas : percussion 7. Forever and Sunsmell (Cage) 6.21 Carla Bley : voice Richrad Bernas : percussion 8. In a Landscape (Cage) 10.40 Richard Bernas : solo piano 1976 LP Obscure 5

From Stylus:

They say music speaks to the soul. It speaks in a way that no other medium can. It assists all our emotions and in times of comfort and pain it transcends to something on par with spiritualism. There are many paths to God and the meditative music of Arvo Pärt is, without a doubt, one of them. I had listened to this recording years ago and always loved it, so much so that I constantly would find myself returning. It took on a whole new dimension, though, this past February when I was dealing with my mother's failing battle with terminal brain cancer.

Arvo Pärt is an Estonian composer. Sadly, in a day when all you hear are the same “war horse” compositions and composers played on “classical” radio, few folks are turned on to the cornucopia of sonic delights some of the lesser known 20th Century and modern day composers have bestowed upon us. These modern composers I am referring to fall into the “minimalism” sub-genre. The freedom to create very pure textures that confront the listener on an internal level. There remains the intellectual nature of classical music, but the means to the end become less restricted. Pärt is am ideal example of “internal” music.

1984, the essential record of Tabula Rasa was released on ECM records. The recording features not only the title composition performed by the Lithuanian Chamber Orchestra featuring Gidon Kramer on Violin (for whom Pärt wrote the exquisitely contemplative and hypnotic title work) and Alfred Schnittke on prepared piano, but the equally beautiful composition "Cantus in Memory of Benjamin Britten" and two versions of "Fratres"; a star performance from Keith Jarrett, and Gideon Kremer and its most sublime version for 12 cellos performed by the 12 Cellist of The Berlin Philharmonic.

The compositions are spare, but the space between the sounds are as full of music as the notes themselves. The title cut the allows an inner fullness to resonate through the most fragile, ethereal wisps of tone against the mysterious clanging of prepared piano. The lament of the tubular bells in "Cantus in Memory of Benjamin Britten" is emotionally haunting and seems to descend from the heavens above. "Fratres" is a simple tune. On one hand it sounds like something from the 15th century, yet it clearly is something from the present day.

The Kronos Quartet and others have recorded the works of Arvo Pärt and each is interesting in it’s own right. What sets this recording apart, aside from the dynamic performances, is the warm production of by ECM's Manfred Eicher, which magnificently captures the mystical simplicity of Pärt's sound world.

Right before my mother passed on, she had requested music. Sending my mother music that would serve as the soundtrack to her transition to the other side was an emotional task. I gathered the familiar songs and songs that were favorites of her. I also included Tabula Rasa, a composition she had never heard and quite honestly I wasn’t sure if she would play it on her CD player. The last few weeks, her health declined rapidly, she lost all communicative skills. When word came of her passing, I picked up her belongings and in the CD was Tabula Rasa. She had heard it. She heard the sound of the heart of God. No man of the cloth could have prepared the transition better. Pärt’s music is of the sacred that transcends organized spirituality and enters directly into the soul.

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http://whorepresents.blogspot.com/
Arvo Part - Alina
This is a remarkable release, both for its beauty and its novelty at programming. Für Alina is a two-minute solo piano piece composed by Pärt in l976 that ushered in his "tintinnabuli" style, that is, the bell-like, simple, no-notes-wasted method for which he has become beloved and famous. On this CD, pianist Alexander Malter plays it twice, as the second and fourth tracks; each iteration takes almost 11 minutes (Pärt assumed it would be embellished, and he chose this pair for the CD). There are minute variations in tempo, emphasis, and rubato from one to the other, but, all that being said, it amounts to 22 minutes of the most beautiful, contemplative music ever performed. Almost equally gentle is Spiegel im Spiegel, played as tracks 1, 3 and 5 and scored for piano and, respectively, violin, cello, and then violin again. The instruments mirror one another (Spiegel is German for mirror), with notes added to the scale with each repetition, and so on. Almost impossible to describe in its loveliness, each of the three sets is beautiful; the cello in track 3 gives it extra mellowness. This is music staggering in its simple complexity and a treat for the ear and heart. --Robert Levine

http://www.megaupload.com/?d=yks2fhs5

Dawn is the follow up to Build An Ark's internationally acclaimed debut full-length Peace With Every Step.
Featuring an amazing cast of instrumentalist/composers including Dwight Trible, Nate Morgan, Adam Rudolph, Phil Ranelin, Derf Reklaw, Munyungo Jackson and nearly 30 others, and lead by producer Carlos Nino. Build An Ark have created a modern masterpiece that tells of the coming age of transcendant consciousness and healing vibrations.
With 10 tracks total, 7 new originals flowing wonderfully with 2 classics by Pharoah Sanders and the great "Love, Sweet Like Sugarcane" by living legend Big Black (who's played and/or recorded with everyone from Sun Ra, Quincy Jones, Marvin Gaye & Miriam Makeba), who joins the group on vocals and djembe.
Dawn is a release that will resonate with music lovers of all kinds. The die-hard aficionados and the fresh- eared unitiated will find themselves connected by this incredible genre-bending offering that revels in the glory of cooperative expression and positive, heart-felt intent.
"Dwight Trible, Nate Morgan, Phil Ranelin, Big Black, Derf Reklaw and many many more led by Carlos Nino of LA. Build An Ark are back with 10 new piece on a brand new album.


Carlos Nino (better known as Ammoncontact) has confounded expectations with his Build an Ark project, and this latest album 'Dawn' is his most ambitious to date, including guest spots from living legend Big Black and featuring jazz luminaries Dwight Trible on vocals, Nate Morgan on piano, Adam Rudolph on kalimba, and Derf Reklaw on congas. The band cover tracks from Pharoah Sanders and Big Black himself, also managing to put their mark on some of Nino's own compositions, but the mood here is strikingly spiritual coaxing comparison to some of the Impulse jazz releases of the 70s. The record has been 'dedicated' to John and Alice Coltrane so this should give you a basic idea of the sound, but rather than going for a straight take on their sound the band blend in African, Latin and West Coast American influences to come up with a light, shimmering sound of their own."
(Boomkat Records Review)

"A new voice of note has emerged on the music scene in the guise of Mr. Jose James. Hailing from
Minneapolis and now based in Brooklyn, this talented young singer/composer/producer has released a brilliantly realized debut c.d. -- The Dreamer -- which firmly places him (in my mind) as perhaps the best male jazz vocalist of his generation. The Dreamer is released out of the U.K. on Giles Peterson's Brownswood Recordings label. As an influential internationally-renowned personality, Peterson has a knack for identifying and spotlighting forward looking musical talent. With a Peterson association quality is presumed from the onset. The Peterson imprimatur assured that James' introduction is given a real opportunity for impact. The Dreamer does not disappoint. It signals a needed shift; a return to quality, depth and a honoring of the vast tradition of black music. The build up for the release of The Dreamer has been in the making for over year, starting with the release of the title track on 2006's Brownswood Bubblers compilation. "The Dreamer" is a languid tune which features a floating trumpet line anchored by James' slow, meditative crooning. The combination instantly drew me in and held me in rapt attention. James' mature baritone was comfortably familiar and timeless. Jose James has an engaging vocal quality that is reminiscent of artists such as Andy Bey, Leon Thomas, Jon Lucien, and Gil Scott Heron. He is their logical heir but also he has a unique stamp to his voice. Listening to the ten tracks on the Dreamer, the range of influences that pervade throughout the record amaze. The tracks have an ease and a innate hipness to them -- James is cool and his players swings effortlessly, mingling their influences into a very modern sensibility. At once sophisticated and homey, The Dreamer is a record that could be the soundtrack to accompany family gatherings, card games, cocktails parties, or the midnight hour. The songs speak plainly and directly offering music to move, soothe and fuel you. Jose James has produced a work that stands so outside (perhaps ahead?) of the mainstream of popular music that it becomes a cipher of the times. Ostensibly the songs are about love hoped for, lost, and remembered but they also speak to the spiritual need of the day."
http://www.soultracks.com/
http://www.josejamesmusic.com/

John Zorn (born September 2, 1953 in Queens, USA) is an American avant-garde composer, arranger, record producer, saxophonist and multi-instrumentalist.

Though not well-known to the general public, Zorn's recorded output is astonishingly prolific, with hundreds of album credits as a performer, composer or producer. His work has touched on dozens of musical genres, but he is probably best-known for his jazz and contemporary music; he also led the notable experimental band Naked City. --Wikipedia

"A Night With Mark is Brad Saville’s gritty, black-and-white movie of jazz legend Mark Murphy’s February 2006 performance at the Iridium Jazz Club on 51st and Broadway. A Night With Mark Murphy captures the beat-Jazz side of the six-time Grammy-nominated vocalist… Because of pending legal issues, we are unable to commercially distribute this picture. However, we are able to show it to you here, free of charge (42 minutes)."
http://www.bradsaville.com/?p=14

José González was born in Sweden to Argentinean parents in 1978. In 2003, he released his debut album, Veneer, in Europe. The album has since been released in the UK, on April 25, 2005, and in the United States on September 6, 2005. The song Crosses, from Crosses EP and the later Veneer, appeared on the finale of the second season of the popular American television comedy-drama The O.C.. His cover of Heartbeats (also from Veneer) was used in a recent Sony BRAVIA TV commercial featuring coloured bouncing balls in San Francisco.
His trademark sound is solo acoustic guitar with soft melody. His work, although mostly original, does include acoustic covers of great hits such as Love Will Tear Us Apart, Born in the U.S.A., and Teardrop. José is one of three members of the band Junip. José González also appears in the recent Zero 7 album The Garden, in which he sings on 3 new tracks and on a reworked version of Crosses.
www.jose-gonzalez.com