Pan Afrikan Peoples Arkestra Horace Tapscott
Flight 17

Ulla roots her style in improvised jazz and blues on a very welcome follow-up to her entry for our Documenting Sound series, and the sublime ‘Tumbling Towards A Wall’ LPUlla offers more precious room to breathe and space to think on ‘Limitless Frame’, dispensing a broader palette of instrumentation to evoke finer, ephemeral feels with a more timeless appeal. Her sound appears more porous to influence from strains of wistful jazz and blues here, vacillating and morphing her dreamlike ambient purview between parts of signature, aleatoric ambient pads and rustling room recordings, along with more classicist or traditionalist turns of guitars, sax and keys that call to mind K. Leimer via The Remote Viewer. It’s a perhaps surprising change in the winds of her music, and one we’re very happy to follow.In the artist’s own words “I made this music as a way to hug myself” and listeners can trust that hug will extend to them, too. She spends the first half of the record wrapping us up in clouds of pads, processed strums and fractured melodies, whisked to a gentle peak in the keening swoon of ‘Chest of Drawers’ around the middle, while the second half unravels into gorgeous loner arrangements. She captures the most wistful sensations akin to Annie Hogan’s parlour keys on ‘Something Inside My Body’, and crystalline trickles of guitars in ‘Clearly The Memory’, with the softly pealing wind of ‘Walk Alone’ calling to mind Loren Connors and Daniel Carter’s ‘The Departing of A Dream.’

Les fondateurs de Blue Note, Alfred Lion et Francis Wolff, avaient les oreilles et l'esprit ouverts, comme ils l'ont prouvé à maintes reprises au début des années 1960 en enregistrant certains des musiciens les plus aventureux de la scène du jazz moderne, tels qu'Andrew Hill, Eric Dolphy et Tony Williams. Mais ce n'est que lorsqu'ils ont fait venir Ornette Coleman et Don Cherry à Blue Note en 1965 qu'ils ont plongé tête la première dans l'avant-garde. Coleman et Cherry avaient bien sûr marqué l'histoire ensemble quelques années auparavant, en tant que membres du quartet révolutionnaire de Coleman, qui avait fait savoir au monde du jazz de New York qu'il y avait du nouveau en ville lors de leur arrivée au Five Spot Café en 1959. Bien que Cherry ait codirigé l'album The Avant-Garde avec John Coltrane en 1961, sa carrière de chef d'orchestre a débuté avec son audacieux premier album Complete Communion enregistré sur Blue Note en décembre 1965 (Coleman avait enregistré son nouveau trio en direct au Golden Circle de Stockholm pour ses propres débuts sur Blue Note quelques semaines auparavant). Cherry retourne au studio Van Gelder à deux reprises à l'automne 1966, d'abord pour enregistrer sa vaste Symphony for Improvisers, puis pour le fougueux Where Is Brooklyn ? Ce dernier est une session en quartet très interactive avec Pharoah Sanders au saxophone ténor et au piccolo, Henry Grimes à la basse et Ed Blackwell à la batterie, qui présente cinq originaux de Cherry, dont "Awake Nu" et "The Thing".Cette édition Blue Note Classic Vinyl est entièrement analogique, masterisée par Kevin Gray à partir des bandes originales, et pressée sur un vinyle 180g chez Optimal.

Avec la participation de : Arfi, Fabrice Alibaux (Multi-instruments), Jean Bolcato (basse), Maurice Merle (saxophone), Louis Sclavis (clarinette), Patrick Vollat (piano), Steve Waring (voix), Jean Mereu (trompette), Alain Rellay (saxophone), Hervé Remond (basse), Christian Rollet (batterie), Guy Villerd (saxophone)

Pierre Vassiliu et Denis Van Hecke présente "Pierre Vassiliu" album expérimental de 1979 qui mêle une grosse quantité d'influences allant de la Pop au Reggae en passant par la musique traditionnel languedocienne, terre de naissance du musicien. Superb artwork accompagné de son insert d'époque

November 2016, 10 years of OTPMD. Vincent Bertholet, still resolute, finally realises his old dream of a'real' orchestra. And thus was born the project to expand the known horizon. The orchestra became XXL by assembling accomplices from the first hour, who had never really disappeared from view, and an English string section met along the way.From now on, they will be 14 on stage. An anniversary tour, prestigious stages and makeshift squats, unrestrained agitation as in the first days, and a larger chorus, more percussive than ever. The multi-headed Hydra gives voice in concert and the frail stages that host it groan under its weight. Nevertheless, it is in the studio that the foundation of a new adventure is forged. Back to England, in the imposing and magnificent building that houses Real World Studios. After Rotorotor (2014), John Parish is again at the controls.It's called Sauvage Formes, a shrewd title, because everything here is as geometric as it is organic. The incisive rhythms, doubled in XXL, trademark of the pack, mingle with the unusually melancholy brass. The guitar riffs express themselves in minimalistic cascades, and since the number of strings has tripled, they allow themselves the luxury of entwining with each other, like a carnal embrace without epilogue. The voices, more numerous than usual, recite, chant, lead the dance and poeticise, sometimes in French, sometimes in English, and, in the same spirit, the chorus takes the opportunity to shape the pediment of hymns to elsewhere.These 8 songs as beautiful as they are adventurous, it seems to be a story of a voyage, a torn logbook. On the horizon however, neither boat, nor rickety plane, neither map nor compass. Is it because the continent that is mentioned in these texts and melodies is not a known place, but rather a dream world, a land of asylum for rebels and the insubordinate, for the daring and the benevolent