#chad taylor

[soundgrammar]

Listen/purchase: Swerve by JAMES BRANDON LEWIS QUARTET with Aruán Ortiz, Brad Jones and Chad Taylor

[toririvas]

listening to superpowereds again has me on the roy/chad train again. damn. these boys r so good together. double legacy heroes, learning how to work around their pasts.... hgh. mary and chad also have such potential chemistry in a platonic sort of way. they'd be so funny doing a pass off of their boyfriends. also the intra/ettin power couple would quite literally be unstoppable.

i think ive made this post before but like. cmon it's so good

[dustedmagazine]

Luke Stewart Silt Trio — Unknown Rivers (Pi Recordings)

Photo by Paul Lucerne

There’s a great moment about two-thirds of the way through “Dudu,” the longest track on the third release by the Silt Trio, when bassist and leader Luke Stewart switches from arco to pizzicato, destabilizing Brian Settles’s knotty tenor line before the trio finds a new center of gravity and then transitions seamlessly to the title tune that brings the set to an energetic close. This is improvised music as a high-wire act — in this case, before a live audience — and it’s thrilling. Unknown Rivers is full of moments like this that make clear that the trio is much more than a side project by one of the most in-demand jazz musicians on the scene today.

The album is split between the second half recorded live in Detroit and the first half recorded in the studio. Despite the different recording contexts and the fact that Trae Crudup plays drums on the studio tracks and Chad Taylor plays drums on the live tracks, Unknown Rivers is cohesive and a worthy successor to 2022’s excellent The Bottom, joining together the versions of the trio that appeared on that recording (with Taylor) and the debut (with Crudup).

The opening track in this set, “Seek Whence,” kicks things off with a loping funk groove and the trio also brings the funk on “The Slip,” with both tracks building to compelling riffs. The joyful “Baba Doo Ray” and more brooding “You See?” are propelled by Crudup’s incredibly nimble rolls and cymbal work and Stewart’s frequent doubling of Settles’s lines, with the latter track ending in an ecstatic free-for-all.

The first of the live tracks, “Amilcar,” opens with an extended solo by Taylor, whom Stewart joins to the crowd’s approval (the crowd noise is otherwise unheard on these tracks) and then Settles methodically establishes a presence with lines that buzz like excited bees and then stretch out and Stewart turns in an inventive solo. The three live tracks form a kind of suite, with no breaks in between, marked by Stewart’s aforementioned shift between arco and pizzicato. The funk returns in the final track with Settles contributing long blasts and fierce squalls over the tight texture provided by Stewart and Taylor.

Amid all that Luke Stewart has going on (Irreversible Entanglements, the Exposure and Remembrance Quintets, Heart of the Ghost …), this trio stands out for its embrace of the groove and tunefulness amid the improvisation. Crudup and Taylor are distinctive players and both versions of the trio are equally compelling — and raise the intriguing possibility of what might happen if the band were to take the form of a two-drummer lineup a la the Sons of Kemet. Settles, who sometimes here reminds me of Sam Rivers’ trios, seems to know instinctively when to hold back and when to unleash his powers. Over all, Unknown Rivers is a major achievement and a blast to listen to.

Jim Marks

[doomandgloomfromthetomb]

Rob Mazurek's Exploding Star Orchestra/Small Unit - Spectral Fiction

A frequently astonishing live performance captured last year at the Corbett vs. Dempsey gallery in Chicago. Over the course of two long, exploratory tracks, Rob Mazurek guides his Exploding Star Orchestra through some beyond-category zones. You could slot this next to something like Art Ensemble of Chicago's Nice Guys, but it exists on its own plane, following an inner logic and purpose. The "Small Unit" here is full of all stars — drummer Chad Taylor, Angelica Sanchez on the electric Wurlitzer, Damon Locks adding fragments of poetry and abstract electronics. Everyone gets a chance to shine, but it might be Tomeka Reid who lingers longest; during her knotty, gnarly solo spotlights, she suggests an alternate world where Thelonious Monk played cello instead of piano.

[sinceileftyoublog]

jaimie branch Album Review: Fly or Die Fly or Die Fly or Die ((world war))

(International Anthem)

BY JORDAN MAINZER

Though the late trumpeter and composer jaimie branch's third album Fly or Die Fly or Die Fly or Die ((world war)) is a final statement, it's even more effective as an eternal one. It begins with keyboards that sound like church organs, an eerily somber sonic manifestation of irrevocability. As Chad Taylor's rolling drums enter, branch gives us one of her trademark trumpet blares, as if to announce, "I'm here." She wasn't one to spend much more time announcing her presence, though--the track segues into an Afro-Latin style jam, clacking percussion and horns in line with Lester St. Louis' nervy bowed cello. ((world war)) from then on spends most of its runtime just the way branch liked it, in a groove, with some breaks along the way to remind us of the urgency of the moment.

The story behind ((world war)) is bound to become lore. It was recorded in April 2022 during branch's artist residency at the Bemis Center for Contemporary Arts in Omaha. It was almost completed when she unexpectedly passed away later that year; her sister Kate, family, friends, and International Anthem then finished the album as they envisioned branch would have. It's branch's finest statement, both in terms of sonic virtuosity and cohesive ideality. On tracks like "borealis dancing" and "baba louie", the band stunningly changes rhythm and style halfway through, to shuffling hip-hop and funk on the former and from calypso to drippy jazz dub on the latter. Lead single "take over the world" is a masterclass in controlled chaos. branch repeats the refrains "Gonna take over the world / and give it back to the land" with stutters and trills, shouting koans atop simmering cello, driving drums, and Jason Ajemian's chugging bass. Eventually, branch puts delay pedal on her voice, sounding like something straight out of Kid A, uncanny but comforting and hopeful instead of glacial and isolating.

Perhaps the standout track on ((world war)) is "burning grey", which sees branch deliver more mantras atop the musical propulsion, howling like a wolf while begging us, "don't forget the fight". It's when she repeats "I wish I had the time" that she not only unintentionally breaks our hearts, given the context, but puts the onus on us to continue what she started. Midway through, the song collapses in on itself, almost a show of what happens when you do forget the communal mission of the human condition. branch was always inspiring, but on ((world war)), she galvanizes us into action.

[thejoyofviolentmovement]

Throwback: Happy 54th Birthday, Chad Taylor!

Throwback: Happy 54th Birthday, Chad Taylor! @livetheband

November is here y’all! And of course, it means that the year has flown by before our eyes.  Much like the ten months before it, November is full of birthdays. So let’s get to it, right?  Red Hot Chili Peppers‘ frontman Anthony Kiedis celebrated his 62nd birthday on November 1 Nelly, one of the most commercially successful artists of the early 2000s celebrated his 50th birthday on November…

[musicollage]

Jaimie Branch — Fly or Die Fly or Die Fly or Die ((World War)). 2023 : IA.

[musicmags]

[donospl]

Co w jazzie piszczy [sezon 2 odcinek 15]

premierowa emisja 24 kwietnia 2024 – 18:00 Graliśmy: Vårterminen Trio “If I Should Lose You” z albumu “Vårterminen”    Big Fish “Seule mais pas trop” z albumu “Big Fish”    Prospectus” Navette Spaciale” z albumu “Météorie”    Ruth Goller  “Next timeI keep my hands down” z albumu “Skyllumina” – International Anthem Cassie Kinoshi’s Seed “I” z albumu “gratitude” – International Anthem Randi…

[chez-mimich]

NJ WEEKENDER FALL EDITION 2023

Come si scrive nelle lettere di risposta ad importanti inviti ufficiali "per impegni istituzionali precedentemente fissati, non potrò intervenire..." ecc. ecc. Mi era finora capitato raramente di non assistere ad un concerto di Novara Jazz. E' capitato però, sabato scorso, per la coincidenza con un concerto della Scala, con biglietto acquistato tempo fa. E così, dopo averlo tanto ascoltato su disco mi sono perso "James Brandon Lewis Quartet" che, a detta dei molti presenti, ha dato, com'era prevedibile, il meglio di sé o meglio "hanno" dato il meglio di sé, insieme a Lewis, Aruàn Ortiz al pianoforte, Brad Jones al basso e il grande Chad Taylor alla batteria. Subito dopo (mi sono perso anche) "Cheickh Tidiane Seck Mandugue Quartet", con il particolarissimo pianoforte del malese Cheikh Tidiane Seck ed è vero un peccato perché la musica africana è quella che, negli ultimi anni, mi ha maggiormente emozionato e stupito. Quello che non mi sono perso (o almeno solo in parte), è la seconda serata di "NJ Weekender Fall Edition", appuntamento ormai tradizionale con l'edizione primaverile e quella autunnale, appunto. Non mi pronuncio sui DJset poiché non ho mai compreso appieno la funzione, ma sembra che Max Jazz Cat Conti, che ha aperto la giornata di domenica, sia stato un eccellente "compilatore”. Quello invece che ho gustato è stato il bel concerto dei "She's Analog", a cui si è unita una straordinaria Adele Altro (voce), che ha incantato il pubblico con una voce intima e calda, che risente di tanti echi del passato (magari anche quella di Suzanne Vega, tanto per buttare lì un nome). La band esplora territori tra il jazz e qualcos'altro, ed è proprio il confine con questo qualcos'altro, il luogo dove nasce la poesia del gruppo composto da Stefano Calderano alla chitarra, Luca Sguera alle tastiere, Giovanni Iacoviella alla batteria. Dopo la sosta per il piacevole buffet, eccoci di novo nella sala concerti di Nova (lo spazio Nova ha una sala concerti ed una sala performance, e su questo torneremo più tardi), per l'attesa esibizione di Daniela Pes. Anche qui il jazz è, diciamo così, un ambito di riferimento, poiché i ritmi e soprattutto le parole di Daniela Pes costituiscono una cosa a sé; si tratta di una lingua fatta di termini della Gallura e di termini inventati, che si amalgamano in un continuum di suoni elettronici di raffinata eleganza e misteriosa potenza evocatrice. La serata non è finita qui, poiché subito dopo il suggestivo set di Daniela Pes è stata la volta del collettivo “Addict Ameba”. Qualche parola sullo spazio Nòva, anzi semplicemente “Nòva”, va spesa, visto che il luogo pare ormai destinato ai concerti “in piedi”, che ormai sembrano aver preso il sopravvento su un ascolto di tipo più tradizionale. É probabile molti artisti gradiscano “avere il pubblico addosso”, però ci sarebbe anche da valutare se al pubblico piaccia stare addosso agli artisti. Indubbiamente un pubblico giovane, di cui spesso si lamenta la mancanza e magari con una birra in mano rigorosamente in piedi o seduto per terra, fa molto Mainzer Strße berlinese, dà quel tono anticonformista e alternativo che non guasta mai. Forse è da queste piccole cose che ci si incomincia a sentire anziani, visto che si preferirebbe, potendo, stare comodamente seduti in santa pace ad ascoltare chi suona, ma si sa non si può avere tutto…

[dustedmagazine]

Alan Braufman — Infinite Love, Infinite Tears (Valley of Search)

Photo by Gabriela Bhaskar

A veteran of the New York loft jazz scene, alto saxophonist and flautist Alan Braufman is best known for his 1975 album Valley of Search notable as the only recording from the free jazz performance space founded by Braufman, Cooper-Moore, David S. Ware and Chris Amberger at 501 Canal St. On his latest album, Braufman smooths off some of the rough edges of his early work and his collaborations with Cooper-Moore whilst retaining a joyous, exploratory tone. Braufman takes a heavily rhythmic approach to his music both in his choice of line-up and his own playing. On alto, he favors a reedy staccato approach whether building intensity in unison with tenor player James Brandon Lewis or soloing, Braufman tends to circle his themes, adding detail, darting through the register.

The two longest tracks illustrate the album’s title. “Spirits” is the love. This up-tempo major key piece opens with Chad Taylor’s straight ahead beat as Ken Filiano lays down a funk bass line. Patricia Brennan’s vibraphone floats almost pianistic above them before the reeds enter, bright. Braufman takes the first solo, pushing high in short bursts. His clarity and harmonic control remain as he extends his notes and skirts dissonance. Lewis follows his tone in a muscular fashion, his solo pitched somewhere in Coltrane’s mid period, melodic but moving outward as he piles ever more notes into each bar, the rhythm section responding in rumbling waves. Patricia Brennan’s vibraphone evokes Bobby Hutcherson with its warm tone and oblique routes through the polyrhythms of Taylor and percussionist Michael Wimberly. Braufman and Lewis reenter circling one another before merging into a triumphant fanfare.

“Liberation,” the tears, is darker. The track builds from Filiano’s resonant arco and a febrile clatter of percussion. The horns sound a foreboding lament, before branching into impassioned solos that evoke struggle against binding chains. Brennan works beatific figures over the rising register of the bass before Braufman and Lewis return to the fray, freer now as Filiano drops his bow to allow his fingers to roam the fretboard. Each reiteration of the lament is met with increased resistance. It ends ebbing back to the beginning. Whatever progress made mired in the ahistorical stasis of the present. Bleak as a history, it is a graceful tribute to forbearance and a magnificent piece of music.

Andrew Forell

[spilladabalia]

jaimie branch - take over the world

[mieczyslawn]

⠀⠀ ⠀⠀ ★ . . . my boyfriend’s pretty cool

[myvinylplaylist]

LĪVE: Songs From Black Mountain (2006)

Epic Records

[musicollage]

Joshua Abrams ‎– Represencing. 2014 : Eremite.

! listen @ Bandcamp ★ buy me a coffee !