Experimental Jazz/ Improvisation

Pancrace

news letter #792

sahaja

per ora

I go to the parties
Throw my hands in the air
I drink what they pour me
The cups of who cares
Go up in the night sky
Up in the clouds
Fly over the houses
I'm looking down

Joy to the city
Joy to the streets
And joy to you baby, wherever you sleep
Tonight, tonight, tonight
Tonight, tonight, tonight

There's no ghosts in the graveyard
That's not where they live
They float in between us
'what is' and 'what if'
And cast our own shadows
Before our own eyes
You don't get them up here though
They don't come up high

Joy to the city
The parking lot lights
The lion of evening
With the rain in its eyes
Joy to the freeway
Joy to the cars
And joy to you baby, wherever you are
Tonight, tonight, tonight
Tonight, tonight, tonight

There's pain in whatever
We stumble upon
If I never had met you
You couldn't have gone
But then I couldn't have met you
We couldn't have been
I guess it all adds up
To joy to the end

Joy to the city
The heatwave and all
To the lion of evening
With the storm in its paw
Joy to the many
And joy to the few
And joy to you baby
Joy to me too
Tonight, tonight, tonight
Tonight, tonight, tonight
Tonight, tonight, tonight


Joy To You Baby (Josh Ritter)

This trio came about when the DOEK festival in Amsterdam invited the American saxophonist (and Dutch resident) to form a new group for the festival. Dikeman went straight for one of the greatest rhythm sections of the last 30 years - asking William Parker and Hamid Drake to join him in a trio. 

This recording includes both of the sets they performed at Cafe OTO on 7 May 2014 to a sold out house.

William Parker and Hamid Drake first came together as part of Peter Brötzmann’s legendary Die Like A Dog Quartet with trumpeter Toshinori Kondo. They’ve gone on to form a sympatico partnership, working as a duo (see Piercing the Veil on AUM Fidelity) and together on many of William Parker’s larger group projects. 

From rural Wyoming to Amsterdam via Egypt, Dikeman’s playing runs the gamut of improvised music with an open attitude to collaboration that tears down any notion of genre. His own groups include the no-wave noise jazz of Cactus Truck, and Universal Indians - a tightly wound trio (with Jon Rune Strom on bass and Tollef Ostvang on drums) seen regularly with special guest Joe McPhee.

——

Tracklisting

1.  Invocation (52:15)
2.  Longing Of The Heart (19:59)
3.  Museum of Tour (25:27)

——

John Dikeman / tenor and alto saxophones
William Parker / double bass
Hamid Drake / drums, percussion, voice

Recorded by James Dunn at Cafe OTO on Wednesday 7 May 2014. 
Mixed by Rupert Clervaux at Grays Inn Road, London. 
Mastered by Andreas [LUPO] Lubich at Calyx, Berlin. 
Photograph by Dawid Laskowski.

Full recording available from Cafe OTO in MP3 and FLAC formats.


Dikeman / Parker / Drake - 'Museum Of Ideas' [Excerpt]

Taken from the Passive Me, Aggressive You (Remixes and B-sides) album.

Digital download: http://po.st/TNAFbsds
Limited Record Store Day vinyl release: http://po.st/L0DeVv

Passive Me, Aggressive You

The Sun (The Drunken Apaches Remix)

Evan Parker & AMM  (Excerpt / DS017)

It's a real honour to share this music performed by three of OTO's most treasured musicians - John Tchicai, Tony Marsh and John Edwards. This was the first set of the trio's residency at Cafe OTO in 2010, returning on blistering form after an initial two-day stint in 2009.

---

John Tchicai / saxophones, flute
John Edwards / double bass
Tony Marsh / drums

---

Recorded live at Cafe OTO on 27 September 2010 by James Dunn. Mastered by Andreas [LUPO] Lubich at Calyx, Berlin. Photograph by Nicholas Lativy.

Special thanks to John Coxon for his assistance in making this recording possible.

DS001 - John Tchicai - Tony Marsh - John Edwards '27 September 2010' [sample]

Passive Me Aggressive You

The Sun

talian Soundtrack holy grail and one of the most regarded scores by the majestic Oscar Award maestro Luis Bacalov, author of DJANGO, IL POSTINO (The Postman) and other legendary film scores. Original soundtrack for the Drama/Erotic film directed by Fernando Di Leo, shooted in our beatiful Sicily, IT. For us, totally destroys all his Soundtrack productions with a big orchestra selection featuring some of the best Italian grooves ever - terrific Funk beats, mindmelting scats, Brazilian influenced music with loads of dope Exotic vibes. The thing is a swaggering waltz of Funk with Wah Wah guitars, sensous horns, huge orchestra arrangements, smooth rhythms throughout with deep vocals by studio combo session, and finally the heaviest driving piano groove ever. A gigantic Italian music masterpiece finally available for the joy of collectors!

Originally released in 1973 - Fonit Cetra LPX 27

Original soundtrack of the film directed by Fernando Di Leo.
Remastered edition released by ℗ 2017 SONOR MUSIC EDITIONS & BEAT RECORDS COMPANY
https://www.facebook.com/sonormusiceditions
© Ed. Sonorfilm

Music composed, arranged and directed by LUIS ENRIQUEZ BACALOV with Rosa Balestreri & I Ninhos Pega
Production: Sergio Bardotti

LA SEDUZIONE

Luis Bacalov - "LA SEDUZIONE" OST

Taken from the Pancrace 2LP (PP28) out early April 2017

Penultimate Press is proud to present the debut recording from French outfit Pancrace.

Music for pipe organ Stiehr-Mockers 1848, Bird Calls, Baroque Violin, Tin Whistle, Boîtes à Bourdons, Landscape Piano, Motorised Bow, Standuino Pi Synth, Microphones, Hurgy Toys, AM radio, Church Bells, Uilleann Pipes and Hulusi. 
 
Pancrace is an improvising quintet comprising French, British and Austrian performers. The members include Prune Bécheau, Arden Day, Julien Desailly, Léo Maurel and Jan Vysocky. Pancrace is also the name of the  church in Dangolsheim Alsace located next to where the instrument inventor Léo Maurel lives. Maurel makes ingeniously designed instruments inspired by the hurdy gurdy. 

The recording emerged from a disruption of the traditional elements within the church, namely the church organ which was prepared inside out whilst the performers challenged it’s gregarious authority with an array of constructed and modified instruments. In Pancrace one can hear many of these shape-shifting instruments and devices being twiddled without quite knowing which are bowed, plucked, hammered or rubbed. The results are a maelstrom of sound and song which see-saw between the harrowing and the sublime with incredible detail to sonic content.  

Pancrace instigates proceedings in the confinement of an organ; a Cyclops puffing its continuous and raucous breath only to be woken by instruments who, like horseflies, mischievously start tormenting proceedings with microtones and striated polyrhythms. The journey ends four sides later with the language of the birds imposing an unadorned silence on the church.

http://www.penultimatepress.com

Pancrace - C (excerpt)

**Order the deluxe 3LP DANGERDOOM (Metalface Version) reissue here: http://smarturl.it/dangerdoommetalface

Back in 2005, super-producer Danger Mouse and hip hop supervillain DOOM came together for "The Mouse And The Mask", a collaborative album released under the name DANGERDOOM.  Among DOOM’s most successful projects both critically and commercially, the album was inspired by Cartoon Network’s late-night Adult Swim programming slate, and includes appearances from Aqua Teen Hunger Force, Space Ghost, Harvey Birdman, and more, plus guest spots from Talib Kweli, Ghostface Killah, and Cee Lo Green. 

Now, DOOM is proud to announce a deluxe CD + 3xLP vinyl reissue of "The Mouse And The Mask" courtesy of his own label METALFACE Records.  This edition also includes the 7-track 2006 DANGERDOOM digital-only EP Occult Hymn (remastered, with high-quality audio for the first time ever), as well as two previously unreleased tracks, including this track featuring Black Thought.

DANGERDOOM - Mad Nice (ft. Black Thought & Vinny Price)

‘Leave, If not I will kill you’

In early 1978, Vincent Ahehehinnou left the Orchestre Poly-Rythmo de Cotonou without explanation. He had been one of their principal vocalist since 1968 and had helped transform them from a hard-charging nightclub band into a musical powerhouse and Africa-wide sensation. By the end of 1977, after an explosive performance at the pan-African arts and culture festival (Festac77) in Lagos, the band had reached the very pinnacle of their success.

For nearly forty years, the reasons behind Vincent’s sudden departure have remained a mystery. Until now.

In an interview included with Analog Africa’s new reissue of Best Woman – Vincent’s first post-Poly-Rythmo album, which has been out-of-print for close to four decades and nearly impossible to find outside West Africa – the great singer finally breaks his silence. He didn’t leave … he was pushed.

Poly-Rythmo were already popular in their native Benin but, in the aftermath of Festac ’77, the band were poised for break-out success throughout Africa. One of the people who stood to benefit most was the band’s manager Adissa Seidou, whose label Albarika Store had released most of the band’s recordings. However Adissa’s vision for Poly-Rythmo didn’t always line up with that of the musicians and, more often than not, it was Vincent who spoke up for the band.

The two men grew increasingly estranged until one day – at the funeral for Adissa’s father no less – Adissa gave Vincent an ultimatum of sorts. In Vincent’s own words: ‘I asked him if there is a way we could sort out our differences to which he replied that the only solution was for me to leave the band, adding, “if not I will kill you”’.

And so Vincent found himself forced out of the band he had helped build. He tried his hand at various business ventures, but soon realised that the pull of music was too strong. On a business trip to Nigeria, Vincent met with Ignace de Souza of Benin’s Black Santiago band, who agreed to arrange Vincent’s songs, assemble musicians, and book a session at the legendary Decca Studios in Lagos. 

With everything in place Vincent returned to Cotonou, gathered together all the money he had saved over the years and set out again for Lagos. But the simple bus journey to Nigeria turned into a nightmarish odyssey of military corruption … and  had it not been for the random kindness of an unknown woman on the bus, this album – along with Vincent’s subsequent solo career – might never have existed. Vincent tells the full story in the liner notes to this LP.

But Vincent did make it to Lagos and the sessions went ahead. The nine-piece band, handpicked by de Souza, learned the songs and set them to tape in the span of only a week … but the results are as timeless and essential as anything to emerge from West Africa in the late 1970s.

Vincent’s afrobeat credentials are in full evidence on opening track ‘Best Woman’ (English) whose driving beat, focussed horns and intricate vocal melody recall the raucous intensity of Poly-Rythmo. But the deep funk of the title track turns out to be only a warm-up for album-highlight ‘Maimouna Cherie’ (French), a moving expression of love and longing which kicks off with a hi-hat and wah-wah guitar workout but shifts gears mid-way into a more concentrated and contemplative groove. 

The funk and afrobeat gems on Best Woman are balanced by songs that draw upon Sato, one of the many Vodoun rhythms of Vincent’s native Benin. Side one concludes with ‘Vi Deka’ (Mina), an epic slow-burner propelled by some of the record’s most soulful vocals, while album closer ‘Wa Do Verite Ton Noumi’ (Fon) all but dares you not to lose yourself in its sublime hypnotic trance.

Ahehehinnou Vincent Vol.1

Get the Record

Best Woman - Vicent Ahehehinnou

 Everywhere At The End Of Time 2nd Stage

the caretaker - What does it matter how my heart breaks (excerpt)

From the Afghan Whigs album 'In Spades' (out May 5, 2017) 
Sub Pop Mega Mart*: https://megamart.subpop.com/releases/the_afghan_whigs/in_spades
iTunes:  https://itunes.apple.com/us/album/in-spades/id1203055216?ls=1&app=itunes

*Customers who pre-order the LP version of 'In Spades' from the Sub Pop Mega Mart will receive the album on Loser Edition white-colored vinyl, while supplies last only.

Directed by: Phil Harder phil-harder.com 

The Afghan Whigs: http://afghanwhigs.com/
Twitter: https://twitter.com/theafghanwhigs
Facebook: https://www.facebook.com/TheAfghanWhigsOfficial/
Instagram: https://www.instagram.com/theafghanwhigs/
on Tour: http://www.subpop.com/tours/the_afghan_whigs
 
Sub Pop Records  http://www.subpop.com
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Podcast http://subpop.fm/
 
Subscribe To Sub Pop's YouTube Channel 
http://www.youtube.com/user/subpoprecords

The Afghan Whigs - Oriole

Introspectiva

আমি ভাস্বর নীল আলো

check the album:
https://soundcloud.com/user-239309254/sets/elevacion

Luz azul

Ewe Knowe The Girdle Stanes

01 Terry Riley - Keyboard Study 2

Analog Gear/Analog Recording AAD

Beautiful flowing moody soundscape in the spirit of Terry Riley.  Re-mastered Recording.  sounds a lot better.

Terry Riley

Fabio Orsi/Glowing Echoes

Glowing Echoes Part 1 (24:26)
Glowing Echoes Part 2 (17:36)

Fabio Orsi/Glowing Echoes/Glowing Echoes Part 2 (Sample)

from the album 'cloud room, glass room' available 4/29

pan•american 'project for an apartment building'

The most daring, audacious and amazing record label on the planet - Le Monde