#Louis Moholo-Moholo

[shihlun]

Brötzmann / Miller / Moholo

- Opened, But Hardly Touched

1981

Design: Peter Brötzmann

[jacobwren]

Irene Schweizer & Louis Moholo - Irene Schweizer & Louis Moholo (Full Album, 1987, spiritual jazz)

[jt1674]

[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…

[bitpartinyourlife]

Louis Moholos "Spirits Rejoice!" ramlade in genom dörren igår, efter nästan två veckor av orolig väntan. Denna morgon spelar jag den för första gången - i en barnfamilj behöver allt som rör sig i frijazzens marker spelas i lurar eller när resten av familjen är utflugen - och jag har just kommit till "You Ain't Gonna Know Me 'Cos You Think You Know Me", detta vackra monster till låt. Upptäckte denna i somras, eftersom jag köpte en skiva med svenska Oya Septett som gjort en oerhört fin version. Jag tänker att jag skulle vilja ha den spelad på min begravning, den dagen den kommer. Det låter som en jublande hyllning till livet och allt det innehåller, såväl sorgen som glädjen. Det är en låt som lyfter mig högt upp i luften och ruskar om mig.

[burlveneer-music]

Christer Bothén Featuring Bolon Bata - Trancedance (40th anniversary edition)

Black Truffle is pleased to announce the first vinyl reissue of Trancedance, a wild slice of Swedish Afro-fusion from Christer Bothén, originally released in 1984. A major figure in Swedish jazz and improvised music since the 1970s, often heard on bass clarinet and tenor sax, Bothen studied doso n’koni (the large six-stringed ‘hunter’s harp’ of the Wasulu) in Mali in 1971-2 before turning to the guinbri (the three-stringed lute of the Gnawa/Gnauoua) in Marakesh later in the decade. In between, he performed extensively with Don Cherry during his Organic Music Society period and taught Cherry the doso n’koni. In the later 70s and 80s he worked with the most important figures in the distinctive Swedish jazz-rock-world fusion scene, joining Archimedes Badkar for their African-influenced Tre and participating in Bengt Berger’s legendary Bitter Funeral Beer Band. Many of the musicians who played on the Bitter Funeral Beer Band’s ECM LP (including Berger on drums, Anita Livstrand on voice and percussion and Tord Bengstsson on piano, violin and guitar) joined Bothén for one of the sessions that produced Trancedance, the first release under his own name, dedicated to his compositions. The other session introduced his seven-piece group Bolon Bata, heard on the second track of each side. A must for fans of the Swedish scene around groups like Arbete och Fritid and Archimedes Badkar, as well as any listener who has been seduced by Louis Moholo’s Spirits Rejoice!, The Brotherhood of Breath, or, more recently, the guinbri grooves of Natural Information Society, Trancedance is a lost classic ripe for rediscovery. 

[onetwofeb]

Louis Moholo, CapecTown, 1960s

[sergj7]

Lester Bowie & Louis Moholo - 1997-10-26, Jazzfestival, Eindhoven , Neth...

[chez-mimich]

ROBERTO OTTAVIANO-ETERNAL LOVE: “PEOPLE” (parte II)

(segue) Brano molto originale “Gare Guillemans”, nota stazione ferroviaria di Bruxelles, alla quale Misha Mengelberg, ���il cubista del jazz”, come qualcuno lo soprannominò, dedicò un brano. Questa versione, a mio avviso è il pezzo più intenso dell’intero album, pregno di sonorità da Delta del Mississipi, con uno straordinario Roberto Ottaviano un po’ hobo e un po’ ubriacone che canta l’incantevole poesia del jazz. “Ohnedaruth” è un brano di Roberto Ottaviano che fa riferimento diretto a John Coltrane e al termine sanscrito con il quale amava definirsi: “compassionevole”. Ottaviano sembra voler pescare direttamente in quel campo magnetico ed energetico dello straordinario mondo di “Trane”. Ma c’è in questo brano un altro tributo importante, a cui Ottaviano fa riferimento, ovvero il quartetto di Elton Dean con Keith Tippett, Harry Miller e Louis Moholo, e basta davvero ascoltare e lasciarsi trasportare da questo tappeto volante di suoni, per essere rapiti dalla bellezza del brano che dopo “picchi energetici” sfuma nel sussurrato del contrabbasso di Giovanni Maier. Il disco si chiude (troppo in fretta) su “Caminho Das Águas” composizione del brasiliano Rodrigo Manhero, che ben rappresenta questo intenso flusso di musica che sembra approdare, dopo una tumultuosa discesa, in una baia pacifica e sicura caratterizzata da una melodia soave che sa toccare tutte le corde dell’ascoltatore attento e appassionato. “People”, poi, è un raffinatissimo intreccio di suggestioni appena accennate e di citazioni sospese, animato da una capacità di ricerca e di invenzioni fuori dal comune. I brani che compongono il disco, edito dall’etichetta “Dodicilune”, piccola “Wunderkammer” del jazz italiano, e non solo, è stato registrato in occasione di concerti tenutisi sia in Italia che in altri paesi come Svezia, Slovenia, Svizzera, Finlandia. Mi rende particolarmente soddisfatto, se mi è consentita una notazione del tutto personale, l’aver ascoltato più volte questi eccellenti musicisti (e anche qualcuno tra quelli citati come il compianto Keith Tippett e Louis Moholo) nell’ambito di “Novara Jazz Festival” e forse varrebbe proprio la pena di averli nuovamente ospiti del Festival (e chi ha orecchie per intendere, intenda…)

Le fotografie che accompagnano questo post sono di Žiga Koritnik .

[dustedmagazine]

Karl Evangelista’s Apura — Ngayon (Astral Spirits)

Photo by David DeHart

Ngayon by Karl Evangelista's Apura

Guitarist Karl Evangelista is back with Ngayon (which, the liner notes explain, means “now” in Tagalog), the second installment in his Apura project. The all-new band features Francis Wong on sax, Rei Scampavia on piano, legendary drummer Andre Cyrille, and the addition of a bassist, Lisa Mezzacappa. While the name of the group and titles of the album and songs reference Evangelista’s Filipino heritage, as with the earlier record (Apura! 2020, also on Astral Spirits), the influence is not overt; this sounds like a modern free jazz record, and a fine one at that.

Evangelista is a technically skilled and thoughtful guitarist with a fairly clean tone who keeps the shredding tasteful (e.g., on “Sige Na, Bukas” and “Sinabi Mo Pa”). He mainly solos, rather than providing a chordal framework, and is especially compelling when engaging in dialogs with Wong. Given the latter’s long commitment to blending jazz and Asian music, he is the perfect choice for this project, and he is inspired here; a good example is his solo around six minutes into the title track that snakes unpredictably through Cyrille’s cymbal work. The venerable drummer, for his part, remains at the top of his game (check out the opening to “Sinabi Mo Pa”); no one else could have stepped so nimbly into the shoes of the equally legendary South African drummer Louis Moholo-Moholo, whom circumstances prevented from participating in this recording.

The most significant change in the lineup in terms of the overall sound is the addition of a bassist, and Mezzacappa really shines here, whether holding down the fort or soloing, for instance, following up the solo by Wong mentioned earlier. Her arco work is also impressive on “Isang Bagsak.” Scampavia’s piano is less heard than the other instruments apart from on the brooding almost-ballad “Santo,” which features some taut interplay with Evangelista and Cyrille.

The five tracks are longish, with only one coming in under eight minutes, thus leaving ample room for improvisation and shifts in tempo and dynamics. The sprawling title track, which opens the record, is consistently surprising, ending, for instance, not in a crescendo or fade-out but with a slow and deliberate restatement of the main theme. The liner notes describe numerous difficulties encountered during the recording of Ngayon, but they are not apparent in the end result. This joyful and at times challenging jazz builds on the strengths of the earlier recording while tightening the focus.

Jim Marks

[jt1674]

[noloveforned]

it's friday night and no love for ned is back to its usual peculiar self on wlur from 8pm until midnight.

last week's show (stream it on mixcloud) celebrated the music of peter brötzmann. if you've ever rolled your eyes because my show got "weird" in the second hour you can thank mr. brötzmann as he is probably the free jazz musician most responsible for sending me down that path twenty years ago. i witnessed two outstanding live performances from him in that time- once with his chicago tentet and once as a duo with joe mcphee. he'll be missed by myself and many others...

no love for ned on wlur – june 23rd, 2023 from 8pm-1am a tribute to peter brötzmann

artist // track // album // label brötzmann quartet // lila eula no. 2 // the inexplicable flyswatter // atavistic peter brötzmann trio with fred van hove // everything (excerpt) // for adolphe sax // brö peter brötzmann octet // machine gun (excerpt) // machine gun // brö manfred schoof // european echoes, part two (excerpt) // european echoes // free music production alexander von schlippenbach // into the staggerin // the living music // quasar peter brötzmann, fred van hove and han bennink // garten // balls // free music production peter brötzmann, fred van hove and han bennink plus albert mangelsdorff // antwarrepe // live in berlin 1971 // free music production peter brötzmann, juhani aaltonen, peter kowald and edward vesala // kippis // hot lotta // blue master special instant composers pool tentet // tetterettet nr. 11 // in berlin // free music production peter brötzmann and han bennink // aufen #2 // schwarzwaldfahrt // free music production peter brötzmann, harry miller and louis moholo // long time service // the nearer the bone, the sweeter the meat // free music production peter brötzmann and willi kellers // edelgard (excerpt) // edelgard... maar helaas! // free music production peter brötzmann // number five (a-clarinet) // 14 love poems // free music production last exit // enemy within // moers // (self-released) peter brötzmann, jay oliver and willi kellers featuring manfred schoof // trollymog // in a state of undress // free music production sprawl // physica subterranea // sprawl // trost brötzmann chicago tentet // aziz // the chicago octet/tentet // okka disc die like a dog quartet // part 5 // little birds have fast hearts // free music production peter brötzmann, william parker and hamid drake // never run but go, part three // never too late but always too early // eremite peter brötzmann, william parker and milford graves // side c (excerpt) // historic music past tense future // black editions peter brötzmann chicago tentet // all things being equal, part two // images // okka disk peter brötzmann and peeter uuskyla // dead and useless (excerpt) // dead and useless // omlott sonore // two birds in a feather // only the devil has no dreams // jazzwerkstatt peter brötzmann and han bennink // this is my faith // in amherst, 2006 // brö full blast // (part four) // farewell tonic // trost peter brötzmann, johannes bauer and mikołaj trzaska // storm in the wasserglass // goosetalks // kilogram konstrukt and peter brötzmann // makinalı (excerpt) // dolunay // re:konstrukt peter brötzmann and fred lonberg-holm // the fusion of opposites // ouroboros // astral spirits peter brötzmann and jason adasiewicz // going all fancy // going all fancy // brö peter brötzmann, john edwards and steve noble // nail dogs by ears // soulfood available // clean feed peter brötzmann // the very heart of things // münster bern // cubus laboratorio musicale suono c and peter brötzmann // decomposition six // decomposition // setola di maiale black bombaim and peter brötzmann // (part four) // black bombaim and peter brötzmann // lovers and lollypops los toscos and peter brötzmann // las malvaceas // la vigilia de las flores // in-correcto peter brötzmann and szilveszter miklos // at mu (first part, excerpt) // at mu // adyton peter brötzmann and heather leigh // at first sight // sparrow nights // trost peter brötzmann and keiji haino duo // a landscape never glimpsed before is on the verge of manifestation (excerpt) // the intellect given birth to here (eternity) is too young // black editions peter brötzmann // lady sings the blues // i surrender dear // trost peter brötzmann, farida amadou and steve noble // b.a.n., part two (excerpt) // b.a.n. // dropa disc peter brötzmann, maâlem mokhtar gania and hamid drake // almost with the sun (excerpt) // the catch of a ghost // i dischi di angelica peter brötzmann and fred van hove // front to front // front to front // dropa disc peter brötzmann, heather leigh and fred lonberg-holm // flower flaps // naked nudes // trost peter brötzmann, majid bekkas and hamid drake // mawama // catching ghosts // act music

[raspberryjones]

RIP Keith Tippett

Woke up this morning to the news that British pianist Keith Tippett passed away at the age of 72. Until recently, Tippett’s was just one of few names I seemed to always come across when scouring (or trying to make sense of) the late-60s/early-70s British jazz “scene.” Except that his somehow overlapped with the pro-rock and folk artists I already knew: he played on records by King Crimson (working with Robert Fripp continuously), and Julie Driscoll (whom he later married). But as I've been researching a project closely adjacent to the London scene of the time, I began to hear him as an indispensable connector between the post-psychedelic jazz-rock folks, the free-form players, the South African expats who were completely turning the sound of improvisation upside down, and the chaotic big-bands that were striking many different kinds of fancies. (Tippett continued to have a hand in big ensembles until the 2010s). His career encompasses many many records and musical turns that are beyond dope, and have seemingly little to do with one another, except that the players on them strangely overlap, and Tippett is often near the center. 

As was another. One of the absolutely great musical relationships that Tippett developed was with the South African drummer Louis Moholo (now Louis Moholo-Moholo), who arrived in London in 1966 as a member of the mighty Blue Notes, and who’s remained firmly ingrained in global improvisational consciousness ever since. Tippett and Moholo collaborated on dozens of occasions and in many formats. The most famous of which is probably 1978′s incredible Louis Moholo Octet album, Spirits Rejoice, often described as a “free jazz” record but actually one of the great soulful improv pieces of music of our time. Go check it! But this is one that has become my personal favorite over the past few months, a duet record from Berlin in 1980, four pieces, 44minutes of absolutely gorgeous free-formed music. Eight years later, Moholo would recreate the format in the same city with a free pianist most jazz cats are a bit more familiar with, Cecil Taylor. Keith certainly goes in on Cecil-like clusters, but he loves traditional melody and structure far too much to run all-too far away from form, and that’s what makes No Gossip such a great fucking record. (After you listen to it, go buy the whole thing over at the Destination: OUT Bandcamp.)    

BONUS: Tippett interviews in The Wire

[peninsularian]

Mid-80′s Township jazz from Louis Moholo (dr), Dudu Pukwana (al sax) and Chris McGregor (pno)  re-issued by Otoruku

[cdlistening]

Anthony Davis/James Newton Quartet, 'Hidden Voices' (India Navigations)

Monday, March 4, 2019, 4:12pm

A very nice, fairly out jazz record that I got around the same time as a number of other JN LPs. He sounds ridiculously good, as he always does, but this time AD's playing was jumping through quite nicely as well. Realized later that afternoon that this record had unwittingly been listened to at 45 RPM, and I did not notice, just assumed they were that tight (the drummer probably sounds a lot less like Louis Moholo-Moholo at 33).

[radiophd]

irene schweizer / louis moholo -- free mandela!