4/2/2024Lina auf Platz 1 der Transglobal World Music Charts
Nachdem ihr neues Album „Fado Camões“ im Vormonat bereit die Spitze der World Music Charts Europe erreichte, steht Lina nun auch an der Spitze der Transglobal World Music Charts. Dabei lässt ihr neueste Werk sowohl Neues als auch Vertrautes hören. Die schlichte Eleganz der jüngsten Vergangenheit ist immer noch da, lässt aber ihrer Stimme mehr Platz, inmitten einer Stille aus Klavier und Gitarre hervorzustechen. Erschienen ist das Album auf CD, Vinyl und allen gängigen Streamingportalen.
3/1/2024LINA mit „Fado Camões“ auf Platz 1 und 2 in den World Music Charts
Die portugiesische Sängerin und Komponistin LINA hat es mit ihrem aktuellen Album „Fado Camões“ auf die Spitze der World Music Charts Europe geschafft. In den Transglobal World Music Charts kletterte das Album im Monat März auf den zweiten Platz. Zusammen mit Produzent Justin Adams vertont Lina Texte des portugiesischen Dichters Luís Vaz de Camões und kleidet diese in Gewand aus Poesie und Fado.
2/23/2024Noga Ritter präsentiert ihr Album „Ima“ in Deutschland
Die in London lebende Singer-Songwriterin verbindet in ihrer Musik hebräischen Jazz mit globalen Grooves. In ihren Liedern, die sie sowohl auf Hebräisch als auch auf Englisch singt, verwebt sie intime und persönliche Geschichten zu einer fesselnden Erzählung über soziale und globale Themen. Ihre Darbietungen, ob in reduzierter Form oder mit kompletter Band, sind leidenschaftlich und energiegeladen, ziehen das Publikum in ihren Bann und lassen es unweigerlich zum Rhythmus ihrer Musik bewegen.
Auf ihrem neuen Album „Ima“ bringt Noga Ritter die hebräische Sprache in ihren ursprünglichen nomadischen Kontext und spürt Einflüssen aus ihrer Kindheit, ihren Reisen und zahlreichen Begegnungen nach. Aufsteigende Soli über Gnawa-Grooves, jüdische Melodien, die von senegalesischen Sabar-Trommeln begleitet werden, und glückselige Improvisationen neben subtilen israelischen Jazz-Piano-Feinheiten sind nur einige der Farbtupfer, mit denen sie ihre musikalischen Geschichten auf diesem bemerkenswerten Album malt.
Ron SpielmanLifeboatRelease datum: 5/24/2024Cat-Nr: RS2410
Magne ThormodsæterL’arte della persuasioneRelease datum: 5/17/2024Cat-Nr: OZ104CD
Magne Thormodsæter is an ECM-alumni, bassist, and in-demand session musician. On L'arte della persuasione, he fuses two worlds with the full force of a beautiful blow. A 35-minute story told in five acts, it pits a high-caliber classical ensemble against a jazz group. The result is captivatingly unclassifiable. Although Thormodsæter fully composed L'arte della persuasione, the score also provides the musicians with permissions to act spontaneously. The work will thus never sound the exact same way twice. This inner tension was amplified by the process: All musicians only saw the piece on the day of recording. “I honestly didn't know what would happen,” Thormodsæter admits, but the result ended up sounding entirely organic. Gradually, the players turned into creators themselves - making the piece “their own.” More
The Human ElementRiverRelease datum: 5/31/2024Cat-Nr: OW3
Sonya Cohen CramerYou've Been a Friend to MeRelease datum: 5/17/2024Cat-Nr: SFW40259
Sonya Cohen Cramer (1965–2015) was raised in a family committed to revitalizing the oldest songs of the American musical canon. Like her father John Cohen of The New Lost City Ramblers, Sonya shared a belief in the transformative qualities of folk songs and traditional ballads. You’ve Been a Friend to Me is the first collection featuring Sonya’s singing, and it reveals the full arc of her musical life through collaborations with her aunt Peggy Seeger, uncle Pete Seeger, Elizabeth Mitchell, Daniel Littleton, and the folk-fusion group Last Forever. While shaped by the roots of her family tree, the radiating and clear sound of Sonya’s voice is distinctly her own. More

Now and Then

Left to their own devices, having been separated through circumstance, certain lifelines have a way of reconnecting. It’s more than social media or chat groups, it’s a kind of natural gravitational energy, an internal dynamic specific to heavy spirits. A propensity to find the right moment to reconvene.

Wadada Leo Smith and Amina Claudine Myers both became Chicagoans by way of the South – Smith arriving from Mississippi, Myers from Arkansas. In Chicago they helped forge a world of new music as key first-wave members of the Association for the Advancement of Creative Musicians (AACM), an organization that soon expanded nationally, sending inspiration and emissaries – including both of them – to all parts of the American creative arts landscape. Myers, who famously appeared in the second AACM concert, with Philip Cohran’s Artistic Heritage Ensemble at the South Shore Ballroom in 1966, preceded Smith by a year or so. While he was studying at the Sherwood Music School at the Fine Arts Building in the Loop, Smith became active in the AACM, where he grew into one of its most important philosophers and composers; like many AACMers, he spent a period in Europe before moving to Connecticut and California, sharing his own version of concepts germinated in the AACM. Myers left Chicago for New York in 1976, collaborating with multitudes and participating in a richly varied array of musical projects. Both of them are officially global musicians, not defined by a geographic plot point.

Leap forward to “Amina Claudine Myers,” a piece written by Smith for his friend and AACM-mate, recorded in a 2015 version for his Great Lakes Quartet (featuring Henry Threadgill, Jack DeJohnette, and John Lindberg) and again for solo trumpet in 2016. The admiration and respect were clear in both versions of this radiant dedication. Which sets us up for the recording at hand, itself a radiant kind of mutual dedication – a dedication that arises from a half-century of personal dedication, the sort of commitment to develop and grow with which improvising musicians forge ahead, steadily, into the unknown. A meeting of two great spirits, a gathering of their combined forces explored in the present tense, a natural reconvening.

Gravity and Depth

The lesson is: good things take time. There is no rush. Can’t. Hurry. Love. Just. Have. To. Wait. The fierce urgency of now will work itself out with patience. This is true not only of the concept of working and recording together, but of the music itself. Central Park has a considered quality, a slowness that both gives it depth and is evidence of the gravity of its makers. From Myers’ opening notes on “Conservatory Gardens,” in which she gradually spells out harmonic terrain, the program unfolds as a series of elegant, sometimes elegiac, episodes. A tributary of trust. A delta of decisiveness. A slow-moving stream of sensitivity.

The measured pace allows the proceeding to gather weight. Chords sit in space. They sink in. All the way. This is no shimmering surface. It’s deep. Metaphors of gravity and depth circle one another, conspiring to explain the resonance, like the weight of a foot on a sustain pedal or the insertion of a Harmon mute into the trumpet. A track can be joyous or melancholy, or, as on several, it can mix these emotions in a difficult-to-describe way, but, in any case, it comes with a kind of profundity that only experience engenders. Those lifelines have led Myers and Smith through so many different kinds of situation that one sound on each instrument is enough to open up a portal on those scenes – from blues to church to pop to funk to jazz to creative music in every manifestation. One encounters such elemental experience in this work as an imbrication, a deeply placed feeling and understanding, rather than as a genre pastiche. As we’ve noted, this not quick and superficial music; it moves deliberately from place to place, all points of reference absorbed and redirected without obvious markers, a sort of topographic map of oceanic depths.

Buoyancy and Light

For all its freight, Central Park has a lightness as well, a translucency, a buoyancy. Of course, Smith’s sound, in which he projects illumination straight out of the bell as if it was a flashlight, is a major source of uplift. On the two beautiful tributes that close the record, this open sound is in magnificent display. One (fittingly subtitled “A Meditation on Light”) is dedicated to saxophonist Albert Ayler, the other a surprise smile at John Lennon. Both men were public advocates for peace, Ayler articulating his perspective by way of ferocity and lament, Lennon by way of lyrics and persona. At the core of Smith’s tone is an implication of peacefulness. A flurry of notes may contain fervent energy, but the tone is still there, and in it a case is made for social justice by means of peacefulness. It’s all there in the sound of a trumpet, through which a whole life is blown. A perfect complement, on the solo piano piece “When Was” Myers shows her nimble-fingered jubilance, also in her cool organ sound, as buoyant as a life raft, keeping listeners safely above turbulent water.

In both cases, peacefulness is not offered as limpness or passivity. The meditative path can be a hard fought one, with passages of dissonance and struggle. And regret. Or longing. These are complex colors, not new age truisms. As buoyant and light as the music may be, as heavy and deep, it is most of all rich. Thinking back on those formative years in Chicago, the past unearthed and brought fully forward, this first set of duets is like a little manifesto of its own on how to approach creative art, a master class in invention and exchange…

Capacity and Expression

…and opening outward as well as inward. The penumbral glow of their collaboration suggests a capacity for wisdom, a kind of expressivity that exists without being forced, reminding the listener that one’s ability to express is directly related to that capacity, the opening up to the universe, a turning around of the universe to face the crowd by way of one’s capacious understanding, an understanding that Wadada Leo Smith and Amina Claudine Myers have come to independently and interdependently across decades in disparate places that land here and now in Central Park, a central spot, a convention center for the reconvening of heavy spirits and sympathetic souls.

John Corbett, Chicago, July 2023

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MoseRandRelease datum: 5/17/2024Cat-Nr: GMV129
Davie AndersonBallantrae BoundRelease datum: 5/24/2024Cat-Nr: CDBAR038

After the success of Davie’s debut album Love so Strong on the Brechin All Records label in 2020, he has followed it up with another brilliant collection of songs and tunes in Ballantrae Bound, displaying his many talents as a singer and musician - Davie plays acoustic guitar, electric guitar, bass guitar and ebow - and also his great skill as a crafter of beautiful, clever, catchy songs. His breadth of vocal dexterity spans a huge range, from traditional Scots song to modern pop and rock, but without ever losing sight of his Scottish roots.

Along with several of Davie’s own songs and tunes, the album features some classics by Ayrshire’s most famous son, Robert Burns, a song by the great Ewan McColl, Jim MacLean’s wonderful “Stirling Brig”, and “The Dunes of Dunkirk/Hearts” - a collaboration with Gordon Menzies, one half of legendary folk band, Gaberlunzie, as well as a breath-taking fiddle solo, “Bruce Robert Burton”, by Ayrshire fiddler, Alistair McCulloch. Other guest musicians feature on bass, drums, keyboards, fiddle and bodhran on various tracks.

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