His new album "Sankofa" will be released on June 25th by Far Out Recordings. But exclusively for Le Grigri, Brazilian pianist Amaro Freitas unveils “Cazumbá” an incredible eight-minute piece that resonates like a true environmental manifesto at the crossroads of jazz and film music.
https://www.le-grigri.com/blog/2021/6/21/premiere-amaro-freitas-cazumba-sankofa-brazil-far-out-recordings

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Amaro Freitas - Cazumbá (Le Grigri Exclusive Premiere)

Released on RIP Records, October 21st 2013

Watch the official video here:
http://www.youtube.com/watch?v=d0PjZV33GfY

Want

Vol 2 out January 20 2023

Artist: London Odense Ensemble
Title: Jaiyede Sessions vol. 2


In recent years London has become an epicenter for experimental, visionary jazz. On this unique session, two of the finest exponents of the London jazz scene, Tamar Osborn and Al MacSween, join forces with members of the celebrated Danish psychedelic underground - Jonas Munk, Jakob Skøtt and Martin Rude – to create a heady sonic brew. On this first volume of material there's everything one could hope for in such a collaboration: sonically it summons the free flowing euphoria of Alice Coltrane and Pharoah Sanders' work in the late 1960s and early 1970s. But there's also a focus on rhythmic energy and vitality that calls to mind the grooviest krautrock or electric period Miles Davis, as well as a healthy dose of electronic experiments. 

Throughout these eight tracks the quintet paints with a colourful palette. Tamar Osborn shifts between baritone sax and flutes. Keyboardist Al MacSween doesn't just stick with the tried and true electric piano - an instrument which he masters - but showers these tracks in analog synths and effects as well. Add to that the fact that Jonas Munk took a somewhat creative approach when editing and mixing these pieces – with effects boxes wired in, occasionally giving the mix a dubby, ambient atmosphere. Similar to Munk and Skøtt's main project, Causa Sui, digging into the past becomes a vehicle to open up the future. What the quintet has created in these sessions is something quite unique.

Bios:
Tamar Osborn: 
Saxophonist, composer and multi-wind instrumentalist is the creative force behind modal jazz ensemble Collocutor (On The Corner Records). She is a member of the Dele Sosimi Afrobeat Orchestra, performs and collaborates regularly with Sarathy Korwar, Jessica Lauren, Emanative, Ill Considered and DJ Khalab.

Al MacSween: 
Keyboard player & founding member of Kefaya. Collaborations include American jazz legend Gary Bartz, Syrian qanun master Maya Youseff, London Community Gospel Choir, Palestinian jazz singer Reem Kelani & kora player Kadialy Kouyate.


Martin Rude: 
Multi-string instrumentalist & lead singer in Sun River. Doubles as stand-in bass player in Causa Sui.

Jakob Skøtt: 
Drummer in Causa Sui with a slew of side projects on El Paraiso, including Chicago Odense Ensemble, as well as being responsible for the label’s visuals.

Jonas Munk:
Guitarist in Causa Sui & studio wizard on most releases on El Paraiso. Also works with a wide palette of electronic music.

London Odense Ensemble: Casper's Green

Edena Gardens first ever concert captured live.

Until now, Edena Gardens has embraced the zoned-out quality of more or less introspective tracks. While studio albums are based on improvisations honed into tracks that fit together on an album, live Edena Gardens is another beast altogether. There’s a rawness to the tracks, without ever getting decidedly heavy - a quality which shows why the trio’s main acts Causa Sui & Papir have been redefining the European psychedelic underground for over a decade. The A-side exposes re-renderings of 1 track from each of the band’s studio albums. The live versions both have a harder edge and a unique spontaneous live energy. It displays that Edena Gardens are not all about musical meditation, but that they also know how to rock.

But it’s on the B-side where we get into the deep end. Here, we’re getting the full uninhibited version of Edena Gardens. A free-flowing yet exact 17-minute track, which starts out in a funky stoner jazz vibe, which somehow crescendos into an extended free-jazz-passage, finally culminating in an ending that’s as much psychedelic krautrock as it is 90’s rockism, winding itself down into it’s own doom. 

It makes sense that a band that feeds on impulses would release their very first show. 

Recorded at the Jaiyede Jazz festival 2022, Oct. 22nd at theatre Momentum in Odense, Denmark.

Edena Gardens: Veil (live)

From Causa Sui's latest collaborative album with Ron Schneiderman (Sunburned Hand of the Man), Pewt'r Sessions 3. The album will be released on August 18 on CD/Dl/LP - first 1000 LPs in orange marbled vinyl.

www.elparaisorecords.com

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"Following last years determined studio double LP, Euporie Tide, Causa Sui returns to improv with a third round of mindbending jams feat. Ron Schneiderman!

The savage, kaleidoscopic improvisations of the quintet's previous two volumes instantly gained reverence among fans of free flowing krautrock and detuned stoner rock, and this brand new addition, recorded in the late summer of 2013, fullfills the group's potential entirely. The krautrock grooves, the low-end heavyness and the sprawling furor is still very much present - but this set is also permeated by a rare free jazz-sensibility, at times recalling American masters of improvisation such as John Coltrane and Don Cherry in spirit.

Ferociously experimental, yet absolutely welcoming and corporal. One eye looking back to the golden age of improvised music, the other looking straight ahead, into the future. ”Incipiency Suite”, which takes up the entire B-side of this record, stands as the high pinnacle of what this group is capable of with the inclusion of Ron Schneiderman: an afternoon of spontaniously recorded parts, cut-and-pasted into an abundant whole by studio wiz Jonas Munk, creating a unique interplay between in-the-moment improvisation and creative studio editing." 

Causa Sui: "Incipiency Suite"

Who Do You Know by Dan Lozza

Taken from "Tardis" out February 12th 2016
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Weaver's Cave

Taken from 'I Can Be a Clay Snapper'
Order: https://goo.gl/3hCLGz
tak:til / glitterbeat

Hailing from Slovenia, Širom play vividly textured and (mostly) imagined, instrumental folk musics. Handmade and global instrumentation meets fearless sound exploration. 

Slovenia’s miniature, but incredibly diverse landscapes, echo through its distinctive cultural, historic and linguistic traits. When thinking about Širom’s geographical trajectories, as well as their musical ebb and flow, one has to consider the abundance of water that can be found in the individual regions where they come from. Cascading mountain stream lilt, lazy lowland river meandering and the mysteriously vanishing waters of Karst are most certainly inscribed into Samo Kutin’s, Iztok Koren’s and Ana Kravanja’s childhood memories and subsequently, their remarkable musical art. 

The band’s emergent sound oscillates between a wide array of acoustic folk sounds and contemporary post rock meditations, often drifting from improvisation to structured composition and then back. It is described by the members themselves as imaginary folk or folk from a parallel universe. “Our music creates emotional landscapes. When I was still painting every day (Ana holds a degree in painting) I was trying to paint my dreams but that didn’t work out,” Ana remembers. “I discovered that by using an abstract image I can draw nearer to what I felt in my dreams. Our music is based on a similar principle.”

According to Samo, the guiding concepts of their music-making are: “To play on acoustic instruments, to work with repetition and a common sound. Each of us can play a simple thing, but the overall result is that a complex thing comes to life. The quality of sound depends on the combination of the instruments and that’s why we modify and prepare instruments or create our own.”

As an avid sound-seeker, Samo began to develop an interest in building instruments out of everyday objects like drawers, computer boxes and other “junk” (as he lovingly calls his creations) as well as re-tooling the ones he brought back from his globetrotting adventures that have included personal encounters with local musicians in India, Morocco, Mali, Greece and elsewhere. 

Ana, who also nurtures a very personal relationship with music paraphernalia, adds: “There is a different attitude at play if you make an instrument yourself. It already tells you a story. If you buy it, it takes longer to get to know it, to tame it.”

In the little village of Lesno Brdo, tucked in the rolling hills ten kilometers south of Ljubljana, Ana and Samo organize music performances and festivals on a farm they rent, and divide their time between music making and vegetable farming. A close connection with nature is also important to Iztok who now resides in the capital city. “It’s a sort of a contact with the past but it also has its own life in the present.” 

Fearlessly textured sonic landscapes – both linked to and unbound by – the past and present, geography and tradition, the real and imagined. Hypnotic, otherworldly and epic. 

Širom’s music moves like the restless waters of their homeland. No matter how hushed or slow it may seem, it is never ever standing still. 
  
Širom are: Iztok Koren – banjo, three string banjo, bass drum, percussion, chimes, balafon, various objects // Ana Kravanja – violin, viola, ribab, cünbüs, balafon, ngoma drum, mizmar, various objects, voice // Samo Kutin – lyre, balafon, one string bass, frame drums, brač, gongoma, mizmar, various objects, voice

I Can Be a Clay Snapper

Boats, Biding, Beware!

Širom - Boats, Biding, Beware! (Čolni, Čakam, Čúvaj!)

Ill considered 3 - B2 Delusion

Recorded Live at Pizza Express Jazz Club, Dean Street, London. 
October 2012

Taken from the album Girl and Robot with Flowers

Download mp3

Have Space Suit Will Travel, pt 1 - The Greg Foat Group

Justin Pinkerton: "Aak'ab" out September 25th!

Preorder: www.elparaisorecords.com

California native Justin Pinkerton, a.k.a. Golden Void drummer and the man behind El Paraiso's own Futuropaco project, delivers a full-length album of playful synthesizer music. In contrast to a lot of the other projects Justin has been involved in over the years, Aak'Ab radiates slowness and tranquility. There's a rare sense of calm in these pieces. It would, however, be a mistake to categorize it as ambient or new age – the intricate pattern-work and the raga-like structure of these pieces avoid the usual new age pitfalls, and reveals stronger musical ties to the tradition of American classical minimalism and the electronic side of German kosmische from the 1970s.

Stylistically Aak'Ab harkens back to ideas that first materialized in Terry Riley's compositions in the 1960's and early 1970's. It's about patterns that gradually evolve and transform themselves – much like an organic process unfolding before your ears. The six pieces ebb and flow, and slowly creates a sense of peace and buoyancy in the listener. However, Justin avoids any kind of unnecessary sonic sweetening, instead letting the synthesizers buzz and hum in all their purity.

File next to: Terry Riley, Kaitlyn Aurelia Smith, Cluster