#Daniel Carter

[massheaven]

He knows.

[badanmalaya]

JOEY SULLIVAN

Pec bounce galore, hypnotic & erotic.

[dustoffstartagain]

Geno and Daniel oiling up

Geno and Daniel oiling up

[21st-century-boys]

Joey Sullivan aka Daniel Carter

[lovingrunawaypeach]

[properbloke79]

Joey Sullivan

[mirinmuscles]

Joey Sullivan

[momachan]

"Skeets, you need to stay here and locate Michael and Ted. Ted always has his head on straight. He probably has already realized what needs to be done... -Sir? You're certain there's no other way? There's no other way to save Michael's friend? -I wish there was. I really do. But we can't change the past, Skeets. No matter how much we want to. I know that all too well."

Booster Gold (2007-2011): Blue And Gold. "Mindgames."

[thetwiggiesttwig]

i just know that they have the most horrible group chat

[badanmalaya]

JOEY SULLIVAN

Showing off while shopping. What would you do if you spotted him?

[dustedmagazine]

Brent Cordero & Peter Kerlin — A Sublime Madness (Astral Spirits)

A Sublime Madness by Brent Cordero & Peter Kerlin

The partnership of Brent Cordero and Peter Kerlin precedes the pandemic, but the 2020 shutdown set the stage for them to make something lasting out of it. At any rate, it cleared their schedules. Furthermore, the tenor of the times created a milieu that the album acknowledges and responds to. 

Cordero, who has played keyboards for Psychic Ills and Mike Wexler, provides organ, piano and synthesizer. Kerlin, of Sunwatchers and the Solar Motel Band, plays upright and electric basses. They first recorded as an improvising duo on Kerlin’s album Glaring Omission, which documents his efforts to come to terms with the eight-string bass. But, with time on their hands and the state of the nation on their minds, they set about organizing their music into a cohesive statement. While improvisation still figures in their methods and sonic orientation, the album was assembled in stages, with guest players adding drums, horns, viola and synthesizer to the duo’s original recordings. In essence, the solos function to provide focus and emotional impact to music that takes note of examples that are jazz-adjacent, but not jazz-confined.

“Movement To Protect The People” opens with a churchy organ melody. It sets the stage for an intricate countermelody articulated by an upright bass, which is then overtaken by spare piano notes, which drift in time with Ryan Sawyer’s stately, swinging backbeat. With each change, I found myself waiting for a voice that never arrives — Robert Wyatt’s. The tunes, textures and vibe all sound deeply inspired by his work, and the title suggests that their hearts beat in time with that of music’s most compassionate communist. However, the title of the propulsive waltz that follows, “Decolonize This Place,” articulates a consciousness that is very tuned into the trials of the present; Kerlin and Cordero aren’t just playing out their Soft Machine dreams. And the music is equally tuned into newer information. The effects on Cordero’s organ during the first solo show an engagement with malleable, distorted sound shaped more by pedal-hopping guitarists than post-bebop keyboardists. And a rippling performance by tenor saxophonist James Brandon Lewis adds to Kerlin and Cordero’s virtual community. 

Over the next five tracks a steady stream of musicians, including Jessica Pavone, Ryan Jewell and Daniel Carter, add their distinguishing voices to music that sounds like it is trying to transcend the realities alluded to by titles such as “White Supremacy In Black Face” and “Affordable For Who?” You can’t change the facts on the ground by slapping stirring names on instrumental compositions. But in a time when the American political discourse has morphed into a naked donnybrook over the means by which dissenting voices will be told how to shut up, it feels as necessary to say where one stands as it does to give comfort to those who are standing up. 

Bill Meyer

[culturedarm]

Improvisational icons and 577 Records mainstays Daniel Carter, Leo Genovese, William Parker, and Francisco Mela unite for the first time galvanised by the interminable motion of life in New York City, the Paralaxe Editions founder Dania uses vocal loops, modular synths, and collaged samples of Iraqi musicians in an effort to weave and unweave those ties that bind, and the visionary percussionist and veteran bandleader Kahil El’Zabar guides his Ethnic Heritage Ensemble and special guests on a rhythmic tour de force in celebration of the legendary jazz trumpeter Don Cherry, figured here as an urban shaman and spirit gatherer whose music continues to serve as a healing balm through troubled times. Peter Walker delves into the Costa Rican jungle for a site-specific study of the zompopa leafcutter, Laura Cannell as the Hunteress draws inspiration from the  destruction horizon left by the ancient Iceni queen Boudica, plus tracks by Bendik Giske, UCC Harlo, Jake Meginsky, Lil Gotit, and LaToya Kent and RA Washington as Me:You.

https://culturedarm.com/tracks-of-the-week-22-04-23/

[donospl]

Co w jazzie piszczy [sezon 2 odcinek 27]

premierowa emisja��31 lipca 2024 – 18:00 Graliśmy:  Louis Moholo Moholo  “Mongezi-Frames Part 1  (alternate take)” z albumu “Viva La Black” –  Ogun Records Phil Bancroft & Gyan Singh “Birth and Death” z albumu  “Birth and Death” – Myriad Streams Phil Bancroft  Quartet “Boip Avoiding” z albumu “Headlong” – Myriad Streams Ron Miles “I Will Be Free” z  albumu “Old Main Chapel” – Blue Note…

[donospl]

Co w jazzie piszczy [sezon 2 odcinek 8]

premierowa emisja 28 lutego 2024 – 18:00 Graliśmy: Liv Angrea Hauge Trio  “Vår” z albumu “Ville Blomster” – Hubro Music Frances Chang “Spiral in Houston” z albumu “Psychedelic Anxiety” – Ramp Local Pavel Morochovic “Intermezzo No. 2” z albumu “Harmony I” – Hevhetia Gregory Uhlmann “Mint Chip” z albumu “Small Day” – Colorfield Records Mike LeDonne “Make Someone Happy” z albumu “Wonderful”  –…

[elnerdo19v2]

@menwhogetmehard