#Dave Binney

[jonjaz]

Swings & Roundabouts ~ Mark Lockett

Mark Lockett has released his seventh album Swings & Roundabouts, arguably his finest. The project had been in gestation for a while but like many projects, it was delayed by the pandemic. Still, once the travel restrictions were lifted he headed for New York, engaged some of New York’s finest Jazz musicians and set up the session in the Samurai Hotel Recording Studio, Queens—a studio versed in…

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#Chordless quartet #Dave Binney #Duane Eubanks #Mark Lockett #Matt Penman #New York Jazz #Review #Swings & Roundabouts #Thick Records #Wellington

[agoodsongeveryday]

Day Nine Hundred and Eleven

But if you want it Then you must find it But when you have it There'll be no need for it

#joel harrison #uri caine #dave liebman #david binney #harrison on harrison (jazz explorations of george harrison)

[trumpdispatch]

What is a REAL Whistleblower? Dr. Dave Janda interviews legendary NSA whistleblower Bill Binney, discussing the Russian hack that NEVER happened.

#Bill Binney #DNC computer hack #Dr Dave Janda #Fake Russian Dossier #Operation Freedom

[jazzbluesnewsspaceblr]

http://jazzbluesnews.com

#video

[superkennethoconnor]

[arnostskvrdleta]

Jazz

Al Di Meola - Casino Al Di Meola - Elegant Gypsy Al Di Meola - Orange And Blue Ambrose Akinmusire - The Imagined Savior Is Far Easier to Paint Amir ElSaffar - Alchemy Avishai Cohen - Aurora Avishai Cohen - Lyla Bill Evans - Everybody Digs Bill Evans Bill Evans Trio - Sunday At The Village Vanguard Bill Frisell - Nashville Billy Hart - All Our Reasons Brad Mehldau - Largo Brad Mehldau Trio - Day Is Done Carla Bley, Andy Sheppard, Steve Swallow - Andando el Tiempo Dave Holland - Extensions Dave Holland - Prism Enrico Rava - The Plot Esbjorn Svensson Trio - Strange Place For Snow Gary Burton - Passengers Herbie Hancock - Head Hunters Charles Lloyd - Canto Charles Lloyd - The Water Is Wide Charles Lloyd Quartet - Fish Out Of Water Charles Mingus - Mingus Ah Um Charles Mingus - Mingus Mingus Mingus Mingus Mingus Chet Baker - Chet Baker Round Midnight Chick Corea & Gary Burton - Crystal Silence Chris Potter - Follow The Red Line Jan Garbarek - Rites Jim Hall & Ron Carter - Telephone John Abercrombie - Gateway John Abercrombie - Tactics John Coltrane - A Love Supreme John Coltrane Quartet - Crescent John Scofield - A Go Go John Scofield - Out Like A Light Keith Jarrett - My Song Keith Jarrett - Nude Ants Keith Jarrett - The Cure Keith Jarrett - The Koln Concert Kenny Wheeler - Deer Wan Kenny Wheeler - Double Double You Lee Konitz, Brad Mehldau, Charlie Haden, Paul Motion - Live at Birdland Mahavishnu Orchestra - Birds of Fire Miles Davis - Bitches Brew Miles Davis - In A Silent Way Miles Davis - Kind of Blue Miles Davis - Sketches Of Spain Neil Cowley Trio - Loud Louder Pat Metheny - As Falls Wichita, So Falls Wichita Falls Pat Metheny - Secret Story Paul Motian - I Have The Room Above Her Tomasz Stanko Septet - Litania Tord Gustavsen - Extended Circle Vijay Iyer - Historicity Wayne Shorter Quartet - Without A Net Wayne Shorter- Adam's Apple Yaron Herman Trio - Muse

Adam Lane Quartet - Oh Freedom Adam Pieronczyk Quintet - Komeda The Innocent Sorcerer Aki Takase - My Ellington Al Di Meola - All Your Life Al Di Meola - World Sinfonia Aldo Romano - Flower Power Aldo Romano – Chante Alex Sipiagin - Hindsight Ambrose Akinmusire - When The Heart Emerges Glistening Amina Claudine Myers Salutes Bessie Smith Amir ElSaffar - Inana Amir ElSaffar - Two Rivers Andy Sheppard - Movements In Colour Andy Sheppard - Trio Libero Andy Summers - Earth And Sky Annette Peacock - I'm the One Anouar Brahem - The Astounding Eyes Of Rita Anouar Brahem - Thimar Antonio Sanchez - Three Times Three Antonio Sanchez & Migration - The Meridian Suite Arild Andersen - Sagn Art Blakey & The Jazz Messengers - Moanin' Art Pepper - A night in Tunisia Astor Piazzolla - Libertango Avishai Cohen - As Is... Live At The Blue Note Avishai Cohen - At Home Avishai Cohen - Continuo Avishai Cohen - Dark Nights Avishai Cohen - Gently Disturbed Avishai Cohen - Into the Silence Avishai Cohen - Seven Seas Avishai Cohen Trio - From Darkness Avishai Cohen With Nitai Hershkovits - Duende Bad Plus - The Rite of Spring Baptiste Trotignon - Hit Bayete - Worlds Around the Sun Beatlejazz - With A Little Help From Our Friend Beatlejazz - A Bite Of The Apple Beatlejazz - Another Bite Of The Apple Becca Stevens Band - Weightless Bela Fleck & The Flecktones - Live Art Ben Goldberg - Unfold Ordinary Mind Ben Sidran - Dylan Different Bester Quartet - Krakoff Bill Evans - Blue In Green Bill Evans Trio - How My Heart Sings! Bill Evans Trio - I Will Say Goodbye Bill Evans Trio - Moon Beams Bill Evans Trio - Waltz For Debby Bill Frisell - All We Are Saying Bill Frisell - Blues Dream Bill Frisell - Good Dog, Happy Man Bill Frisell - History, Mystery Bill Frisell - Selected Recordings Bill Frisell - The Intercontinentals Bill Frisell - The Willies Bill Frisell - When You Wish Upon A Star Bill Frisell Ron Carter Paul Motian Bobby Hutcherson - Enjoy The View Bobby Hutcherson - Medina Bobby Hutcherson - Waiting Bobby Mcferrin - Spirityouall Bobby Mcferrin - Vocabularies Bobo Stenson - Goodbye Bobo Stenson Trio - Cantando Bobo Stenson Trio - Indicum Bobo Stenson Trio - War Orphans Bobo Stenson - Underwear Brad Mehldau - 10 Years Solo Live Brad Mehldau - Anything Goes Brad Mehldau - Blues and Ballads Brad Mehldau - Elegiac Cycle Brad Mehldau - Highway Rider Brad Mehldau - Live In Marciac Brad Mehldau - Places Brad Mehldau Trio - Where Do You Start Brad Mehldau Trio - The Art Of The Trio, Additional Recordings Brad Mehldau Trio - The Art Of The Trio, Vol. 1 Brad Mehldau Trio - The Art Of The Trio, Vol. 2 live at the village vanguard Brad Mehldau Trio - The Art Of The Trio, Vol. 3 songs Brad Mehldau Trio - The Art Of The Trio, Vol. 4 back at the vanguard Brad Mehldau Trio - The Art Of The Trio, Vol. 5 progression Brandee Younger 4tet - Live at the Breeding Ground Branford Marsalis Quartet - A Love Supreme Live in Amsterdam Bret Higgins - Atlas Revolt Bryan Ferry Orchestra - The Jazz Age Buckshot LeFonque Cannonball Adderley - The Black Messiah Cannonball Adderley & Milt Jackson - Things Are Getting Better Cannonball Adderley Sextet Live in Tokyo Carla Bley - 4 x 4 Carla Bley - Dinner Music Carla Bley - Tropic Appetites Cecile McLorin Salvant - For One to Love Classical Jazz Quartet - Plays Rachmaninov Courtney Pine - Modern Day Jazz Stories Crimson Jazz Trio - King Crimson Songbook Vol.1 Crimson Jazz Trio - King Crimson Songbook Vol.2 Cuong Vu & Pat Metheny - Cuong Vu Trio Meets Pat Metheny Dave Brubeck - Time Out Dave Brubeck & Tony Bennett - The White House Sessions, Live Dave Brubeck Quartet - Brubeck Time Dave Brubeck Quartet - Time Further Out Dave Douglas - Be Still Dave Douglas - Dark Territory Dave Douglas - Strange Liberation Dave Douglas Quintet - Brazen Heart Dave Holand - Jumpin' In Dave Holland - Extensions Live At Birdland Dave Holland - Rarum Dave Holland Big Band - What Goes Around Dave Holland Quartet - Dream Of The Elders Dave Holland Quintet - Points Of View David Binney - Graylen Epicenter David Doruzka - Hidden Paths David Murray - I Want To Talk About You David Murray Octet - Hope Scope David Murray Quartet - Body And Soul David Murray, Allen & Carrington Power Trio - Perfection Dexter Gordon - Gettin' Around Dhafer Youssef - Birds Requiem Dieter Ilg - Mein Beethoven Donald Edwards Quintet - Evolution of an Influenced Mind Drifter - Flow Dylan Ryan Sand - Circa Eberhard Weber - Later That Evening Eberhardt Weber - Rarum Eddie Moore And The Outer Circle - Live in Kansas City Edward Simon - Venezuelan Suite Eleni Karaindrou - Concert In Athens Elina Duni Quartet - Dallendyshe Elina Duni Quartet - Matane Malit Emil Viklicky Trio - Sinfonietta The Janacek of Jazz Enrico Pieranunzi - As Never Before Enrico Pieranunzi - Deep Down Enrico Pieranunzi - Fellini Jazz Enrico Pieranunzi - No Man's Land Enrico Pieranunzi, Charlie Haden & Paul Motian - Special Encounter Enrico Pieranunzi, Marc Johnson, Joey Baron - Live In Japan Enrico Rava - Easy Living Enrico Rava - Katcharpari Enrico Rava - Tati Enrico Rava - The Pilgrim And The Stars Enrico Rava - The Words And The Days Enrico Rava - Tribe Enrico Rava & Stefano Bollani - Rava Plays Rava Enrico Rava Quartet & Gianluca Petrella - Wild Dance Erik Truffaz - The Walk Of The Giant Turtle Esbjorn Svensson Trio - Best Of Esbjorn Svensson Trio - Leucocyte Esbjorn Svensson Trio - Plays Monk Esbjorn Svensson Trio - Seven Days Of Falling Esbjorn Svensson Trio - Viaticum & Live In Berlin Esbjorn Svensson Trio - Winter In Venice Frank Kimbrough - Quartet Fred Hersch - Fred Hersch Trio +2 Fred Hersch & Julian Lage - Free Flying Fred Hersch Trio - Alive At The Vanguard Fred Hersch Trio - Night & The Music Fred Hersch Trio - Whirl Fredrik Kronkvist - Brooklyn Playground Gary Burton - The New Quartet Gary Burton - Who Is Gary Burton Gary Burton Quartet - In Concert Gary Burton Quartet - Live in Tokyo Gary Burton Quintet - Ring Gary Peacock & Ralph Towner - Oracle Gary Peacock Trio - Now This Gary Thomas - Found On Sordid Streets Gary Windo - Deep Water George Benson - Beyond The Blue Horizon George Benson - The Other Side Of Abbey Road Geri Allen - Maroons Geri Allen And Timeline - Live Geri Allen Charlie Haden Paul Motian - Segments Gerry Mulligan and Paul Desmond - Blues in Time Gianluigi Trovesi & G. Coscia - In Cerca Di Cibo Gianluigi Trovesi & Gianni Coscia - Round About Weill Gianluigi Trovesi Ottetto - Fugace Gil e Jorge Gil Evans - There Comes A Time Gilad Hekselman - Homes Giovanni Guidi Trio - City Of Broken Dreams Giovanni Guidi Trio - This Is The Day Gonzalo Rubalcaba - Charlie Gonzalo Rubalcaba - Inner Voyage Gonzalo Rubalcaba Trio - Supernova Heather Masse And Dick Hyman - Lock My Heart Helen Merrill - You And The Night And The Music Helen Merrill & Ron Carter - Duets Herbie Hancock - Fat Albert Rotunda Herbie Hancock - Gershwin's World Herbie Hancock - Maiden Voyage Herbie Hancock - Possibilities Herbie Hancock - River Herbie Hancock - Round Midnight Herbie Hancock - The Imagine Project Herbie Hancock - The New Standard Herbie Hancock Trio feat. Tony Williams Ron Carter Herbie Hancock VSOP Horace Silver - A Prescription For The Blues Horace Silver - Blowin' The Blues Away Horace Silver - In Pursuit of the 27th Man Horace Silver - Song For My Father Chano Dominguez - Flamenco Sketches Charles Lloyd - Athens Concert Charles Lloyd - Hyperion with Higgins Charles Lloyd - Lift Every Voice Charles Lloyd - Quartets Charles Lloyd - Sangam Charles Lloyd - The Call Charles Lloyd - Voice In The Night Charles Lloyd - Wild Man Dance Charles Lloyd & the Marvels - I Long to See You Charles Mingus - Better Git It In Your Soul Charles Mingus - Blues & Roots Charles Mingus - New Tijuana Moods Charles Mingus - Pithecanthropus Erectus Charles Mingus - The Black Saint And The Sinner Lady Charles Mingus - The Clown Charlie Haden - First Song Charlie Haden & Gonzalo Rubalcaba - Tokyo Adagio Charlie Haden and Hank Jones - Steal Away Charlie Haden Hank Jones - Come Sunday Charlie Haden, Paul Motian & Geri Allen - Etudes Charlie Hunter Quartet - Songs From The Analog Playground Charlie Hunter Trio - Let the Bells Ring On Chet Baker - Sings Chick Corea - Light As A Feather Chick Corea - My Spanish Heart Chick Corea and Gary Burton Chico Hamilton Featuring Paul Horn Chico Hamilton Quintet - A Different Journey Chris Lightcap's Bigmouth - Epicenter Chris Potter - Gratitude Chris Potter - Song For Anyone Chris Potter - The Sirens Chris Potter - Traveling Mercies Chris Potter - Ultrahang Chris Potter - Underground Christian Scott - Anthem Christian Scott - Christian Scott Collection Ibrahim Ferrer - Buenos Hermanos Ibrahim Maalouf - Movement Ibrahim Maalouf - Wind Iiro Rantala - How Long Is Now Indra Rios-Moore - Heartland Jack DeJohnette - In Movement Jack DeJohnette - Sound Travels Jacob Collier - In My Room Jacob Young - Evening Falls Jacob Young - Forever Young Jacob Young - Sideways Jaimeo Brown - Transcendence Jakob Bro - Time Jakob Bro - December Song Jakob Bro - Gefion Jakob Bro, Thomas Morgan, Joey Baron - Streams James Brandon Lewis - Days of FreeMan James Brandon Lewis Trio - No Filter Jamie Saft, Steve Swallow, Bobby Previte - The New Standard Jan Garbarek - Dansere Jan Garbarek - I Took Up The Runes Jan Garbarek - Legend Of The Seven Dreams Jan Garbarek - Magico Jan Garbarek - Personal Mountains Jan Garbarek - Star Jan Garbarek - The Hilliard Ensemble - Officium Jan Garbarek - Twelve Moons Jan Garbarek - Visible World Jan Garbarek In Concert Jan Garbarek-Bobo Stenson Quartet - Dansere Jarrett Cherner Trio - Expanding Heart Jason Lindner - 1,2,3, Etc Jason Lindner - Ab Aeterno Jason Lindner - Now Vs Now Jason Moran - Soundtrack to Human Motion Jason Moran - Ten Jason Seizer - Cinema Paradiso Jasper Hoiby - Fellow Creatures Jeanette Kohn - New Eyes On Baroque Jeff 'Tain' Watts - Blue Vol. 1 Jeremy Pelt - Face Forward, Jeremy Jim Black - Alasnoaxis Jim Black Trio - Actuality Jim Hall & Bill Frisell - Hemispheres Jim Hall And Ron Carter - Alone Together Joachim Kuhn New Trio - Beauty & Truth Joe Henderson - Porgy And Bess Joe Pass - Ira, George, And Joe Joe Zawinul - 1971 John Abercrombie - Cat 'n' Mouse John Abercrombie - Class Trip John Abercrombie - Gateway Homecoming John Abercrombie - Characters John Abercrombie - In The Moment John Abercrombie - Night John Abercrombie - November John Abercrombie - Open Land John Abercrombie - Rarum John Abercrombie - Selected Recordings John Abercrombie - The First Quartet John Abercrombie - Wait Till You See Her John Abercrombie - Within A Song John Abercrombie Quartet - 39 Steps John Abercrombie Trio - While We're Young John Coltrane - Afro Blue Impressions John Coltrane - Giant Steps John Coltrane - Live At Birdland John Coltrane - Live in Japan John Coltrane - My Favorite Things John Coltrane - Selflessness John Coltrane - Settin' The Pace John Coltrane - Transition John Coltrane Quartet - Ballads John Hollenbeck - Songs I Like A Lot John Hollenbeck - Songs We Like a Lot John McLaughlin - Time Remembered John Patitucci - Brooklyn John Scofield - East Meets West John Scofield - Grace Under Pressure John Scofield - Live John Scofield - Uberjam John Scofield and John Abercrombie - Solar John Surman - Adventure Playground John Surman - Brewster's Rooster John Surman - Saltash Bells John Taylor - Giulia's Thursdays John Taylor Trio - Angel Of The Presence Johnson Frisell Metheny - The Sound Of Summer Running Joshua Bell - At Home With Friends Joshua Redman - Freedom In The Groove Joshua Redman - Timeless Tales Joshua Redman - Wish Joshua Redman & The Bad Plus - The Bad Plus Joshua Redman Julia Hulsmann Quartet - A Clear Midnight Kurt Weill and America Julia Hulsmann Trio - Good Morning Midnight Julia Hulsmann Trio - Scattering Poems Julian Lage - Arclight Julian Lage - Sounding Point Kamasi Washington - The Epic Karin Krog - Don't Just Sing (An Anthology) Keith Jarrett - Belonging Keith Jarrett - Bregenz Keith Jarrett - Bremen Keith Jarrett - Byablue Keith Jarrett - Bye Bye Blackbird Keith Jarrett - Impulse Years - Disc 1 - Fort Yawuh Keith Jarrett - Impulse Years - Disc 2 - Fort Yawuh Keith Jarrett - Impulse Years - Disc 3 - Treasure Island Keith Jarrett - Lausanne Keith Jarrett - Life Between The Exit Signs Keith Jarrett - Munchen I Keith Jarrett - Munchen II Keith Jarrett - No End Keith Jarrett - Paris Concert Keith Jarrett - Personal Mountains Keith Jarrett - Rio Keith Jarrett - Sleeper, Tokyo Keith Jarrett - Vienna Keith Jarrett & Charlie Haden - Last Dance Keith Jarrett And Charlie Haden - Jasmine Keith Jarrett Quartet - The Survivor's Suite Keith Jarrett Trio - Setting Standards Keith Jarrett Trio - Somewhere Before Keith Jarrett Trio - Standards Live Keith Jarrett Trio - Tribute (Disc 1) Keith Jarrett Trio - Tribute (Disc 2) Keith Jarrett, Gary Peacock, Jack Dejohnette - Somewhere Keith Jarrett, Gary Peacock, Jack DeJohnette - Tokyo '96 Keith Jarrett, Charlie Haden & Paul Motian - Hamburg '72 Kendrick Scott Oracle - Conviction Kendrick Scott Oracle - We Are the Drum Kenny Barron & Dave Holland - The Art of Conversation Kenny Barron - Gerry Gibbs Thrasher Dream Trio Kenny Burrell - Midnight Blue Kenny Garrett - Beyond The Wall Kenny Garrett - Do Your Dance! Kenny Garrett - Pursuance (The Music Of John Coltrane) Kenny Garrett - Pushing The World Away Kenny Garrett - Standard Of Language Kenny Wheeler - Angel Song Kenny Wheeler - Gnu High Kenny Wheeler - It Takes Two! Kenny Wheeler - Songs for Quintet Kenny Wheeler - The Widow In The Window Kenny Wheeler - What Now Kevin Eubanks - Spiritalk 2 Kevin Eubanks - Turning Point Kit Downes Trio - Golden Kris Bowers - Heroes + Misfits Kronos Quartet - Music of Bill Evans Kronos Quartet - Pieces of Africa Kurt Rosenwinkel - Deep Song Kurt Rosenwinkel - Star Of Jupiter Lage Lund - Unlikely Stories Laika Fatien - Misery - A Tribute To Billie Holiday Larry Goldings - The Intimacy Of The Blues Lars Danielsson - Liberetto Lars Danielsson - Liberetto II Laurie Antonioli - Songs of Shadow, Songs of Light The Music of Joni Mitchell Lea DeLaria - House of David Lee Morgan - The Sidewinder Leszek Mozdzer - Komeda Lisa Hilton - Kaleidoscope Louis Sclavis - Lost On The Way Lubos Fiser, Zdenek Liska - Morgiana & The Cremator Lyle Mays - Fictionary Mahavishnu Orchestra - The Inner Mounting Flame Machine Mass feat. Dave Liebman - Inti Manhattan Transfer - Brasil Manu Katche - Neighbourhood Manu Katche - Playground Marc Copland, John Abercrombie, Kenny Wheeler - That's For Sure Marc Johnson - Bass Desires Marc Johnson - Shades Of Jade Marc Johnson, Eliane Elias - Swept Away Marc Ribot - Silent Movies Maria Schneider Orchestra - Concert In The Garden Maria Schneider Orchestra - Sky Blue Mark Turner Quartet - Lathe of Heaven Mary Halvorson Octet - Away With You Mat Waldron - Blues for Lady Day Matthias Eick - Skala Max Richter - From Sleep Max Richter - The Four Seasons McCoy Tyner - Mosaic Select McCoy Tyner - Supertrios Medeski Martin And Wood - End Of The World Party (Just In Case) Medeski Martin And Wood - Out Louder Medeski Scofield Martin & Wood - Out Louder Michael Bates - Northern Spy Michael Brecker - Don't Try This At Home Michael Brecker - Michael Brecker Michael Brecker - Tales From The Hudson Michael Brecker - Two Blocks From The Edge Michael Cain - Circa Michael Wollny - Wasted And Wanted Michael Wollny Trio - Klangspuren; Live in Hamburg Michael Wollny Trio - Weltentraum Michael Wollny Trio - Weltentraum Live Philharmonie Berlin (320) Michel Petrucciani - Playground Michel Petrucciani - Power Of Three Mike Stern - Between The Lines Mike Stern - Is What It Is Mike Stern - Jigsaw Mike Stern - Odds Or Evens Mike Stern - Play Mike Stern - Voices Miles Davis - 'Round About Midnight Miles Davis - Ascenseur Pour L'échafaud Miles Davis - Filles De Kilimanjaro Miles Davis - Nefertiti Miles Davis - Porgy & Bess Miles Davis - Sorcerer Miles Davis - Tutu Miles Davis – Porgy And Bess Miroslav Vitous - First Miroslav Vitous - Infinite Search Miroslav Vitous - Journey's End Miroslav Vitous - Mountain In The Clouds Miroslav Vitous - Universal Syncopations Modern Jazz Quartet Concert in Japan Vol. 2 Modern Jazz Quartet Plays George Gershwin's Porgy & Bess Neil Cowley Trio - Displaced Neil Cowley Trio - Touch and Flee Nels Cline - Lovers Nels Cline Singers - Macroscope New York Jazz Quartet - Blues For Sarka Nicholas Payton – Bam Live At Bohemian Caverns Nils Petter Molvaer - Khmer Nils Petter Molvaer - Switch Norma Winstone - Somewhere Called Home Orbert Davis - Sketches of Spain Orrin Evans - The Evolution of Oneself Pat Metheny - 8081 Pat Metheny - Beyond The Missouri Sky Pat Metheny - Metheny Mehldau Pat Metheny - New Chautauqua Pat Metheny - Rejoicing Pat Metheny - Still Life Pat Metheny - Unity Band Pat Metheny - What It's All About Pat Metheny - Works Pat Metheny - Works II Pat Metheny Group - American Garage Pat Metheny Group - First Circle Pat Metheny Group - Last Train Home Pat Metheny Group - The Way Up Pat Metheny Unity Group - Kin Paul Bley, Haden, Motian - Memoirs Paul Bley - The Paul Bley Quartet Paul Desmond - Glad To Be Unhappy Paul Motian - It Should've Happened A Long Time Ago Paul Motian - Monk In Motian Paul Motian - The Story of Maryam Paul Motian - Time and Time Again Paul Motian - Tribute Paul Motian and the Electric Bebop Band - Reincarnation of a Love Bird Peter Erskine Danielson Taylor - You Never Know Peter Erskine Danielson Taylor - Time Being Peter Erskine Danielson Taylor - As It Is Peter Erskine Danielson Taylor - Juni Peter Erskine New Trio - Joy Luck Peter Erskine, Nguyen Le, Michel Benita - E_L_B Rahsaan Roland Kirk - The Inflated Tear Ralph Towner - Solstice Regina Carter - I'll Be Seeing You (A Sentimental Journey) Regina Carter - Motor City Moments Return To Forever - The Anthology Richie Beirach, Huebner, Mraz - Round About Monteverdi Robert Balzar Trio - Tales Robert Glasper - Covered Ron Carter - Blues Farm Ron Carter - Spanish Blue Ron Carter Jim Hall - Telepathy Ron Miles, Bill Frisell, Brian Blade - Circuit Rider Rudresh Mahanthappa - Black Water Rudresh Mahanthappa - Gamak Rudy Linka - Songs Scott Henderson - Tore Down House Shauli Einav Quartet - Beam Me Up Sidsel Endersen - Exile Sinne Eeg & Thomas Fonnesbaek - Eeg Fonnesbaek SMV - Thunder Stanley Clarke, Al Di Meola & Jean Luc Ponty - The Rite Of Strings Stanley Jordan - Cornucopia Stefan Aeby Trio - To the Light Stefano Battaglia - In the Morning Music of Alec Wilder Stefano Battaglia - The River Of Anyder Stefano Battaglia Trio - Songways Stefano Bollani - Sheik Yer Zappa Stephan Crump - Reclamation Stephane Grappelli - The Nearness of You Stephane Grappelli - Tribute to Django Reinhardt Steps Ahead - Modern Times Steve Coleman & Five Elements - Curves Of Life Steve Dobrogosz - Golden Slumbers Steve Khan - Eyewitness Trilogy Steve Kuhn - Life's Backward Glances Steve Kuhn - Mostly Coltrane Steve Kuhn - Promises Kept Steve Kuhn - Remembering Tomorrow Steve Kuhn - Wisteria Steve Kuhn Trio - Temptation Steve Swallow - Deconstructed Steve Swallow - Swallow Steve Tibbets - Yr Tarek Yamani - Lisin Al Tarab Jazz Conceptions in Arabic Taylor Eigsti - Daylight At Midnight Terence Blanchard - Magnetic Terri Lyne Carrington - Money Jungle Provocative In Blue Thelonious Monk & Gerry Mulligan - Mulligan Meets Monk Thelonius Monk - Thelonious Himself Tim Ries - Live At Smalls Tim Ries - Live At Smalls Vol.2 Tim Ries -- Alternate Side Tom Harrell - First Impressions Tom Harrell - Something Gold, Something Blue Tom Harrell - Trip Tomasz Stanko - From The Green Hill Tomasz Stanko - Polin Tomasz Stanko - Wislawa Tord Gustavsen - What Was Said Tord Gustavsen - The Well Tord Gustavsen - Being There Tribal Tech - Thick Ulf Wakenius - Notes From The Heart Uri Caine - Blue Wail Uri Caine - Dark Flame Uri Caine - Live At The Village Vanguard Uri Caine - Plays Mozart Vertigo Quintet And Dorota Barova Victor Wooten - A Show Of Hands Vijay Iyer - Reimagining Vijay Iyer - Solo Vijay Iyer & Mike Ladd - Holding It Down The Veterans' Dreams Project Vijay Iyer - Accelerando Vijay Iyer - Break Stuff Vital Tech Tones - Vol. 2 Wayne Krantz - Good Piranha Bad Piranha Wayne Krantz - Howie 61 Wayne Shorter - Juju Wayne Shorter - Mysterious Traveller Wayne Shorter - Super Nova Weather Report - Heavy Weather, Black Market Weather Report - Native Dancer Weather Report - Weather Report William Parker Raining On the Moon - Corn Meal Dance William Parker Raining On The Moon - Great Spirit Wolfert Brederode Trio - Black Ice Wolfgang Haffner - Kind of Cool Wolfgang Muthspiel - Rising Grace Wolfgang Muthspiel Trio - Bright Side Yaron Herman - Everyday Yaron Herman Trio - A Time For Everything Yaron Herman Trio - Follow The White Rabbit Yusef Lateef - Cry Tender Yusef Lateef - Eastern Sounds Yusef Lateef - The Blue Yusef Lateef Yusef Lateef - The Gentle Giant Zach Brock - Serendipity

[peaceandhilightmblr]

#NowPlaying Donny McCaslin, Jason Lindner, Tim Lefebvre, Mark Guiliana, Dave Binney, Nate WoodのFast Future (feat. Donny McCaslin, Jason Lindner, Tim Lefebvre, Mark Guiliana, Dave Binney & Nate Wood)

#music #spotify

[solocontenido]

Listen/purchase: Four Visions by Dave Liebman, Dave Binney, Donny McCaslin & Samuel Blais

[domicil-dortmund]

domicil jazzlab 24.04.2019 feat. Dave Binney, Peter Köcke u.v.a. Fotos (c) Günter Maiß

domicil jazzlab 24.04.2019 feat. Dave Binney, Peter Köcke u.v.a. Fotos (c) Günter Maiß

— domicil Dortmund (@domicildortmund) April 25, 2019

from Twitter https://twitter.com/domicildortmund

#SEO #PPC #PPC Marketing

[mega-mitkam-universe]

(via Dave Binney is one of the most prolific young jazz musicians on the scene today: Video)

[eivindopsvik]

Spring Shows

April

______________Sunday April 9th Spectrum, 70 Flushing Ave, Brooklyn, NY 11205, 8pm Flin van Hemmen with Tony Malaby, EO

______________Monday April 10th

Minton’s, 206 W 118th St, New York, NY 10026, 7:30pm               

Chris McCarthy with Jongkuk Kim, EO

______________Tuesday April 17th

55 bar, 55 Christopher Street, NYC

David Binney w Dan Weiss, Matt Mitchell, EO

______________Monday April 23rd

Branded Saloon, 603 Vanderbilt Ave, Brooklyn, NY 11238, 11pm Colin Hinton w Dustin Carlson, EO

______________ Tuesday April 24th

Threes Brewing, 333 Douglass St, Brooklyn, NY 11217, 8pm

Eivind Opsvik Solo,

Triple Bill with Kadawa and Brandon Seabrook/Cooper Moore

May

______________Tuesday May 1st 7:30pm Blank Forms Concert Series, 85 N 15th St, Brooklyn, NY 11222, United States

Okkyung Lee: Yeo-Neun Quartet

with Maeve Gilchrist, Jacob Sacks, EO

______________ Monday May 7th

Threes Brewing, 333 Douglass St, Brooklyn, NY 11217, 8pm

Double Bill:

1. Dave Christian ...TBA

2. Opsvik & Jennings

Aaron Jennings, Eivind Opsvik, Rich Johnson, Dave Christian, Brian Drye

______________ Tuesday May 8th

Bar Next Door, 129 Macdougal St, New York, NY 10012, 7:30pm

Tal Yahalom Trio

_______________Saturday May 19th

Cornelia Street Cafe, 29 Cornelia St, New York, NY 10014, 9pm

Jeff Davis Morning Dragon Trio with Ben Monder, EO

June

___________Thursday June 14th

Nublu 151, 151 Avanue C, Manhattan

Brandon Seabrook’s Die Trommel Fatale

Brandon Seabrook, Dave Treut, Sam Ospovat, Chuck Bettis, Marika Huges, Henry Fraser, EO

______________Tuesday June 19th

Barbès, 376 9th St, Brooklyn, NY 11215, 7pm

Eivind Opsvik Overseas

_______________Thursday June 21st

Spectrum, 70 Flushing Ave, Brooklyn, NY 11205, 8pm

Eliot Cardinaux with Mat Maneri, Flin van Hemmen, EO

#nyclivemusic #brooklynlivemusic #eivindopsvik

[jazzruinedmylife-blog]

No Love for Modern Jazz?

Anonymous posted:  What about Chris Dave? Kamasi Washington? Christian Scott? Cameron Graves? Jazz isn’t dead. There’s love for it still. It’s definitely niche but that’s the only way it’s gonna maintain the quality it strives for. I definitely don’t think elitism is the correct way to convince people that you’re right about something. Young people aren’t as dumb as a lot of the people commenting here seem to think they are. 

Jazzruinedmylife:  Thanks for the comment.  I love modern jazz.  I have checked out Christian Scott and Kamasi Washington, and loved what I heard.  I also love Gerald Clayton, Kurt Rosenwinkel, Nir Felder, Craig Taborn, David Binney, Ben Wendel, Kneebody, Jacob Collier, Gretchen Parlato, Taylor Eigsti, Brad Mehldau, Snarky Puppy, and the list goes on and on. 

I don’t think jazz is dead at all. It’s an exciting time creatively with the music, and a lot of artists are moving things forward. The economic side of things, however, seems to be getting tougher and tougher.             

#jazz ruined my life #jazz #submission

[jazzworldquest-blog]

USA: Matt Mitchell's A Pouting Grimace & Jen Shyu's Song of Silver Geese Available Now/Pi Recordings 2017

Pi Recordings is pleased to announce the release of its final recordings for 2017. Please visit our website to order. 

Matt Mitchell's A Pouting Grimace & Jen Shyu's Song of Silver Geese Available Now

  A Pouting Grimace is the audacious new release from pianist/composer Matt Mitchell, whose prior release Vista Accumulation (Pi 2015) The New York Times calls “a bold signature” that “simmers with deep intensity.” Not only is he one of the most in-demand pianists in jazz – Mitchell plays in bands such as Tim Berne’s Snakeoil, Steve Coleman’s Natal Eclipse, the Dave Douglas Quintet, John Hollenbeck’s Large Ensemble, Jonathan Finlayson’s Sicilian Defense, Rudresh Mahanthappa’s Birdcalls, and David Binney’s Quartet -- he has established himself as a composer of bold distinction. Substantial in scope, the album, which features twelve musicians: five woodwinds, four percussionists, harp, bass, and the leader on piano, Prophet 6, and electronics, weaves an intricate web of off-kilter rhythms and logical frenzy. Produced by the acclaimed guitarist/composer David Torn, the work is completely beyond genre, a daring tour de force that headily mines the interstice between precision-plotted compositions and the thrill of improvisation.

Highly regarded among the jazz cognoscenti, Mitchell is a first-call for musicians seeking a pianist able to deal with the most demandingly complex material. He is a charter member of saxophonist Tim Berne’s Snakeoil, who just released their fourth album, Incidentals, and Mitchell also interpreted Berne’s compositions on FØRAGE, released earlier in 2017. He also appears on Morphogenesis (Pi 2017), the latest from saxophonist Steve Coleman, who said of Mitchell: “Matt possesses a technical command of his instrument and ear for tonal resources that only a few keyboardists in New York have. I appreciate his open and creative attitude towards music, which he never approaches in terms of categories or styles. He’s a great example of the 21st-Century musician: versed in the musical lessons of the past, present, and poised to help move the development of this music forward.” Percussionist Dan Weiss, who played on Vista Accumulation and has worked extensively with Mitchell said: “He is a rare breed of musician in that he has no leaks. His improvising is true and creative, his composing is innovative, his technique is astounding.”

The intrepid new release takes Mitchell’s music to a whole other level, featuring ensemble pieces that burst with intricate detail interwoven with solo electronic interludes. The idea was borne out of his desire to try composing music with a fresh instrumental palette, one heavy on the convoluted interlocution between the various woodwinds and percussion. Each of the group compositions is derived from a kernel of an idea – listen carefully and you can probably figure it out. While entirely plotted out, the compositions leaves room for frequent and varied layers of improvisation, all in service of the overall arrangements. Dan Weiss says of the project: “This music is very important to the lineage of composed/ improvised music. The orchestral palette, harmonic nuance, rhythmic precision and complexity, and hauntingly beautiful textured melodies make this recording highly innovative and unlike anything we've have heard before.”

Producer Torn describes his experience: “As the project proceeded, there grew out of all-that an increasingly strong undercurrent and vivid sense of wonder, dread and simple excitement in me, even, eventually... awe: awe, in light of both Matt's clear vision actually getting birthed into this world and our real adventure with its passage. What a remarkably rich piece of work this is, from a truly remarkable man, bending music, sound and time -- so gorgeously and so necessarily idiosyncratically -- in order to speak and feel true and affect thusly, as he must certainly gotta do."

Musicians, instrumentation and exegesis in Mitchells own words:

1.     bulb terminus [1:11]: Mitchell (electronics) - thrust into a dream like state, an encoded prequel to the main event which is its own curious event/environment, you think you’re stuck then you’re whisked away

2.     plate shapes [8:12]: : Mitchell (piano, Prophet 6); Cass (bass); Gentile (drums, percussion); Smith (vibraphone); Brennan (marimba); Irabagon (sopranino sax); Schoenbeck (bassoon) -- exploration of varying momentums within a fixed grid, repetition breeds semi-familiarity, entire paragraphs uttered simultaneously, mutating mantras

3.     mini alternate [5:32]: Mitchell (piano); Cass (bass); Gentile (drums, percussion); Smith (tanbou, glockenspiel); Robinson (bass sax); Kono (oboe); Weiss (tabla) --a slice from brim, inverted and gridlocked, the illusion of forward motion really coming from circular motion, attempts to rescue ultimately fall back into the centripetal motion, concluding with a zoom in or out

4.     brim [6:50]: Mitchell (piano); Cass (bass); Gentile (drums, percussion); Brennan (vibraphone); Smith (bongos, glockenspiel, timpani); Weiss (tabla); Andrews (harp); Webber (flute); Kono (oboe); Irabagon (soprano sax); Schoenbeck (bassoon); Robinson (contrabass clarinet); Sorey (conductor) -- the primordial genetic broth of the whole record, everything on all other tracks generated from the material here. associations with multiple definitions of brim intended; margins and the sense of overflowing; palimpsest, chant, kaleidoscope

5.     deal sweeteners [1:27]: Mitchell (electronics) -- an electronic brim-based bonus gloss to close out the first half, an attempt to explain that fails to explain

6.     squalid ink [0:15]: Mitchell (electronics) -- half remembering what came before and  presaging what is to come in a jumbled last gasp of the old guard

7.     gluts [4:28]: Mitchell (piano); Cass (bass); Gentile (drums, percussion); Webber (alto flute); Schoenbeck (bassoon); Andrews (harp) -- a ballad, an attempt to lovingly massage an unusual density of information into lyrical spaces…two trios eventually coming together, false starts/false endings

8.     heft [4:16]: Mitchell (piano, Prophet 6); Cass (bass); Gentile (drums, percussion); Robinson (bass sax); Irabagon (sopranino sax) -- a foreboding processional, an ill-meaning weight, a portent coming to pass, a quizzical aftermath

9.     sick fields [9:11]: Mitchell (piano); Cass (bass); Gentile (drums, percussion); Brennan (marimba); Smith (percussion, timpani); Weiss (table); Andrews (harp); Webber (bass flute); Kono (English horn); Robinson (contrabass clarinet); Sorey (conductor) -- inexorable and inscrutable, a severely fragmented space containing broken mis-remembrances of what has come, failed attempts to find solace, dissipation, evaporation, more false starts, resignation

10.  ooze interim [5:07]: Mitchell (electronics) -- a zero gravity reminiscence of the final moments, mutated thought loops overlapping nonsensically temporarily to infinity

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Performers:

Matt Mitchell - piano, Prophet 6, electronics

Kim Cass - upright bass

Kate Gentile - drums, gongs, percussion 

Ches Smith - vibraphone, glockenspiel, bongos, timpani, gongs, Haitian tanbou, percussion

Dan Weiss - tabla

Patricia Brennan - vibraphone, marimba 

Katie Andrews - harp

Anna Webber - flute, alto flute, bass flute

Jon Irabagon - sopranino sax, soprano sax

Ben Kono - oboe, English horn

Sara Schoenbeck - bassoon

Scott Robinson - bass sax, contrabass clarinet

Tyshawn Sorey - conductor

Tracks:

1.      bulb terminus (1:00) 2.      plate shapes (8:20) 3.      mini alternate (5:30) 4.      brim (6:50) 5.      deal sweeteners (1:20) 6.      squalid ink (0:20) 7.      gluts (4:15) 8.      heft (4:15) 9.      sick fields (9:00) 10.   ooze interim (5:00)

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[riffsstrides]

Bill Frisell, Thomas Morgan

Small Town

ECM, 2017

Bill Frisell: guitar; Thomas Morgan: double bass.

In Emma Franz's revelatory documentary, Bill Frisell: A Portrait, the guitarist talks about the many guitars he owns, and how he rarely gets to plays them—the consequence, amongst other things, of the plight musicians face when traveling by air these days. Not three months after the film's premiere at South By Southwest this past March, comes Small Town—a live recording from New York's heralded Village Vanguard that represents a number of firsts for the veteran guitarist. It's Frisell's first album for ECM as a leader/co-leader since 1988's Lookout for Hope; though, after a couple of decades of considerable activity as a guest on the label, he's begun to resurface in recent years on albums including Andrew Cyrille's unexpected (and excellent) 2016 ECM outing, The Declaration of Musical Independence, and pianist Stefano Bollani's wonderfully optimistic Joy in Spite of Everything (2014). It's also the first time, at least in some time, that he can be seen with a Gibson semi-acoustic guitar in-hand rather than the solid body Fender (or Fender-like) guitars that have largely dominated his work in recent years (though he was seen similarly using a Gibson ES-335 at his mind-blowing "Bill Frisell Plays Lennon" show, from the 2012 TD Ottawa Jazz Festival). That said, Frisell demonstrates an unalterable truth about guitar...or any instrument, for that matter. Yes, his Gibson(s) lacks the intrinsic "twang" for which his Fenders have been so important on many of his roots/Americana-centric recordings. Still, from his very first note/chord on an eleven-minute exploration of Paul Motian's title track from It Should've Happened a Long Time Ago (ECM, 1985)—the former bandleader/drummer's first album to feature the trio that, with Frisell and saxophonist Joe Lovano, lasted over a quarter century before Motian's passing in 2011, and recently collected into one of the label's Old & New Masters reissue box sets—the sound—the everything—is unmistakably Frisell. But, most importantly, Small Town represents the guitarist's first recorded encounter with Thomas Morgan in the intimate setting of a duo, the double bassist having first shown up on Frisell's film soundtrack homage, When You Wish Upon a Star (Okeh, 2016). As superb as When You Wish Upon a Star undeniably is, it's in the more naked, completely vulnerable environs of the duo—where the need for musical trust is, perhaps, at its most crucial—that the profound chemistry shared by these two thoroughly synchronized players becomes even clearer. Frisell's discography (as leader, co-leader and guest) has, since his first major recording, Eberhard Weber's Fluid Rustle (ECM, 1979), grown almost exponentially...a pace that Morgan seems to be matching, albeit not yet as a leader. Still just 35, Morgan has already built up a remarkable rich and varied résumé with other ECM artists including John Abercrombie (2009's Wait Till You See Her); the late Masabumi Kikuchi (2012's Sunrise); Tomasz Stanko's New York Quartet (2013's Wisława ); Chris Potter (2013's The Sirens); Jakob Bro 2015's Gefion); Giovanni Guidi (2013's City of Broken Dreams); Craig Taborn (2013's Chants); and David Virelles (2014's Mbókò), amongst others—and that's not to mention non-label work with significant artists ranging from David Binney and Dave Liebman to Steve Coleman and Dan Weiss. A bassist whose rare intuition is praised by Frisell as possessing "this way of almost time- traveling, as if he sees ahead of the music and sorts it all out before he plays a note...anticipating me in the moment," the guitarist also makes an important assessment of something else the pair share. Referring to the two of them as "quiet personalities," Frisell enthuses about playing with Morgan: "Whenever I play guitar," he says, "that's my true voice. It's not so dissimilar with Thomas, I think. Playing the bass is his natural way of expressing himself." Indeed, whether on record or seeing him perform, Morgan exudes a quiet introspection. Like Frisell, he seems to possess an innate ability to take a single piece of music and interpret it so differently each and every time—even with (or, perhaps, as a result of) a context that is so relatively spare and sketch- like. Frisell may be one of jazz's most fervent followers of the concept that any music can provide endless grist for exploration, with the guitarist still playing songs—originals, jazz standards, Great American Songbook tunes, and country, blues and bluegrass songs—that he first introduced, live or on record, in some cases as far back as two or more decades ago. Motian's "It Should've Happened a Long Time Ago," its simple but memorable melody providing both Frisell and Morgan with a context to explore surprisingly expansive territory—even as the pair remains completely aligned with the heart of the song at all times—is an atmospheric, gentle and attractive entry point to this 70-minute set that covers a lot of musical ground. While Frisell's tone is generally less effects- heavy than on some of his other projects, a multilayered cloud of loops can still be found closing the track, just as a thick tremolo infuses his countrified, Maybelle Carter-inspired title track. Other originals including Frisell's rubato yet eminently lyrical "Song for Andrew No. 1"—first heard on its namesake, Andrew Cyrille's The Declaration of Musical Independence but here expanded to also reference "Worse and Worse," from Frisell's Bill Frisell, Ron Carter, Paul Motian (Nonesuch, 2006)—and "Poet," an introduction, written by the guitarist, to Morgan's sole compositional contribution to Small Town, "Pearl." One of the bassist's first compositions, its melody was written on a subway during his first year at school in New York. That these two interconnected pieces—both thematically driven but with "Pearl" being the more change-heavy of the two—seem like two peas in a pod only goes to further demonstrate the deep connection that's evolved between Frisell and Morgan...and over a relatively short period of time. An impromptu "Subconscious Lee" was pulled out spontaneously when the duo learned that the song's composer, saxophonist Lee Konitz—with whom Frisell has collaborated on Kenny Wheeler's 1998 ECM masterpiece, Angel Song, and the completely impromptu quartet date, Enfants Terrible: Live at the Blue Note (Half Note, 2012)—was at the show as a spectator. It provides Frisell and Morgan a chance to flex their more traditional jazz chops with a swinging pulse, even as Frisell injects his characteristic idiosyncrasies and wit, bolstered firmly by Morgan—here, as throughout the set, ever the empathic accompanist and contrapuntal conversationalist. If there's any single precedent for Morgan, it would have to be the late Charlie Haden—a bassist who, like Morgan, was capable of playing in any musical context, while always favouring the one perfectly right note over an unnecessary many. While Morgan proves himself a beyond-capable player, it's in his ever-ideal choices, keen intuition and forward-thinking combination of push and pull that make him one of the most in-demand double bassists to have emerged in the past decade or so. Whether it's on a relatively faithful version of the folkloric "Wildwood Flower" (written by Joseph Philbrick Webster and Maud Irving in 1860, but made popular by the Carter Family in 1928) or an initially almost unrecognizable look at Fats Domino's "What a Party"—its rocking roots only emerging well over a minute in, along with the more familiar melodies—Morgan simultaneously provides both the kind of firm anchor and responsive melodic foil that allows Frisell the freedom to move at will, as virtually all eight tracks evolve organically and inevitably...all while, at the same time, doing so with surprising unpredictably. The Village Vanguard is a perfect venue for live recordings, in particular intimate ones such as Small Town, with over 70 renowned live albums recorded in this legendary venue, from John Coltrane, Gerry Mulligan and McCoy Tyner to Brad Mehldau, Keith Jarrett and Frisell himself, on the "East" disc of the two-disc East/West (Nonesuch, 2005). With Paul Zinman sharing the Village Vanguard soundboard with James Farber—the latter, well-known to ECM fans for his work at Avatar Studios, where Small Town was mixed by Farber, label head/producer Manfred Eicher, Frisell and Morgan—Small Town manages to sonically capture a live ambience while, other than applause at the end of some songs, its crystal clarity and warmth also belie its origins. In his 2011 All About Jazz interview, Bill Frisell: Ramping It Up, the guitarist responded to the idea, held by some, that his career can be defined by "periods," saying: "For me, all those things [his varied musical interests] have been pretty much there as long as I've been recording. I don't really think of it that way, but if I'm cornered and have to think about it, all the stuff has always been there. I always get uncomfortable being put into slots—that first I was an 'ECM' guy, then I was a 'Downtown' guy, and then I was an 'Americana' guy. While I was making ECM records, I was also playing with Ronald Shannon Jackson. All these things have been happening simultaneously." Six years later, with other recordings and now Small Town, Frisell proves that it's possible to bring together original music, country music, jazz standards and more in an unfettered duet setting. At the end of the day, categories matters not; genres matter not; sources matter not. Great music is where you find it and, in the hands of two players as liberated as Frisell and Morgan, anything from a rock and roll tune to a film score's title song ("Goldfinger," played with a combination of drama and levity, surprisingly capturing all the song's key arrangements despite there being just two players) can come together in a program that feels not just cohesive; it feels as though these eight songs were made to be played together. And whether Small Town's sequencing mirrors the order of the performance or not also matters not; either way, every one of these seemingly disparate musical pieces are, in the hands of Frisell and Morgan, completely of a kind. It's been a long time since Frisell has made a duo recording...almost 35 years, in fact, dating right back to the guitarist's very first solo album, In Line (ECM, 1983), where half the program was overdubbed solo guitar, the other half a duo session with Norwegian double bassist and ECM label mate Arild Andersen. That Frisell's first album for ECM as a leader/co-leader in three decades should also be a duo recording with a double bassist may be—is, most likely—purely coincidental, but there's a wonderful sense of closing a circle with Small Town. Thirty years on, Frisell is still a humble, quiet and considerate musician who seems as awe- struck, at times, to be playing with the many greats with whom he's collaborated as they do him. But as a player, a composer and a conceptualist, he's come a long way. Partnered with Morgan—yet to reveal himself as a leader, but at this point quickly becoming one of his generation's most ubiquitous, recognizable bassists and, like Frisell, a player who seems to quietly intuit what often goes past many others—Frisell has released an album that brings so many of his personal touchstones together while, at the same time, bringing its diverse program together into a unified whole. No doubt there's plenty more to come from these two—including a number of tour dates this coming summer—but with Small Town, Frisell has clearly found another ideal musical foil to add to his growing cadre of musicians with whom he collaborates on a regular basis. Intimate, beautiful and deep, while at the same time knotty, witty and curiously skewed, Small Town delivers, in many ways, on the promise of In Line's five duo tracks 35 years on, with a live set that proves great music isn't just where you find it; it's everywhere. 

JOHN KELMAN in All About Jazz

#Bill Frisell #Thomas Morgan #Small Town #ECM #JOHN KELMAN #All About Jazz #discos #SPOTIFY

[record-super-chart]

VA - Top 50 JAZZ Songs Best of: VOL 20 (2017)

Genre: Instrumental, Jazz Quality: 1411 kbps Format: FLAC Date: 18.11.2017 Traks: 50 Size: 2.31 GB 01. A Day In Music - David Binney (7:57) 02. Africa - David Binney (13:59) 03. Air Traffic - Rez Abbasi (8:09) 04. Aliso - David Binney (7:58) 05. Basquiat - Don Byron (5:06) 06. Brother John - Stéphane BELMONDO, Yusef LATEEF (13:49) 07. Circular - Dave Douglas (8:21) 08. Contingency - Darren Kramer Organization (7:23) 09. De Molen - Ernesto Cervini (6:09) 10. Dolphin Dance - Kenny Werner (5:56) 11... Читать дальше »

#jazz #mp3 #flac

[newstfionline]

The Attack on “Fake News” is Really an Attack on Alternative Media

By Dave Lindorff, ICH, November 08, 2017

These are tough days to be a serious journalist. Report a story now, with your facts all lined up nicely, and you’re still likely to have it labeled “fake news” by anyone whose ox you’ve gored--and even by friends who don’t share your political perspective. For good measure, they’ll say you’ve based it on “alternative facts.”

Historians say the term “fake news” dates from the late 19th-century era of “yellow journalism,” but the term really took off in 2016, a little over a year ago, during Donald Trump’s run for the presidency. It described several different things, from fact-free, pro-Trump online media to sensationalistic and largely untrue stories whose only goal was eyeballs and dollars. During the primary season, Trump himself began labeling all mainstream media stories about him as “fake news.” The idea that there could be different truths, while dating at least back to the administration of President George W. Bush, when his consigliere Karl Rove claimed that the administration “made its own” reality, gained currency when Trump adviser Kellyanne Conway, caught making stuff up in a TV interview, claimed that she was relying on “alternative facts.”

That dodge would be fine, on its own. Most people are primed to believe that politicians lie--whatever party or persuasion they represent--so their attempts to deny it when called a conjurer of falsehoods posing tend to be recognized as such.

The corporate media--The New York Times, The Washington Post, the network news programs and even National Public Radio--have all responded to being called liars and “fake news” fabricators by promoting themselves as “the reality-based community” (NPR), or claiming they are fighting the good fight against ignorance, as demonstrated by the Post’s new masthead slogan “Democracy dies in darkness.” The Times has stuck with its hoary “All the news that’s fit to print” slogan, but has added a page-three daily feature listing “noteworthy facts from today’s paper” and has taken to calling out Trump administration whoppers as “lies.”

Last December Congress passed a new law, promptly signed by then-President Barack Obama, that enacted an Orwellian amendment to the Defense Authorization Act of 2017. Called the Countering Disinformation and Propaganda Act, this measure tasks the State Department, in consultation with the Department of Defense, the director of national intelligence and an obscure government propaganda organization called the Broadcasting Board of Governors, to establish a “Center for Information Analysis and Response.” The job of this new center, funded by a $160 million, two-year budget allocation, would be to collect information on “foreign propaganda and disinformation efforts” and “proactively advance fact-based narratives that support United States allies and interests.”

What is “fake news”? The target keeps moving. This might all seem laughable, but as a journalist who has worked in this field for 45 years, in both mainstream newspapers and television and in the alternative media, and as a long-time freelancer who has written for publications as widely varied as Business Week, the Nation, the Village Voice and a collectively run news site called ThisCantBeHappening.net, I have watched as this obsession with “fake news” has turned into an attack on alternative news and alternative news organizations.

Last Nov. 24, The Washington Post published a McCarthyite-style front-page article declaring that some 200 news sites on the web were actually witting or unwitting “purveyors of pro-Russian propaganda.” The article, by Post National Security Reporter Craig Timberg, was based on the work of a shady outfit called PropOrNot, whose owner-organizers were kept anonymous by Timberg and whose source of funding was left unexplained. PropOrNot, Timberg wrote, had developed a list of sites which it had determined to be peddling “pro-Russia propaganda.”

For one of the sites on the list, the prominent left-wing journal Counterpunch, founded decades ago by former Village Voice and Nation columnist Alexander Cockburn, PropOrNot offered up two articles as justification for its designation. One of those articles was by me. It was a piece I’d actually written for ThisCantBeHappening, which had been republished with credit by Counterpunch. The reviewer, a retired military intelligence officer named Joel Harding (who I discovered is linked to Fort Belvoir outside Washington, home to the U.S. Army’s Information Operations Command, or INSCOM), labeled my article “absurdly pro-Russian propaganda.”

In fact, the article was a pretty straightforward report on the Sept. 29, 2016 findings by the joint Dutch-Australian investigation into the July 2014 shoot-down of a Malaysian jumbo passenger jet over Ukraine, which concluded that Russia was the culprit. I noted in the article that this investigation was not legitimate, because two nations--Russia and Ukraine--were known to possess the Buk missiles and launchers that had brought down the plane, but only one of them, Ukraine, was permitted to offer evidence. Russian offers of evidence in the case were repeatedly rebuffed. The report also failed to mention that the Ukrainian government had received veto power over any conclusions reached by the investigators.

Was my report “fake news” or propaganda? Not at all.

The fake news in this case has been what has been written and aired by virtually all of the U.S. media, including the Times, the Post and all the major networks, about that horrific tragedy. They all continue to state as fact that a Russian Buk missile downed that plane, though no honest investigation has been conducted. (Technically it is true that the Buk missiles are all “Russian,” in that they were all manufactured in Russia. Left unsaid is that Ukraine’s military had Buk launchers since their nation was part of the Soviet Union and continued to purchase them after independence.)

“Labeling news reports that you don’t like as ‘fake news’ is the laziest form of media criticism,” says Jim Naureckas, editor of Fairness and Accuracy In Reporting, a New York-based journalism review. “It’s like putting your fingers in your ears and going ‘la la la’ really loudly. Both the government and the corporate media have reasons for not wanting the public to hear points of view that are threats to their power.”

While Kellyanne Conway claimed her right to offer “alternative facts” as a way to justify getting caught in a lie, there are also alternative facts which are real but don’t get reported in the corporate media. A classic example was in the run-up to the U.S. invasion of Iraq, when the entire corporate media reported as fact that Saddam Hussein had weapons of mass destruction and was attempting to develop a nuclear bomb.

There were plenty of alternative news organizations who quoted UN inspectors saying that none of that was true and there were no WMDs or WMD programs in Iraq, but they were simply blacked out by the corporate media like the Times, the Post and the major news networks.

These days another dubious story is that the Russians “hacked” the server of the Democratic National Committee. It may have happened that way, but in fact, the vast intelligence system the U.S. has constructed to monitor all domestic and foreign telecommunications has offered up no hard evidence of such a hack. National Security Agency whistleblower William Binney and retired CIA analyst Ray McGovern have suggested that some evidence indicates a DNC insider must have been involved.

There is certainly fake news all over the internet, and baseless conspiracies run rampant on both the left and the right. But all too often, articles like mine cited by PropOrNot (a genuine purveyor of fake news!) are being labeled as propaganda in what Naureckas says is simply “the use of irony as a defense mechanism” by news organizations that themselves are actually guilty of publishing really fake news, as the Post did with its PropOrNot blacklist “scoop.”

“What the government and the corporate media are trying to do, with the help of the big internet corporations,” argues Mickey Huff, director of the Project Censored organization in California, “is basically to shut down alternative news sites that question the media consensus position on issues.”

Already, Huff charges, there are reports that Facebook is slowing down certain sites that have links on its platform, in a misguided response to charges that it sold ad space to Russian government-linked organizations accused of trying to influence last November’s presidential election.

An end to internet neutrality, the equal access to high-speed internet for surfing and downloading that has been guaranteed to all users--but that is now under attack by the Trump administration, its Federal Communications Commission and a Republican-led Congress--would make it that much easier for such a shutdown of alternative media to happen.

The real answer, of course, is for readers and viewers of all media, mainstream or alternative, to become critical consumers of news. This means not just looking at articles critically, including this one, but going to multiple sources for information on important issues. Relying on just the Times or the Post, or on Fox News or NPR, will leave you informationally malnourished--not just uninformed but misinformed. Even if you were to read both those papers and watch both those networks, you’d often be left with an incomplete version of the truth.

To get to the truth, we need to also check out alternative news sources, whether of the left, right or center--and we need to maintain the critical distinction between unpopular or unorthodox points of view and blatant lies or propaganda. Without such a distinction, and the freedom to make such decisions for ourselves, maintaining democracy will be impossible.

#news #fake news #alternative news #mainstream media