#clean feed

[dcency]

[musicollage]

Angles — A Muted Reality. 2022 : Clean Feed.

[dustedmagazine]

Phillip Greenlief & Scott Amendola — Stay With It (Clean Feed)

Photo by Lenny Gonzales

If the name of this record represents advice given to oneself, saxophonist/clarinetist Phillip Greenlief and drummer Scott Amendola have definitely followed instructions. Both residents of the Bay area, they’ve been working together for 30 years, sometimes in larger ensembles but also as a duo. Thus, while between them they’ve played with Fred Frith, Nels Cline, Mike Patton, Susan Alcorn and members of ROVA, their shared partnership is also one of their most enduring creative endeavors.

The rapport fostered by lengthy collaboration gives Stay With It an air of effortlessness. Take “Eloquent Turbulence,” for example. Greenlief’s Bb clarinet lines float over Amendola’s spare brushes-on-snare accompaniment, involved their intricate development, but when the drummer inserts a sudden shift to kick drum and toms, he’s right with him, switching tone and texture to match. Amendola shifts again to a stew of electronic twists and sizzling static, and Greenlief knows just what to do, burrowing into the maelstrom and coming back up with dolphin-like grace.

Amendola’s real-time electronics figure more prominently on “Microfiche,” setting up a continuously morphing back-of-the-workshop clatter. Paradoxically, Greenlief’s tenor sax feels more idiomatically post-bop, tracing adroit, vinegary shapes in close proximity. He seems to sense the implied rhythms inside Amendola’s abstracted commotion and find sure footing upon their traces. And then they come together, long tones combining with transistorized stutters like woven cloth.

“Farfalle Alle En Mare” takes things even farther out. The effects on Amendola’s metal percussion make each strike squiggle, as though a deejay had snatched it out of the air, pressed it into vinyl, and then rocked the record back and forth on the turntable. Greenlief responds with striated, breathy sounds that are as ultra-natural as Amendola’s are transformed, but are nonetheless so un-reed-like that I checked the sleeve to see if he was playing trumpet. For music like this to work, the duo have to have a common aesthetic that informs their responses, a shared sense of what wrong-ish sounds go right together.

Bill Meyer

[burlveneer-music]

Roots Magic Sextet - Long Old Road - they’ve added two members for this new set of spiritual jazz, one of several great March releases from Clean Feed

Since their appearance at the 2021 edition of the Jazz em Agosto festival Roots Magic confirmed the new sextet line-up featuring veteran multi reeds player Eugenio Colombo and vibes specialist Francesco Lo Cascio. "Long Old Road'' is the group's fourth Clean Feed release and for the first time the track list includes a higher number of original compositions as counterpoint to the usual selection of reworked tunes from the early blues/free jazz repertoire. Two of the original compositions come as dedications in spirit to Muhal Richard Abrams and Abdul Wadud while others include literary quotes from writers and activists such as Toni Morrison, Benjamin Zephanian and Z-Z.Packer. The album opens with the soulful beat of a Kahil el Zabar piece and develops through an extremely varied program including vibrant grooves, ecstatic free jazz explosions and overtly poetic zones; among these: a meditative, abstract rendition of Bessie Smith's classic "Long Old Road" and a closing triumphant version of Cal Massey's "Things have got to change". Needless to add that this expanded line up offers a wider sound palette full of new colors and timbres, all ingredients that enrich the already solid Roots Magic concept. Alberto Popolla clarinets, electric bass, banjo Errico De Fabritiis alto and baritone saxophones Eugenio Colombo flutes, soprano saxophone Francesco Lo Cascio vibraphone, percussion Gianfranco Tedeschi double bass Fabrizio Spera drums, percussion, zither All music by Popolla, Colombo, De Fabritiis, Lo Cascio, Tedeschi, Spera (SIAE) except where indicated

[abellarts]

[ID in alt]

jon should have been able to sock him at least once before s5

[fernisfreaky]

oppy gets super lovey dovey during aftercare proceeding him topping bc he is very conscious of their size diff 😔❤

[mothzan]

Catzai

[shitpostingkats]

Alabasta Ace is so funny.

Like the strawhats keep commenting that Ace is so polite and restrained compared to Luffy but like. This dude drags himself out of the ocean just to thank them for looking after his brother and offer to help wash dishes. Mans asks "Are these guys bothering you?" and proceeds to blow up an entire fleet with his bare hands. He trips over himself to make sure all of Luffy's crew likes him and no, really, you don't mind that he's a weirdo???? That we, I mean he, are feral little insane guys who take up space and emotional labor and are kind hard to handle? Really???? Cool cool cool hey just a reminder I can help out with anything that needs doing. I got lost in the desert but donnut worry in the 0.6 seconds since you last saw me I have somehow acquired water and provisions for several weeks. Don't ask me how!

Peak oldest sibling behavior.

[hisbodycorpse]

✝︎⎯⎯ · 𝚅𝙾𝙻 𓄼 ⑽ 你不得不 ̩̩͙ 🗡️

ೄ ⠀⛪️ 佩佩服食人͟者͟ ͟ ͟ ⊸𝐂 𝐑 𝐈 𝐌 𝐄 𝐒

[sea-lanterns]

As they’re fighting Lion Dehya walks by and scoops up the Vet and walks away

The Queen of the Pride casually taking what is rightfully hers 😭😭

Everyone is too busy tackling each other and fighting over you to notice Lion! Dehya picking you up by the scruff of your work scrubs, and taking you back to her den where she could share you with Lion! Jean (I like to think they are in the same Pride)

Eventually, someone will notice that you are missing due to your scent no longer being in the area, causing the fight to stop and have the hybrids on high alert. Worried that you may have been kidnapped, all the hybrids run around the sanctuary to try and find you, oblivious to the fact that you were getting shared between the lion hybrids in their den to satisfy their heats 💕

[uhohdad]

THE GIRL WHO CONQUERED THE MOUNTAIN

➤ KÖNIG X READER HUNGER GAMES AU

➤ SUMMARY

You & König have been chosen as unwilling participants in a twenty-four tribute fight to the death.

18+, NSFW, 183k+ WORD COUNT, Virgin!Konig, Outcast!Konig, 18yo!Konig, GentleGiant!Konig, Mentor!JohnPrice, Fem!Reader, Blood & Injury, Graphic Violence, Death, Gore, PTSD, Alcohol Use, Slow Burn, Sexual Content, First Time, Smut, Fluff, Angst

ARCHIVE OF OUR OWN

➤ VOLUMES

THE TRIBUTES I

THE TRIBUTES II

THE GAMES

THE VICTOR I

THE VICTOR II

THE AFTERMATH I

THE AFTERMATH II

THE WARNING I

THE WARNING II

THE GAMECHANGER I

THE GAMECHANGER II

THE GAMECHANGER III

THE FINALE *

*Coming soon to a blog near you!

➤ BONUS CONTENT

JOIN TAG LIST

DISCORD BOOK CLUB <3

MOOD BOARD

BZURK’S FANART

INTERVIEW OUTFIT INSPIRATION

PLUCKY & THE MOUNTAIN PLAYLIST

HEADCANNONS AND FUN FACTS

MEMES

READER X TITAN DRABBLES

RUBY X PRICE DRABBLES

FAN MADE DRABBLES

DISCUSSIONS/ANNOUNCEMENTS

➤ MASTERLIST

UHOHDAD’S MASTERLIST

Dividers: @saradika-graphics

Konig Photo Credit

[valtsv]

How does one work at a cat shelter? What qualifications did you need, in the UK? - Unemployed and desperate for a job that provides joy. Mwah.

it's a volunteer job i'm afraid, so it doesn't pay me. experience requirements depend on where you apply, but most places are happy to take you on if you have basic experience looking after a cat, or even just a willingness to listen and learn. it's not glamorous work, though. there's a lot of cleaning up shit and vomit. the cute cats are a bonus but they make a lot of mess and they do kinda stink. i don't gaf because i used to own a cat and i worked at a horse rescue sanctuary as a kid so i'm used to it, but some people quit real fast when it's not what they expected.

[musicollage]

Jacob Sacks – Fishes. 2018 : Clean Feed.

! acquire the album ★ attach a coffee !

[dustedmagazine]

Brew—Heat & Between Reflections (Clean Feed)

Brew is a trio that has existed since the late 1990s, when Miya Masaoka and Reggie Workman invited Gerry Hemingway to join their duo. They gigged and recorded enough around that time to put together a debut album, Brew, but never managed to line up its official release. They kept working together, and during a visit that Hemingway made back to New York (he currently lives and teaches in Switzerland) in late 2019 they checked into Acoustic Recordings for a day to make another record. Apparently Hemingway’s robust ongoing relationship with the Portuguese Clean Feed label propped the door of opportunity open wide enough to turn one album into two, so now we can consider 20 years in the history of a band you might not even have known existed.

Before considering the merits of Brew and Between Reflections as recordings, this has to be said — what a band! The unlikeliness of its line-up — one experimental koto player, one bassist who has John Coltrane, Art Blakey, and the New York Art Quartet on his c.v., and one drummer who juggles concepts, meters and sounds in settings as diverse as a piano trio playing Billy Strayhorn tunes and a band led by Anthony Braxton — is easily forgotten once you hear the depth of their rapport. Each musician places their distinct understanding of their instrument at the service of a mercurial collective sound, yielding consistently thrilling results.

Take “Message From The Outside,” from Brew. You could say that it’s just a sustained groove, and you wouldn’t be wrong. But to hear how the sound swells as Masaoka’s strings stir sonic whirlpools within Hemingway’s constantly mutating patterns, and how Workman’s bowing slices through them without knocking a beat out of place, is to hear how much masters can do with the essentials. Or consider “One For Walt Dickerson,” on which Hemingway switches to vibes and Masaoka distorts her strings like a rock guitarist. The novelty of Masaoka’s sounds in proximity to the solemn vibe that Hemingway and Workman establish is undeniable, but what registers is the patience with which the music unfolds, and the sense of eeriness that its juxtapositions impart.

The combination of recording sessions that span twenty-one years tempts the listener to consider how the group may have changed over that time, and one can definitely hear changes in recording technology, and effects, and inclinations towards multi-instrumentalism. But what persists is how well these musicians facilitate the manifestation of an uncommon common sound.

Bill Meyer

[burlveneer-music]

Luis Lopes ABYSS MIRRORS - echoisms - Clean Feed is on a tear, check out this slab of free jazz from Lisbon

From the music recorded in two days at Namouche Studios Lisbon, and reaching the public through this cd, comes a constantly changing sound and atmospheric passages, managed with the tense restraint of someone who listens and understands their place within a great formation and moments of collective ecstasy with no final destination. Movements of elusive harmony that revolve around themselves in line with the haunting lyrics of 'He Loved Him Madly' by Miles, along with a whirlwind of strings that brings that liberation of Alan Silva's ensembles, electronic phrases as meta-rhythmic as landscapes and more detours and certain continuities, in an abysmal game of mirrors. The name is well placed! The troop, the Abyss Mirrors, invoked by guitar player Luís Lopes, as described in his own words draws from inspirational foundations and a search for continuity to music that is born from the ensembles of Sun Ra and advances through the electric periods of Miles Davis and Ornette Coleman, to continue with Wadada Leo Smith, and pinching from electroacoustic giants like Stockhausen or Gabriel Prokofiev. A Herculean task but full of intention, built by an ensemble made up of a dozen figures, 4 nationalities: Portuguese, Swedish, Finnish, and Brazilian, all currently based in Lisbon, coming from areas as disparate as intersectional: obviously from jazz but also free improvisation and experimental styles, from electronic to underground techno, contemporary or rock, with a good balance between electric and acoustic. All people recognized and recognizable in a collusion of more or less usual cronies from Lopes various wanderings. creditsreleased March 21, 2023 Luis Lopes electric guitar Flak electric guitar Jari Marjamaki electronics Travassos electronics Felipe Zenícola electric bass Yedo Gibson tenor , alto, soprano sax Bruno Parrinha alto, soprano sax Helena Espvall cello Maria da Rocha violin Ernesto Rodrigues viola All music by Abyss Mirrors under Lopes direction

[shaadowmilkcookie]

have i given you enough of myself, yet?

a little something about people-pleasing