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musicallyrich · 4 years

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Crate Digger’s Corner: Medeski Martin & Wood- End Of The World Party (Just In Case) [Blue Note, 2004 (2LP)]

Crate Digger’s Corner…by DJ Musically Rich

(If you’d like to listen to a track from the album as you read, go to the end of the post to start the song)

Also, remember during these times where you are looking for more entertainment, check out my IG (djmusicallyrich) to get other ideas for albums to listen to (and every once in a while a movie to watch).

Today in Crate Digger’s Corner I am going to look at an album that was made about 15 years ago, but seems by title, to be perfectly suited for where we are today. While we all begin to think about our end-of-the-world parties, you know…just in case, I decided to review the 2004 album from Medeski Martin & Wood ‘End Of The World Party (Just In Case)’.

The album opens with ‘Anonymous Skulls’. Minor chords swirl around as Billy Martin (drums/percussion) drives the song with his drum groove. It feels as if the acoustic piano is trying to keep hope alive as the surrounding electric keyboards continue to hover ominously over and around the track. That is followed by the entrance of a heavy, slightly distorted, bowed bass. That leads to the track, ‘End Of The World Party’, into a groovy mode with a catchy riff by Medeski that sets the boundaries for the song that they will then almost immediately break out of. ‘Reflector’ starts with a syncopated beat from Martin with guitarist, Marc Ribot, beefing up the sound a bit. Ribot and Medeski continue to play atmospherically (yet, somehow with a point as well) while Wood keeps the rhythm steady and allows Martin to dance around the beat while still pushing it forward.

‘Bloody Oil’ opens side 2 with an ominous bass line, with some driving cymbal work underneath. Medeski’s organ then follows, eerily floating above the grounded rhythm section. About half way through the drums completely drop in and turn the tune into a funkified driving song to the end. ‘New Planet’ brings an uplifting sound to the album. The steady, funky drums and uplifting bass lines make it feel like new life is just around the corner, while the song breaks down into a dance party. Straight ahead funky rhythms and sounds drive ‘Mami Gato’, and yet some world music nods sneak in, especially in Medeski’s tasteful piano work.

Side 3 opens with a great, catchy song that has a lot of bounce to it, ‘Shine It’. It is a little more musically involved, especially the interaction between Medeski and Wood, which remind me of the melodies that were coming from the CTI label in the mid-late ‘70s. ‘Curtis’ starts out with a couple jabs from the organ right out of the gate. Once it settles into the body of the song it becomes a bit more laid back, but it constantly finds its way back to the skittering beginning. Martin’s control of the song from the drum set is something to behold. ‘Ice’, which closes side 3, is a tune that puts the vision in your head of being somewhere surrounded by cold and snow and you are taking a run into a cave that just keeps you going down as the stalactites and stalagmites get larger and larger.

For the start of side 4, MMW bring back Ribot and bring in Steven Bernstein (slide trumpet) and Briggan Krauss (sax) to add a little more depth to ‘Sasa’. ‘Midnight Poppies/Crooked Birds’ has a very haunting beginning. It almost feels like Scooby and the gang are searching around an abandoned amusement park looking for ghosts. The song picks up as it moves to its second half and the three all go into driving mode to take the song to its conclusion. ‘Queen Bee’ is maybe my favorite song on the album. Medeski states the theme which includes a descending organ line that becomes the heart of the song. Marc Ribot enters the song as it picks up steam and it begins to sound like all four instrumentalists are sounding off against each other, while still, somehow, being able to absolutely lock in with each other as well. I also want to note that Ribot gets to lay down a solo that is absolutely on fire to close out the song. ‘Whining Bitches’ is a bonus track, only available on the LP. Medeski takes a bit of a spacey tactic with this tune that closes out the album.

This is a very good album that musically stretches all over the funky music scene, and within that, the longest tune on the album just barely breaks the 5 minute mark. If you are getting ready to put together your end of the world party, don’t forget to include this album!

Stars: 4/5

Available on: 2LP/CD

RIYL: Trio Subtonic- Cave Dweller/ Soulive- Up Here/ DRKWAV- The Purge/ The Clinton Administration- One Nation Under A Re-Groove

To see photos of other albums in my collection follow my IG: djmusicallyrich

To listen to a track from the album…

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#djmusicallyrich #cratediggerscorner #musicreview #musicreviews #albumreviews #recordcollection #albumcollection #vinylcollection

#djmusicallyrich #cratediggerscorner #musicreview #musicreviews #albumreview #albumreviews #recordreview #recordreviews #medeskimartinandwood #jazzmusic #recordcollection #albumcollection #vinylcollection #funkymusic

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ib2se · 4 years

Video

Fizzy Tree by Lennarrrt Via Flickr: Art af K. Gadh

The B:sides-Playlist 2019-12-16 @ Radio Vättervåg 98,5 Mhz

This week: Fizzy

starter: 'B:zväng' TextMix & reading af MrZ Komposition & Produktion af SkåneJokke Lütz [0:41]

💿 All Albums from Chant Records 💿

1. Dimyon | דמיון (Eyal Maoz) – צעד | Tsaad [4:56] Performed by: Eyal Maoz – acoustic guitar Alan Grubner – violin Dana Leong – cello Shanir Ezra Blumenkranz – bass Mathias Kunzli – percussion Composed by Eyal Maoz Arranged by Eyal Maoz Produced by Eyal Maoz Engineered by Johnathan Powell

2. eXpanseplane (Jesse Berg) – Rex [2:38] Composed by Jesse Berg

3. Sonata Islands Kommandoh (Emilio Galante, Giovanni Venosta, Alberto Turra, William Nicastro, Sergio Quagliarella) – Offering Vander [7:56] Performed by: Emilio Galante, flute Giovanni Venosta, keyboards Alberto Turra, guitar William Nicastro, bass Sergio Quagliarella, drums Composed by Emilio Galante Arranged by Emilio Galante Produced by Sonata Islands Kommandoh Engineered by Diego Cattaneo Recorded live in Teatro SanbàPolis, Trento, Italy, October 2014 Taken from the project “Zeuhl Jazz”, dedicated to Magma’s music and spirit

4. Unbroken (Louie Belogenis, Shanir Ezra Blumenkranz, Kenny Wollesen) – Transmission [9:24] Performed by Louie Belogenis (tenor saxophone); Shanir Ezra Blumenkranz (acoustic bass); Kenny Wollesen (drums) Composed by Louie Belogenis and Shanir Ezra Blumenkranz Arranged by Louie Belogenis and Shanir Ezra Blumenkranz Produced by Louie Belogenis and Beth Anne Hatton Engineered by Robert Musso Recorded August 1, 2005 at OMSS Studios Dedicated to Bokar Rinpoche

5. War Paint (Briggan Krauss, Shanir Ezra Blumenkranz, Brian Chase) – Bones [4:02] Performed by: Briggan Krauss – saxophone/guitar Shanir Ezra Blumenkranz – doublebass Brian Chase – drums Composed by Briggan Krauss, Shanir Ezra Blumenkranz, Brian Chase Arranged by War Paint Produced by War Paint Engineered by Briggan Krauss Recorded at Live At The Stone

6. Event Horizon (Greg Cohen & Randi Pontoppidan) – Pearls of Fizzdom [1:53] Performed by Greg Cohen – Double Bass, Randi Pontoppidan – Voice and Electronics Composed by Greg Cohen and Randi Pontoppidan Arranged by Greg Cohen and Randi Pontoppidan Produced by Greg Cohen and Randi Pontoppidan Engineered by Marco Birkner Recorded at Studio H2 at the Funkhaus, Berlin Mixed by Adrian von Ripka

7. We the Gleaners (Dana Lyn, Kyle Sanna, Matt Kanelos) – Is the West Coast [12:12] Performed by Dana Lyn, violin; Kyle Sanna, guitar, synth, samples; Matt Kanelos, piano, effects, samples Composed by Kyle Sanna, Dana Lyn, Matt Kanelos Arranged by Kyle Sanna, Dana Lyn, Matt Kanelos Produced by Kyle Sanna, Dana Lyn, Matt Kanelos Engineered by Ross Bonadonna Recorded at Wombat Recording, Brooklyn, NY

8. Zach Mayer – But You May Not Leave The Forest [3:47] Performed by Zach Mayer – Baritone Sax Composed by Zach Mayer Arranged by Zach Mayer Produced by Zach Mayer Engineered by Zach Mayer Recorded at home

9. Kaoru Watanabe – Chiru [5:09] Performed by Fumi Tanakadate, Sayun Chang, Barbara Merjan (taiko) Kaoru Watanabe (shinobue) Composed by Kaoru Watanabe Arranged by Kaoru Watanabe Produced by Kaoru Watanabe and Marc Urselli Engineered by Marc Urselli Recorded at Eastside Sound Originally from Kaoru Watanabe’s 音緒 | Néo

1 jingle incl tune from Kmag #107 af Loopmasters Samples & 2 jingles from B:sides on Spotify

This weeks BibleVers:

“I looked, and I saw beside the cherubim four wheels, one beside each of the cherubim; the wheels sparkled like topaz.”

Ezekiel 10:9

Drink Espresso - God bless U! /MrZ :)

www.ib2.se

Soli Deo Gloria

Join Generation XYZ @ gen.xyz

GDPR

#TreeArt #LightArt #Gadh #Lennarrrt #Blue #B:sides #Jkpg #Chant

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dustedmagazine · 6 years

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Ceramic Dog – YRU Still Here? (Northern Spy)

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Guitarist Marc Ribot has worn his leftist politics proudly and often vehemently throughout his four-decade career as a professional musician. His deep discography is spiced and layered with declarations and provocations rooted in a punk ethos, but oft channeled in the direction of agitating actual and lasting social change. Denunciations of religious intolerance and government overreach are common aspects of his projects. YRU Still Here? Sights ICE and the current Administration’s draconian immigration abuses in its crosshairs. Ribot distills the topical platform down to a three-point rallying cry: “Protect DACA. Stop the Raids. Fuck La Migra!”

Musically, the album draws on the versatility of his working trio with drummer Ches Smith, also doubling on electronics, and bassist Shahzad Ismaily, who brings Moog and percussion to the table alongside his regular axe. A crew of other colleagues also contributes in guest roles and four of the albums eleven pieces incorporate song lyrics. Expletives and aggression are regular ingredients throughout starting with the rawboned “Personal Nancy” that finds Ribot shouting over a swirling, miasmic mass of flanging guitar, gurgling electric bass and pounding drums that sounds intentionally amateurish and tenaciously catchy all at once.

Lo-fi Jon Spencer-ish rock numbers like “Agnes” alternate with more pointed ventures like “Muslim Jewish Resistance,” which exudes weird echoes of woke DC bands from decades earlier and some squealing guest sax from Briggan Krauss. “Pennsylvania 6 6666” steers sharply into a loungy one-drop groove and a story-song musing on state-specific racial and cultural homogenization with Ribot intoning in a cigarettes-coarsened croon, “When I lived in Pennsylvania, they beat me up almost every day.” Doug Weiselman adds some furry flute over Mauricio Herrera’s percolating conga and the players fully embrace the perverse humor of the piece as it morphs into a full-tilt rhumba line.

Convincingly tapping his inner Randy Newman while retaining his Downtown NYC No Wave edge is no modest achievement and though the results are frequently warts-and-all affairs, Ribot’s commitment and audacity is often infectious. Perhaps even more persuasively, his targets are legit and completely deserving of both withering ire and condemnation. That measurable reserve of earnest righteousness makes the frayed seams and cumulative excesses easier to overlook or simply endorse outright. Cases in point come with the album’s stadium anthem centerpiece “Shut That Kid Up,” which wears its irony openly by being the most instrumentally loquacious song of the set and the Hindustani-infused acid rock jam sardonically entitled “Orthodoxy.” Rimshot, Ribot.

Derek Taylor

#marc ribot #ceramic dog #yru still here?#northern spy #new york city #no wave #fuck ice #trump sucks #dusted magazine #albumreview #derek taylor

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riffsstrides · 2 years

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Bill Frisell - Unspeakable (2004)

7/10

A recording that stretches the imagination farther than anything Frisell has done to date. Frisell has chosen to use his guitar as a sonic paintbrush.

Bass – Tony Scherr (tracks: 1 to 4, 6, 8, 9, 11 to 14)

Cello – Hank Roberts (tracks: 1, 4, 6 to 14)

Drums – Kenny Wollesen (tracks: 1 to 4, 6, 8, 9, 11 to 14)

Guitar – Bill Frisell

Percussion – Don Alias (tracks: 1, 6, 8, 9, 11, 12)

Sampler – Hal Willner (tracks: 4 to 6, 8, 9, 11, 13, 14)

Saxophone – Briggan Krauss (tracks: 2, 6, 9, 11, 12)

Trombone – Curtis Fowlkes (tracks: 2, 6, 9, 11, 12)

Trumpet – Steven Bernstein (tracks: 6, 9, 11, 12)

Turntables – Hal Willner (tracks: 1 to 6, 8 to 11, 13, 14)

Viola – Eyvind Kang (tracks: 1, 4, 6 to 14)

Violin – Jenny Scheinman (tracks: 1, 4, 6 to 14)

Guitar - Tony Scherr (tracks: 12)

Synthesizer - Adam Dorn (tracks: 3)

#Spotify

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lipwak · 4 years

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VHS #475

Leonard Cohen – I’m Your Man, Sharon King and the Dap Kings (Summerstage) *** Leonard Cohen – I’m Your Man

Lian Lunson dir.

various covers at the Came So Far For Beauty Concert and some studio recordings.

Sundance 1:43

Some clips from it (*below): https://www.youtube.com/playlist?list=PLZbXA4lyCtqrZfQp_fhIxXd0QBGgG75Yn

Leonard appears throughout.

Waiting For The Miracle

*Nick Cave - I’m Your Man

Leonard tells of his youth, The Edge (U2), Bono

Handsome Family - A Thousand Kisses Deep (https://youtu.be/96WU3hILCj0) This clip.

*Rufus Wainwright talks of first meeting him., Everybody Knows (https://youtu.be/EeYCnw4wbTc) This clip.

Martha Wainwright - The Traitor (https://youtu.be/6i3JX54zWec) This clip.

*Leonard, Kate & Anna McGarrigle and Martha Wainwright - Winter Lady

Teddy Thompson - Tonight Will Be Fine (https://youtu.be/8W89j6GjPDI) This clip.

Leonard reads the intro to a translated book of his. Talks of Hydra, poets.

Antony - If It Be Your Will (https://youtu.be/1MDlMdu2gjw) This clip.

The Edge, McGarrigles, BonoBeth Orton - Sisters Of Mercy (https://youtu.be/zN2edpxeLpM) This clip.

Leonard - NY compared to Montreal.

*Rufus - Chelsea Hotel No. 2 (https://youtu.be/pQwCiBHru1M) This clip.

Rufus - aura of him in Montreal.Leonard intro, Bono,

*Nick Cave - Suzanne

Collaboration with Phil Spector, Hal Wilner, Death of a Ladies Man

Jarvis Cocker - I Can't Forget (https://youtu.be/Poy4o6joZDs) This clip.

Monk, Roshi, Zen center on Mt Baldy, care or didn’t care who he was.

Julie Christensen, Perla Batalla - Anthem (https://youtu.be/b4bYDxbVIKE) This clip.

intros band (…Chris Spedding…, Charles Burnham, saxophonist Briggan Krauss, musical director and trumpet - Steven Bernstein)

*Rufus w/ Martha and Joan Wasser - Hallelujah

*Leonard w/ U2 - Tower of SongLeonard - Was a monk, I hated everyone...

Leonard - I’m Your Man *** Sharon King and the Dap Kings (Summerstage)

WNYC

2008

58:34 w/ promos

See some excerpts here; https://www.youtube.com/results?search_query=Sharon+King+and+the+Dap+Kings+%28Summerstage%29

band w/o Sharon

This Is A Man’s World (https://youtu.be/ZYZjGzGobM8) A clip from the audience.struts,

How Do I Let A Good Man Down (https://youtu.be/h8PVSrGM-8E) Not this clip.

My Man Is A Mean Man w/ man from audience (https://youtu.be/KqJyzL6Hz2M) Not this clip.

unknown song (some love make you helpless…my love...)

Tell Me (https://youtu.be/mTrxiVHktYQ) Not this clip.

Got To Be The Way It Is (https://youtu.be/YWiIg4kHogw) Not this clip.

can’t help myself…likes to dance…history lesson/her ancestors… (https://youtu.be/EpXAoGXWLac) A clip from the audience.

I’m Not Going To Cry (https://youtu.be/W842GnuPxLU) Not this clip.unknown song, various dances (boogaloo, pony, mashed potato…)

100 Days, 100 Nights (https://youtu.be/-Zky7efxzPI) Not this clip.

Pick It Up, Lay It In The Cut (https://youtu.be/N3mn8fA28l4) Not this clip.

Digital-only tv promo

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diyeipetea · 9 years

Audio

Listen/purchase: by Andrew Drury

Andrew Drury - Briggan Krauss - Ingrid Laubrock: “Keep the Fool” (from his new CD Content Provider -2015)

#new jazz things #andrew drury #briggan krauss #ingrid laubrock #jazz

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searchandrestore-blog1 · 10 years

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Briggan Krauss Descends Upon The Stone!

(photo by Brian Smith)

Saxophonist Briggan Krauss has been at the forefront of innovation and sonic exploration in his two decades of living in New York. This week, he's been given a week to curate the Stone (Avenue C & 2nd St) and in his week, he's brought a host of special guests from his musical life to collaborate with him--and no two sets will be the same instrumentation or lineup.

I caught up with Krauss via email to talk about the week he's lined up!

You're beginning this week of curation at the stone with a solo saxophone set, which seems largely appropriate. What's your history of playing solo? What do you like about its vulnerabilities?

This was the one set this week that was not my idea but rather a suggestion of Zorn’s. He said that playing solo was the ultimate challenge for a saxophonist and that nobody plays anything like I do. Well, I had to say yes. The only other solo saxophone playing that I have done was also as a challenge from a friend. Skerik wanted to produce a record that documents some of the ways that I approach the saxophone and so we made some solo recordings in his studio as well as in a giant bicycle/pedestrian tunnel with amazing acoustics in Seattle. We are currently looking for a label to release this recording.

I’m not sure I like the vulnerabilities of playing solo. It certainly is the ultimate challenge in many ways. What interests me most about music is playing with other people. The biggest challenge for me playing solo to fully accept the sound of the saxophone the way that I play it in the moment and to make that the full sonic palate from which to compose from. I am also hyper-critical of my own playing and to be forced to listen to only myself is a kind of torture in a way. In many ways my drive to extend the sound of the saxophone is a way to get away from it as much as anything.

Immediately following that, you'll be playing with what you've dubbed your "Jazz Quartet". What can be expected for that set? There are some amazing musicians in that band.

The idea of this quartet is to revisit what I think of as the music of my roots. I grew up the child of a saxophonist and avid jazz listener. In fact, the horn I’ve played my entire life was once my father’s. I grew up deeply loving, playing and studying jazz music which was a huge part of my life up to a certain point when I began to be interested in other things such as purely improvised music, electronic music and sound art. I have gone in other musical directions since before moving to New York City in 1994 but I’ve always wanted to revisit that music and decided about a year ago to put together a band of my friends to do just that, although to approach the music with some of the musical places I’ve been in the years since.

H-Alpha, a band with a record out on Skirl, is playing the following night, once as the trio with Ikue and Jim and then one set with the great Nels Cline. Can you talk a bit about that band in its original incarnation and then with Nels? What do you think Nels will bring? He and Jim clearly have a deep rapport and improvisational hookup.

I have always been a great fan if Ikue Mori who is the one laptop musician I know of who not only truly has her own voice on the instrument but who also has exquisite control and fluidity as an improviser. Jim Black is also one of my heroes besides being an old friend. It seems to me that both of these musicians have very wide rangingapproaches to sound which is something that I aspire to as well so it was a natural idea to get us together. I love playing with Nels whom I first met many years ago when he played with Sexmob at The Great American Music Hall in San Francisco. I’m really looking forward to hearing what will happen when he joins H-alpha.

On Friday evening, you'll be playing trio with Mary Halvorson and Tomas Fujiwara for one set, then as quartet with Ches Smith, Mary and Wayne Horvitz. How did these configurations come to you? These are all people who have played together for years.

I’ve only recently begun playing with Mary and Tomas having long admired them both. I’ve played with Ches many times over the years in different settings and of course Wayne and I go back more than twenty years. As ensembles both of these sets will be first time public performances which I hope will be the first of many more to come.

Can you talk about your connection to Wayne Horvitz? He shows his face fairly regularly throughout the latter half of your week, and you two have been playing together for quite some time. What do you like about playing with Wayne?

Wayne Horvitz is not only one of my musical mentors but also one of my closest friends and it’s so great that he could come out from Seattle to play some music with me. Wayne is responsible as much as anyone for making me the musician that I am. The first band of his that I was in was Pig Pen which he formed while I was still in college in Seattle in the early 90’s. Pig Pen was initially a very electric, rock inspired band closely descended in my mind from Naked City and is comprised of keybards, drums, electric bass and saxophone. I grew up listening to electric guitar and I also loved the way that Zorn can scream on the alto saxophone. These are the sounds that I was hearing for Pig Pen but I couldn’t execute that. Nor could I figure out how to fit my sound into that music. How could I make the also saxophone work on a sonic level in that music? I was really frustrated and after a while I actually wanted to quit the band because I felt I wasn’t cutting it but Wayne wouldn’t let me. Instead he encouraged me to stick it out. Eventually I figured it out and in the process it totally changed my music and my life.

Elliot Sharp will join your band with Kenny Wolleson and Wayne Horvitz, 300, for a set. What's your history with Elliot?

I’ve known Elliot since I moved to New York and have always loved his music and have had the opportunity to play with him on several occasions. I could take a moment here to say that the guitar is probably my biggest influence outside of the saxophone and having taken up studying the guitar myself in the last few years, my love and appreciation for it has grown ever stronger. It is such a thrill for me that I will be joined by some of my favorite guitarists (Nels, Mary, Jonathan Goldberger and Elliot) over this coming week. I am really looking forward to getting to play with Elliot not only for myself but also it will be great to get Elliot and Wayne together to share and build on their long history together too.

The final set of your week is the one most diametrically opposite from your solo set beginning, and it sounds like a wonderful configuration of people. How did The Phoenix come about?

I am starting my residency by myself but am ending it playing with a group of my friends. Why does it have to be the end though? Instead why can’t it be something of a rebirth? Hence The Phoenix.

What do you value about a place like the Stone in the improvising community of NYC?

What can I say except that the Stone is a place simply all about the music. That is priceless, especially in a city which seems to be suffering a lack of artist centered venues focusing on creative music. I am truly honored and grateful to John Zorn for giving me this residency.

Beyond the week at the Stone, what do you look forward to this summer?

I am going to Seattle in July and doing a bunch of shows out there with friends otherwise I’m around town doing a few gigs and recordings. What do I look forward to? Playing music...I just want to play music.

-What's your ideal sandwich?

Play guitar for two hours, play saxophone to two hours, play guitar for two more hours with lots of dark coffee throughout and finally making music with friends for desert.

#Briggan Krauss #Nels Cline #curtis hasslebring barney mcall #the stone #wayne horvitz #Tomas Fujiwara #mary halvorson #streamingaudio #streamingvideo

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