Back in the World page 1 – Music – Village Voice – Village Voice
The News Review:
- Back in the World page 1 – Music – Village Voice – Village Voice
- Bob Sinclar | Music Artist | Videos News Photos & Ringtones |…
- Alisa Weilerstein – Azul – Mostly Mozart – Music – New York Times
- Sound start for Grabowsky
Back in the World page 1 – Music – Village Voice – Village Voice
Village Voice – Jul 31, 2007
Rudd chose the opposite route reawakening images of the trombone as a projectile—a horn that entered jazz growling or braying like an animal at the head of a parade or on the back of a truck. His first recordings as a Yalie in the late ’50s were with an undergrad trad outfit called Eli’s Chosen Six and despite updating rhythmically and harmonically he’d gone right on tailgating and initiating polyphony alongside saxophone screamers like Albert Ayler Gato Barbieri and Archie Shepp in the ’60s. Devotees of jazz are frequently mocked—not without good reason—for living in the past. But another problem is poor short-term memory. ut of earshot means out of mind and by the time I went looking for him in the Catskills Rudd had gone so long without releasing an album or appearing in New York that people had given up wondering where he was. Years ago whenever a musician dropped off the scene the underlying cause was usually heroin. Nowadays the explanation is more likely to involve health insurance… And then befitting a man whose long-ago day gig was assisting Alan Lomax in his work on cantometrics (an arcane system of statistically correlating common vocal traits with social and cultural data in different ethnic musics) the other type of recent Roswell Rudd album is starting to amount to a one-man Nonesuch Explorer series. Like his earlier collaborations with Malian kora master Toumani Diabate (on 2001′s Roswell Rudd’s Malicool) and the Mongolian Buryat Band (on 2005′s Blue Mongol) the new El Espiritu Jibaro—co-credited to Rudd and Yomo Toro generally recognized as the greatest living exponent of the guitar-like Puerto Rican cuatro with percussion by Bobby Sanabria and his group Ascensión—is predicated on the belief that stellar musicianship alone can overcome any and all cultural and artistic differences. Such blind faith has resulted in any number of jazz rhythm-section mismatches over the years and quite a few cross-cultural debacles. Here as on Rudd’s previous such excursions the hoped-for synthesis occurs and his musicological background might have less to do with it than his passivity and goodwill in blending into any musical or social setting (no doubt a factor in keeping him employed in that resort show band and I suspect part of what prevented him from making his move as a leader during those years he was the avant-garde’s favorite sideman). A guy on a jazz webpage I occasionally look at was wondering if El Espiritu Jibaro is indeed jibaro (Puerto Rican slang for “hillbilly”) and not just more plena—a West African–derived style apparently at the root of most Ricanjazz fusions. I bet the difference is why I find Toro’s nimble fingering so novel and refreshing—Robert Palmer’s Times description of Toro as “a Puerto Rican Jimi Hendrix” has followed him around for years but a better comparison might be to Anton Karas’s zither on Carol Reed’s Third Man soundtrack.
Bob Sinclar | Music Artist | Videos News Photos & Ringtones |…
MTV.com – Jul 31, 2007
Nevertheless assorted bootlegs cropped up and by ctober a mysterious artist named Spacedust — probably just a major-label-fronted cash-in attempt — hit the top of the charts in Britain with an almost identical remix of the Sinclar-Bangalter original entitled “Gym and Tonic. ” (Another crass Spacedust move covering Bangalter’s solo hit with the slimly disguised title “Music Feels Good with You” dropped like a rock. )With all the offending samples removed Sinclar’s Paradise LP was re-released worldwide in 1999. He also worked on remixes providing tracks by Bangalter himself Ian Pooley Second Crusade and the Yellow project Tom & Joyce with additional production. Le Friant returned to the Mighty Bop alias in 2000 with the retrospective mix collection Spin My Hits. In 2000 he issued his first U.
Alisa Weilerstein – Azul – Mostly Mozart – Music – New York Times
New York Times – Jul 31, 2007
As Michael Ward-Bergeman squeezed out a low steady ostinato on his hyper-accordion a conventional acoustic instrument outfitted with electronic effects Mr. Golijov sang rhythms to the percussionists Jamey Haddad and Cyro Baptista. Louis Langr? the music director of the Mostly Mozart Festival filled in orchestral parts on piano. Petite and brimming with self-assurance Ms. Weilerstein provided a center of calm amid the din. ver percussive rumbles shakes and splatters she played a long radiant melody its melancholy reflected in her intense expressions.
Sound start for Grabowsky
NEWS.com.au – Jul 31, 2007
So in his first festival – and the fifth since former arts minister Matt Foley created the event in 1999 – Grabowsky had big shoes to fill and the fact that his festival which ended on Sunday stands comparison of any kind with previous events is something of an achievement in itself. What Grabowsky brought by way of innovation tended to move the event away from the classics and into experimental jazz world music crossover and rock. If there was an iconic event it would have been Pig City the celebration of Brisbane’s rock music history that saw The Saints reforming and depending on whose figures you believe at least some thousands of mainly mature punters flocking to relive the soundtracks of their Brisbane youth. Mills’ opera The Love of the Nightingale lived up to expectations with great music and unnecessary bloodlust while cabaret act Meow Meow songwriting legend Robert Forster and jazz greats Katie Noonan and Vince Jones set the Powerhouse alight. Score big ticks too for The Greatest Show on Earth in Longreach and a free outdoor concert in Townsville that festival organisers claim attracted 2600 and 4000 audience members respectively. n the down side The Courier-Mail’s theatre critic Sue Gough was less than enchanted by Balodis’ script for Red Cap and some shows – most notably avant-garde Asian-Australian collaborations The Wide Alley and Daorum – were poorly attended.