(Avant-Garde Jazz, Fusion) [CD] Wadada Leo Smith (with Henry Kaiser, Bill Laswell, Adam Rudolph, Pheeroan akLaff etc.) - Najwa - 2017, FLAC (tracks+.cue), lossless
![(Avant-Garde Jazz, Fusion) [CD] Wadada Leo Smith (with Henry Kaiser, Bill Laswell, Adam Rudolph, Pheeroan akLaff etc.) - Najwa - 2017, FLAC (tracks+.cue), lossless](/upload/000/u2/6d/b3/avant-garde-jazz-fusion-cd-wadada-leo-smith-with-henry-kai.jpg "(Avant-Garde Jazz, Fusion) [CD] Wadada Leo Smith (with Henry Kaiser, Bill Laswell, Adam Rudolph, Pheeroan akLaff etc.) - Najwa - 2017, FLAC (tracks+.cue), lossless")
Треклист:
Wadada Leo Smith (with Henry Kaiser, Bill Laswell, Adam Rudolph, Pheeroan akLaff etc.) / Najwa
Жанр: Avant-Garde Jazz, Fusion
Носитель: CD
Страна-производитель диска (релиза): Finland
Год издания: 2017
Издатель (лейбл): TUM Records
Номер по каталогу: TUM CD 049
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 56:13
Источник (релизер): MRmarket
Наличие сканов в содержимом раздачи: front
Треклист:
01. Ornette Coleman´s Harmolodic Sonic Hierographic Forms: A Resonance Change in the Millennium 16:22
02. Ohnedaruth John Coltrane: The Master of Kosmic Music and His Spirituality in a Love Supreme 14:00
03. Najwa 03:31
04. Ronald Shannon Jackson: The Master of Symphonic Drumming and Multi-Sonic Rhythms, Inscriptions of a Rare Beauty 11:49
05. The Empress, Lady Day: In a Rainbow Garden, with Yellow-Gold Hot Springs, Surrounded by Exotic Plants and Flowers 10:01
All compositions by Wadada Leo Smith
International release: October 20, 2017
2 место в списке лучших джазовых альбомов года "The New York Times"
Другие мои раздачи на трекере
Жанр: Avant-Garde Jazz, Fusion
Носитель: CD
Страна-производитель диска (релиза): Finland
Год издания: 2017
Издатель (лейбл): TUM Records
Номер по каталогу: TUM CD 049
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: lossless
Продолжительность: 56:13
Источник (релизер): MRmarket
Наличие сканов в содержимом раздачи: front
Треклист:
01. Ornette Coleman´s Harmolodic Sonic Hierographic Forms: A Resonance Change in the Millennium 16:22
02. Ohnedaruth John Coltrane: The Master of Kosmic Music and His Spirituality in a Love Supreme 14:00
03. Najwa 03:31
04. Ronald Shannon Jackson: The Master of Symphonic Drumming and Multi-Sonic Rhythms, Inscriptions of a Rare Beauty 11:49
05. The Empress, Lady Day: In a Rainbow Garden, with Yellow-Gold Hot Springs, Surrounded by Exotic Plants and Flowers 10:01
All compositions by Wadada Leo Smith
International release: October 20, 2017
2 место в списке лучших джазовых альбомов года "The New York Times"
Состав
Wadada Leo Smith trumpet
Michael Gregory Jackson guitars
Henry Kaiser guitars
Brandon Ross guitars
Lamar Smith guitars
Bill Laswell electric bass
Pheeroan akLaff drums
Adam Rudolph percussion
Michael Gregory Jackson guitars
Henry Kaiser guitars
Brandon Ross guitars
Lamar Smith guitars
Bill Laswell electric bass
Pheeroan akLaff drums
Adam Rudolph percussion
allaboutjazz.com
Wadada Leo Smith: Najwa ****1/2
By JEROME WILSON
November 7, 2017
Wadada Leo Smith has been on an amazingly productive streak the last few years, creating ambitious work for all kinds of configurations, large orchestras, string ensembles, quartets, duos and solo. About the only format he hadn't explored lately was the dense electronic jazz-rock he's played in the past with his groups Organic and Yo! Miles. With Najwa he finally returns to that format, heading a group featuring four guitarists, two percussionists, his own trumpet and the weighty bass guitar of Bill Laswell, playing muscular, electric music imprinted with Smith's spirtuality .
Laswell not only plays his massive, enveloping style of bass on this CD but he also produces it, shaping the music into boiling chaotic squalls coated with a thick ambient sheen. Most of the tracks are named for important musical figures. "Ornette Coleman" starts as a bubbling cauldron of squealing guitars and combustible drumming with Smith's trumpet loudly blowing on top before the music morphs into a swampy morass of bass, cymbals and conga drumming with Smith playing long bluesy lines that sound like Miles Davis in his Agartha period.
"John Coltrane" has Smith and one of the guitarists playing long notes in tandem over heavy bass and drums with wisps of electronic decoration. Eventually this leads to psychedelic guitar screaming worthy of the Grateful Dead over a furious undercurrent of wobbly Laswell bass and furious drumming by Pheeroan AkLaff and Adam Rudolph with Smith dropping in the occasional piercing virtuoso horn run. There are no indications of which guitarist solos when but all four, Michael Gregory Jackson, Henry Kaiser, Brandon Ross and Lamar Smith, Wadada's grandson, seem to take turns rising out of the primordial ooze for a time. At the end the entire piece congeals into heavy dub-influenced funk with Smith blowing short, dancing phrases.
"Ronald Shannon Jackson" contrasts fast and slow rhythms at the same time. Ak Laff and Laswell kick up a furious storm while Smith and the guitarists play long, slow notes over them with a measure of twang and delay in the guitar sounds. Passages of screaming guitar bursts and eloquent trumpet eventually clear out and just leave Ak Laff, Rudolph and Laswell splashing in a thick ambiance of deep bass throbbing and thrashing drums.
There are two oases of quiet amidst all these storms. On the brief "Najwa" acoustic and electric guitars pluck slowly against an echoing electronic backdrop as Smith plays a plaintive muted horn. For a Billie Holiday dedication, "The Empress, Lady Day," Smith plays wary open trumpet against a soft electronic hum and quiet guitar chords, a mix that creates a solemn, cathedral-like hum and leads to a duet for Smith and a Spanish-tinged acoustic guitar (possibly Jackson?).
The number of career high points Wadada Leo Smith has had in the last few years is getting absurd, but here is still another one. With the invaluable help of Bill Laswell, he has taken the electric jazz-rock-funk pioneered by Miles Davis in the mid-70's into a realm of beauty and energy. The mix of guitars, electronics and drumming sometimes seems to swell with overpowering force but Smith's trumpet always brings humanity and heart to this music. This is unquestionably one of the great releases of the year.
By JEROME WILSON
November 7, 2017
Wadada Leo Smith has been on an amazingly productive streak the last few years, creating ambitious work for all kinds of configurations, large orchestras, string ensembles, quartets, duos and solo. About the only format he hadn't explored lately was the dense electronic jazz-rock he's played in the past with his groups Organic and Yo! Miles. With Najwa he finally returns to that format, heading a group featuring four guitarists, two percussionists, his own trumpet and the weighty bass guitar of Bill Laswell, playing muscular, electric music imprinted with Smith's spirtuality .
Laswell not only plays his massive, enveloping style of bass on this CD but he also produces it, shaping the music into boiling chaotic squalls coated with a thick ambient sheen. Most of the tracks are named for important musical figures. "Ornette Coleman" starts as a bubbling cauldron of squealing guitars and combustible drumming with Smith's trumpet loudly blowing on top before the music morphs into a swampy morass of bass, cymbals and conga drumming with Smith playing long bluesy lines that sound like Miles Davis in his Agartha period.
"John Coltrane" has Smith and one of the guitarists playing long notes in tandem over heavy bass and drums with wisps of electronic decoration. Eventually this leads to psychedelic guitar screaming worthy of the Grateful Dead over a furious undercurrent of wobbly Laswell bass and furious drumming by Pheeroan AkLaff and Adam Rudolph with Smith dropping in the occasional piercing virtuoso horn run. There are no indications of which guitarist solos when but all four, Michael Gregory Jackson, Henry Kaiser, Brandon Ross and Lamar Smith, Wadada's grandson, seem to take turns rising out of the primordial ooze for a time. At the end the entire piece congeals into heavy dub-influenced funk with Smith blowing short, dancing phrases.
"Ronald Shannon Jackson" contrasts fast and slow rhythms at the same time. Ak Laff and Laswell kick up a furious storm while Smith and the guitarists play long, slow notes over them with a measure of twang and delay in the guitar sounds. Passages of screaming guitar bursts and eloquent trumpet eventually clear out and just leave Ak Laff, Rudolph and Laswell splashing in a thick ambiance of deep bass throbbing and thrashing drums.
There are two oases of quiet amidst all these storms. On the brief "Najwa" acoustic and electric guitars pluck slowly against an echoing electronic backdrop as Smith plays a plaintive muted horn. For a Billie Holiday dedication, "The Empress, Lady Day," Smith plays wary open trumpet against a soft electronic hum and quiet guitar chords, a mix that creates a solemn, cathedral-like hum and leads to a duet for Smith and a Spanish-tinged acoustic guitar (possibly Jackson?).
The number of career high points Wadada Leo Smith has had in the last few years is getting absurd, but here is still another one. With the invaluable help of Bill Laswell, he has taken the electric jazz-rock-funk pioneered by Miles Davis in the mid-70's into a realm of beauty and energy. The mix of guitars, electronics and drumming sometimes seems to swell with overpowering force but Smith's trumpet always brings humanity and heart to this music. This is unquestionably one of the great releases of the year.
allaboutjazz.com
Wadada Leo Smith: Najwa *****
By DAN MCCLENAGHAN
September 30, 2017
Trumpeter Wadada Leo Smith's introductory liner notes to Najwa begin with Muddy Waters, so we'll begin there, too.
Wadada Leo Smith was born in 1941, in Leland, Mississippi, around the time Alan Lomax showed up down in Clarksdale, Miss., to record—among many others—McKinley Morganfield, aka Muddy Waters. The Lomax field recordings of Waters and his band became the album Down On Stovall's Plantation (Universe Records, 1966). It was an all acoustic affair. Then, shortly after these tunes were recorded, Waters moved to Chicago, discovered the advantages of the electric guitar and plugged in, and lined up a relationship with Chess Records that changed American music.
Smith, with roots in the same soil that birthed the blues—and Muddy Waters—received his first tutelage in music from his stepfather, Alex "Little Bill" Wallace," another seminal electric guitar-playing bluesman. Smith also traveled the Muddy Waters, north-to-south pilgrimage to Chicago, where he convened with the musicians of the avant-garde AACM.
With Najwa, Smith revisits, in a way, his earliest influences, with a guitar album of sorts. As such, the music celebrates free jazz pioneer, Ornette Coleman; and the high priest of jazz saxophone, John Coltrane; the orchestral and "multi-sonic" drummer Ronald Shannon Jackson; love; and lastly the Crown Princess of Jazz Vocalists, Billie Holiday.
Smith's band features four guitarists who paint translucent colors over odd, muscular bass/drums/percussion grooves. It is an airier sound than he goes for with his group Organic—a near-big band conglomeration featuring multiple guitar line-ups. Considering four guitar guys coming at you, the luminescent Najwa is—for the most part—a surprisingly uncluttered sound. The guitars weave ephemeral textures, entwinements of blurry threads, smeared and glowing. Smith's trumpet is a human voice, by turns plaintive, sharp, concise, piercing, joyous, tranquil. Smith, like Miles Davis before him, maintains a consistent horn sound; his voice doesn't change. It's the sounds around him that change.
Smith often goes epic. He opens Najwa with the anthemic, sixteen minute "Ornette Coleman's Harmolodic Sonic Hierographic Forms: A Resonance Change In The Millennium" to get your attention, then helps you find religion with the fourteen minute "Ohnedaruth John Coltrane: The Master Of Kosmic Music And His Spirituality In A Love Supreme." The relatively brief title tune is an ode to love lost, a gorgeous soundtrack to a dream, or a portal to a parallel dimension, before the disc's tribute aspect reemerges with a nod to the late drummer, and sometimes participant in Smith's Golden Quartet, Ronald Shannon Jackson, on the dark-hued and insistently rhythmic "Ronald Shannon Jackson: The Master Of Symphonic Drumming and Multi-Sonic Rhythms, Inscriptions Of Rare Beauty." Smith's love letter to vocalist Billie Holiday closes the set. Titled, in typical Smithian fashion, "The Empress, Lady Day: In a Rainbow Garden, with Yellow-Gold Hot Springs, Surrounded By Exotic Plant And Flowers," it wraps this superb recording up with great beauty and a sacred serenity.
And a nod to the set's bassist, Bill Laswell, for his strong but supple and off kilter quasi-funk undercurrents (and sometimes over-currents), and for his assistance in the additions of post recording tweakings and enhancements—always understated and spot on in their elevations of Wadada Leo Smith's singular sounds and concepts.
By DAN MCCLENAGHAN
September 30, 2017
Trumpeter Wadada Leo Smith's introductory liner notes to Najwa begin with Muddy Waters, so we'll begin there, too.
Wadada Leo Smith was born in 1941, in Leland, Mississippi, around the time Alan Lomax showed up down in Clarksdale, Miss., to record—among many others—McKinley Morganfield, aka Muddy Waters. The Lomax field recordings of Waters and his band became the album Down On Stovall's Plantation (Universe Records, 1966). It was an all acoustic affair. Then, shortly after these tunes were recorded, Waters moved to Chicago, discovered the advantages of the electric guitar and plugged in, and lined up a relationship with Chess Records that changed American music.
Smith, with roots in the same soil that birthed the blues—and Muddy Waters—received his first tutelage in music from his stepfather, Alex "Little Bill" Wallace," another seminal electric guitar-playing bluesman. Smith also traveled the Muddy Waters, north-to-south pilgrimage to Chicago, where he convened with the musicians of the avant-garde AACM.
With Najwa, Smith revisits, in a way, his earliest influences, with a guitar album of sorts. As such, the music celebrates free jazz pioneer, Ornette Coleman; and the high priest of jazz saxophone, John Coltrane; the orchestral and "multi-sonic" drummer Ronald Shannon Jackson; love; and lastly the Crown Princess of Jazz Vocalists, Billie Holiday.
Smith's band features four guitarists who paint translucent colors over odd, muscular bass/drums/percussion grooves. It is an airier sound than he goes for with his group Organic—a near-big band conglomeration featuring multiple guitar line-ups. Considering four guitar guys coming at you, the luminescent Najwa is—for the most part—a surprisingly uncluttered sound. The guitars weave ephemeral textures, entwinements of blurry threads, smeared and glowing. Smith's trumpet is a human voice, by turns plaintive, sharp, concise, piercing, joyous, tranquil. Smith, like Miles Davis before him, maintains a consistent horn sound; his voice doesn't change. It's the sounds around him that change.
Smith often goes epic. He opens Najwa with the anthemic, sixteen minute "Ornette Coleman's Harmolodic Sonic Hierographic Forms: A Resonance Change In The Millennium" to get your attention, then helps you find religion with the fourteen minute "Ohnedaruth John Coltrane: The Master Of Kosmic Music And His Spirituality In A Love Supreme." The relatively brief title tune is an ode to love lost, a gorgeous soundtrack to a dream, or a portal to a parallel dimension, before the disc's tribute aspect reemerges with a nod to the late drummer, and sometimes participant in Smith's Golden Quartet, Ronald Shannon Jackson, on the dark-hued and insistently rhythmic "Ronald Shannon Jackson: The Master Of Symphonic Drumming and Multi-Sonic Rhythms, Inscriptions Of Rare Beauty." Smith's love letter to vocalist Billie Holiday closes the set. Titled, in typical Smithian fashion, "The Empress, Lady Day: In a Rainbow Garden, with Yellow-Gold Hot Springs, Surrounded By Exotic Plant And Flowers," it wraps this superb recording up with great beauty and a sacred serenity.
And a nod to the set's bassist, Bill Laswell, for his strong but supple and off kilter quasi-funk undercurrents (and sometimes over-currents), and for his assistance in the additions of post recording tweakings and enhancements—always understated and spot on in their elevations of Wadada Leo Smith's singular sounds and concepts.
Лог создания рипа
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Содержание индексной карты (.CUE)
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