#Jaleel Shaw

[negrolicity]

NATE SMITH + KINFOLK "SQUARE WHEEL (feat. KOKAYI + MICHAEL MAYO)" -- OFF...

[ceevee5]

[wub-fur-radio]

How to Achieve Insouciance (A Quiet One While He’s Awake)

Wub-Fur presents one of our occasional forays into the (relatively) softer side of contemporary experimental indie rock/psych/folk/pop/etc. Fifteen finely-crafted mood pieces perfect for fair-to-partly-cloudy mornings, hazy afternoons, foggy evenings, and beautiful nights. Featuring Anadol, Spiritualized, Guerilla Toss, Baston, Fontaines D.C., The Garbage & the Flowers, and 9 more bands from around the world who’ve mastered the art of casually not caring.

Cover Photo: Actress Tina Aumont in a still from Pierre Clémenti’s 1969 short film Positano. Apologies to them.

▶︎ Listen: Mixcloud | Bndcmpr | Apple Music (or scroll down to use an embedded player below)

Running Time: 59 minutes, 59 seconds

Tracklist

Ablamın Gözleri (2:52) — Anadol | Berlin, Germany

The Mainline Song (5:51) — Spiritualized | London, UK

Recall the Words (4:06) — Erasers | Perth, Australia

Capri (4:05) — Baston | Rennes, France

Beautiful Youth (4:02) — Caroline No | London, UK

Long Long Long (2:41) — George Is Lord | Los Angeles, CA

Black Spring (3:39) — Seatbelts | Liverpool, UK

Colour Orbit (2:37) — Rubber Oh | Newcastle Upon Tyne, UK

The Couple Across the Way (3:55) — Fontaines D.C. | Dublin, Ireland

On the Radio (5:16) — The Garbage & the Flowers | Australia

The Extra Sees the Film (4:35) — Kiwi jr. | Toronto, Canada

I Got Spirit (3:03) — Guerilla Toss | New York, NY

Gumdrop Fantasy (4:52) — Neil Zaza | Cleveland, OH

All Roads Lead to Los Angeles [ft. Jaleel Shaw] (4:39) — High Pulp | Seattle, WA

A Satisfied Mind (3:48) — The Mañana People | Bonn, Germany

All tracks released in 2022.

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Embedded Mixcloud Player

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Embedded Apple Music Player

If you’re not seeing an embedded player it’s probably because you’re reading this on Tumblr, in which case you can click here to open this post directly on the Wub-Blog.

[jazzanews]

Nate Smith - Square Wheel - 2022 Nate Smith – Drums Amma Whatt - vocal Jon Cowherd  – piano, fender rhodes Jaleel Shaw – Sax(es) Brad Allen Williams – Guitar Fima Ephron – Bass #NateSmith #drummer #keyboards #JaleelShaw #saxophone  #BradAllenWilliams #guitarist #FimaEphron #bass #jazzfestival #jazzmusic #jazzstory #SquareWheel #jazz2022 #AmmaWhatt #JonCowherd

[jaleelshaw]

I’ll be performing at The Jazz Gallery in New York City on July 30th & 31st w/ my quartet featuring Lawrence Fields on piano, Dezron Douglas on bass, and Joe Dyson on drums. Sets at 7:30pm & 9:30pm. Tickets are available here:

https://jazzgallery.org/calendar/jaleel-shaw-july30-2024

📷 by Bill Douthart

[polyrhythmicbw]

Nate Smith Trio feat Dave Holland Jaleel Shaw Live at Dizzy's 2016

[mostlymonk]

Happy 95th to Roy Haynes  the Living Legend

 Roy Haynes & the Fountain of Youth Band

Jaleel Shaw – sax Martin Bejerano – piano David Wong – bass Roy Haynes – drums

Half of this short set from last year (June 2019) is comprised of Monk tunes, including Bemsha Swing and Green Chimneys

[thejoyofviolentmovement]

New Video: Seattle's High Pulp Shares Surreal and Symbolic Visual for "You've Got to Pull It Up From The Ground" feat. Theo Croker

New Video: Seattle's High Pulp Shares Surreal and Symbolic Visual for "You've Got to Pull It Up From The Ground" feat. Theo Croker @highpulpmusic @TheoCroker @AntiRecords

Seattle-based jazz outfit High Pulp features: Antoine Martel (keys, synths), a self-professed mad scientist with a wall of modular synthesizers and a passion for film scores and abstract soundscapesRob Homan (keys), whose innate ability to process, deconstruct and reassemble material on the fly bordered on the impressive and scary Scott Rixon (bass), who comes from a punk and hardcore background…

[perry-tannenbaum]

Spoleto Roars Back, Honoring Africa, Arabic, and Alice (Coltrane)

Spoleto Roars Back, Honoring Africa, Arabic, and Alice (Coltrane)

Review: Jazz @ Spoleto Festival USA  By Perry Tannenbaum It’s difficult to imagine what the stage and the audience would have looked like at Gaillard Center if Rhiannon Giddens’ new opera, Omar, had premiered as scheduled at Spoleto Festival USA in May 2020. #BlackLivesMatter and the COVID-19 pandemic have affected the trajectory of our lives since then, also deflecting the course of the…

[mosaicrecords]

Nate Smith with Dave Holland & Jaleel Shaw: at Dizzy's Club Coca-Cola

Drummer Nate Smith leads a trio with alto saxophonist Jaleel Shaw and bassist Dave Holland on this 2016 set from Dizzy’s Club Coca-Cola at Jazz At Lincoln Center. Smith lays down a variety of tight grooves that give this excellent trio buoyancy and a foundation for wonderful interplay and solo work. Nate is one of those drummers who can be very musical while staying in the pocket.

-Michael Cuscuna

Follow: Mosaic Records Facebook Tumblr Twitter

[negrolicity]

Watch "LIVE Stefon Harris & Blackout 2019" on YouTube

[burlveneer-music]

High Pulp - Pursuit of Ends - after 3 EPs of covers (the “Mutual Attraction” series), Seattle jazztronica act is back with an album of originals

It’s difficult to pin down Seattle’s High Pulp. In just a few short years, this instrumental band has dabbled in everything from avant-garde jazz to beat-driven R&B to psychedelic synthesizer-heavy electronica.

Written, Recorded, and Produced by High Pulp Artwork by Robert Beatty Bobby Granfelt - Drums & Auxiliary Percussion Rob Homan - Nord Stage 2, Moog Sub 37, Sequential Prophet-6, Grand Piano & Hammond Organ Antoine Martel - Behringer Deepmind 12, Nord Electro, Korg Prologue 8, Moog Matriarch + Eurorack System, Moog Minotaur & Guitar Andrew Morrill - Alto Saxophone Victory Nguyen - Flute, Tenor Saxophone, Soprano Saxophone & Trumpet Scott Rixon - Bass & Guitar Featured Artists: Theo Croker - Trumpet (10) Jacob Mann - Lead Synthesizer (7) Jaleel Shaw - Alto Saxophone (2) Brandee Younger - Harp (9) Additional Personnel: Alex Dugdale - Tenor Saxophone (1)(2) & Bass Clarinet (2)(6) Greg Kramer - Trombone (6) Isaac Poole - Trombone (1)(2)(6) Jerome Smith - Tuba (6) & Trombone (7) Gehrig Uhles - Guitar (3)(5)

[luuurien]

High Pulp - Pursuit of Ends

(Nu-Jazz, Jazz Fusion, Neo-Psychedelia)

The jazz fusion collective's sophomore album is a melting pot of music both future and past, jazz harmonies buried in electronic decadence and rhythms derived from breakbeat, dub and hip hop performed on textured, live drum sets. It's an album constantly under the weight of its galactic compositions, but High Pulp manages to keep it all afloat regardless.

☆☆☆½

High Pulp makes music to reroute the universe. Rooted in jazz but expanding their sound with all sorts of collaborators and a sound explosive as molten lava, the Seattle sextet has always been a sonic mystery, easy to tag with the descriptors "psychedelic" and "spacey" but everything else only able to be felt with their music in front of you. Now, with their sophomore album Pursuit of Ends, they push that to the brink with a collection of ten massive and luminous pieces that never let up on the heat and attack you with the force of a thousand supernovas, mixing technically demanding nu-jazz with the rollicking forms of fusion and soul jazz that the band knows best with chunks of other genres that add a tropical taste to these nectarine songs. It comes with some tradeoffs, for sure, but the best thing about Pursuit of Ends is that it chases that magic at any cost, resulting in some of the band's best work to date that makes for a high-spirited affair you can't help but get swept up in. They avoid the sophomore slump by completely upping their game here, taking an even more dense and surrealist take on jazz fusion that sucks you in and spits you out into an entirely new star system. The six main members of High Pulp all call to different eras of music that convene at the center of this multilayered planetary expedition. Keyboardist Rob Homan sounds like Thelonious Monk on sixteen thousand tabs of LSD, a downpour of descending synths on All Roads Lead to Los Angeles falling into soft electric piano chords that guide the bright melodic bounce of Andrew Morill on alto and Victory Nguyen on tenor, their flashbang improvisations reminiscent of 60s hard bop and spacebound nu-jazz at once, and the rhythm section comprised of metal convert Scott Rixon on bass/guitar and maestro drummer Bobby Granfelt give a percussive language to Pursuit of Ends rarely seen in any other albums; Antoine Martel's keyboard work here particularly on the Korg Prologue and Nord Electro cannot go understated either. On their own, High Pulp sounds absolutely amazing: the electronica-inspired rhythms from Granfelt inspire the same innovation and speed felt in the work of Aphex Twin and Flying Lotus as he stitches a killer drum and bass groove into the aforementioned All Roads Lead to Los Angeles or putting a dub spin on jazz fusion with Blaming Mercury as Nguyen toys with a fluttering flute, and Rixon's performances on both bass and guitar show his prowess on both the back and front of the mix shows off the group's chemistry incredibly well while making for some genuinely stunning tracks in the process. What really makes Pursuit of Ends special is the other artist they've got on board for it: features from Jaleel Shaw, Jacob Mann, Brandee Younger and Theo Croker all adding their special touch to the album, Younger's glowing harp work on Wax Hands and the warm brass introduced by Mann to the album's woodwind-heavy compositions on Kamishinjo makes for an unexpected but delightful textural change. It's the only time any brass instrument gets any major presence in the music, trombonists Greg Kramer, Issac Poole and Jerome Smith pop in and out of the tracklist but never enough to find their way to the top of any piece (Smith even throws down some dark tuba harmonies on A Ring on Each Finger), and that fresh sound on each track is what Pursuit of Ends is all about: at its best, the album is one of the most courageous and exploriative instrumental albums this year that pokes and prods at the base of jazz compositional styles with the dozens of genres and mood that have become more prominent and accessible in the internet era, always trying something new and coming out with thrilling results in the end. That's also something that holds a few too many chunks of Pursuit of Ends back, so unrelentingly on the hunt for innovation that it can sometimes forget to shape the songs in an engaging way for the listener. The midsection of the album is where they fall the hardest (possibly the worst time for this to happen when the opening three tracks are so mesmerizing), the chugging breakbeat on Chemical X hypnotic but the song heading nowhere in particular until it flatlines and the six-minute A Ring on Each Finger never establishing a solid presence and losing out on the immersive qualities the rest of the tracklist possesses; the finale with Croker ends up a bit too empty and strangely rigid with the tense groove Granfelt sets up and leaves the album off on a quite unsatisfying note. None of this is to say the album is entirely bad, more than enough of it is fantastic enough to justify a full listen, but as High Pulp have begun chasing something further out into the universe it can seem like they're leaving you behind to watch from afar. And sometimes you don't have to join them on the adventure to still take joy in seeing them soar (Inner Crooner), but without that close-up view of the stars they've got to make up for it somewhere else, and it's too often the case that High Pulp rockets out of the stratosphere without saying a proper goodbye. The reason songs like the deliriously fun Century, with its massive synth swells and constantly shifting dynamics, and the intimate implosion of sound Wax Hands work so much better even when they have the same intricacy to them as the less stellar tracks, and it's because High Pulp brings you on board with those latter tracks to let you see the magic inches away from your face rather than holding it behind the moon like they do on Window to a Shimmering World or You've Got to Pull It Up from the Ground. When they let you indulge as much as they did in making these songs, the agreement made between you and Pursuit of Ends is one with no downsides. Pursuit of Ends, even with all the technicalities and nitpicking aside, is a great release from one of the most innovative new groups on the scene that never sacrifices a modicum of their spirit to try and make the music easier to stomach. These songs are huge and take multiple listens to full digest, High Pulp forcing you to soak up every idea bit by bit until it consumes you fully, Pursuit of Ends always having something new to show you when you focus on something different than you did last time. It's an incredibly beautiful album bogged down by the very thing that makes it beautiful, refinement and fine-tuning being the only things that could heighten an album already as thrilling as this one. Their urgent, unyielding artistry is impeccable in terms of spirit and passion, and whether or not the songs land with you, there's never an inability to sense who High Pulp are and what they're looking to do, and that is by far the most valuable and precious thing a band can have going for them as they continue moving forward. Pursuit of Ends doesn't find the band at their absolute peak, but it takes them so close to it that there's no way you'll want to leave their side.

[polyrhythmicbw]

Nate Smith Trio feat Dave Holland Jaleel Shaw Live at Dizzy's 2016

[mostlymonk]

Green Chimneys

Roy Haynes & Fountain of Youth

Jaleel Shaw – sax Martin Bejerano – piano David Wong – bass Roy Haynes – drums