Tumgik
burlveneer-music · 4 days
Text
youtube
Marc Almond's new single is a cover of Bob Lind's "Elusive Butterfly", a song I've never been sure isn't parody
4 notes · View notes
burlveneer-music · 4 days
Text
Prefuse 73 - New Strategies for Modern Crime Vol. 1 - that sounds like a library music album title, and sure enough, it's cinematic jazz and mood music that would enrich any crime movie
Prefuse 73 aka Guillermo Scott Herren announces his new album, New Strategies for Modern Crime Vol. 1, out 22nd March 2024 and shares the lead single, “A Lord Without Jewels". His first new album since 2018’s Sacrifices, New Strategies for Modern Crime Vol. 1 sees Herren delving further into his ground breaking take on experimental hip-hop through orchestrated arrangements via the optic of the media’s sensationalism of crime, blended with influences from lost soundtracks, musique concrète, jazz and beat-tape music to create something wholly unique.
1 note · View note
burlveneer-music · 6 days
Text
NOUT - Live Album - probably the skronkiest flute-harp-drums trio ever; Mats Gustaffson guests on baritone sax for 3 tracks (Trost Records)
Delphine Joussein - flute, voice, drums Rafaelle Rinaudo - electric harp, drums Blanche Lafuente - drums Mats Gustafsson - baritone sax on 10,11,12 Benat Achiary - voice on 6
5 notes · View notes
burlveneer-music · 7 days
Text
Speaking of UK jazz, the new Ill Considered album Precipice is out today as well, from New Soil
Ill considered are a band comprising of musicians interacting with each other to create freely improvised music, based loosely around simple pre-written themes or composed on the spot. Deep grooves and plaintive melodies ranging from whispered chants to monstrous climaxes, the group react to the mood of the audience and the sonics of the room to create music that is unique to the moment.
youtube
Ahead of its release check out an extended, improvised session featuring Ill Considered and a group of special guests recorded down at Total Refreshment Centre to kick off a new chapter their new musical journey. Precipice (Live) features improvisations from: Idris Rahman, Pete Wareham, Buster Woodruff-Bryant, Art Themen, James Mollison, Nathaniel Cross, Theon Cross, James Yglesias
7 notes · View notes
burlveneer-music · 7 days
Text
Amanda Whiting - The Liminality Of Her - new album from UK harpist out today (First Word Records)
First Word Records is very proud to present 'The Liminality of Her', a brand new 10-track album from their newest signing, Amanda Whiting; a highly-acclaimed Welsh harpist & composer. A virtuoso in her field, this classically trained musician has quickly established herself as an essential player in the UK jazz scene, carving her own unique sound, following on from the paths forged by Ashby and Coltrane. This 10-track album exemplifies Amanda's talents as a performer and composer, taking in an array of hypnotising sonics from the worlds of jazz; from fusion to spiritual and beyond. She is backed with accompaniment from a remarkable set of players in their own right, including Chip Wickham on flute and PEACH. on vocals. A confident display of purposefully blissful compositions that saunter as much as they soothe, whilst being unafraid to lean into some deep uptempo grooves. Amanda describes the theme of this project as "liminality... that place in between, the transition from one place to another. No longer what it was, yet not what it's going to be. The harp always presents itself at these moments. It's a sound that causes an emotion. My instrument chose me. It's been with me through every chapter of life. It's how I speak, especially when there are no words. This album is a rite of passage for "her". A feeling of alchemy, a feeling of liberation. Moments of inner searching, intertwined, waiting but moving forward. Never looking back. 'The Liminality of Her' encompasses the highs and the lows. The nomadic love of freedom and spirituality. It's all so much bigger than you or I…" From the cinematic, classical fusion of 'After Dark', to the more playful 'Lost in Abstraction', this album invites you to float in a soundscape of liminality... 
8 notes · View notes
burlveneer-music · 8 days
Text
youtube
Excited about seeing Horse Lords in Philly tonight!
0 notes
burlveneer-music · 9 days
Text
My WVUD playlist and stream, 3/18/2024
World Party - Ship of Fools World Party - Way Down Now World Party - Here Comes the Future Chu Kosaka - Music Guiding Star Orchestra - Planting Trees Tristesse Contemporaine - Rock This Town Alton Ellis - Your Heart Is Gonna Pay Happy End - Haruyo Koi (Come, Spring) Say She She - Entry Level Silky Steps - Music Air - Maggot Brain (Live at Paradiso, Amsterdam 31/10/1998) Air & Beth Hirsch - You Make It Easy Zero 7 - Home (feat. Tina Dico) The Twelve Hour Foundation - Creosote Four Tet - Skater Nathalie Joachim - Zetwal Jane Weaver - Romantic Worlds Jimi Tenor - Music for Mallet Instruments, Voices and Organ Cars from the Future - The Return Of Mr. Zigganoff Notilus - Long Voyage Ana Lua Caiano - O Bicho Anda Por Aí DJ Shadow - Witches Vs. Warlocks Apollo Suns - The Aeronaut Ghost-Note - Bad Knees Cut Capers - Spiral
4 notes · View notes
burlveneer-music · 10 days
Text
youtube
I finally was able to attend a live performance of a Steve Reich piece, and it was glorious! Organist Amanda Mole, 7 percussionists from the Philadelphia Orchestra, and 3 singers from The Crossing performed "Music for Mallet Instruments, Voices and Organ" at the First Presbyterian Church in Germantown as part of the Philadelphia Organ Festival.
1 note · View note
burlveneer-music · 11 days
Text
youtube
Air covered Funkadelic's "Maggot Brain" in their live show in 1998, and it's been on Youtube since 2011, but I just found out about it due to its inclusion in the the 25th anniversary edition of Moon Safari
2 notes · View notes
burlveneer-music · 12 days
Text
Green-House - A Host for All Kinds of Life - studiously avoiding the "New Age" label, they nonetheless represent the best qualities of that much-maligned genre
In an era of rampant, man-made climate chaos, “solastalgia” (the longing and distress experienced by individuals as a response to environmental change/degradation) has emerged as a useful, semi-viral concept — a catch-all term for the pervasive sense that the world as we know it is far from well, and only growing less so. But, for many of us, a problem, a trap, an ineffable hollowness, exists at the very crux of this concept/premise: how can we mourn (or even sense the loss of) that which we have never known? Especially for lifelong urbanites estranged from nature, who nevertheless grasp the severity and complexity of the problem—how might they remember? How might they mourn? Perhaps indirectly—that is to say, in an exploratory and non-dogmatic fashion—Green-House, a project birthed by Olive Ardizoni and now officially a duo project featuring long-time collaborator and confidant, Michael Flanagan, seeks to address this gap in understanding. Six Songs for Invisible Gardens, the debut Green-House EP whose 2020 release coincided with the depths of Covid-19 “lockdown,” responded to the rampant heartsickness of human and plant life, especially in non-rural areas. The packaging of the cassette release famously included wildflower seeds for the listener to scatter. This gesture (at once simple and daring, especially when one considers the logistical element) exists as testament to the sincerity and seriousness of Ardizoni’s convictions. Music for Living Spaces, the first full-length Green-House LP, followed in 2021— a refinement of the formula that enshrined Six Songs as a cult, eco-ambient hit. Out October 13, 2023 on Leaving Records, they have returned with the LP A Host For All Kinds of Life, a third entry in a series of releases whose titles have incidentally all revolved around the “for” construction: an unofficial canon of offerings, or maybe rather instructions as to how the music contained therein might, could, and should operate in/on the listener’s life and “living space(s).” Decidedly the most expansive Green-House release — one need only consider the LP’s title and the kaleidoscopic, fractal cover art designed by Flanagan—A Host For All Kinds of Life troubles the very notion of “ambient music,” a category with whom Green-House has always existed in some degree of tension. What if a song’s seeming softness constitutes its biting edge? What if easeful, contemplative pleasure can radically alter our mindset? Our very role as worldly subjects? Drawing on the works of Lynn Margulis and our burgeoning understanding of the evolutionary role of biological mutualism (associations between species in which both species benefit), A Host For All Kinds of Life is a deeply entrenched and politically grounded song suite. And there are indeed discrete songs here, with defined structure, momentum, and sway; see the gilded, sixties-evoking melodic arabesque of the record’s ninth and penultimate track, “Everything is Okay” (which incidentally ends with the release’s only human voice—a tender message left for Ardizoni by their mother). In conversation, Ardizoni speaks often of the centrality of joy—that Green-House’s very existence can be traced to a conscious decision they made to not only choose joy as an act of rebellion, but to find that joy in whatever plant life they could access in their immediate environment. In this sense, all of Green-House’s releases (and A Host for All Kinds of Life especially) embody a radicality that may elude the casual or first-time listener. To choose, model, and express joy in an ailing world requires courage, a courage that must be jealously guarded and constantly replenished. A Host For all Kinds of Life encourages the listener to slow down, take stock, tune in to the more-than-human world around them, and gather their courage and joy in light of the uncertainty to come.  All songs written and produced by Olive Ardizoni and Michael Flanagan Bio by Emmett Shoemaker
6 notes · View notes
burlveneer-music · 13 days
Text
youtube
Buddy Rich & Alla Rakha - Rich à la Rakha - Sundazed has just reissued this 1968 album on vinyl & CD
Jazz snare & ride cymbal meet classical Indian tabla & pakhawaj! What happens when one of the best jazz drummers of all time combines efforts with one of India’s most renowned tabla players? Voilà! Rich À La Rakha. Calypso-flavored compositions, spontaneous jams, and a genuine instrumental dialogue between the two greats truly makes this a one-of-a-kind listen. Cut all analog and pressed on colored vinyl! In 1968, as young America’s interest in Indian classical music was surging to its peak, Alla Rakha made a landmark record with the big band jazz drummer Buddy Rich. Rich, like Alla Rakha, is an icon, often ranked very near the top of any list of ‘greatest drummers’ regardless of genre. Rich was an exuberant, hot tempered man who frequently alienated friends and peers but, at the same time, “was one of the most technically gifted drummers to ever walk our planet. He had incredible speed and control, power and touch.” Ravi Shankar composed several compositions for both men to play together and brought in smooth jazz flautist Paul Horn (who studied meditation in Rishikesh at the same time as The Beatles in 1968) as well as sitarist Shamim Ahmed to create a musical space within which the two geniuses could experiment. The album Rich à la Rakha, which we share today, is a milestone in the ‘jazz meets Indian classical music’ story. – Nate Rabe (Harmonium: Musical Culture from South Asia and the Diaspora) Includes: Khanda Kafi (Ravi Shankar) • Duet In Dadra • Rangeela (Ravi Shankar) • Nagma E Raksh (Alla Rakha) • Tal Sawari
2 notes · View notes
burlveneer-music · 13 days
Text
The Twelve Hour Foundation - THF Compendium - 36 odds and ends collected on one CD / digital album; RIYL Clay Pipe Music, Ghost Box
Polly Hulse: Yamaha CS-10, vocoder, flute, field recordings Jez Butler: Moog Rogue, Korg Volca Keys, concrete sequences This collection brings together a selection of albums, EPs and bonus tracks previously unreleased on CD, plus bonus track from The Lighter Side of Concrete. Polly Hulse: Yamaha CS-10, vocoder, flute, field recordings Jez Butler: Moog Rogue, Korg Volca Keys, concrete sequences
2 notes · View notes
burlveneer-music · 14 days
Text
Adnata Ensemble - Oku - a double bass quartet
Double bassists Scott Colberg, Ari Folman-Cohen, Michael Isvara Montgomery, & Ran Livneh make up Adnata Ensemble. The ensemble developed repertoire and discovered a musical language during the height of the pandemic. Born of a need to feel supported in such an uncertain time, the 4 musicians created an ensemble that celebrates the bass - the support & foundation of any ensemble. The group weaves together composition & sounds with a thread of improvisation.
2 notes · View notes
burlveneer-music · 14 days
Text
youtube
The teaser track for Cleopatra Records' forthcoming remake of King Crimson's first album: Todd Rundgren, Arthur Brown, Mel Collings (KC ringer), Chris Poland (Megadeth), and Ian Paice (Deep Purple) play "21st Century Schizoid Man"
1 note · View note
burlveneer-music · 16 days
Text
My WVUD playlist and stream, 3/11/2024
Eric Hilton - The Grand Intro Garza - Something That's Different (feat. Emeline) Thievery Corporation - Lebanese Blonde (feat. Elin Melgarejo) [Symphonik Version] Thievery Corporation - Warning Shots (feat. Sleepy Wonder & Gunjan) Jumbo System - Copycat Agbeko - There Must Be Another Way Griyo - Fé Que Liberta Orgone - Zum Zum (feat. Mermans Mosengo) Zack Oakley - Demon Run Volcano - 10,000 Screaming Souls Can - Paris 73 Zwei Trans Upper Egypt - Full Greedy Tredici Bacci - The Future Is Forever Simon Hanes - Plank Bondage Fruit - Kuroi Ikimono Yin Yin - Takahashi Timing Lola's Dice - Pura Maldad Big Boss Man - Das Freak N to the Power - Marrakesh Memosphere
4 notes · View notes
burlveneer-music · 19 days
Text
youtube
New Justice track! "Incognito" from forthcoming album Hyperdrama (April 26)
0 notes
burlveneer-music · 20 days
Text
A new album from Kahil El’Zabar’s Ethnic Heritage Ensemble today as well - "Open Me, A Higher Consciousness of Sound and Spirit"
This is the new offering from Kahil El’Zabar and his Ethnic Heritage Ensemble, in conjunction with the legendary group’s 50th anniversary, Open Me, A Higher Consciousness of Sound and Spirit. Open Me is a joyous honoring of portent new directions of the Ethnic Heritage Ensemble; it’s a visionary journey into deep roots and future routes, channeling traditions old and new. It mixes El’Zabar’s original compositions with timeless classics by Miles Davis, McCoy Tyner, and Eugene McDaniels. Thus, the Ethnic Heritage Ensemble continues affirming their indelible, half-century presence within the continuum of Great Black Music.  Open Me, El’Zabar’s sixth collaboration with Spiritmuse in five years, marks another entry in a run of critically acclaimed recordings that stretch back to the first EHE recording in 1981. The storied multi-percussionist, composer, fashion designer, and former Chair of the Association of Creative Musicians (AACM) is in what might be the most productive form of his career, and now in his seventies, shows no signs of slowing down. Few creative music units can boast such longevity, and fewer still are touring as energetically and recording with the verve of the Ethnic Heritage Ensemble.  The EHE was founded by El’Zabar in 1974 originally as a quintet, but was soon paired down to its classic form — a trio, featuring El’Zabar on multi-percussion and voice, plus two horns. It was an unusual format, even by the standards of the outward-bound musicians of the AACM: “Some people literally laughed at our unorthodox instrumentation and approach. We were considered even stranger than most AACM bands at the time. I knew in my heart though that that this band had legs, and that my concept was based on logic as it pertains to the history of Great Black Music, i.e. a strong rhythmic foundation, innovative harmonics and counterpoint, well-balanced interplay and cacophony amongst the players, strong individual soloist, highly developed and studied ensemble dynamics, an in-depth grasp of music history, originality, fearlessness, and deep spirituality.” With El’Zabar at the helm, the band’s line-up has always been open to changes, and over the years the EHE has welcomed dozens of revered musicians including Light Henry Huff, Kalaparusha Maurice Macintyre, Joseph Bowie, Hamiett Bluiett, and Craig Harris. The current line-up has been consolidated over two decades — trumpeter Corey Wilkes entered the circle twenty years ago, while baritone sax player Alex Harding joined seven years ago, after having played with El’Zabar since the early 2000s in groups such as Joseph Bowie’s Defunkt.  For Open Me, El’Zabar has chosen to push the sound of the EHE in a new direction by adding string instruments — cello, played by Ishmael Ali, and violin/viola played by James Sanders. The addition of strings opens new textural resonances and timbral dimensions in the Ensemble’s sound, linking the work to the tradition of improvising violin and cello from Ray Nance to Billy Bang, Leroy Jenkins, and Abdul Wadud.  Open Me contains a mixture of originals, including some El’Zabar evergreens such as “Barundi,” “Hang Tuff,” “Ornette,” and “Great Black Music” (often attributed to the Art Ensemble of Chicago but is, in fact,  an El’Zabar composition). There are also numbers drawn from the modern tradition, which El’Zabar uniquely arranges, including a contemplative interpretation of Miles Davis’ “All Blues.” As a milestone anniversary celebration and a statement of future intent, Open Me effortlessly carries El’Zabar’s healing vision of Higher Consciousness of Sound and Spirit.   All compositions by Kahil El’Zabar except tracks ‘All Blues’ by Miles Davis, ‘He’s Got the Whole World in His Hands’ spiritual folk by Unknown, ‘Passion Dance’ by McCoy Tyner and ‘Compared to What’ by Gene McDaniels All arrangements by Kahil El’Zabar Tapestry and Art Direction by Nep Sidhu
5 notes · View notes