#Hubro Records

[donospl]

Co w jazzie piszczy [sezon 2 odcinek 26]

premierowa emisja 24 lipca 2024 – 18:00 Graliśmy: Brad Mehldau “Nocturne” z albumu  “Apres Faure” – Nonesuch Records  Brad Mehldau “Between Bach” z albumu “After Bach II” – Nonesuch Records  Liva Dumpe “Sonata No 1. in G major” ��z albumu “Tālskatis” Sarah Hanahan “Welcome” z albumu “Among Giants” – Blue Engine Records Ivanna Cuesta “Chaos” z albumu „A Letter to the Earth” – Orenda…

[dustedmagazine]

Dave Vettraino — A Bird Shaped Shadow (Ruination)

Dave Vettraino is a recording engineer based in Chicago known for his work with artists such as Jaimie Branch and Makaya McCraven. On A Bird Shaped Shadow, his acoustic guitar provides the matrix on which wind, brass, strings and percussion build compelling soundscapes. The result is an enchanting blend of jazz, classical, and even exotica and folk elements that defies categorization. The sound is warm, lush and highly detailed.

Somewhat gentler and more layered than Vettraino’s solo debut, Exercise (2020), this release — named for a line from Haruki Murakami — features slow to mid-tempo tunes that tend to unfold without building to obvious climaxes. The musicians who help him bring his compositions to life, including Rob Frye of the Bitchin’ Bajas (among other projects) on clarinet, flute, and sax, cellist and sound artist Lia Kohl and percussionist Phil Sudderberg, are well known on the Chicago scene.

The tunes, presented in order of increasing length, gradually draw the listener in. The brief opening title track sets the mood with a swoosh of strings and guitar suggestive of a sunrise. Next, “Morning Melody” — the theme of the first half of the day is also reflected in the album’s cover art — with sax and strings dancing over a steady percussion groove, seems to form a kind of suite with “Parallel Play,” which features singer-songwriter and composer Macie Stewart on Wurlitzer and violin and a similar groove and feel.

“Mid Mind” largely dispenses with the groove in favor of an exotica-adjacent sound in a perfect blend of synthetic and acoustic sounds. Vettraino’s guitar is somewhat more prominent on “There Is No Way Not to Choose,” which delivers seven minutes of sonic bliss also shaped by strings and spare piano.

The percussion groove returns on closer “Uplift Two Twenty Two,” which, over more than eight minutes, serves as the summation of what has gone before. Propelled by a sweet horn ostinato and a keening flute, the track is suggestive of heading out into the bustle of a morning in the city.

While this album is distinctive, I hear similarities to, among other things, some of the projects released on the Hubro record label, the Henry Kaiser-Jim O’Rourke project Acoustics, and, Peter Walker’s Rainy Day Raga and Second Poem to Karmela. Whether Vettraino is familiar with or interested in these antecedents is unclear, but A Bird Shaped Shadow will certainly appeal to anyone who is. Putting this record on, pouring a cup of coffee, and sitting by a sunlit window are an almost certain recipe for a nice day.

Jim Marks

[asso-balise]

Parachute 392 02.10.2024

VA – Project Cucuron mixtape #1 – Noannaos - 2019 t : Ashley – Inhaaaxhale Cloak of kings - Ayont – Riforma - 2023 t : Fiftyleven days Guilia Rae – o – Riforma – 2018 t : Regolo Dori Soride – Non aver paura - Riforma - 2024 t : Non aver paura Somaticae – Blue lagoon - Riforma - 2024 t : Blue lagoon (rework Undae tropic- Moskus – Bareffot in bryophyte – Hubro - 2024 t : Nils Klim Loren Connors – A West Bound Brook / Gone To Turin - Profane Illuminations - 2023 t : A west bound brook VA – FFF our KMSU – Roundbale recordings - 2013 t : Charlatan – Red portage Miss Canine Hoe – Septem peccata mortalia – Adventurous Music – 2024 t : Superbia VA – All semantics (II) – CMNTX records - 2024 t : Alex Ring Gray - 3200 Phaethon The Stance brothers – Duktus – Wejazz records – 2024 t : Sao polo Read the full article

[himeraturku]

Himera esittää: Atte Elias Kantonen, Livia Schweizer, Michael Pisaro-Liu

Lauantai / Saturday 18.5. 19:00 (ovet/doors 18:30)

Tehdasteatterin Jokistudio

Liput 8/5€

Ohjelma / Program:

Atte Elias Kantonen - solo electronics

Livia Schweizer - within (1) for solo flute by Michael Pisaro-Liu

Atte Elias Kantonen

Atte Elias Kantonen (b. 1992) is a Helsinki, Finland -based sound designer, sonic artist and composer working mostly in the fields of experimental music and contemporary performing arts. 

The aim of Kantonen’s sounding discipline is to sculpt sound into delicate forms that are constantly affected by a kind of mutant nature encompassing a variety of tones – ranging from glassy to organismic, earthly to ethereal. Kantonen’s composing process consists of creating sonic events that play with the idea of form, space and time as having incessant elasticity. When it comes to designing sound for a performance, Kantonen incorporates spatial and electro-mechanical layers to his designs, ranging from unconventional speaker arrangements to sounding kinetic sculptures. 

Kantonen has a conceptual side project “ant spa ·)((“, which currently consists of a monthly experimental music radio show on IDA radio and experimental music and sound performance event edition “bugbath”. His work has been supported by Arts Promotion Centre Finland and Music Foundation Finland and for the year 2024 by the Kone foundation.

Livia Schweizer

Livia Schweizer (b.1994) is a flutist, improvisor, educator and artistic researcher based in Helsinki. She is known for her interest in improvisation and non-conventional music notation as a tool of bringing together creative souls from different backgrounds, ages and cultures.

Livia grew up in Tuscany and has lived in Finland since 2014. Since moving to Helsinki Livia has been performing solo and in chamber ensembles for festivals such as the Flow Festival, Helsingin Juhlaviikot, the UNM Festival, Tulkinnanvaraista, Luosto Soi, Uuden Musiikin Lokakuu, Jauna Muzika (Lithuania), SoundScapes (Germany), Hiljaisuus Festival and Musica Nova. Her passion towards contemporary and experimental music brought her to be part in several projects with the NYKY-ensemble, Avanti!, Korvat Auki, the UMUU-ensemble, Eloa ry and Tampering, and in 2021 she became member of the Earth Ears Ensemble, an ensemble focused on contemporary music from lesser heard voices.

Michael Pisaro-Liu

Michael Pisaro-Liu (born, Michael Pisaro, 1961 in Buffalo, New York) is a guitarist and composer and a long-time member of the Wandelweiser collective. While, like other members of Wandelweiser, Pisaro-Liu is known for pieces of long duration with periods of silence, in the past fifteen years his work has branched out in many directions, including work with field recording, electronics, improvisation and ensembles of very different kinds of instrumental constitution.

Pisaro-Liu has a long-standing collaboration with percussionist Greg Stuart, with over thirty collaborations (pieces and recordings) to date, including their 3-disc set, Continuum Unbound from 2014 and Umbra & Penumbra for amplified percussion and orchestra premiered by the La Jolla Symphony in February, 2020. Pisaro-Liu also has recurring (intermittent) duos with Christian Wolff, Keith Rowe, Taku Sugimoto, Antoine Beuger, Graham Lambkin, Toshiya Tsunoda and Reinier van Houdt. There are several recent compositions for orchestras of various kinds and constitutions – including commissioned work for the BBC Scottish Symphony, INSUB MetaOrchestra and the Grand Orchestre de Muzzix. Much of his current work takes the form of mixed-media assemblages, in collaboration with filmmaker/artist/writer Cherlyn Hsing-Hsin Pisaro-Liu.

Recordings of his music have been released by Edition Wandelweiser Records, erstwhile records, New World Records, elsewhere music, Hubro, Potlatch, another timbre, meena/ftarri, Senufo Editions, Intonema, winds measure, HEM Berlin and on Pisaro's own imprint, Gravity Wave. His work is regularly performed throughout the US, Europe, South America and Southeast Asia. 

 Pisaro-Liu is the Director of Composition and Experimental Music the California Institute of the Arts.

within (1)

for solo flute

within is a series of six pieces for solo instrument, that were written for the 3-year project at the Zionskirche in Berlin, organized by Wandelweiser members, Carlo Inderhees and Christoph Nicolaus from 1997 to 1999. (3 Jahre - 156 Musikalische Ereignisse - eine Skulptur). It featured the premiere of a 10 minute piece every Tuesday at 7:30pm in the choir balcony of the church. (There were eventually about 30 composers involved in the project.)  “within (1)” for solo flute, was the first piece performed on the series, in January, 1997. Eventually all six of the 10-minute sections were played the church.

The piece is built upon the individual colors of single flute tones. A tone is played once or repeated a number of times before moving to the next. Because of the sustained impression of the single tone, it functions like a “plateau”, whose level changes when the next note occurs (always following a silence). It is a slow moving, glacial, melodic landscape.

[musicollage]

Kim Myhr + Australian Art... – Vesper. Hubro : 2020.

[burlveneer-music]

John Ghost - Airships Are Organisms - prog rock/jazz from Belgium (Sdban Records)

John Ghost is ingenious and exploratory, often described as a symbiosis between the sounds of Steve Reich, John Hollenbeck, Nils Frahm and Jaga Jazzist. Created around the Ghent guitarist and composer Jo De Geest, the Belgian sextet draw on influences from jazz, rock and post-classical music, where minimalism, electronics and a cinematic atmosphere characterize their instrumental music.

New album ‘Airships Are Organisms’, released 27th September via Sdban Ultra, was produced by Jørgen Træen (Jaga Jazzist, Kaizers Orchestra, Hubro, Sondre Lerche). When it came to recording the album, John Ghost searched for a balance between the venturous, accessible and playful character of jazz music, in which John Ghost has its origins, and a carefully thought out selection process with the production, with a sharp eye and ear for detail. Seemingly simple earwigs are underpinned by driving undertones that inspire harmonic twists and a rhythmic and melodic stratification, that often results in a very danceable soundtrack.

Tracks like 13-minute album opener ‘Deconstructing Hymns’, keep a fine balance between moments of abstraction and repetition while recent single ‘Disfunctional Rabbits: The Disfunction’ is an intoxicating, dreamy soundscape that alternates between balanced jazz fluctuations and space-like grooves. Elsewhere, the idiosyncratic ‘The Fallen Colony’, spirals into a progressive narrative of experimentation and improvisation, a common thread throughout large parts of John Ghost’s music, before the haunting ‘Drones For a Sunken Mothership’, combines soaring bowed melodies and broken beats that is not only mesmeric but filled with breathtaking majesty. 

[riffsstrides]

Mats Eilertsen Trio

Elegy

Hubro records, 2010

Harmen Fraanje: piano;

Thomas Strønen: drums;

Mats Eilertsen: bass

He's best-known internationally for his work on ECM recordings by artists including guitarist Jacob Young, pianist Wolfert Brederode, and, most recently, pianist Tord Gustavsen, with whom he's been touring in support of Restored, Returned (2010). But while these associations might suggest a bassist disposed to gentler forms and understated freedom, they're only two of Mats Eilertsen's many sides. A busy bassist in his native Norway, Eilertsen's broader reach can be heard on singer/songwriter Solveig Slettahjell's Tarpan Seasons (Universal, 2010), Hardanger fiddler Nils Okland's Bris (Rune Grammofon, 2005), the sonic extremes of Crimetime Orchestra at Molde Jazz 2009 , and the subdued spontaneity of The Source on its 2006 self-titled ECM set. Left to his own devices, and with a gradually growing discography as a leader, Eilertsen does lean towards a softer, and sometimes darker approach, with the flexible approach to time that's near-signature to Norwegian improvised music. Elegy is the bassist's first with a conventional piano trio, though it's far from the tradition; the trio's take on trumpeter Miles Davis' enduring "Nardis" filters its familiar theme through a particularly dense prism—Thelonious Monk-like in its quirky mannerisms as opposed to the romanticism associated with {Bill Evans, the pianist most closely associated with the tune. But Monk wouldn't have approached it with the kind of temporal elasticity that Eilertsen, drummer Thomas Strønen manage with such effortless fluidity. Eliertsen's choice of pianists for this set, largely composed of original material and spontaneous composition, features Harmen Fraanje, an up-and-coming Dutchman who, in addition to being a member of Eric Vloeimans' Fugimundi trio, has released three albums of his own, most recently Avalonia (Challenge, 2010). A good fit for this trio—comfortably blending European classicism with jazz's linguistic specificity, Fraange's "Six Weeks" is a stunning piece of dark melodism, juxtaposed with waves of paradoxically rounded angularity; a three-way conversation with Eilertsen, who blends robust, woody tone with flighty leaps into the upper register, and Strønen, who suggests time more often than playing it, coloring the music with dark, weighty cymbals and delicate movements around the kit. Eilertsen's material ranges from the tender, folkloric "Sukha" whose song-like lyricism, rests somewhere between the late Esbjorn Svensson's pop-centricity and Gustaven's mid-tempo minimalism, and "Kram," which leans more towards the greater extroversion of "Nardis," but with an underlying thematic emphasis. The trio's free improvisations are equally impressive, from the brief, quarter-note piano chord-driven title track, a feature for Eilertsen's arco, to the strummed bass figure of "Flying"—Fraanje's ebbing-and-flowing waves evoking images of birds in flight—and the more jagged but equally cinematic "Falling." Throughout, Eilertsen ensures complete democracy, distanced from a convention where piano is supported by a rhythm section of bass and drums. There's no lack of support to be found on Elegy, but it's a mutual thing—pulse as likely to come from Fraanje supporting Strønen's open-minded excursion as it is the other way around. Eilertsen anchors the bottom when needed, but is, more often than not, a melodic foil in this equilaterally designed and, consequently, open-minded trio.

JOHN KELMAN in All About Jazz

[suehpro]

Favorite Albums of 2018

My favorite album of the year: Five Dramas of Swollen Emotion for Music and Voice - Isak Sundstrom (Black Sweat)

And the other 99, in random order...

Migration of the Snails - Melodic Energy Commission (Telephone Explosion)

Libra Rising - Okkyung Lee, Ches Smith, Chris Corsano (Hot Cars Warp Records)

Disambiguation - Cruel Diagonals (Drawing Room)

Camizole/Lard Free - self-titled (Souffle Continu)

I Need to Start a Garden - Haley Heynderickx (Mama Bird)

AAMM - “A” Trio & AMM (Al Maslakh)

Captiva - Zeena Parkins (Good Child)

Consuelo - Chesterfield (Mikroton)

Chez Helene - Joelle Leandre & Marc Ducret (Ayler Records)

Disturbio - Angelica Castello (Mikroton)

I’ll Be Here In the Morning - Postcards (Ruptured)

Electronic Music from the Eighties and Nineties - Carl Stone (Unseen Worlds)

Ectotrophia - Happy Rhodes (Numero Group)

Hippo Lite - Drinks (Drag City)

The Air Around Her - Ellen Fullman & Okkyung Lee (1703 Skivbolaget)

Piano Interpretations - Kukuruz Quartet/Julius Eastman (Intakt)

A Day Hanging Dead Between Heaven and Earth - Fred Frith & Hardy Fox (Klanggalerie)

Attica / Coming Together / Les Moutons de Panurge - Frederic Rzewski (Black Sweat)

Runt Vigor - Audrey Chen (Karlrecords)

Raw Silk Uncut Wood - Laurel Halo (Latency)

Cheol-Kkot-Sae - Okkyung Lee (Tzadik)

Ductus Pneumaticus - Phil Minton & Torsten Muller (WhirrbooM)

Ours - Thumbscrew (Cuneiform)

Samara Lubelski / Bill Nace - self-titled (Relative Pitch)

Sun Embassy - Sun Ra Arkestra (Roaratorio)

Raise the River - Robert Dick & Tiffany Chang (RogueArt)

The Faust Tapes - Faust (Superior Viaduct)

Levitate (expanded, remastered) - The Fall (Cherry Red)

Lantskap Logic - Evelyn Davis, Fred Frith, Phillip Greenleaf (Clean Feed)

Improvisations - G.I. Gurdjieff (Fantome Phonographique)

Without - Clara de Asis (Elsewhere)

Thought Gang - self-titled (Sacred Bones)

Fades - Cheer-Accident (Skin Graft)

Uncharted Territories - Dave Holland, Evan Parker, Craig Taborn, Ches Smith (Dare2 Records)

Earlier Music - Officer! (Klanggalerie)

Big Hug/Ocean Fruit - Coffee (Cooling Pie Records)

Nosongs - Marianne Schuppe (Edition Wandelweiser)

An Unintended Legacy - AMM (Matchless)

Everyone Needs a Plan - Matthew Revert & Vanessa Rossetto (Erstwhile)

Imbrication - Jeph Jarman (Unfathomless)

Music of Southern and Northern Laos - Various (Akuphone)

Lightworks - Stop Motion Orchestra (Knock’em Dead)

Studio 105, Paris 1967 - Don Cherry (Hi Hat)

Se (in) De Bos - Book of Air (Granvat)

Traversing Orbits - Mary Halvorson & Joe Morris (RogueArt)

The Smoke - Lolina (self-released)

A l’Abri des Micro-Climats - Guigou Chevenier & Sophie Jausserand (Knock’em Dead/Megaphone)

Rats Don’t Eat Synthesizers - Dwarfs of East Agouza (Akuphone)

A Philosophy Warping, Little By Little That Way Lies a Quagmire - Konstrukt & Keiji Haino (Karlrecords)

Last Man in Europe - Remote Viewers (ReR)

Lot 74 - Solo Improvisations - Derek Bailey (Honest Jon’s)

Totale’s Turns (It’s Now or Never) - The Fall (Superior Viaduct)

Divine Ekstasys - Delphine Dora & Sophie Cooper (Feeding Tube)

In a Convex Mirror - John Zorn (w/Ches Smith & Ikue Mori) (Tzadik)

Pressing Clouds Passing Crowds - Kim Myhr (Hubro)

The Machinic Unconscious - Wendy Eisenberg (Tzadik)

Sisters Sarah Hennies and Lenka Novosedlikova (mappa)

Aviary - Julia Holter

Crystal Spears - Sun Ra (Modern Harmonic)

Recordings 1969-1988 - Ursula Bogner (Faitiche)

God Is More Than Love Can Ever Be - Sun Ra (Cosmic Myth)

Coyotes - Felicia Atkinson (Geographic North)

The Vanity of Trees - Padma Newsome (New Amsterdam)

Utter - Ingrid Laubrock & Tom Rainey (Relative Pitch)

Joy’s Reflection Is Sorrow - Sharron Kraus (Sunstone)

Seed Triangular - Mary Halvorson & Robbie Lee (New Amsterdam)

Distant Voices - Steve Lacy, Yuki Takahashi, Takehisa Kosugi (Aguirre)

Chordis et Machina - Ikue Mori & Christian Ronn (Resipiscent)

Maroon Cloud - Nicole Mitchell (FPE Records)

The Peter Blegvad Bandbox - Peter Blegvad (ReR)

Ghost Forests - Meg Baird & Mary Lattimore (Three Lobed Recordings)

ガラ刑GALAKEI - Tori Kudo (bruit direct disques)

Contemporary Chaos Practices - Ingrid Laubrock (Intakt)

Failed Celestial Creatures - David Grubbs & Taku Unami (Empty Editions)

Lost in Shadows - Ashley Paul (Slip)

The Bray Harp - Jeph Jerman (White Centipede Noise)

The Expanding Universe - Laurie Spiegel (Unseen Worlds)

Uncompahgre - Kirk Knuffke & Ben Goldberg (Relative Pitch)

All the Roots - Hollow Deck (Feeding Tube Records)

Mangelen Min - Building Instrument (Hubro)

Ki-Motion - Mkwaju Ensemble (WRWTFWW)

Kashawa: Early Singles - Stella Chiweshe (Glitterbeat)

Brace for Impact - Joe McPhee & Mats Gustafsson (Corbett vs Dempsey)

Something More - Mikayel Abazyan (self-released)

Code Girl - Mary Halvorson (Firehouse 12)

A Complete and Tonal Disaster - Congs for Brums (self-released)

Persepolis - Iannis Xenakis (Karlrecords)

Beholder - Julia Reidy (A Guide to Saints)

Both Directions at Once: The Lost Album - John Coltrane (Impulse!)

Asperger - Caterina Palazzi | Sudoku Killer (Clean Feed)

Waved Out - Robert Pollard (GBV, Inc)

The Cymbals/Symbols Sessions: NYC 1973 - Sun Ra (Modern Harmonic)

Letters to the Friends of the Late Darcy O’Meara - Matthew Revert (Round Bale)

Canaxis - Holger Czukay (P-Vine Records)

X/Ten - Peter Hammill (Fie!)

Struggle Artist - Meyers (Shelter Press)

Stadium - Eli Keszler (Shelter Press)

Meltdown - Live in Mexico - King Crimson (Panegyric)

Bimini Twist - Alison Statton & Spike (Tiny Global Productions)

[fuitedejazz]

Møster! | Dust Breathing | Hubro records

Kjetil Møster - sax, electronics :: Anders Hana - guitar, electronics :: Børge Fjordheim - drums

[listeningmark]

Hilde Marie Holsen - Lazuli

Haunting melancholy slow trumpet lines over an apocalyptic sci-fi collage of other instruments and found sounds / recordings. Beautiful.

Hubro Music

[francescomassaro]

1. Dans les arbres, Phosphorescence (Hubro Music, 2017) Terzo album di questo meraviglioso gruppo (Xavier Charles, Ivar Grydeland, Christian Wallumrød ed Ingar Zach) che produce una musica diafana, eterea ma allo stesso tempo ruvida e materica. Un universo sonoro del tutto particolare nel quale la mimesi timbrica e la totale assenza di sviluppo narrativo assumono funzione gravitazionale. Dopo i due precedenti ECM (Dans les arbres e Canopée) dalle atmosfere decisamente cameristiche, quest'ultimo vira verso sonorità elettriche, fatto che rende il lavoro, sebbene in continuità stilistica con il passato, molto più ricco di asperità e con notevoli tratti di novità. 2. Peter Evans, Lifeblood (More Is More Records, 2016) Peter Evans è sicuramente uno dei più interessanti improvvisatori in attività, e nel solo si esprime in tutta la sua grandezza, ma questo disco supera di gran lunga le migliori aspettative. Trovo sia un capolavoro del genere, un disco imprescindibile, per forza espressiva, tecnica esecutiva (un uso magistrale e a tratti stupefacente delle tecniche estese) e composizione (lunghi brani dallo sviluppo implacabile, e dalle architetture complesse, mai un calo di tensione, mai una sbavatura). Un disco perfetto. 3. Maria Faust, Sacrum Facere (Barefoot Records, 2014) La clarinettista-saxofonista Estone compone un lavoro per ensemble di assoluta originalità e grande intensità poetica. La musica, che ha come nucleo fondante il folklore estone, sconfina presto in ambiti musicali meno definibili. Accompagnata da un gruppo internazionale di primissimo ordine (un organico abbastanza atipico di ottoni, clarinetti, pianoforte, kennel -una sorta di arpa estone -e percussioni, che comprende anche gli italiani Francesco Bigoni e Emanuele Maniscalco) dipana una serie di melodie arrangiate con maestria e grande originalità ed arricchite da pregnanti interventi solistici. Un lavoro che ascolto ininterrottamente da diversi mesi. 4. Michael Formanek Ensemble Kolossus, The Distance (ECM Records, 2016) Con una squadra così è impossibile perdere. Una big band di stelle scintillanti della scena jazzistica di New York e dintorni (da Tim Berne a Ralph Alessi, da Mark Helias a Chris Speed, per citarne solo alcuni) chiamata a raccolta per eseguire una suite, denominata "Exoskeleton" (più il brano che da il titolo al CD), ricca ed imprevedibile, nella quale convergono le più varie espressioni del jazz contemporaneo, impreziosita da interventi solistici molto diversi tra loro. Una sorta di ribollente calderone infernale nel quale Formanek cuoce una musica terragna e densa. Peccato per la registrazione di non ottima qualità. 5. Fausto Romitelli, feat. Talea Ensemble, Anamorphosis (Tzadik Records, 2012) La musica di Fausto Romitelli ha qualcosa di mistico, è terrena e celeste allo stesso tempo, parla del suono e della sua natura. Romitelli è stato capace di trascendere il messaggio dei suoi maestri rendendo viva e organica una musica (quella classificata come spettralismo) che correva il rischio di rimanere qualcosa di cerebrale, inglobando le istanze del rock in primis, ma non solo. Il Talea Ensemble, con sede a New York, ha realizzato una serie di prime incisioni assolute per Tzadik che stanno pian piano colmando un vuoto gravissimo. Le esecuzioni sono perfette e rendono giustizia ad una musica tanto complessa e tanto vera. 6. Wadada Leo Smith, Divine Love (ECM Records, 1978) Forse uno dei capolavori del trombettista. È uno di quei dischi che torni ad ascoltare con regolarità. Il suono è eccezionale. Alla tromba del leader se ne aggiungono un altro paio (Lester Bowie e Kenny Wheeler), i legni di Dwight Andrews (straordinario sul flauto), le percussioni di Bobby Naughton, e il basso di Charlie Haden. Il gruppo suona una musica senza tempo, astratta (il sistema musicale di Smith prevede un bilanciamento assoluto tra suono e silenzio e un sistema di partiture che gestiscono l'improvvisazione). Bellezza sconcertante. 7. Rosario Di Rosa, Composition and Reactions (Deep Voice Records, 2017) Ho ricevuto questo disco da poche settimane ed è subito diventato uno dei miei ascolti preferiti. Si tratta di un CD in piano solo con elettronica, in equilibrio tra scrittura, improvvisazione e -immagino-postproduzione. Un lavoro terribilmente concentrato, dal fascino ermafrodita (sia per il linguaggio sia per le tecniche), che a tratti mi ricorda i magnifici studi per pianoforte di Ligeti. Un disco che scava profondo... 8. Admir Shkurtaj, Kater i Rades. Il Naufragio (Anima mundi, 2015) Questo CD contiene le musiche che l'autore, nato e formato in Albania, ma trapiantato in Italia da oltre venti anni, ha scritto per un'opera da camera su libretto di Alessandro Leogrande commissionata dalla Biennale di Venezia. La musica è violenta, densa, non tanto dal punto di vistaR della spinta sonora quanto da quello della qualità del suono, il gruppo è formato da una nutrita compagine di voci -tra le quali spicca quella di Stefano Luigi Mangia, sperimentatore estremo e stupefacente, capace di modulare la voce nelle forme più incredibili -di varia estrazione (classiche, contemporanee, popolari, compreso un coro albanese), fisarmonica ed oscillatori (lo stesso Shkurtaj), tromba ed elettronica (Giorgio Distante), clarinetti, percussioni (il Cupaphone, set di cupa cupa, tamburo a frizione della tradizione meridionale), violoncello e pianoforte. Scrittura rigorosissima, improvvisazione, jazz, tradizioni popolari. Si ascolta una musica viva, umana, viscerale, l'autore ha raccolto in essa tutte le proprie esperienze, non solo musicali. Un pugno allo stomaco. 9. Giacomo Papetti, Emanuele Maniscalco, Gabriele Rubino, Small Choises (Aut Records, 2013) Da poco ho rimesso nel player questo bel disco che raccoglie una serie di brani nei quali la composizione e l'improvvisazione sono in strettissima correlazione. I riferimenti, nemmeno troppo velati, sono alla musica da camera della prima metà del secolo scorso (Messiaen, Bartok, ma anche Gershwin...) e il trio cesella tredici tracce raffinatissime. Il suono del trio (rispettivamente contrabbasso, pianoforte e clarinetti) è delicato e intenso, l'interplay serratissimo e gli interventi solistici di grande spessore. 10. Jean-Brice Godet, Lignes de Crêtes (Clean Feed Records, 2017) Questo è l'ultimo arrivato, un disco interessantissimo a nome del clarinettista, collaboratore di Joelle Leandre, signora dell'impro europea, che guida un trio dal suono potente, caotico e rugoso... ancora da esplorare.

[donospl]

Co w jazzie piszczy [sezon 2 odcinek 33]

premierowa emisja 11 września 2024 – 18:00 Graliśmy: Jan Lundgren & Yamandu Costa “Garoto” z albumu “Inner Spirits”  – ACT Music Daniel Garcia Trio “Tears of Joy” z albumu “Wonderland” – ACT Music Jazzrausch Bigband “Punkt und Linie zur Flaeche” z albumu “Bangers Only!” – ACT Music Wolfgang Haffner  “Silence and Sound” z albumu “Life Rhythm” – ACT Music Art Baden “Silky” z albumu “How Much…

[dustedmagazine]

Dust Volume 5, Number 13

Junius Paul

It’s our last Dust of the year, written in an odd holding period between the flood of fall releases and the first few indicators that 2020 will, indeed, have music. We’ll be revisiting our favorite records one more time in writers’ year-end essays and hitting a few more obscurities in an upcoming, clear-the-decks January Dust. Then it’s time to say goodbye to a year that sucked on so many levels, but not in the music.  This time, contributors included Justin Cober-Lake, Bill Meyer, Jennifer Kelly, Andrew Forell, Jonathan Shaw, Ian Mathers, Ray Garraty and Tim Clarke.  

Brian Shankar Adler — Fourth Dimension (Chant)

Percussionist Brian Shankar Adler has a funny way of looking at the world. Or, rather, he has a funny way of looking through it. His Fourth Dimension seeks a new perspective, a new way to ask questions. Instead of trying to find new ground through abstract experimentation, he works his way into patterns and shapes that build on each other. The album opens with “Introduction Drone,” but that sort of minimalist composition provides only one small element of Adler's larger idea. He and his group glide between silent or repetitive space and more melodic, energetic bursts. The whole album, then, takes on an irregular but not erratic pulse. Vibraphonist Matt Moran provides an essential element of the disc's feel. Each artist in the quintet contributes — guitarist Joanthan Goldberger shapes particular moods, for example — but it's Moran's vibes that dictate how far the record pushes into new space. He sometimes disappears and sometimes flourishes. These movements, as much as even Adler's drumming, give the disc its musical arc and particular spot, whatever dimension you may find it in.

Justin Cober-Lake

 Angles 9 — Beyond Us (Clean Feed)

When a musician is as prolific and diverse in approach as Martin Küchen, it’s tempting to consider how each new recording fits into or extends his existing body of work. But Beyond Us often directs the listener’s attention away from Küchen and towards the skills of the eight musicians accompanying him. This is probably by design, since when you have such great players, you might as well give them chances to shine. Their collective associations extend beyond this band, which has managed to defy the prevailing economic tides in order to tour and record repeatedly over the past decade; you can also hear some of them in Paal Nilssen-Love’s Extra Large Unit and the Fire! Orchestra. Whether they’re enriching his arrangements with nuanced and energetic playing, or swinging and exulting during solos and duo exchanges, the rest of Angles 9 sound simply marvelous. In particular, trombonist Mats Älekint, cornetist Goran Kajfeš and pianist Alexander Zethson draw out the robust bluesiness of “U(n)happiez Marriages,” and baritone saxophonist proposes a Moorish counterpoint to the John Barry-ish theme of “Against the Permanent Revolution.” But everyone punches above their weight, making this a deeply satisfying addition to their collective catalogues.

Bill Meyer

 Bach Tang — Born Too Alive (Dove Cove)

Bach Tang - Born Too Alive by Bach Tang

LA-based trio Bach Tang — that’s Oakley Tapola on voice and guitar, Dan Ryan on bass and vocals, Rebecca Spangenthaler on drums — channel the chaotic energy of Swell Maps, The Raincoats and Essential Logic on their EP Born Too Alive.  This ten-minute, six-song collection combines mutant Beefheartian boogie, defiant DIY post-punk clatter, deliberately distorted vocals and gleefully amateurish noise into a willful concoction that dares you to turn it down whilst forcing you to turn it up.  Opening track “Litter Licker” is a perfect 59 seconds of racing down a hill — tumbling drums, tripping bass, guitar slashes, what sounds at first like classic fucked up sax skronking revealing itself to be the exhalations of an exhausted runner. “Dragon’s Blood!” is most straight ahead song here with a recognizable riff and even some harmonizing before it briefly collapses in on itself before a final burst to a groaning end. Bach Tang understand that brevity is the soul of wit and if the vocals can be grating, the songs flash by with enough invention to encourage repeat listens. Fans of the aforementioned bands and their ilk will find much to be intrigued by on Born Too Alive.

Andrew Forell  

 The Catenary Wires — Til the Morning (Tapete)

Til The Morning by The Catenary Wires

The Catenary Wires — that’s Amelia Fletcher and Rob Pursey — make a lovely, wistful sort of indie pop that is perfectly in line with what you’d expect from people who were in Talulah Gosh, Heavenly, Marine Research and Tender Trap. This is their second album as Catenary Wires, but they’ve been at this sunshine-through-raindrops thing for a while, and the result is not exactly polish but casual grace. They seem to land exactly where they need to, every time, without much premeditation. “Dream Town,” the opener, brushes by with a reticent sureness, Fletcher’s airy soprano harmonizing with Pursey’s hollow, post-punk resonances, the whole thing stirred to gentle life with finger snaps and lilting, wafting background vocals. “Half-Written” (Fletcher leading) is nakedly spare in the verse, but blows into waltz-timed, multi-voiced crescendo in the chorus. Neither voice is perfectly tuned, but they join somehow in worn-in, comfortable harmonies like they’ve been doing it forever, and they have.

Jennifer Kelly

 Drekka — Beings of ImberIndus (Somnimage)  

Beings of ImberIndus by Drekka

Mkl Anderson (pronounced Michael) has been hanging onto the edge of outbound sound since the mid-1990s. During that time, he’s run the Bluesanct label, played in Jessica Bailiff’s band, and played both solo and collaboratively under the name Drekka. While he often releases music digitally, his production means are primarily analog. Anderson made this 70-minute expanse of non-electronic drone with Icelandic musician þórir Georg, and while between then they play pitch pipe, voice, metal, and bass guitar, what comes out of the speakers sounds long, dark, and entirely non-instrumental. This CD burrows deep into the heart of a sonic black sun, and if you thrive on not seeing the horizon, it could be your next auditory weighted blanket.

Bill Meyer

 Lucas Gillan’s Many Blessings — Chit-Chatting With Herbie (Jerujazz Records)

Chit-Chatting With Herbie by Lucas Gillan's Many Blessings

The Jazz Record Art Collective is a concert series that recruits Chicagoan jazz musicians to perform a classic jazz album their way. Chit-Chatting With Herbie originated when series curator Chris Anderson commissioned drummer Lucas Gillan to participate. Gillan decided to use his band Many Blessings to provide a personal angle on Herbie Nichols Trio (Blue Note, 1956). Since Many Blessings is a piano-less quartet (with Quentin Coaxum, trumpet; Jim Schram, tenor saxophone; Daniel Thatcher, bass) and Nichols was a pianist who never recorded with horns, there’s room for interpretation. Since both horn players are pretty fluent, you never miss the chordal instrument. And since Gillan values Nichols’ delightful melodies, which shine with good humor, spirit and form transcend instrumentation. But be careful playing this record, because it’s bound to make you smile a lot. And like mom said, your face might get stuck that way.

Bill Meyer

 Frode Haltli — Border Woods (Hubro)

Border Woods by Frode Haltli

In the woods, it’s not always easy to see where the borders lie. That zone of uncertainty is exactly where Norwegian accordionist situates this project. Not only does he include a Swede, nyckelharpa (a Swedish keyed fiddle) player Emilia Amper, to join his otherwise Norwegian ensemble. The music itself occupies a shadowy terrain in which classical composition from different centuries mixes with Norwegian folk themes and the squeezebox-rich atmosphere of pre-rock continental café music. Percussionists Håken Stene and Eirik Raude are equally adept at Steve Reich-like mallet patterns and bowed metal atmospherics, which operate as a backdrop for Amper and Haltli’s stark and moody melodies.

Bill Meyer

 Matt Jencik — Dream Character (Hands in the Dark)

Dream Character by Matt Jencik

Implodes’ guitarist Matt Jencik applied thickly fuzzed-out and massively reverbed guitarscapes to Black Earth and Recurring Dream, the band’s two excellent albums for Kranky. On Jencik’s 2017 solo debut, Weird Times, stripping away Implodes’ vocals and post-punk-leaning rhythm section left his guitar to roam like a wraith, swathed in static, tracing simple yet affecting arcs against a turbulent backdrop of noisy guitar loops. Ambient rock, if you will. On his new album, Dream Character, his instrumental palette has expanded to include bass and keys (not that the sound sources are especially easy to discern), but his aesthetic focus remains as tight as ever. The result is hypnotic, offering a satisfyingly rich blend of tones with just enough movement to keep the listener entranced. While Jencik is clearly venturing into shadowy realms — signposted by song titles such as “Dead Comet Return,” “Night Gallery Pause” and “Lifeless Body Train Ride” — there’s often a shaft of light cast into the gloom, whether via brighter tones or intervals. The final track asks “R U OK” — like most music of this kind, it offers a reassuringly melancholy blanket of sound within which to take refuge.

Tim Clarke

 Pedro Kastelijns — Som das Luzis (OAR!)

Som das Luzis by Pedro Kastelijns

Pedro Kastelijns hails from the same trippy Brazilian scene as Boogarins, and likewise, favors a brightly colored, soft-focus form of psychedelia that evokes Love, Os Mutantes and early aughts Animal Collective. A few cuts — “Olhos da Raposa,” for instance — tap into a beachy bossa nova vibe in the languid guitars and junk yard percussion. Others feel less rooted in place, and touched by an arch, fog-fuzzed indie rock exuberance (��Som das Luzis,” “Flux Estelar”) that brings to mind Ariel Pink. Kastelijns sings in a wobbly falsetto much of the time, and accompanies himself on very DIY sounding drums, guitars and keyboards, and there isn’t an indelible hook on the disc, despite the aspirational “Pop Gem” titles of two of the cuts. Listening is a little like being stoned—that is, pleasant, mildly disorienting and hard to remember afterwards.

Jennifer Kelly

 Julian Loida — Wallflower (Julian Loida)

Wallflower by Julian Loida

Gateway experiences are often remembered with mild embarrassment; just because something pointed you in a particular direction doesn’t mean it’s the best example you’re ever going to hear. Julian Loida’s Wallflower might serve as a gateway to minimalism and contemporary composed percussion. Its ten pieces, which are mostly constructed around repetitive vibraphone and piano figure, are unfailingly melodic. The compositions are succinct and unmarred with sudden changes, ensuring that listeners will not be taxed or distracted over each one’s course. Nor is he going to throw you off with extended techniques; he’s quite comfortable working with the vibraphone’s familiar, dreamy zone. But while he’s not going to wear anyone out, he doesn’t talk down to anyone, either. This music communicates directly, and it feels sincere in its simplicity. Gift it to the teenaged symphonic percussionist or budding ambient listener in your life.

Bill Meyer  

 Aurora Nealand / Steve Marquette / Anton Hatwich / Paul Thibodeaux — Kobra Quartet (Astral Spirits)

Kobra Quartet by Aurora Nealand / Steve Marquette / Anton Hatwich / Paul Thibodeaux

Around a century back, jazz progenitors King Oliver and Louis Armstrong travelled between New Orleans and Chicago, playing in both cities. While the two towns have gone on to develop jazz heritages with very different characters, a cadre of musicians has been cutting edge players from each back together in recent years. In a way, this isn’t new; the late Fred Anderson and Kidd Jordan enacted annual summits on the Velvet Lounge for years, and Jeb Bishop and Jeff Albert made the lemons of Hurricane Katrina into a sweet-sounding brew called the Lucky 7s. But guitarist Steve Marquette’s Instigation Festivals, which have taken place in both cities, have fostered a more complex combination of talents involving both cities’ avant-gardes. This quartet began as a free improv encounter involving two musicians from each city, but it turned out so well that the name of this tape became the name of a new band. Their music may build on past examples, but it’s definitely of its moment. Marquette’s resonant feedback and Anton Hatwich’s droning double bass bridge the electro-acoustic divide, and Paul Thibodeaux’s elastic beats suggest internal reverie more than second-line grooves. But it’s Aurora Nealand’s electronically processed singing and glassy tendrils of accordion that center this music within an otherworldly zone, albeit one where it’s still possible to stumble out of a late-night party in a black hole and find yourself blinking in the middle of a street party.

Bill Meyer  

 Junius Paul — Ism (International Anthem)

Ism by Junius Paul

Junius Paul is a shit-hot Chicago jazz bassist, a frequent collaborator with Makaya McCraven, one of the younger members of the Art Ensemble of Chicago and a long-time habitué of the Velvet Lounge on the South Side. On this, his first album as bandleader, he exhibits a startling versatility, switching from acoustic to electric and back, spinning into heady frenzies (“You Are Free to Choose”) and pulling back into monastic discipline in minimalist tone poems (“Bowl Hit”). Paul is not above hitting a life-affirming groove, a la the laid back skronky swagger of “Baker’s Dozen,” but he’s also not married to it, witness the smouldery bowed abstractions of “Ma and Dad.” “Spockey Chainsey Has Re-Emerged” takes up a smoking quarter of the album’s duration, Paul’s restless bass pulsing under a fever dream of wild squalls of trumpet, luminous electric keyboards and a surge and roll of drumming. There’s plenty of great bass here, for fans of that sound, but Paul’s real strength is as a band leader and composer, leading a daring group of fellow travelers — Isaiah Spencer, Justin Dillard, Rajiv Halim, and Jim Baker — towards parts unknown.

Jennifer Kelly

 Ploughshare — Tellurian Insurgency (I, Voidhanger)

Tellurian Insurgency by PLOUGHSHARE

This new EP from Ploughshare curdles and oozes with ugly blackened death metal — or perhaps in this case, it’s deathy black metal? As metal subgenres and sub-subgenres (really, it’s getting Melvillean at this point…) hybridize and mutate, the community of engaged listeners and creators sometimes gets overly invested in categorization and species identification. And there’s so much to observe, out in the wild spaces of culture. To wit: For three years now, this bunch of weirdos from Canberra has been churning out songs with unpleasant titles like “The Urinary Chalice Held Aloft” and “In Offal, Salvation.” But if you can groove with the scatological wordplay, the riffs are pretty good. The record’s A-side, which includes “Abreactive Trance,” suggests that these guys (guys? no names are available) have spent some serious time listening to Deathspell Omega’s Paracletus. Let’s hope Ploughshare doesn’t share that other band’s irredeemable politics. Just what is a “Tellurian” insurgency? A fantasy of the Earthball’s primitive lifeforce striking back? More facile chest-beating about “anti-human” noise? And just how serious or cynical is the band’s appropriation of that famous image from the Book of Isaiah? Hard to say. But the guitar tone cuts more like a sword.

Jonathan Shaw

  Omar Souleyman—Schlon (Mad Decent)

Omar Souleyman, Syria’s best known wedding singer turned global recording phenomenon (he’s made over 500 records), brings joy in a world of trouble. Souleyman hails from Ras al-Ayn in northeastern Syria, an area that has, over the last several years, been fought over by Syria, the Kurds, Isis and the Turkish Army. He’s been living in Turkey since 2011, but things are not so great there either. So, it is remarkable, in its way, that Souleyman’s latest album, a mash-up of traditional dabke, disco and techno, is so very celebratory. Rave meets traditional wedding dance in the synth-y, string-slashing “Abou Zilif,” a cut that situates a stirring, primal male-sung chorus amid a Levantine-flavored disco. “Layle” likewise moves fast and relentlessly, bursts of saz (Azad Salih) winding through thickets of multi-toned drums. It hits hard and repeatedly, and if this is what people dance to at weddings in rural Syria, hats off. I’m exhausted just sitting on the couch.

Jennifer Kelly

  SunnO))) —  Pyroclasts (Southern Lord)

Pyroclasts is one of those releases that, viewed from one angle, seems to be at best inessential. Drone metal titans SunnO))) have already given 2019, in the form of Life Metal (which, as Dusted’s Jonathan Shaw puts it, is “a record that seeks the sublime”), an extremely essential record. If you were only going to listen to one album from them this year, that one is the one to start with. This one, by contrast, is literally a collection of some of the drones that Stephen O’Malley, Greg Anderson and their various guests and compatriots would start each day in the studio with when recording Life Metal. And yet, if you take a slightly different angle on it, Pyroclasts (named for the aftereffects of volcanic eruption) starts feeling more than anything else like a product of generosity. These were literally the exercises/rituals they began each working day with to get in the right frame of mind to make Life Metal; it would be entirely understandable if they didn’t want to share them with the world. The result both suffers and benefits from the much narrowed focus compared to their big brother; it doesn’t do everything Life Metal does, but if all you want is just under 44 minutes of straightforwardly brain-frying drone, Pyroclasts is here for you.  

Ian Mathers

 Horace Tapscott with the Pan Afrikan Peoples Arkestra and the Great Voice of UGMAA — Why Don’t You Listen? (Dark Tree)

Why Don't You Listen? - Live at LACMA, 1998 by Horace Tapscott with the Pan Afrikan Peoples Arkestra and the Great Voice of UGMAA

Recent lauded efforts by Angel Bat Dawid and Damon Locks suggest that socially conscious spiritual jazz is sending a message that makes a lot of sense in 2019. If such music speaks to you, consider checking out the work of Horace Tapscott, and particularly this welcome archival find. He was a composer, bandleader and pianist based in Los Angeles who led the Pan Afrikan Peoples Arkestra from the 1960s until his death in 1999. Inspired by big bands lead by Duke Ellington and Sun Ra but concerned with celebrating and uniting the community where he lived, he fashioned music that into an exposition and affirmation of pride in pan-African and African-American ways and culture. This live recording of his ten-piece band in performance with a similarly-sized choir named the Union of God Musicians and Artists Ascension puts a hard stop on his timeline; it was the last time he played piano in public, since the aggressive cancer that ultimately killed him would first limit him to conducting in last appearances. There’s nothing wrong with playing here; he, saxophonist Michael Session, and trombonist Phil Ranelin all essay impassioned solos over the Arkestra’s massed percussion. But it’s the voices, led by singer Dwight Tribble, that embody Tapscott’s communal commitment and articulate his cultural concerns.

Bill Meyer

 TENGGER — Spiritual 2 (Beyond Beyond is Beyond)

It’s hard to create the kind of New Age-y post-kosmische psych drone that TENGGER does without having some kind of mystical angle, but the travelling musical family known as TENGGER leans into that harder than some. The mantra to focus on for this fine follow up to 2017’s recently reissued collection of harmonium, voice and synth-jams Spiritual is “if you’re looking at something, you should recognize that there is something invisible behind it”. Like most similar insights, let alone ones meant to be applied to a work of art, you’re probably going to get what you put into that one out of it, which means if you’re on TENGGER’s wavelength you probably already feel what they’re going for. Much of Spiritual 2 is fully up to the standard of its predecessor (the gently fried “See”, the suspended vocals of “Kyrie”, the softly pulsing extended length of “Wasserwellen”), but they show the most promising signs of growth when they adopt a bit of formal rigour. On the three-part dilatory experiment of “High,” “Middle” and “Low,” just subjecting the same melody to different speeds brings out something clarifying about the whole sound. You can really start to glimpse whatever invisible is behind it.  

Ian Mathers  

 Various Artists — Pop Ambient 2020 (Kompakt)

Pop Ambient 2020 by Various Artists

 Kompakt celebrates twenty years of the Pop Ambient series with a new collection of beatless luminance featuring stalwarts Joachim Spieth, Thomas Fehlman and Markus Guentner as well as some of the lesser-known names on the label’s roster.   

Thore Pfeiffer’s “Urquell” — an acoustic guitar over an unobtrusive bed of synths and scratchy strings — sets the mood for the subsequent 85 minutes. Tracks float by lulling the listener into a state between dreams and catatonia. Good then that Maria Estrella reminds us to breathe on Morgan Wurde’s “Laesst Los,” a quite lovely track built on string beds, treated whispers and Estrella’s gentle instructions.  The only vaguely unsettling moments come during Fehlman’s “Liebesperlen” with its lysergic take on deep house. NZ based composer Andrew Thomas rounds off the collection with two short pieces of atmospheric piano based contemporary minimalism that veer into Max Richter territory and are all the better for it. Pop Ambient 2020 is a warm bath; comfortable and enveloping without the depths to threaten, it passes by with few demands, diffident to the point of vanishing. Perfect for the next session in a hyperbaric chamber or MRI where at least there are whirrs and clicks to keep you alert.  

Andrew Forell 

 Winds of Egotism — Winds of Egotism (Death’s Radiance)

When Plato wrote his cave allegory, he couldn’t have Winds of Egotism in mind, yet his allegory became a reality with the band’s self-titled album. The band members haven’t left the cave and instead smuggled the gear in (even the country of origin is undisclosed). The resulting music raw, monotonic and unpretentious enough to be mistaken for drone.  The guitar excavates sounds so primitive that it sounds more like an echo from the cave walls than a guitar. Couldn’t they ask Satan for better equipment?  This EP is 17 minutes long total, just two short untitled tracks, with no audible difference between them. If true black metal is music that which doesn’t sound like black metal, then this is it. Plato or no Plato.

Ray Garraty

[inkutv]

Recension @ Lira.se  

Akustisk improvisationsjazz 

Monkey PlotAngående omstendigheter som ikke lar seg nedtegne 

Skivbolag: Hubro Records   Recenserad av: Lennarrrt Olausson

Gitarrtrion Monkey Plot (Christian Winther – akustisk gitarr, Magnus Nergaard – bas , och Jan Martin Gismervik – trummor) har växt upp i den frodiga norska jazzmyllan. Nu till andra (om man inte räknar en kassettbandutgivning med Pär Thörn) albumet: Angående omstendigheter som ikke lar seg nedtegne, en titel som just svenske poeten och ljudkonstnären Pär Thörn ligger bakom. Monkey Plot utsågs 2014 till Årets unge jazzmusikere 2014, fick därmed ett tillhörande stipendium från Gramo (norska motsvarigheten till STIM) och har sedan dess gått in i en akustisk fas. Det är repetitiv improviserad jazz som stundtals gnisslar och skaver, och där Monkey Plots hantering av sina instrument får tankarna att gå till Andreaz Hedén, speciellt på Jeg snakket for lite. På Et mikrofoto låter det som en gitarrackompanjerad tändkulemotor. Blir det då enformigt? Nej, snarare intressant meditativt.

Ext. Ver. @ #ib2.se / Review.Lennarrrt.xyz

Join Generation XYZ @ gen.xyz

[guitarpanda8]

Polish pediatric center: 40 percent took vitamin D – March 2019

Note: 40 ng in the summer for those children taking vitamin D Infant-Child category has

Having a good level of vitamin D cuts in half the amount of:

Need even more IUs of vitamin D to get a good level if;

Have little vitamin D: premie, twin, mother did not get much sun access

Get little vitamin D: dark skin, little access to sun

Vitamin D is consumed faster than normal due to sickness

Older (need at least 100 IU/kilogram, far more if obese)

Not get any vitamin D from formula (breast fed) or (fortified) milk Note – formula does not even provide 400 IU of vitamin D daily

Infants-Children need Vitamin D

Getting Vitamin D into infants

Many infants reject vitamin D drops, even when put on nipple I speculate that the rejection is due to one or more of: additives, taste, and oils. Infants have a hard time digesting oils, 1999  1997   and palm oils W.A. Price 1 2 3 Coconut oil, such as in D-Drops, is digested by infants. 1,   2   3 Bio-Tech Pharmacal Vitamin D has NO additves, taste, oil One capsule of 50,000 Bio-Tech Pharmacal Vitamin D could be stirred into monthly formula    this would result in ~1,600 IUs per day for infant, and higher dose with weight/age/formula consumption

522 items in the category Infant/Child See also

breastfed 962 items as of Sept 2017

"BIRTH DEFECTS" 172 items as of July 2016

Stunting OR “low birth weight” OR LBW OR preemie OR preemies OR preterm 1940 items as of Oct 2018

"SUDDEN INFANT DEATH" OR SIDS 177 items as of Nov 2018

Overview of Rickets and Vitamin D

Youth category listing has 140 items along with related searches

Infant-Child Intervention trials using Vitamin D:

Preterm babies have low vitamin D, but recover in 6 weeks with 800 IU supplementation – Jan 2019

1200 IU vs 400 IU of vitamin D did not improve bone health or immunity of children who were sufficient – RCT July 2018

Childhood Respiratory Health hardly improved with 600 IU of vitamin D (need much more) – May 2018

430 genes changed when 3,800 IU Vitamin D added in late second trimester – RCT May 2018

Severe Non-Alcoholic fatty liver disease treated by Omega-3 – RCT April 2018

400 IU of Vitamin D provided no benefit to children (not a surprise) – RCT March 2018

Allergic rhinitis in children reduced somewhat during pollen season by just 1,000 IU of vitamin D – RCT Jan 2018

Influenza -A infections half as often in children getting 1200 IU of vitamin D – RCT Jan 2018

Risk of infant Asthma cut in half if mother supplemented Vitamin D to get more than 30 ng – RCT Oct 2017

Preemies getting 800 IU of vitamin D were 3X less likely to have low bone density 4 weeks later – RCT Oct 2017

Preemies need 1,000 IU of vitamin D – RCT Sept 2017

Fatty liver disease in children nicely treated by combination of Vitamin D and Omega-3 – RCT Dec 2016

Vitamin D needed to get children to just 20 ng in winter 800 IU white skin, 1100 IU dark (Sweden) – RCT June 2017

Childhood asthma problems eliminated for months by 600,000 IU of Vitamin D – June 2017

Breastfeeding mothers and Vitamin D: supplement only themselves usually, 4 out of 10 used monthly rather than daily – Jan 2017

Premature infants (30 weeks) who got 800-1000 IU of vitamin D were much healthier – March 2017

Newborn Vitamin D - single dose is better than daily – RCT Sept 2016

Mother got 100,000 IU of vitamin D monthly, breastfeeding infant got a little – RCT Aug 2016

Monthly 120,000 IU of Vitamin D during lactation worked well - May 2016

Infant infection reduced by half with vitamin D supplementation – RCT May 2016

Five times less mite allergy when vitamin D added in mid pregnancy and to infant – RCT April 2016

Vitamin D improved child muscle mass even without varying dose with weight – RCT Feb 2016

Breastfeeding mother getting 6400 IU of Vitamin D is similar to infant getting 400 IU – RCT Sept 2015

Children getting 60,000 IU monthly got to vitamin D level of 33 ng – Sept 2015

Breast-feeding mothers need 2000 IU of vitamin D to get infants to even 12 ng – July 2015

2,000 IU of vitamin D reduced schizophrenia chance by 77 percent (male infants) - 2004

Growing pains reduced 57 percent by vitamin D therapy – May 2015

T1 diabetes in children helped with two doses of 150,000 IU of vitamin D and Calcium – March 2015

50,000 IU Vitamin D one time after birth helped – RCT Jan 2015

Type 1 diabetes helped with 50,000 IU of vitamin D every two weeks – Nov 2014

Growing pains reduced 60 percent by vitamin D supplementation – March 2014

Respiratory Tract visits 2.5 less likely with vitamin D: Pregnancy 2000 IU, Infant 800 IU – RCT Oct 2014

2000 IU vitamin D during pregnancy and 800 IU to infant resulted in less use of antibiotics – RCT April 2014

Neonate loading dose of 30,000 IU vitamin D helped a lot – May 2014

2000 IU of vitamin D should improve toddlers health in winter – RCT almost completed Feb 2014

800 IU vitamin D for infant and 2000 IU for mother is good, not great – RCT Dec 2013

Breast milk resulted in 20 ng of vitamin D for infant if mother had taken 5,000 IU daily – RCT Dec 2013

Severe tooth decay in children unless supplemented with Vitamin D drops – Oct 2013

Middle ear infection (Otitis Media) and Vitamin D – many studies

Many preemies need at least 800 IU of vitamin D – RCT May 2013

Third study found that Infants needed 1600 IU of vitamin D – JAMA RCT May 2013

UVB added in classroom reduced cavities, increased height, increased academics. etc

Dental caries cut in half by vitamin D, review of 24 old clinical trials – Nov 2012

Recurrence of child pneumonia delayed by 100000 IU of vitamin D – RCT Oct 2010

Intervention of 400 IU of vitamin D raised infant blood levels 14 ng – Jan 2012

Congestive heart failure in infants virtually cured by 1000 IU of vitamin D – RCT Feb 2012

Infants getting 1400 IU vitamin D weekly grew better – RCT May 2011

6400 IU vitamin D is effective during breastfeeding – Oct 2010

Vitamin D in Europe category listing has 189 items has the following

% of Europeans with < 30 nanograms – after adjustment of readings

StudyCountries< 30 ng HELENA 9 EU 97% OPUS Denmark87% Tromsø Study: Fit Futures Norway 96% HGS Greece 97% INNS Greece 90% Cork BASELINE Birth Ireland 84% NDNS 1–18 y United Kingdom 90% NDNS >18 y United Kingdom 91% DEG4 Germany 91% Tromsø Study–6th Survey Norway 75% NHS Netherlands 78% LASA Netherlands 68% AGES–Reykjavik Iceland 86% Finnish Migrant Health . . Finland89% NANS Ireland 81% Health 2011 Finland 76% HUBRO Norway 66% Health 2006 Denmark 68%

&nbspDownload the PDF from VitaminDWiki

Note: 60% (not shown in pie chart) did not get ANY vitamin D supplementation

Introduction: According to updated evidence-based national recommendations which have been published recently vitamin D deficiency remains still highly prevalent in Poland and requires supplementation.

Aim of the study: was to evaluate the effectiveness of implementation of the new national recommendations into daily practice.

Material and methods: An analysis of medical records of 100 children aged from 6 months to 14 years admitted to the Department of Pediatrics, Hospital in Brzesko, Lesser Poland, from 1st July 2018 to 31st August 2018.

Results 41% patients declared vitamin D supplementation.

Among patients under 1 year of age 3 (60%) received recommended supplementation of 400-600 IU daily,

in the group of 1-11 years old 15 (19.5%) used a 600-1000 IU dose daily, 13 (17%) < 600 IU/daily, and 2 (2.5%) > 1000 IU daily, 1 patient did not remember the dose.

In the group >11 years of age 6 (37.5%) supplemented 800-2000 IU/day, 1 (6.3%) less than 800 IU, no one overdosed supplementation. In the group without supplementation, there were 3 patients with a de-creased 25(OH)D blood serum level (< 20 ng/ml).

Mean 25(OH)D serum level was significantly higher in the group with vitamin D supplementation (42 vs. 33.9 ng/ml; p = 0.0006).

There was no significant difference between mean 25(OH)D level in patients receiving adequate (40.5 ng/ml), to low (43 ng/ml), or to high vitamin D doses (49 ng/ml).

There was no significant correlation between vitamin D dose and the 25(OH)D serum level [R = (–) 0.24, p > 0.05)].

Conclusions There is an urgent need for physicians to provide an education concerning general rules of vitamin D supplementation, because the pre-sent guidelines of the vitamin D supplementation are not implemented well enough.

Created by admin. Last Modification: Thursday April 11, 2019 15:40:16 GMT-0000 by admin. (Version 6)

Source: https://vitamindwiki.com/tiki-index.php?page=Polish+pediatric+center:+40+percent+took+vitamin+D+–+March+2019

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Møster! – Edvard Lygre Møster. Hubro : 2013.