Peter Gabriel, Zoe Keating & Lera Auerbach, Spontaneous Improvisation at Piano Bar #davos14

Fofoulah – Fofoulah
Release date: September 19th, 2014

www.glitterbeat.com
www.fofoulah.com

“Fofoulah's music is a new voice in the endless Atlantic musical dialogue - what marks them out is the blurring of distinction between West African, jazz and popular music. Their interplay between polyrhythmic Sabar drumming, riffs and free-flowing improvisation can transcend categories…”
++Justin Adams (JuJu, Robert Plant, producer Tinariwen)

The London-based quintet Fofoulah (meaning “it's there” in Wolof) was formed in 2011 and features Tom Challenger (Red Snapper) on saxophone and keyboards, Phil Stevenson (Iness Mezel) on guitar, Johnny Brierley (Outhouse Ruhabi) on bass, Dave Smith (Robert Plant’s Sensational Space Shifters) on drums, and Kaw Secka (Irok) on Sabar drums.

With the rhythms of the Sabar drums - a traditional form of Wolof drumming from Gambia and Senegal – at its heart, Fofoulah’s music has evolved into an inspired cosmopolitan mélange that also incorporates elements of electronic music, dub, improvisation and afro-rock. Like the complex city they live in, their music is shaped and lifted by diverse sound-worlds and cultures.

“Some of us grew up within this culture, some of us studied the rhythms but most importantly we all realized and embraced the undeniable power and energy of these (sabar) drums”
Johnny Brierley (bass)

“This deeply traditional music connects people with sound, rhythm and movement in a very unique and special way and is a constant inspiration in everything we do.” 
Dave Smith (drums)

Having performed mainly in the creative hubs of east London and Bristol, in 2013 Fofoulah released the ‘Bene Bop EP’, a collaboration with Senegalese singer Biram Seck. Later that year the band entered the famed Real World Studios near Bath to begin work on their radiant debut album ‘FOFOULAH.’

Produced by drummer Dave Smith (Robert Plant, JuJu) ‘FOFOULAH’ is a previously unvisited crossroads where Sabar rhythms meet dub basslines and sci-fi synths; liquid melodies and Wolof rap entangle with trance-like dance grooves; and raw guitars, horns and samples blend with west and north African song forms.

In the album’s liner notes, bass player Johnny Brierley describes the creative journey that led to the making the album:
“The rhythms and traditions of the drums were essential starting points for our compositions and acted as the building blocks for all the other instruments…our music has developed and evolved with each members musical background and influences being heard within the band…'Fofoulah', our first album, is a snapshot of the band at this moment in time and the result of a constantly developing sound”
In keeping with the band’s expansive approach, the album also features an incredible roster of guest voices: Senegalese singer and Bristol resident Batch Gueye, UK singer / producer sensation Ghostpoet (courtesy of 'Play it Again Sam'), Algerian/Parisian singer Iness Mezel and the acclaimed Gambian born, Fulani musician Juldeh Camara (JuJu, Robert Plant).

Fofoulah is not merely a cross-cultural project. They are a dynamic band born naturally out of personal friendships and varied backgrounds, the nerve net of contemporary London and the post-global interconnectedness we all experience daily. The band is propulsive, innovative, celebratory and always leaning forward. They are a thrilling extension of the deeply rooted Sabar rhythms upon which their music revolves.

“Lets join together, leave conflict and work together. There is peace in community”
--No Troubles (Kelinte)

“If you don’t appreciate the truth of who you are and what the world brings to you, you will struggle. As we work we offer ourselves to the world.”
--The Clean Up (Rahas)

Fofoulah are: Tom Challenger - saxophone/keyboards, Phil Stevenson – guitar, Johnny Brierley – bass, Dave Smith - drums/sabar, Kaw Secka - sabar/tama


Fofoulah - Make Good (Soumala)

Hauschka live at Radialsystem on 22 March, 2014.

Special thanks to Michael Buchholz and Carlo Grippa for the amazing sound.
Recorded at Radialsystem, Berlin.
Published with permission of the artist.

If you like what you hear, support the artist!
http://hauschka-net.de

Visit UM:LAUT on Facebook and spread the word:
www.facebook.com/umlautberlin
www.umlautlive.de

Hauschka @ UM:LAUT - Craco (Live)

Life is a Dice Roll (ft Apple local integrated system architecture)

Background, context, and poem text: https://www.brainpickings.org/2016/09/28/orson-welles-reads-walt-whitman-song-of-myself/

CONTEXT / POEM TEXT

Orson Welles reads Walt Whitman

bit.ly/2iyCn3I

"Evolution" is a collection of blurry reflections, an emotional journey through memories of love, and loss.

▒ CREDITS ▒

Enthusiastically written, painstakingly recorded, carefully mixed and diligently mastered by Francesco Berta

▒ Flute: Luke Howells

▒ Bassoon: Mike Summers

▒ Violin: Liam Raw

▒ Cello: Aríanna Hönnudóttir

░ SPECIAL THANKS ░

My family, Sara, Kieron, Isaac and my prehistoric friends.

Additional thanks to Piero and Simone for their late night last minute mixing advice: I hope all the kick drums sound louder now.

Evolution

Download on Bandcamp

Adagio

Felt

Old Thought

https://ftmots.bandcamp.com/album/sleep-stations

From the Mouth of the Sun (aka Aaron Martin & Dag Rosenqvist) return with ‘Sleep Stations,’ an EP of six new songs, out May 18th, 2018 on Lost Tribe Sound. ’Sleep Stations’ rests comfortably alongside 2017’s ‘Hymn Binding’ their third full-length album and their original score for Joshua Z. Weinstein’s feature film, ‘Menashe.’ With ‘Sleep Stations’ the duo assures us that their exquisite palette of classical leaning, electro-acoustics reaped from their previous albums still leaves much to be explored.

In fact, the pieces of ‘Sleep Stations’ were composed during many of the same sessions as ‘Hymn Binding’ and ‘Menashe,’ yet they feel like a natural continuation of From the Mouth of the Sun’s sound, a stepping stone towards the next chapter, if you will. The core sound will be instantly recognizable for those who’ve followed their previous endeavors, comprised of cello, piano, acoustic guitars, lap steel, banjo, ukulele, pump organ, soft humming electronics and warm layer of static.

The title track ‘Sleep Stations’ was originally meant to be included on the album ‘Hymn Binding.’ It acted as a centerpiece and starting point for the music that From the Mouth of the Sun recorded later during the process of scoring the ‘Menashe’ film. The film ended up requiring an extremely spare palette, thus the ‘Sleep Stations’ EP represents a longing for a fuller and more controlled sound that exhibits the dynamic range that From the Mouth of the Sun strive for with their work.

There is a softness and detachment to ‘Sleep Stations’ more so, that seems to give the album an of aerial view of the landscape below. Where ‘Hymn Binding’ felt more grounded in the earth and soil, ‘Sleep Stations’ floats high above, feeling weightless, suspended in slow motion flight.

Arranging ‘Sleep Stations’ as an EP, has allowed Aaron and Dag to tell a shorter story, one that doesn’t have to be such a grand gesture, which is something they’ve wanted to explore for a while now. It’s a beautiful reminder, that a collection of music can still be simple yet deeply affecting, without being overwrought and excessive.
___________________________________________

CASSETTE DETAILS
‘Sleep Stations,’ our 3rd installment in the Dead West Tape Series, arrives on a limited pro-dubbed hi-bias tape cassette, housed in a reverse printed 300gsm heavy stock outer case. The edition (limited to 100) also comes with a download card offering a choice of formats including FLAC, 320K MP3, etc. Mastering was performed by Matthew Collings (aka one half of the duo Graveyard Tapes).
___________________________________________

DEAD WEST TAPE SERIES
Dead West is a series of limited cassette tape releases from the Lost Tribe Sound record label, inspired by the relocation of the LTS headquarters from the dry desert of Arizona to the lowland plains of Wisconsin’s farm country. The Dead West focuses on music built for exploring and soundtracking your environment, whether you're deep in the middle of lush woodlands, or just laying back at home with rested eyes. ‘Sleep Stations’ is the third release in the series. The first two releases in the series come from the composer William Ryan Fritch (Ill Tides) and experimental guitarist Seabuckthorn (I Could See The Smoke).
___________________________________________ 
credits
releases May 18, 2018

Music & Arrangements by Dag Rosenqvist & Aaron Martin
Mastering by Matthew Collings
Cover Image: NASA/JPL/U of Arizona
Layout & Design by Ryan Keane
© Dag Rosenqvist / Aaron Martin / Lost Tribe Sound LLC
Published by Settled Scores LLC (ASCAP) 2018

About the Birth of Stars

Amy Beach: The Fairy Of The Fountain. Augusta Schnabel-Tollefsen** on Ampico 54314.
c Recorded for educational and pedagogical purposes by VViljanen Feb 10, 2019, and ANY KIND OF COMMERCIAL USE IS PROHIBITED.
Photo: Amy Beach (1867-1944)was an American composer and pianist of Scottish descent. She was the first successful American female composer to make a name for herself in music. Most of her compositions and performances have been done under the name of Mrs. HHA Beach.
Amy Marcy Cheney was born as a child of a distinguished New England family . She was a prodigy who was said to be able to sing forty songs as a one-year-old. She learned to read herself at the age of three and composed three simple rolls when she was four. She received her first lessons from her mother when she was six, and a year later she gave her first recitals . She played works by Händel , Beethoven , Chopin , as well as her own works. In 1875 her parents moved to Boston, where they were advised to register Amy at a European conservatory. Instead, they chose to have her take classes in Boston, and they first hired Ernst Perabo, and later Carl Baermann. When she was fourteen, Amy got her only official composition training from Junius W. Hill, with whom she studied harmony and counterpoint for a year . Apart from that one year, Amy Beach did not have any lessons and taught herself everything especially by studying classical pieces, such as Bach's Wohltemperiertes Klavier .
In 1883 she made her professional debut in Boston: she played Chopins Rondo in E and Moscheles ' concert in g minor. Shortly thereafter she performed as a soloist with the Boston Symphony Orchestra . After her marriage in 1885 with Dr. Henry Harris Aubrey Beach - a Boston surgeon who was 24 years older than she - agreed to limit her performances to one public recital a year and donate the proceeds to a charitable cause. Responding to the wishes of her husband, she devoted herself to composing. Her first major success was the Mass in E major , in 1892 by the Handel and Haydn Societywas carried out. The well-received execution of this mass led to Beach from then on being counted among America's most important composers. She composed the Jubilate dedicated to the Woman's Building at the World's Columbian Exposition . [1]
After her husband died in 1910, she toured Europe as a pianist and she played her own compositions at the concerts. She was determined to acquire a reputation both as a pianist and as a composer. In 1924 she returned to America where she spent most of her time on the MacDowell Colonyin Peterborough (New Hampshire). In 1915 she wrote the "Ten Commandments for Young Composers", which included many of her theses for self-study. Later, Amy Beach moved to New York, where she became the virtual house composer of St. Bartholomew's Episcopal Church. She used her status as the most important female composer of America to promote the career of young musicians; she was also at the head of various organizations, such as the Society of American Women Composers, of which she was the first president. Heart failure led to Beach withdrawing in 1940, until her death in 1944.
**Augusta Schnabel-Tollefsen (Augusta Tollefsen, née Schnabel, 1885 - 1955).
Info* of the original piano roll:
LA FES DE LA FONTAINE (THE FAIRY IN THE FOUNTAIN) "Les Reves De Columbine" Op. 65, No. 1
Roll Number: 54314, 54314G
Composer/Creator: Beach
Pianist: Tollefsen
Roll System: Ampico
Country: US
Date: n/a
Category: classical
Original Price: $1.75
*Info source: The Player Piano Group web page (by permission)

Amy Beach: La Fée de la fontaine. Augusta Schnabel-Tollefsen 1910's on Ampico 54314

Piano instrumental, composed & recorded some time in July 2020.

Composed & Recorded by Hadi Zeidan
Mixed & Mastered by Konstantin Semionov
Artwork by Karen Keyrouz
Releases March 30, 2021

PURCHASE TRACK

Variations Mineures

Hi, my name is Alex. I like Sound. Founder & Chairman, SoundCloud.

Peter Gabriel, Zoe Keating & Lera Auerbach, Spontaneous Improvisation at Piano Bar #davos14

🔥𝔞𝔩𝔢𝔵 🔥