In Review: Marilyn Crispell and Gary Peacock ‘Azure’
★★★★½ - Sydney Morning Herald
Pianist Marilyn Crispell and bassist Gary Peacock have been vital forces in some of jazz’s headiest explorations, while also sharing a more lyrical side. They have been described by SMH as ‘A major statement from two of jazz’s most distinguished practitioners.’
Read more here.
@2 months ago
PROFILE: NOW AGAIN RECORDS
Record labels: always a popular matter of discussion among crate diggers. What’s their vision on music? What’s their message to the outside world? And what’s the common denominator between the various titles across the catalog?
A very special imprint we’ve been stocking for a long time is California’s Now Again Records. Run passionately by Stones Throw’s A&R manager Eothen Alapatt aka Egon, the label releases a mix of old and new tunes. Most of the contemporary stuff falls into the instrumental hiphop and psychedelic funk categories – artists associated with the label include Dimlite, Paul White, The Natural Yoghurt band and The Whitefield Brothers.
@1 year ago with 1 note
#Now Again #stones throw records #Dimlite #profile
SOUND SUMMIT PRE-FUN
Newcastle will be all about Sound Summit until Sunday. Heaps of great Aussie bands have found their way to the summit over the last few years and there’s a lot of old ones still going. Here’s just a few that we like at TITLE that play this year’s edition of Sound Summit: Royal Headache, Oren Ambarchi, Twerps, Cannanes and Primitive Calculators.
More than just a gig-jammed festival, Sound Summit has always been about discussing the state and directions of the industry. One of the highlights this year will be a panel that’s very much Chapter Music-heavy. The label’s CEO Guy Blackman alongside Fran Gibson [Cannanes], Stuart Grant [Primitive Calculators] and newcomer Martin Frawley [The Twerps] will be more than happy to tell you what it’s like to stay relevant, keep the passion and to survive the challenges of the independent music scene in the 2012. Meet them at Newcastle’s Terrace Bar.
We’re looking forward to seeing you all up/down there!
Photo: The Twerps
@1 year ago with 1 note
#Sound Summit #Chapter Music #The Twerps #Royal Headache #Oren Ambarchi #Cannanes #Primitive Calculators
GIL SCOTT-HERON’S MEMOIRS
I’ve got to disagree with Ben Ratliff of The New York Times when he argues that the Godfather of Rap, Gil Scott-Heron, “slipped away long before his death”. His last long player, 2010’s I’m New Here ranks among Scott-Heron’s greatest works and words like these - taken from his book The Last Holiday, A Memoir, fit the picture of a man who detested anything impure.
"People speak in a certain key that’s similar to a musical note. When you talk to people naturally, it’s comfortable because there’s no strain or stress on your vocal chords. Sometimes when people speak too fast or make vocabulary choices that don’t ring true, it occurs to me that something is wrong with what they are saying."
- Chris de Wit, TITLE Surry Hills
Grab Gil Scott-Heron’s The Last Holiday, A Memoir at TITLE for $45. Also available: I’m New Here ($30 on vinyl or $25 on CD) and Free Will ($20 on CD). Don’t forget to flash your TITLE 10 card for a 10% discount.
@1 year ago with 1 note
Profile: Keith Jarrett
Friday afternoon is the right time of the week for a run to the store to get free stuff without being a thief. Buy Keith Jarrett’s Sleeper [2CD] and get his Always Let Me Go [2CD] for free. This weekend only. Leave us a $35 tip and they’re both yours!
Featuring Keith Jarrett on piano and percussion, Jan Garbarek on tenorsoprano saxophones, flute and percussion, Palle Danielsson on double bass and Jon Christenen on drums, the release of Sleeper is a major event for fans of Jarrett and his accompanying players. This quartet has only ever been heard on four other recordings and this Japanese concert, which has been mixed in analogue for its warm sound, sees them at full flight.
About Always Let Me Go
@1 year ago
#Keith Jarrett #Jan Garbarek #ECM #profile
Recorded on two nights in 2001, this double album is an endlessly fascinating document that takes the full measure of the group’s creativity. Keith Jarrett describes the work as “free music that was not written, rehearsed or planned in advance of the performances.” But Jarrett’s free music embraces an enormous range of possibilities. There is an abundance of melody in these spontaneous constructions, and passing allusions to the entire history of jazz, though the music also reaches beyond it. There are cascades of sound, tremulous lyrical passages, deep grooves, wide-ranging dynamics, silences, and quiet dissonances.