#avram fefer

[musicollage]

Avram Fefer Quartet — Testament. 2019 : Clean Feed.

! acquire the album ★ attach a coffee !

[diyeipetea]

Jazz Para Ti: #JPT90 T05P07 Por Pachi Tapiz [Podcast de jazz]

Jazz Para Ti: #JPT90 T05P07 Por Pachi Tapiz [Podcast de jazz]

Jazz Para Ti 90 En la edición del 22 de noviembre de 2022 de Jazz Para Ti, el sexto programa de la temporada 2022-23, suena música de las siguientes grabaciones. Estrenamos… Cuarteto Fuerte Tertulia Heather Ferguson Lush Life Avram Fefer Juba Lee Escuchamos nuevamente a… Jazzmeia Horn Love and Liberation Tigram Hamasyan Stand Art Roseanna Vitro Sing A Song Of Bird  Valentín Caamaño All The Gods Y…

[soundgrammar]

Listen to: Juba Lee by Avram Fefer Quartet

[blackrockandrollmusic-blog]

Burnt Sugar ft. Queen Esther - Sometimes It Snows In April

[dustedmagazine]

Dust Volume 6, Number 2

Grisha Shakhnes

Time for another collection of short, sharp reviews, covering a gamut of styles. Our most tireless contributor, Bill Meyer, turned in a record eight Dusts this time, so if you like jazz, improv and experimental music, this is your edition. Other writers included Ray Garraty, Jennifer Kelly, Justin Cober-Lake, Tim Clarke and Ian Mathers.

Max B — House Money (Self-released)

Max B is doing 75 years in prison, yet before his bid he recorded a lot of music to be used by trusted collaborators. Last year’s Coke Wave 5 with French Montana felt authentic enough to be confused with Max’s pre-prison mixtapes, only a bit more polished. This new EP is no less wave-y and goofy, but too many guest verses dilute the fun. If French, with whom Max B recorded a lot of mixtapes together, seems like a natural collaborator, the rest of the guests are an uneasy fit. House Money is a Frankenstein-y affair exactly because Max himself wouldn’t invite them to his booth (not that they are lousy talents, they are just on a different frequency with Max B). It is probably mixed and produced by someone who thought that these collaborators would attract additional audience, yet the result is the opposite: Max B’s fans would feel alienated by impostors in his own domain.

Ray Garraty

 Jeb Bishop / Jaap Blonk / Weasel Walter / Damon Smith — JaJeWeDa (Balance Point Acoustics)

Pioneer Works Vol. 1 BPA 19 by JeJaWeDa (Jeb Bishop / Jaap Blonk / Weasel Walter / Damon Smith)

No matter how big the stage they occupy, it isn’t big enough for Jaap Blonk and Weasel Walter. Both men are masters of strategic exaggeration. Put them together and a clash is inevitable. Blonk not only spews sound poetry like a symphony of pan-lingual news broadcasts and surreptitiously recorded mouthwash experiments, he manipulates electronics with a video game controller that looks especially ridiculous in his gangly hands. Walter mugs and wallops, each movement lunging simultaneously at your ears and your funny bone. Perhaps you’re wondering, “isn’t this a record review? How will these visual descriptions clue me into the sound?” Play this record and you will know. And you will also marvel at the way bassist Damon Smith and trombonist Jeb Bishop balance the other half of the band’s nuttiness with seriousness so unfailing, you might put your money on them against Roscoe Mitchell in a game of poker.

Bill Meyer

 Ben Carey — Antimatter (Hospital Hill)

ANTIMATTER by Ben Carey

Sydney-based electronic musician Ben Carey played saxophone before he took on modular synthesizers. This may explain the quivering, palpable presence of the sounds he devises; he makes static pulse and shake like swollen lips engaged in the act of vocalizing. His deployments of attenuated tones, sudden swells, and insistent chimes are discontinuous and episodic, but also quite thoughtfully planned out. Both the sudden shifts and the long considerations of discrete elements feel as essential as the unforgettable bridge in a bubblegum cart hit, and the qualities of the sounds Carey ponders amply reward the attention required to follow their shifts in and out of audibility and back and forth across the stereo spectrum. If you’re inclined to get well acquainted with Antimatter, consider springing for the LP. Since both Carey and his label are situated in Australia, it might take some looking and spending, but Rashad Becker’s cut and the 45-rpm playing speed guarantee maximum presence.

Bill Meyer  

 John Chantler — Tomorrow Is Too Late (Room40)

Tomorrow Is Too Late by John Chantler

From the pig’s ass on the sleeve to the titles of the album’s two tracks, John Chantler’s Tomorrow is Too Late promises to deal with endings. But when you put the record on, you find yourself adrift in events that defy linear description, let alone the definition of a final point. Oh, sure, both of them end, but they don’t spend the time leading up to those terminations making sure that you know where they’re going. The title track was commissioned for the 2018 iteration of the French electronic music institution INA GRM’s Présences Électronique festival, and most of its sounds were obtained from a François Coupigny synthesizer that is over 50 years old. Rare earl synths are like worlds unto themselves, and the listener is adrift with Chantler as he invites sounds to converge, dispel, and recongregate in winking, restless masses. On “We’re Always at the End,” the electronic sound convergence make way for a pipe organ, which coheres into a solid sonic presence, but when it disappears, the piece does not. This is music to inhabit, over and over again.

Bill Meyer 

 Richard Dawson — 2020 (Weird World)

2020 by Richard Dawson

This sixth full-length from cult songwriter Richard Dawson unspools like a series of linked short stories, the characters sharing a blighted, latter-day English backdrop and perhaps avoiding one another’s eyes as they pass on the streets. Sung in Dawson’s wavery tenor — with flights up into a very uncertain falsetto — and backed with the most straightforward of rock-ish instrumental arrangements, the songs flourish in their specificity. The metal-riffing “Jogging,” for instance, tells the story of a mid-life crisis with startling exact-ness, an ex-school counselor, laid off and too anxious to leave the house, advised by a doctor to take up jogging. The story is told first person, in the most straightforward way possible, with minimal embellishments. If it weren’t for the crashing guitar chords, the squiggly lines of synth, you might be listening to a friend over coffee.  The scenarios are mostly dreary, of people stuck in soul-sucking jobs, in towns where things go wrong through neglect and inertia. Yet, once in a while the sun comes piercing through, and life, however stunted and bare and grey, turns ever so slightly hopeful. I’ll leave you with verse from lacerating “The Queen’s Head.”

“The guy from the vape shop Ferrying his chocolate labs Waves to us cheerily From a leaky kayak ‘I've lost everything apart from what counts’ Pointing to his dogs and then at his heart.”

Now that’s a pre-chorus.

Jennifer Kelly

 Frank Denyer — The Boundaries of Intimacy (Another Timbre)

On The Boundaries of Intimacy, composer Frank Denyer explores volume dropped to a soft level. The approach produces a sort of intimacy, nearly everything sounds hushed, although it remains unclear whether, as listeners, we're leaning into a confidant or cupping our hand to a wall to eavesdrop. Regardless of our position as listeners, Denyer continues his work with unpredictable instrumentation, highlighting sneh and koto playing in various places (including two version of a koto piece), and combining flute and electronics for a strange tonal study called “Beyond the Boundaries of Intimacy.” When he works with a more traditional set of instruments, as on “String Quartet,” the ostensibly comfortable sounds become unfamiliar, an experienced aided by Denyer's play with dynamics, turning from a crescendo to a near disappearance. Denyer presents those sorts of challenges across these pieces (written over the past 40 years). He requires attentive, patient listening, but rewards it with unsettling experiences.

Justin Cober-Lake

 Avram Fefer Quartet—Testament (Clean Feed)

This record is credited to the Avram Fefer Quartet, and it’s true that the Brooklyn-based alto and tenor saxophone wrote the tunes and leads the band. But he’s not necessarily the guy you will listen to every time that you play it. Not that there’s anything wrong with Fefer’s playing, which combines Sonny Rollins’ muscularity with an affinity for bold melodies rooted equally in soul jazz and West African pop music. He’s got ideas, emotion and chops to spare. But damn, what a band! Fefer and bassist Eric Revis have an association going back to the 1990s; no matter which way the music rolls, the foundation is solid. Drummer Chad Taylor is a regular member of a trio with Fefer and Revis which made a couple records a decade or so back, and he’s also a member of bands led by Revis and guitarist Marc Ribot. Taylor never misses a chance to turn the music up a little closer to a boil, and the blues-rooted tone that Ribot favors here adds steely sentiment to the blues, mass to the Afrobeat repetitions, and confident complexity to the free interludes in this music. So, if your attention wavers from the saxophone for a second, it’s probably because you’re listening to how one of his accompanists is playing off of another one. Wotta band!

Bill Meyer  

  Roc Marciano — Marcielago (Self-released)

In “Saw” Roc Marciano says, “Sometimes I pinch myself in disbelief,” referring to a level of fame he’s achieved after 20 years in the rap game. The listeners are pinching themselves as well, but for a different reason: Marciano doesn’t repeat himself. Roc Marci works with his lyrics on two levels: line by line as well as bar by bar. As defined by Marci, his songs are “poetry over beats.”Marcielago is a quieter effort, closer to Rosebudd’s Revenge 1 and 2, than to 2018’s KAOS and Behold a Dark Horse. To rephrase the poet himself, on Marcielago he’s more like a pimp than a mack. The standout here is “Ephesians” which starts with early electronica and then explodes into a full-scale attack. Marci’s long time collaborator Ka spits here a verse which does an impossible thing: Marciano is murdered on his own turf.

Ray Garraty

 Machtelinckx / Badenhorst / Cools / Gouband — Porous Structures (Aspen Edities)

porous structures by Machtelinckx/Badenhorst/Cools/Gouband

This quartet comprises two steel-stringed acoustic guitarists, one percussionist prone to placing stones on his drums, and one clarinet and a saxophone player who likes to sing. The album’s title implies permeability, and the music delivers by creating the impression of actions happen in different places at the same time. Ruben Machtelinckx and Bert Cools’ guitars create structures made of slow-moving, finger-picked patterns. Toma Gouband and Joachim Badenhorst often sound like they are playing in some resonant space outside of the guitars’ sanctuary, where their sounds can spread a halo of echo around and occasionally blow through the dry, close-miked string sounds. The former’s rattling rocks create more texture than motion; the latter’s distant croons and spare tones create a sense of distance. In their own quiet way, these musicians have arrived at a sound that can’t be mistaken for anyone else’s.

Bill Meyer

  Salim Nourallah — Jesus of Sad (Palo Santo)

The narrators of Salim Nourallah's songs don't often find things going so well. Nourallah's taken that point to its logical conclusion on new EP Jesus of Sad. Rather than indulging depressive tendencies, though, the songwriter brings his sense of humor for a parodic take. “So, you think you've suffered?” he sings to open the disc. “I sip the tears of the world from my coffee cup.” The hyperbole might immediately develops his exaggerated character. Accompanied by multi-instrumentalist Billy Harvey, Nourallah moves on to “Born with a Broken Heart,” a funky number owing something to Soul Coughing while providing one of the best bass lines in his catalog. The cut's full of wit while addressing serious questions about faith, gender equality, and more.  

“This Doesn't Feel like Peace, Love, or Understanding” (the second track here to echo a Nick Lowe title) sounds like quintessential Nourallah, with a pop-rock sound that would have fit on any of his last few records and a relatable sentiment conveyed in smart lyrics. Two versions of “Misanthrope” close out the disc. Nourallah co-wrote the song with Rhett Miller, but here he turns away from the Old 97's' bouncy version (called“She Hates Everyone”). Nourallah slows it down, building complex feelings; he can't fully enjoy his strange love now under his anxiety about the future. It closes the EP well, being yet more honest emotion that manages to misdirect and complicate things, the true heart covered by the knowing satire of “Jesus of Sad.”

Justin Cober-Lake

 Parashi—Tape From Oort Cloud (Sedimental/Skell)

When a record provokes images of a Captain Beefheart lyric turned inside out, you know its makers are on to something. The squelchy sounds that usher in “The Vanishing Coast,” which is the first of this LP’s four tracks, does not bring to mind synthesizers, even though that’s what Mike Griffin (that’s Mr. Parashi to you) probably used some time them. Nor does it bring to mind someone else’s record. Rather, I hear the words “slow and bulbous” as the music sinks slowly into its own swampy stealth. “Broadcast Failures” leaves even those alinear coordinates behind as it pings its way woozily into the depths. The titular malfunctions might be echoed calls which fail to distract the sonar-like main body of sound, or the squashed, distant carousel that follows. Or maybe it doesn’t. File this under best practice befuddlement, but be sure to tape a bookmark to the plastic outer sleeve to remind yourself of the necessity of playing it.

Bill Meyer 

Tom Redwood — The Glue (self released)

The Glue by Tom Redwood

With The Glue, his fourth album, Melbourne-based singer-songwriter Tom Redwood has tapped into a rewarding strain of country/folk that pulls hard on traditional roots, while adding a knowing wink, flowing performances, and plenty of tuneful song craft. As in Jim O’Rourke’s beloved series of Drag City albums, the music-making is taken seriously but is undercut by self-deprecating humor. On “Easy Love” Redwood sings, “When I was young I was easy loving / But now that I’m old, I’m not so dumb,” and on the title track he makes a playful reference to “round, gorgeous thighs.” He’s not afraid to play it straight, though, such as on the haunting “Cold Mother Night,” and reflective closer “Shut the Door.” There’s superb lap steel playing by Kier Stevens, smart counterpoint on guitar and “cheesy keys” from producer Matt Walker, and ethereal backing vocals from Rosie Luby, which contrasts nicely with Redwood’s aw-shucks delivery.

Tim Clarke

 Grisha Shakhnes — Being There (Unfathomless)

being there by grisha shakhnes

Being There presents the listener with a document of actor, action and the arena in which the former enacts the latter. Essentially, Grisha Shakhnes recorded himself recording and recorded the room in which he was recording. Sometimes a recording device filters the subjects of his inquiry on the way to the recorder; while the sounds were captured by a Zoom digital recorded, some of them went through a Rvox reel-to-reel tape deck along the way. Equipped with the knowledge that you’re hearing Shakhnes making recordings, you quickly find yourself making decisions about what sounds to follow, and then dealing with the consequences of the choices you made as your act of following draws you into the chain of events that made the album in the first place. You are present with Shakhnes, sharing in the creation of Being There.

Bill Meyer

 Six by Seven — Dream On (Cargo)

D R E A M . O N by six by seven

One of the great shoulda beens of 1990s British rock (on the other side of the Atlantic, it’s doubtful anyone not reading something like the NME at the time would have heard much of them), Six by Seven are also one of the few from that era to keep going in a way that’s not just repeating old glories. Now almost entirely just frontman Chris Olley (his son Charlie drums here, but otherwise it’s a solo show) you wouldn’t guess it from the massive, warmly analogue psychedelic/motorik drones and drifts here. Stylistically speaking, Olley can be a restless guy, never really revisiting the glory of Six by Seven’s first three albums (what you might call their classic period, and well worth checking out) but also covering an astonishing breadth during the years since. The recent Dream On is as good a place to dip into his stream of work as any, boasting three massive soundscapes (the best of which might be “And No One Knows Your Name” as well as briefer, dreamier song like “Hey Kid” and the title track. Both his muse and the demands of making music your day job keep Olley forever moving, though — even writing up this release was marked by the appearance of a double album-length Dream On 2, so anyone on Olley’s wavelength can expect a lot to keep up with.  

Ian Mathers

[thosewhomakewaves]

Resonant Sculpture Project

IDEA: An acoustic interactions between a sculpture and a musician.

WHAT: A site-specific series of performances based on acoustic interactions between the improvisations of musician Avram Fefer and the large-scale sculptures of Richard Serra. With instrument in hand, Avram Fefer carefully approaches and begins sonic exploration of Serra’s immense work. The heavy steel plates reflect and resonate, and the space between them creates sympathetic harmonics. The sounds reverberate in unpredictable ways. Audiences are immersed in the acoustic/sculptural space as Serra's work becomes inspiration, setting, and instrument, interfacing with Fefer's improvisations to create original sounds in a unique experiential environment that combines the beauty of music, sculpture, and live performance in powerful new ways.

"Improvisation is an interesting idea because—to what degree are we really improvising? Anything you’ve done before could potentially be a gimmick, but avoiding doing something you’ve never done before could also be a problem."  -- Avram Ferer (ArtNews)

WHY: His challenge is to create compelling improvisations while moving through, eliciting sound from, and reacting to, the monumental sculpture.

BY: The Resonant Sculpture Project is a long-term international series by Avram Fefer that has recently presented at the Gagosian Gallery New York, Gagosian Gallery London, and Princeton University Art Museum.

[burlveneer-music]

Burnt Sugar The Arkestra Chamber presents Oakanda Overdrive

From the September 23rd release … ‘Angels Over Oakanda” on the AvantGroidd Musica label. Track Composition: Jared Michael Nickerson Leon Gruenbaum - Fender Rhodes ~ Satch Hoyt - Flute ~ V. Jeffrey Smith - Tenor & Soprano Sax ~ Lewis ‘Flip’ Barnes - Trumpet ~ Avram Fefer - Alto Sax ~ ‘Moist' Paula Henderson - Bari Sax ~ Shelley Nicole, Greg Gonzalez & Jared Michael Nickerson - Percussion  ~ Greg Gonzalez -Trap Drums ~ Greg ‘Ionman’ Tate - Loops ~ Jared Michael Nickerson - Electric Bass

[ib2se]

The B:sides-Playlist 2020-02-10 @ Radio Vättervåg 98,5 Mhz

This week: Elk Drive

starter: 'B:zväng' TextMix & reading af MrZ Komposition & Produktion af SkåneJokke Lütz [0:41]

💿 All Albums from Chant Records 💿 1. [5:49]

Eyal Talmudi Quintet – AYALON ZAFON Performed by Eyal Talmudi, Sefi Zisling, Uzi Feinrman, Gilad Abro, Aviv Cohen Composed by Eyal Talmudi Arranged by Eyal Talmudi Produced by Eyal Talmudi and MOMO sessions Engineered by Uri Barak – MOMO Recorded at Kicha Studios TLV PEACE

2. [2:57]

Felipe Hostins – É pra Sorrir Performed by Davi Vieira (percussion), Felipe Hostins (Accordion – Bass) Composed by Felipe Hostins Arranged by Felipe Hostins/Davi Vieira Produced by Felipe Hostins/Jake Owen Engineered by Jake Owen Recorded at Jake Owen’s Home Studio

3. [3:41]

Koby Israelite – Sultan Suleyman Performed by Koby Israelite Composed by Koby Israelite Arranged by Koby Israelite Produced by Koby Israelite Engineered by Koby Israelite Recorded at Bamba Studios, London

4. [3:15]

Koichi Makigami – Kurubushi Performed by Koichi Makigami vocal, cornet, Khomus-ukulele Composed by Koichi Makigami Arranged by Koichi Makigami Produced by Koichi Makigami Engineered by Koichi Makigami Recorded at 1714 studio in Atami Japan

5. [5:08]

Kretzmer/Ajemian/Shea – The Kiss Performed by Yoni Kretzmer – tenor sax, Jason Ajemian – double bass, Kevin Shea – drums Composed by Kretzmer/Ajemian/Shea Arranged by Kretzmer/Ajemian/Shea Produced by Yoni Kretzmer Engineered by Jim Clouse Recorded at Park West Studios

6. [4:18]

Laushaus (Kyle Sanna, Jonathan Goldberger, Todd Sickafoose, Mathias Künzli) – Elk Drive Performed by: Kyle Sanna – guitar Jonathan Goldberger – guitar Todd Sickafoose – bass Mathias Künzli – drums Composed by Laushaus Arranged by Laushaus Produced by Kyle Sanna, Mathias Kunzli Engineered by Jeff Hill Recorded at The Stable

7. [4:33]

Lemon Juice Quartet (Eyal Maoz, Avishai Cohen, Shanir Ezra Blumenkranz, Kevin Zubek) – Qua Performed by Eyal Maoz – guitar Avishai Cohen – trumpet Shanir Ezra Blumenkranz – bass Kevin Zubek – drums Composed by Eyal Maoz Arranged by Shanir Ezra Blumenkranz and Lemon Juice Quartet Produced by Shanir Ezra Blumenkranz Engineered by Martin Bisi Recorded at B.C. Studio from the album REPLUBLIC

8. [4:19]

Sharabi feat. Frank London & Deep Singh – Roma (Electric Hot Pot Mix) Performed by: Frank London – trumpet, flugelhorn Deep Singh – dhol, tabla, dholak & percussion Brian Drye – trombone Lynn Ligammari – sax Booker King – bass Tony Lewis – drums Jeremiah Lockwood – guitar Brian Marsella – keys Rob Curto – accordion Traditional, Arranged by Frank London & Deep Singh Produced by Frank London & Deep Singh Engineered by Jeremy Scott Recorded at The Civil Defense Published by Nuju Music, BMI & Deep Singh, ASCAP From the upcoming CD ‘SHARABI’ Mixed & Mastered by Deep Singh

9. [1:52]

Shimoni Street Children’s Orchestra – Embryons Desséchés Performed by Shimoni Street Children Orchestra Composed by Erik Satie Arranged by Shimoni Street Children Orchestra Produced by Shimoni Street Children Orchestra Engineered by Shimoni Street Children Orchestra

10. [4:46]

Tarana (Rick Parker & Ravish Momin) – Natrang Performed by Rick Parker- trombone/synths; Ravish Momin- drums, electronic programming, samples Composed by Ravish Momin Arranged by Ravish Momin/Alap Momin Produced by Alap Momin Engineered by Phil Weinrobe Recorded at Figure 8 Recording Mixed by Alap Momin @ Uptown Mixers, Harlem, NYC 2017

11. [12:59]

Shrine Umbrella (On Ka’a Davis) – ” Scene # 9 / I Am Near You “ Performed by: On Ka’a Davis (Conduction, Guitar) Valerie Kuene (cello) Will McIntyre (vibes) Daniel Jodocy (electronic turntables) Naomi Watanabe (percussion) Peter Barr (drum set) Cavassa Nickens (electric bass) Albey Bogosian (electric bass) Nonoko Yoshida (alto sax) Avram Fefer (alto sax) Jason Candler (tenor sax) Nick Gianni (tenor sax; flute) Welf Dorr (bass clarinet) Tom Chess (ney) Composed by On Ka’a Davis Arranged by On Ka’a Davis Produced by On Ka’a Davis Engineered by On Ka’a Davis Recorded Live at the Stone, NYC, October 22, 2012 On Mu Music (ASCAP)

1 jingle incl tune from Kmag #107 af Loopmasters Samples & 2 jingles from B:sides on Spotify

  Veckans BibelVers: “Come to me, all you who are weary and burdened, and I will give you rest. Take my yoke upon you and learn from me, for I am gentle and humble in heart, and you will find rest for your souls.” ~ Matthew 11:28-29 🎧

Drink Espresso - God bless U! /MrZ :)

www.ib2.se Soli Deo Gloria

All Photos: MrZ ~ Wättern.se

Join Generation XYZ @ gen.xyz 

GDPR Z

(via https://open.spotify.com/playlist/3hjzi7VthQQ6NZOcG9c1M7?si=mUEgLNj8RZC9SELlzdWBRA)

[trascapades]

🕊🎶#ArtIsAWeapon #GregTate "Celebrating Greg Tate: More Than Posthuman: Rise of the Burnt Sugar Arkestra Mojosexual Cotillion" this Sunday, July 17, 2022, 7:30 PM (doors open at 6:00 PM), @lincolncenter #SummerForTheCity. Limited advance reservations: www.lincolncenter.org/series/summer-for-the-city/celebrating-greg-tate-more-than-posthuman-rise-of-the-burnt-sugar-arkestra-mojosexual-cotillion **This celebration honoring Greg's life and legacy will be live-streamed for folks who are unable to attend - go to Lincolncenter.org ** Reposted from @lincolncenter: Gregory Stephen Ionman Tate (1957-2021) was a giant of Black radical thought and creativity, and a conductor of incandescent, community-driven music. Tate's body of writing as an influential critic would be enough to enshrine him as a cultural icon, but he is equally important to a generation of musicians as both the co-founder of the @blackrockcoalition, a national nonprofit organization dedicated to the complete creative freedom of Black artists; and the creator of @burntsugararkestra, a sprawling, omnivorous, and outrageously accomplished improv collective. Reposted from @burntsugararkestra - For this homecoming concert, curated & presented with The Tate Family at one of his favorite venues, more than thirty Burnt Sugar Arkestra members will perform in celebration and tribute to one of the most essential voices in the history of 21st Century Avant Groidd music and thought. On the same day, The Tate Family, Lincoln Center, and Photoville will honor Tate's life and work with the presentation, “In Praise of Shadow Boxers, Dissonance & Dissidents: A Pop-Up Tribute Exhibition to Greg Tate”. The exhibition will feature six-foot prints by 24 artists with whom Tate was in community and whose work he championed. Each image is accompanied by a personal statement by that artist about Tate. The band: Liza Jessie Peterson – MC, Freedome Bradley – MC, Pastor Kaji Dousa – MC Vernon Reid – Conduction, Lisala Beatty – Vocals, Shelley Nicole – Vocals & Conduction, Bruce Mack – Vocals/Synthesizer & Conduction, Karma Mayet – Vocals, Abby Dobson – Vocals, Sequoyah Murray – Vocals, Shariff Simmons – Vocals, Simi Stone – Violin, Satch Hoyt – Flute & Percussion, Lewis “Flip” Barnes – Trumpet, Avram Fefer – Soprano Sax, V. Jeffrey Smith – Tenor Sax, “Moist” Paula Henderson – Bari Sax, Dave “Smoota” Smith – Trombone, Leon Gruenbaum – Keyboards & Samchillian, Ben Tyree – Electric Guitar, Andre Lassalle – Electric Guitar, Jason DiMatteo – Acoustic Bass, Shawn Banks – Congas, LaFrae Sci – Trap Drums & Electronics, Marque Gilmore tha’ Inna•Most – Trap Drums & Electronics, Jared Michael Nickerson – Electric Bass & Conduction, Latasha N. Nevada Diggs - Vocals/Electronic Soundscapes. Bill Toles – BSAC Media Design, LaRonda Davis – BSAC Stage Crew, Ginny Suss – BSAC Stage Crew. Image 1: 🎨Poster art by Amy Gail. Created with photos by Nisha Sondhe, Laura Williams, Daryl Tillman, Ginny Suss, Simone Cassas, & Sachyn Mital. . Image 2: 📸 by Nisha Sondhe #BlackBrilliance #BlackGenius #GregTateCelebration #LincolnCenter #burntsugararkestra (at 60 Lincoln Center Plaza, Damrosch Park) https://www.instagram.com/p/CgCILUOgl0N/?igshid=NGJjMDIxMWI=

[blastikmusik]

The Rentals - Spaceships Jehnny Beth - I'm The Man OTHERLiiNE - Hates Me DOPE LEMON - Dope & Smoke tUnE-yArDs - Bizness Clipping - Aquacode Databreaks Lëster - Lace Dress Max Cooper - Aleph 2 Caroline Konstnar - The Jellyfish Song Jon Batiste - SOULFUL (Live) Avram Fefer Quartet - Essaouira

Download: https://app.box.com/s/mcab2arld7kmml3t2uvr9a25blj0ou5r youtube playlist: https://www.youtube.com/playlist?list=PLE0voIpJVXCjPnvCpVVCi8PhznU-e8vXv want to support me? get me some coffe at http://ko-fi.com/blastik or www.paypal.me/KAYLEPH

[diyeipetea]

HDO 238. Leo Records: las dimensiones de la improvisación con Loz Speyer, Gratkowski - Nabatov, Ensemble 5, Stuart Popejoy [Podcast]

HDO 238. Leo Records: las dimensiones de la improvisación con Loz Speyer, Gratkowski – Nabatov, Ensemble 5, Stuart Popejoy [Podcast]

En HDO 238 (15 de febrero de 2017), catamos las cuatro últimas novedades del catálogo de Leo Records, en las que aparecen distintas visiones de la improvisación, a saber, las de Loz Speyer’s Inner Space en Life On the Edge (Chris Biscoe, Rachel Musson, Olie Brice, Gary Willcox, Loz Speyer); Ensemble 5 en Live — Featuring Elliott Levin (Heinz Geisser, Elliott Levin, Fridolin Blumer, Reto Staub,…

[digitaldiaspora]

Burnt Sugar Smokehouse March @ C’Mon Everybody BK

C'mon Everybody 325 Franklin Avenue (Btw Clifton & Green ) Brooklyn, NY 11238

- 21 & Over - $10adv/$12 @ door Single Night Admission - $25 online & March 9th-at-the-Door Three-night Pass

Doors @ 6:30pm

Thursday - March 9th 7-7:20 DJ Spirithood 7:20-7:50 - Burnt Sugar Arkestra 8-8:50 - Digital Diaspora featuring Mikel Banks 9-9:50 - Luqman Brown’s Dope Sagittarius 10-11 - Burnt Sugar Arkestra 11-11:30 - #Moist Paula & #J.Speck’s #The GPS 11:30- Midnight - DJ Spirithood

Thursday - March 16th 7-7:20 DJ Spirithood 7:20-7:50 Burnt Sugar Arkestra 8-8:50 -  JS Williams' Altered Progression 9-9:50 - Shrine for the Black Madonna 10-11 - Burnt Sugar Arkestra 11- Midnight - DJ Spirithood

Thursday -  March 23rd   7-7:20 DJ Spirithood 7:20-7:50 - Burnt Sugar Arkestra 8-8:50 - Avram Fefer’s Rivers On Mars 9-9:50 - D Max’s Terrestrial Reset 10-11 - Burnt Sugar Arkestra 11-11:30 - #Moist Paula & #J.Speck’s #The GPS 11:30 - Midnight - DJ Spirithood

[edmarshallphotographynyc]

If I didn't have a gig and I was in Brooklyn this is where I would be! Reposted from @burntsugararkestra - Burnt Sugar the Arkestra Chamber celebrates twenty years of one-of-a-kind performances. Entitled NOTHING IS: How Sun Ra, Amiri Baraka, and Octavia Butler Supercharged the Black Arts With Post-Apocalyptic Cosmic Consciousness, the evening opens with 1960s and 1970s Black Power anthems in conjunction with our special exhibition Soul of a Nation: Art in the Age of Black Power. Then, noted author and critic Greg Tate offers an interactive lecture on the cross-influence of politics and music during the Black Power era. BSAC closes the evening with selections from Volume Two of their recently released Twentieth Anniversary Mixtapes Groiddest Schizznits trilogy. With Special Guests Carl Hancock Rux, Bazaar Royale, Vijay Iyer & Ronny “Head” Draytone. Between sets, Greg Tate offers an interactive lecture on the cross-influence of politics and music during the Black Power era.. Burnt Sugar Arkestra ( Brooklyn Museum Black Power Edition ) Greg Tate (conduction, guitar, laptop) Bazaar Royale (vocals) Carl Hancock Rux (vocals, spoken word) Shelley Nicole (vocals) Mikel Banks (vocals) Julie Brown (vocals) “Moist” Paula Henderson (baritone saxophone) V. Jeffrey Smith (tenor saxophone, effects) Avram Fefer (soprano & tenor saxophones) Vijay Iyer (acoustic piano, electronics) Leon Gruenbaum (keyboards, samchillian) Ronny “Head” Drayton (guitar) André Lassalle (guitar) Ben Tyree (guitar) James "Biscuit" Rouse (trap drums) Jared Michael Nickerson (electric bass) Thursday, January 31st 2019 7–9 pm Brooklyn Museum 200 Eastern Parkway Brooklyn, New York 11238-6052 Iris and B. Gerald Cantor Auditorium, 3rd Floor Tickets are $16 and include Museum admission. Member tickets are $14 All Ages Ticket link in bio. __ “God is Black” - from “More Than Posthuman – Rise of the Mojosexual Cotillion" & Groiddest Schizznits Volume 3 VOCALS Dilla-X | GUITARS Akan, Greg Tate |ELECTRIC BASS Jared Michael Nickerson | ACOUSTIC BASS Jason DiMatteo | DRUMS Christ Eddleton | PIANO W.Myles Reilly | FLUTE Satch Hoyt | WORDS & MUSIC Greg Tate | GRAPHICS by @theamygrail (at Brooklyn Museum) https://www.instagram.com/p/BtH05BsFa6R/?utm_source=ig_tumblr_share&igshid=xtizh2jus25l

[thomashutchings]

Got to hang 2 sax teachers I studied with over the past decade. Steve Gauci & Avram Fefer these are some heavy cats. I learned about embouchure building from Steve & vocab building from Avram. #shrinebigband #livemusicnyc #saxteacherrreunion (at Bushwick)