Wednesday, October 29, 2014

Szabados György / MAKUZ - Homoki zene/Sands Music

01 - Hajnalok/Daybreaks
02 - Istenek a nagy Hortobágyon/Gods on the Hortobagy
03 - Mákvirágok/Iron /Homage a Stravinsky/
04 - Délibáb/Fata Morgana /Homage a Lutoslavsky/
05 - Legelő lovak/Grazing Horses /Homage a Kurosawa/
06 - Halott madár/Dead Bird
07 - Holtág/Stagnant Water /Homage a Bartók/
08 - Ég/Sky /Homage a Hamvas/

Adyton 05

"While recording this album at the Gallery of Contemporary Paintings in Szombathely, we were visited by a party of gods whom we received in an obedient trance: "They descended on our hearts They, our beloved birds."
Our land is the Puszta, the dry seabed, the plains of sand exposed to the sky. In the holy dawn, a mysterious flock of gods suddenly emerge over fields among the poplars and plume their feathers while the glaring sun traces its heavenly course,gilding the leafy corners of silence. "Then they -fly away with a flapping or wings."
To see, call and touch this secret Eden, the soul had to be faithful and discrete, the heart naturally open, and the notes had to be freely but perfectly controlled. While entirely improvised, the music has its roots in the vast sandy expanse of eastern Hungary, blends national with European music and reflects the history of our half of the continent. It comes from a love of the Puszta and a steady heart.Sand Musk is dedicated to the spirit of the Puszta. Mingled in it are identity and play, fate and memory, a reverie close to heaven and earth. A reaching into ourselves and out for the timeless Universe. Poetry, moments of magic, Zen. Blissful music dedicated to the great Kindred Spirits.
Credit to the musicians who made it. "
September 1991 György Szabados

Monday, October 27, 2014

Szabados György - Bells/The Land of Boldogasszony

01 Bells /Harangok
02 Pilgrimage /Zarándokút
03 Message /Üzenet
04 Aracs
05 The Land Of Boldogasszony /Boldogasszony földje
06 Supplication /Fohász

-solo piano-

BMC CD 130

"The deep experience that binds me to the sound of bells is boundless. My childhood initiation. And if, as the writer Bela Hamvas said, sound is truly the "fire" of material, t~e sound of bells is the
blissful breath of this fire, of fires embracing one another; a sigh that encompasses the Earth.This is also the sigh of this wonderful central European world, where I too live.The beautiful vibration of inter-embracing sounds near and far is the wide space in which I am at home. Their chanting,complex and free rhythms are decisive for the impulse and medium of the music living in me. This world is the land of Boldogasszony  (the Ancient Mother Earth of Hungarian mythology) a holy paradise. Blissful, secret, in proximity to the divine. Resplendent with poppies, reverential. The world of embraces and sublime rubato. Where today's ungainly era is spread out by the lights and shadows of towers in the changeable sky, and the inter-tolling of bells keeps tally of it over us."

Gyorgy Szabados

Sunday, October 26, 2014

Szabados György/MAKUZ: Sons Turned Into Stags

A szarvassá vált fiak (Sons Turned Into Stags)

Szabados György's  MAKUZ Orchestra

feat.: Johannes Bauer, Dresch 'Dudás' Mihály, Lakatos 'Tony' Antal, Benkő Róbert, Faragó Antal

Hungaroton SLPX 37215

 The message of Bartók's musical piece Cantata Profana - The Nine Miraculous Stags is important for ethno jazz musicians:

… Their slender bodies
Ne'er in clothes can wander
Only wear the wind and sun,
Their dainty legs
Can never stand the hearthstone,
Only tread the leafy mold;
Their mouths no longer
Drink from crystal glasses,
Only from pure mountain springs.

 'Only from a pure source' is a wish omnipresent in the work of the father and unofficial king of free jazz based on Hungarian folk music - GYÖRGY SZABADOS. To appraise Szabados's work is no easy task. It is not so much the conjuring up of the phases in the career of this great artist that presents the interpreter with a degree of difficulty; it is the fact that Szabados is also a theoretician in his own right. He is simultaneously the subject, creator, theoretician and philosopher of his musical work and its related world of thought - organic life and free music.
   Szabados is a huge admirer of Béla Bartók, who pioneered the reinterpretation of folk traditions. He recreated the Romanian legend that had served as the basis of Bartók's Cantata Profana for Iván Markó and his Gyor Ballet Ensemble in a production entitled A szarvassá vált fiak ( Sons Turned into Stags), released on LP in 1989. 'Apart from the occasional moments, it is difficult to find traces of Bartók's music in our music. Hungarian music has such characteristic features that, when they appear, they are immediately linked to Bartók, whereas the real kinship is not with Bartók but, on a much deeper level, with Hungarian music, a world view, and a special taste,' he said in the interview.
   In Szabados's music the composer is equal to the performer. His own pieces are either performed in his own idiosyncratic piano style at solo nights, sometimes accompanied by his shaman-like mumblings, or in ad hoc formations with musicians drawn by his aura.
   Besides his duo, quartet and quintet ensembles, he is best known for creating MAKUZ, or the Royal Hungarian Court Orchestra. This ensemble, which never included less than nine musicians, was a workshop for improvisation from which such contemporary greats of Hungarian jazz have emerged as Mihály Dresch, István Grencsó, Ferenc Kovács, Félix Lajkó, Attila Lorinszky, István Baló, Róbert Benko, Miklós Mákó and others, all of whom have since established separate careers.
 Zoltán Szerdahelyi

Triotone - Szabados/Braxton/Tarasov

01 - Trioton
02 - Black Toots
03 - Improvisation 1
04 - Improvisation 2
05 - Improvisation 3

Anthony Braxton
György Szabados
Vladimir Tarasov

Live In Kanizsa Sept.13. 2003.

Leo Records CD LR416

So if it was jazz that would introduce Szabados to improvisational  practice, once the step had been taken there was another wellspring,  geographically  immediate, to draw on. The rhythms that drive his music, the characteristic  intervals and scales, are in the musics of Eastern  Europe, and his piano playing owes more to Bartok  (with a nod to Thelonious Monk) than to the free jazz streams of either Cecil Taylor (who shares some of the same pianistic  roots) or Paul Bley.

The Music at Hand

"Trioton," Szabados, long, suite-like piece, is this  trio's essential  statement, a shifting tapestry that shows so much of the character of this  interaction, the trio's expressive breadth marking the haunting opening theme with the piano's bell-like tones and ghostly tremolos  and the understated percussion touches. Then there's the way it accumulates tension, in part through its mix of elements - its almost programmatic  mystery, the gathering lightness  of the runs, hints of a Monkish discourse on the blues. It is in that levitation that the trio asserts itself - the way Szabados' runs unhinge from the gravity of his opening, Braxton's fluttering vibrato, the light touch of Tarasov's snare and cymbal work (at times reminding that he was the percussionist with the Lithuanian State Symphony  Orchestra), all of it lifting upward from the weight of the theme. There is a sense here of multiple times - of a grave  mediation and a high-speed flight and the upswelling of time between the two, all three  maintained as constant states.The long trio-logue improvisation that is its middle is a delight of inventive exchange. The final dance-like theme - very like Stravinsky - sets up a repeating figure
that's in contrast to the   expansive free play that Szabados uses to elaborate it.The extreme rapidity and pinched sound of Braxton's sopranino is a perfect complement - a seizing of freedom where it seems unlikeliest.The comparatively short "Black Toots," another Szabados composition, seems to touch simultaneously on the worlds of Bartok and Monk. The first two of the three short improvisations that end the concert are very different in their materials from Szabados' compositions - the principle of interplay is sonic rather than immediately melodic or harmonic, with Braxton assuming a natural leadership role in the play of timbre and breath. "Improvisation  2" is an ethereal gem, a glimpse into another sonic order. "Improvisation 3," with the power of its rolling piano and the folk-dance of its tambourine,  returns us to the world of "Trioton."This music belongs to more than one great tradition, and it's worthy of them all.
Stuart Broomer
July 2004

Saturday, October 25, 2014

Illinois Jacquet - Swing's the Thing 1956

01 - Las Vegas Blues
02 - Harlem Nocturne
03 - Can't We Be Friends
04 - Achtung
05 - Have You Met Miss Jones
06 - Lullaby Of The Leaves

- Illinois Jacquet (tenor saxophone)
- Ray Brown (bass)
- Roy Eldridge (trumpet)
- Herb Ellis (guitar)
- Jimmy Jones (piano)
- Jo Jones (drums)

Verve 2304434

This classic 1956 Verve session features the great tenor Illinois Jacquet accompanied by Roy Eldridge, Jimmy Jones, Herb Ellis, Ray Brown and Jo Jones.

"These are all truly classic Verve titles that you simply don't want to miss, most importantly, the sound of these reissues is nothing short of astounding! - Danny Kaey/Positive Feedback Online

"Don’t let the October 16th 1956 mono recording date fool you: this Jean-Baptiste “Illinois” Jacquet session was recorded in Los Angeles, probably at legendary Radio Recorders, and the sound will knock you down. If the opener 'Las Vegas Blues' doesn’t get you, the second tune, the familiar 'Harlem Nocturne' will! The sonic mood is strictly fish net stockings film noir. When Jacquet reaches down to the lower limits of his tenor on 'Nocturne' you’ll feel as if the walls of your listening room just might crumble." - Michael Fremer, Music Angle (Music 9/10, Sound 10/10)

Friday, October 10, 2014

Trio Charles Gayle, William Parker, Hamid Drake - JAZZWERKSTATT PEITZ, 2014-05-23 Stüler Kirche, Peitz, Germany Peter Kowald in Memoriam mp2

• Charles Gayle - Saxophone, Piano
• William Parker - Bass
• Hamid Drake - Drums

1 - RadioIntro - Ulf Drechsel - 1:18
2 - Fearless - 28:50
3 - Gospel - 9:31
4 - Angels - 10:57
5 - Encore - 2:11 [FadeIn]
Total Time: 52:45

kulturradio, rbb - LATE NIGHT JAZZ
Date: 2014-09-20

dvb-s > Digital Satellitereceiver Humax PVR8000 > mp2
MPEG 1.0 Layer-2; 48,000 Hz Stereo; 320 Kbps
AudioEditDeLuxe > wav > JetAudio > Flac Compress Level 8 

recorded and edited by Lewojazz

Tobias Delius Sextet SWR 2 NOWJazz Session 2013 Sporthalle der gewerblichen Schulen Donaueschingen, Germany 2013-10-19

01 intro Julia Neupert 0:32
02 I Hear A Smell (Tobias Delius) 48:00

total time 48:32

Tobias Delius - composition, ts, cl
Liz Allbee - tp
Charly Birkenhauer - vib
Joe Williamson - b
Christian Lillinger - dr
Ciska Jansen - performance

Lineage: dvb-s – mpeg 1.0 Layer 2 – mp2 (stereo 48.000Hz – 320kb/s) >
Edision Argus Pingulux > HDD > Audacity (editing > flac) > HDD

Seeded on dime by jaype 2013-11-12

Return To Forever 2011-10-10 Shizuoka, Japan - Live In Shizuoka 2011

Artist: Return To Forever
Date: 2011-10-10
Venue: Granship Shizuoka
Location: Shizuoka, Japan
Source: AUD
Lineage: Bootleg CDR > EAC > wav > TLH > flac

Title: Live In Shizuoka 2011 (2CDR)
Label: Wildlife

Disc 1
01. Opening
02. Beyond The Seventh Galaxy
03. Senor Mouse
04. Shadow Of Lo intro / Sorceress / Shadow Of Lo
05. band introduction
06. Renaissance

Disc 2
01. After The Socmic Rain
02. La Fiesta
03. 500 Miles High
04. Spain

05. School Days
06. Ending

Chick Corea (key)
Stanley Clarke (b)
Lenny White (d)
Jean-Luc Ponty (vln)
Frank Gambale (g)

Retuns To Japan Tour 2011:
2011-09-27 Aichi Arts Center, Nagoya, Aichi
2011-09-29 Tokyo International Forum, Tokyo
2011-10-02 Kobelco Grand Hall, Nishinomiya, Hyogo
2011-10-06 Fukuoka Sun Palace Hotel & Hall, Fukuoka, Fukuoka
2011-10-08 Hibiya Open Air Music Theater, Tokyo
2011-10-10 Granship Shizuoka, Shizuoka *This Torrent

Art & Checksum Included.

*Please Support Artist!

MOSTLY OTHER PEOPLE DO THE KILLING (MOPDTK) 2014-06-09 (jun 9, 2014) 43. Moers Festival Festivalhalle Moers, Germany mp2

"RED HOT"  - tour

DVB-S recording @ 3256kbps/48kHz by LEWOJAZZ
digital satellite receiver Humax PVR8000 > mp2
aired by german WDR3 'Das Konzert'  on 2014-07-03
tracked w/ Mp3DirectCut by FBAUER in 12/2013


1. (fm intro) 1:13
2. The Shickshinny Shimmy  5:49
3. Red Hot 4:51
4. (fm speaker) 2:09
5. Gum Stump  7:29
6. (fm outro) 1:14

total time 22:47

Steven Bernstein – trumpet
Jon Irabagon – tenor sax
Dave Taylor – basstrombone
Ron Stabinsky – piano
Brandon Seabrook – banjo
Matthew Elliott – bass
Kevin Shea  – drums

'Shamokin!!! ' (2007)
'This Is Our Moosic' (2008)
'Forty Fort' (2010)
' The Coimbra Concert' (2011, live)
'Slippery Rock!' (2013)
'Red Hot' (2013)

"The new jazz subversives are paying tribute to the original jazz subversives." Besser als S. Victor Aaron 
kann man es nicht auf den Punkt bringen. Schon bei ihrem ersten Auftritt auf europäischem Boden 
beim 2009er moers festival wurde offensichtlich, dass Mostly Other People Do The Killing noch viel vor haben. 
Jetzt haben sie sich an einer Position umbesetzt, um drei Mitspieler erweitert und nennen sich Red Hot. 
Geblieben ist der Spaß, die Geschichte des Jazz auf eine sehr sympathische Weise und mit einer unbändigen 
Spielfreude durch den Kakao zu ziehen. Nach Jazz-Klassikern wie Ornette Colemans "We are the Music", 
muss diesmal, zum Abschluss des Festivals, die Musik der frühen Jahre, der "Hot Jazz" oder was auch immer 
sich die Sieben darunter vorstellen, dran glauben.

seeded by LEWOJAZZ + FBAUER 2014-08-06

Kahil El'Zabar's Ritual Trio Espace 1789, Saint-Ouen (France) Festival Banlieues Bleues March 14 2014 FM FLAC

Line-up :
 Kahil ElÕZabar, percussions, vocals Ari Brown, tenor saxophone, keyboards Junius Paul, bass Dwight Trible, vocals (tracks 2 to 5)

5 tracks (no set list), 55 minutes

Source : France Musique ÇÊjazz clubÊÈ, FM / Marantz tuner / RH-09R / Audacity / Xact

Harold Lopez-Nussa, 2013-10-17, New-Morning, Paris, FM

New-Morning, early set

Line-up :

Harold L—opez-Nussa,Fender Rhodes,Piano
Felipe Cabrera, bass
Ruy Adrian Lopez Nussa, drums
Maiquel Gonzalez, trumpet

8 tracks, unknown set-list

44 minutes

Source : TSF FM / Naim Uniti / RH-09R / Audacity / Xact

Dave Burrell & Sonny Simmons 15-06-2013 Vision Festival, NYC, AUD FLAC

Dave Burrell & Sonny Simmons

Vision Festival, Roulette, Brooklyn, NYC, USA, 15 June 2013

1. untitled improvisation (33:36)
2. untitled improvisation (8:39)

Total time 42:15

Dave Burrell - piano
Sonny Simmons - alto saxophone

DPA 4060s -> DPA MMA6000 -> Edirol 09HR

Sound: A