Arnob %26 Friends Live | Revolvy
Arnab or Arnob meaning "ocean" in Bengali language and Assamese language is a Where Rivers Meet is a studio album by English musicians Zoe and Idris  Background Zoe and Idris Rahman discovered Bengali music in , when. On River Flow, he revives one of his signature approaches: fluent Spanish in which blurred polluted riffs meet mournfully defiant Latin horns and gut-strung guitar. staring out at the ambiguous and often-merciless ocean which they . Carson (24th July); Roscius, Three Laws and Zoë Phillips (31st July). It was also good to meet again with the ever effervescent Chris Williams and Other songs heard today included “Ocean Pacific Blue”, “Fool in Love”, the .. He's since visited Wall2Wall as part of groups led by blues/jazz vocalist Zoe Schwartz. and a nervous looking Carmichael, depping for Idris Rahman, on tenor.
Following a brief collective theme statement the drummer was thrown in at the deep end, responding with typical skill, wit, invention and sheer musicality. Waldmann and Chaplin followed him with similarly lucid solo contributions. Despite the familiarity of much of the material this was an inspired and inspiring set that got a terrific reception from a large and attentive audience. Waldmann, Chaplin and Dick brought a fresh sparkle to even the most jaded items in the repertoire, their playing light, airy and consistently imaginative and inventive, always finding something to new to say within each piece.
Waldmann played with a rare grace and fluency that helped to bring out the very best in his two younger colleagues. Yet another unexpected festival highlight. My thanks to Adam Waldmann for speaking with me at length after the performance and talking about his plans for a new Kairos album to be released in Supersilent is a long running concern having formed in when the improvising trio of Arve Henriksen trumpetStale Storlokken keyboards and Jarle Vespestad drums first collaborated with the electronic music artist Helge Sten aka Deathprod.
The success of that concert at a Norwegian jazz festival led to the formation of the Supersilent quartet, the group later becoming a trio in following the departure of Vespestad after twelve years and nine albums. Supersilent have now recorded fourteen numbered albums plus a series of compilations, an impressive feat considering that their members are also involved in a myriad of other projects, with Henriksen in particular enjoying a successful solo career.
Things began quietly as whispering trumpet combined with shimmering keyboards and ambient layers of electronics. Certainly some of their output was abrasive and unsettling but I never found this performance physically uncomfortable in terms of sheer volume. Nevertheless some listeners found it all a bit much to take and headed quietly for the exits, presumably returning for Phronesis in the second half.
They were replaced by a stream of inconsiderate latecomers, the to-ing and fro-ing serving to interrupt the atmosphere that Supersilent had so carefully created, both through their music and the old, but effective, visual combination of shadowy lighting and dry ice — that air of mystique again. The resurgence in intensity continued as the trio generated frequencies ranging from the nerve janglingly shrill to the bone judderingly deep, these towering edifices of sound representing tall buildings indeed.
You could feel the sound deep in your chest as Storlokken slammed his arms down on his keyboards during a solo, of sorts, before Henriksen added the sound of eerie, shamanic vocals.
Despite the occasional longueur this was a truly impressive performance from Supersilent that earned them an excellent reception from the majority of the crowd at a sold out QEH. This was challenging, uncompromising music that proved to be a bit too much for a small minority but it was a compelling performance that was total success on its own terms.
Phronesis sport the classic piano trio line up but are led from the bass by Danish bassist Jasper Hoiby, with Swedish drummer Anton Eger behind the traps. Englishman Ivo Neame, occupying the piano chair, represented something of an interloper at this otherwise all Scandinavian event.
The pianist swarmed all over the keyboard in a dazzling display of virtuosity, this contained within a group performance that was more dynamic and intense than the recorded version. Most of the tunes were unannounced and in any case all mutated in live performance as this inspired trio of improvisers delighted in subverting their own written material.
Hoiby followed the pair with a bass solo that teased the audience with a series of false endings before an absorbing coda featuring the sounds of piano and bowed bass. The fact that we had only heard four numbers might suggest that this was a short set, but the reality was anything but. Being the true improvisers that they are the trio had pulled and stretched at the fabric of the tunes to thrilling effect, bouncing ideas off each other in a way that delivered moments of exhilarating collective interplay allied to a series of brilliant individual solos.
The recorded versions of these tunes are by no means short, but tonight they were substantially expanded and developed in the crucible of live performance. Hoiby followed on double bass before handing over to Eger, who had already been a dynamic presence, to unleash a final volcanic drum solo.
Hands and feet a mere blur the drummer unleashed a positively incandescent drumming explosion that saw him circumnavigate every aspect of his kit in a whirlwind of energy, encouraging the audience to clap along, the crowd pleasing element backed up by a truly stunning display of power, energy and virtuosity. The Eger drum assault has long been a part of the Phronesis live experience but it never fails to excite with its blend of brio and brilliance.
Even after more than a decade of existence one senses that there is still much to come from this remarkable trio. The standing ovation that they earned here was evidence of just how much Phronesis are adored by the British jazz public, but this is a trio with a truly international reputation who have also made considerable inroads in Europe and the Americas, and justifiably so.
Advance publicity had suggested that MacSween might also be a vocalist and that he was due to perform with a trio featuring drummer Eddie Hick Gilad Atzmon, Sons of Kemet etc.
Mizan Rahman | Revolvy
As it turned out MacSween appeared in a more orthodox piano trio configuration featuring Huw Bennett on double bass and Joost Hendrickx at the drums. It was an absorbing and entertaining pianistic journey that far exceeded my expectations. I suspect that I enjoyed this trio rather more than I would have the advertised line up. MacSween studied jazz at Leeds College of Music but he has also studied Indian classical music plus other world music styles and has collaborated with a wide variety of musicians from numerous musical cultures, including the Cuban jazz violinist Omar Puente.
With guitarist Giuliana Modarelli he co-leads the world music collective Kefaya and was also part of the world jazz outfit Grupo X.
In Hendrickx and Bennett he had similarly gifted band mates. Hendrickx has been a leading figure on the jazz and experimental music scene in the North of England for a number of years while Bennett led his own sextet at the EFG LJF, mixing African and Latin sounds with jazz and funk. The next piece was influenced by the sound of the santoor, the dulcimer like instrument of the Indian sub continent, and by the maqams or modes of Middle Eastern music, the santoor having travelled to other parts of the world.
Bennett moved between arco and pizzicato bass and his bowed solo was particularly impressive. Not to be outdone the excellent Hendrickx also enjoyed an extended drum feature. There were more tasty musical fusions to follow as MacSween and the trio combined the sounds of Cuban rumba with Moroccan Gnawa. The musical world tour continued as the trio explored the folk melodies of Greece and Albania, with MacSween taking a feverish solo that saw him swarming all over the piano keyboard.
Festivals always throw up exciting new discoveries and for me this year it was Al MacSween. This prodigiously talented and adventurous young pianist really does deserve to be better known. In some respects this was a shame as I would have liked to see Georgia Mancio singing with her group Quadro, especially as they had been recommended to me by guest contributor Trevor Bannister who saw them at the Progress Theatre in Reading in April The Jazzmann gave the album a glowing review back in October which can be viewed here; http: Having enjoyed the recording so much I just felt I had to see the music played live.
It also includes some exceptional playing from a hand picked band, some of them bandleaders in their own right. Crowned by an incisive alto solo from the irrepressible Williams this was an opener that grabbed the audience by its metaphorical lapels and demanded its attention.
Argiro supplied sensitive piano accompaniment as Brown added colourful but sympathetic drums and percussion. Dynamic contrast was provided by a passage of unaccompanied piano from Argiro at the close of the piece. The piece also included the celebratory wordless vocals of Donin, Williams and Argiro. Although doubtless frustrated at not being able to play for longer this gig was still a triumph for Donin.
More on that in a subsequent feature. Donin and Ghatak are due to record an album together inwhich will be awaited with much interest. Wesseltoft first came to my attention as a sideman with saxophonist Jan Garbarek but he has also been a prolific solo artist with his New Conceptions of Jazz group helping to shape the future of European jazz with its innovative blending of jazz and electronica. By way of contrast he has also recorded several albums as a solo acoustic pianist.
The names of Berglund and Ostrom will be forever linked thanks to their lengthy tenure as the rhythm section of e. Both Berglund and Ostrom have subsequently led their own projects, delivering enjoyable recordings for the ACT label, also the home of e.
The trio played in front of a projection, or light show, of sorts, but ultimately this added little to the music. The drummer always did have a great way with tune titles, it was Ostrom who named the majority of e.
Wesseltoft then gravitated back to electric keyboards, his hypnotic synthesiser arpeggios variously reminiscent of Terry Riley or of Pink Floyd setting the controls for the heart of the sun. Occasionally the trio established an e. However it should be noted that there was nothing po-faced about all of this with Wesseltoft, in particular, happy to introduce an element of humour and playfulness into the performance.
Next we had to write a melody using a tone row. Finally he asked us to compose a piece without any restrictions except that it had to fit onto 1 page of A4. All of these were done away from our instruments.
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We then workshopped some of these pieces, with insightful critiques from Dave. He asked us to make revisions of our pieces overnight to be tried out the next day. Each day we would play the new versions of people's compositions and discuss whether the revisions had improved them or not. My own piece benefitted from a clearer notation and layout, stronger transitions between sections and more specific instructions for the improvised material.
Big band rehearsals Having already had several rehearsals leading up to Dave's arrival, we had become familiar with the written music from his album 'A Single Sky' so he was free to concentrate on the finer details: Dave Douglas Photo Credit: We then played some standards and tried a few of his small-group pieces, and several issues came up that hadn't been discussed in depth so far.
Arise TCB Records Arrials continues her growth, extending her interpretations further, and playing more impressionistically during her improvised passages. Too, she returns here to a mix of covers and her own compositions, with "Arise", a beautiful ballad, and the lively "Esperanza" among them. And the three covers are great -- "Come Together", "Iko Iko", and "Red is the Rose" -- with Arriale creating interpretations that effectively make them hers as a jazz pianist, setting a high bar for others who wish to follow.
And her originals merge her jazz sensibilities with her clasical training, so that some are burners like "Sunburst" and others contemplative pieces like "Twilight. Live Motema Records Live is her first disc on Motema and second live from Montreux, and it brings together the great combination of songs from the past several discs and the energy and trio interplay best heard live, and in this case seen live on an accompanying DVD.
Uplifting music that brings out the best of the group's interplay and creativity. For the first time, one gets to watch Arriale's nimble fingers and use of the entire keyboard, and the expression and energy she puts into every note she plays. The Bennett Studio Sessions Motema Now the truth -- I prefer Arriale in a trio setting, and probably in a solo setting when that comes out. I enjoy hearing her out front interpreting the music, twisting the melodies and harmonizations and pulling out new impressions and expressions of standards and her own songs.