#django bates

[caviarsonoro]

Anouar Brahem · Anja Lechner · Django Bates · Dave Holland:  After the Last Sky. (2025 ECM Records).

The new album by Anouar Brahem, After the Last Sky, draws inspiration from the verses of Palestinian poet Mahmoud Darwish (1941–2008), offering a tribute that imbues the project with artistic depth and a profoundly introspective cultural context. In this work, Brahem, the Tunisian oud master, leads an exceptional quartet that seamlessly merges tradition and modernity with unparalleled delicacy and sensitivity.

The quartet is completed by three world-class musicians, each contributing their distinctive voice: the legendary bassist Dave Holland, whose mastery and rhythmic solidity structure and anchor the compositions; the english pianist Django Bates, who brings refined lyricism and sophisticated creativity; and the acclaimed german cellist Anja Lechner, who adds an emotional and textural dimension through her expressive interpretation and exceptional technical skill.

After the Last Sky unfolds as a sonic journey where each performer finds their space to engage in a musical dialogue that transcends genres. Brahem’s oud leads the ensemble with lyrical precision and melodic phrasing that oscillate between melancholy and contemplation. Lechner reinforces this atmosphere with cello lines that combine profound emotion with impeccable technical control, while Bates introduces freshness and dynamism through fluid and intricate improvisation. Holland, with his robust yet flexible double bass, creates a harmonic and rhythmic foundation that perfectly balances and supports the sonic tapestry.

This album not only highlights the technical and expressive virtuosity of its performers but also stands as a meditation on the connections between cultures and universal emotions. ECM's impeccable production accentuates every detail, texture, and nuance, making After the Last Sky a deeply immersive and emotional experience that deserves to be listened to with care and sensitivity.

[jt1674]

[musicollage]

Django Bates' Beloved — The Study of Touch. 2017 : ECM 2534.

! listen @ Apple Music ★ buy me a coffee !

[tejedac]

Sidsel Endresen

Exile, 1994 · Play album

Sidsel Endresen (voice), Django Bates (piano, tenor horn), Nils Petter Molvaer (trumpet), Jon Christensen (drums, percussion), David Darling (cello) & Jens Bugge Wesseltoft (keyboards).

ECM 1524

* Lp info

[clacclo]

Django Bates

New York, New York

[jazzdailyblog]

Django Bates: The Maverick of British Jazz

Introduction: In the eclectic world of modern jazz, few musicians have made as distinctive and influential a mark as Django Bates. A multi-instrumentalist, composer, and educator, Bates has spent his career pushing the boundaries of jazz, blending elements of classical music, pop, and free improvisation into his work. His wide-ranging musical output, both as a bandleader and collaborator, has…

[projazznet]

Anouar Brahem – Blue Maqams

Blue Maqams is a studio album by Tunisian oud player and composer Anouar Brahem, recorded in New York in May 2017 and released on ECM October that same year. The quartet features rhythm section Dave Holland and Jack DeJohnette alongside pianist Django Bates.

Anouar Brahem – oud Django Bates – piano Dave Holland – bass Jack DeJohnette – drums

[danwhobrowses]

One Piece Live Action - OP Fan Review

So it's finally time.

We waited on bated breath and anticipation to see if Oda's masterwork could in fact translate to live action, much less Netflix live action. Titles such as Death Note and Cowboy Bebop have caused sincere fears that it would not go so well, but with Oda in the production there was hope, and now we see if it's rewarded.

Knowing that this is an adaptation and they were covering most of East Blue's saga in 8 episodes there will of course be differences. But whether or not they work remained to be seen, so let's talk about it.

Spoilers for One Piece, both Live Action and manga/anime because there will be overlap to discuss

First and foremost we will need to pour one out for those who didn't make the cut; Woop Slap, Ripper, Ritchie (referenced but not seen), Gaimon, Django (he had a poster but not a presence), the Usopp pirates, Johnny and Yosaku, Carne, that fly in Fullbody's soup, Pearl, Moocy, and most surprisingly Hachi. It's a shame to not see them (also 3 future-warlords in the audience of Roger's execution) but I can understand them...minus Hachi he's kinda an important connective piece in the long run. Also no Usopp Hammer or Usopp Rubber Band, the sacrilege!

So as far as adaptations go though this was really good. Opinions are of course subjective, so a lot of fans are welcome to say that Live Action has done arcs better than the manga/anime, but I'd say it's either as good or a little less, but that's nothing to be ashamed of. A lot of people who haven't watched or read One Piece get a nice introduction of almost the first 100 chapters/45 episodes, which contrary to the memes of 'yeah One Piece gets good at episode 629' should be enough to whet people's appetites to see if they wanna take the plunge.

Of course, change is scary and sometimes not accepted, so not all the changes made were ones I liked, at least as much as the original source. I kinda feel like we did a few characters dirty; Makino (no flirtatious chemistry with Shanks? come on), the Orange Town Mayor, Mohji, Chouchou (again, I get it, can't really get animals to act so easily), Fullbody, Gin, Krieg, Genzo, and Nojiko did have a bit more to do in the source material but often only got one scene or lacked the same spark they had. Also the amount of death was surprising, I get most of it but at the same time killing off Merry (and recontextualizing how the Going Merry was named by not having Merry be its creator even with the lore change that Syrup village makes ships) does kinda leave Kaya even more alone, in the original at least she had him and the Usopp pirates for company. While Buggy as a character is awaiting praise later down the line I will have to say that his role beyond episode 2 was a bit lackluster, he was never gonna help the crew for sure but it was weird for him to just saunter away from Arlong Park, I also feel like we could've better explained Devil Fruits and water's effect on DF users, because it is a very big misconception by those on the outside that Luffy simply loses his powers when hit by a splash of water, rather than his strength being sapped when more than half-submerged; rain, splashing waves, that doesn't effect DF users that way, and it's not like it's an off switch Luffy could still stretch while in water it's just harder to do so. It was also a shame not to have Shanks and Buggy's backstory shown. The CGI did have some rough moments too, I was not too much of a fan of how they did Kuro's pussyfooting (no you don't understand it's literally called the pussy foot technique) in episode 3, episode 4 was better, I felt that Luffy vs Arlong relied a bit too much on it too. Zoro's flashback was oddly placed in episode 4, given how it's more fitting as a build up to Zoro vs Mihawk, also felt like the context of Zoro losing to Kuina 2001 times in a row was sorely missed in that flashback. I will also have to admit that while the costuming is great, there is a very glaring case of it being very easy to spot the important characters from the crowd.

Some changes I was more than fine with, Alvida changing her call to most powerful makes sense since insulting her appearance wouldn't really go down too well, Zoro could've been a bit more mellow but he still played the edgy deadpan guy well...at least until Luffy eventually wears down his brain cells, and as cool as the Mr. 7 fight was it does not help debunk those 'minority hunter' memes. Changing Sham's gender worked pretty well too, the actress wore the look very well, and though people were a little let down that Benn Beckman is not super handsome I didn't have a problem with his look.

Of the changes I liked more it's probably that we saw more of Nami growing vulnerable to the crew, sure in turn we lost her fake-stabbing Usopp and grabbing a lit fuse but we got her bonding with Kaya and staunchly try to convince Zoro not to fight Mihawk - whereas in the anime/manga she had already ran off with the Merry - plus I feel like we got more friendship between her and Zoro at this stage, it's not that they didn't get along but I do feel like Zoro's dismissal in the live action is almost tied to feeling a little hurt by her betrayal. I enjoyed and was surprised with how much Garp we got, and how much he and Koby interacted with Luffy this early, since while we get the cover story of Koby-Meppo it's more it's own thing and we don't even learn of Garp's relation to Luffy until about 3 more sagas (sagas, not arcs, sagas), but it did help flesh out Koby's character more and his own character growth in parallel to Luffy. Think the change I was most approving of was confirming Kaya x Usopp, like she loves that liar so much so it was sweet to see a kiss in there, no romance my ass Oda, I also liked that they made it that Kuro was poisoning Kaya, since her original illness suddenly going away was a bit strange.

Every major character in this show translated very well to their characters in the source, even if they are a little different in some traits. Inaki as Luffy is a perfect fit, being equal parts charismatic, serious when necessary and aloof, he handled the big pressure that would've come with a character of Luffy's character in fantastic stride. The other crewmates were of course very well casted too, having wonderful chemistry with each other, as were their child counterparts, but I found myself most impressed by the villains; Morgan, Helmeppo and Kuro especially surprised me by how well they came across, Jeff Ward as Buggy was always gonna be a perfect fit in my mind too, given how much I saw of him in Agents of SHIELD. Arlong did take a bit of time to grow, but I can't deny he does the laugh perfectly. Side characters such as Kaya and Zeff also impressed me, having been given a bit more content to chew on in their stories, and Shanks did soothe my worries I had from the trailer by being jovial and true to character.

The biggest positive impression I got from One Piece was the sense of wonder and vibrancy, the settings were all wonderfully crafted with care and style fitting to Oda's vision, I particularly liked the added carnival entertainment stands in Arlong Park to better reflect its homage to Sabaody Park, the same can be said with costuming - referencing previous colour spreads - and motifs like the bounty poster introductions and the leitmotifs of characters like Buggy, Arlong and the Straw Hats, plus the instrumental of 'We Are' is wonderful. Most important is that the moments landed, especially Shanks giving the Straw Hat, the barrel scene, and Nami asking for help, but we also crafted some newer subtle moments, such as Luffy being drawn to the Merry and pitching to Kaya regarding it, and Zeff and Garp's conversation. Easter eggs were also hidden well enough to not be blatant to non-fans but rewarding to those who know.

So yeah, it was very much a huge success, one I hope will be translated in its positive reviews and viewership. If there's a second season I'd anticipate that we'd cover Loguetown and the Alabasta saga, but with that comes more castings I do not envy the team to find, because outside of campaigns for Jamie Lee-Curtis to play Kureha there are a ton of big and iconic players in those arcs that'll need perfect casting to pull off; Ace, Crocodile, Vivi, Bon Clay, and Tashigi (since you'll have to have a comparison with Kuina's actress) is tough enough but we're also gonna have to make the 'puppet or CGI' decision with Chopper and somehow cast the most beautiful woman on the planet to play Nico Robin. Then perhaps Season 4 (providing they do the Skypeia saga all in Season 3, only needing to cast one to three properly big players depending on whether they have Shanks meet a certain someone) they'll have to struggle with even more casting difficulties.

Still, if they're up for the challenge go ahead and do it, I'll be there for Season 2 if they're willing to make it.

[williamscottbruford]

[myrecordcollections]

Bill Bruford

Earthworks

@ 1987 UK Pressing

****

Having already spent twenty years on the cutting edge of modern rock percussion, Bill Bruford formed Earthworks in 1986, as a deliberate return to his roots in jazz. Availing himself of the brightest young talent on the burgeoning U.K. jazz scene, namely keyboardist and tenor horn player Django Bates, and saxophonist Iain Ballamy, both best known as frontrunners with the anarchic big band Loose Tubes, Bruford encouraged the use of rock technology with jazz sensibility – the hall mark of Earthwork’s stylish approach. By letting in air and light, and adding a little wit and wisdom, they produced a particularly British antidote to the increasingly grotesque jazz fusion scene. The first LP for Editions EG, Earthworks, was a testament to their achievement.

It sounds simple, but the band only found its direction through serious live playing. No theoretical studio concoction here. Japan, Europe and the UK were all visited before the release of the first album. Immediately heads turned.

[treat-your-ears]

Blue Maqams

"Blue Maqams" by Anouar Brahem

Recorded at Avatar Studios, New York on May 2017

ECM Records (2017)

Musicians:

Anouar Brahem -- oud

Dave Holland -- acoustic double-bass

Jack DeJohnette -- drums

Django Bates -- acoustic piano

Track List:

1. Opening Day / 2. La Nuit / 3. Blue Maqams / 4. Bahia / 5. La Passante / 6. Bom Dia Rio / 7. Persepolis' Mirage / 8. The Recovered Road to Al-Sham / 9. Unexpected Outcome

*

*

* This is an album that exemplifies what ECM Records is all about: exploration of jazz, spirit of collaboration, excellent compositions with rooms for improvisation, unique sound, glorious album cover, and pristine recording quality. It is so good that if someone asks about ECM Records, one can simply pick this album and indulge every second of it.

We can start dissecting the album by knowing the background of the players. Anouar Brahem is a respected maestro of oud (Tunisian string instrument) which in turn has revered the jazz heritage. The beauty of Mr Brahem is that he never cheaply jumps to an over-used 'world music' genre. He may play a very traditional and exotic instrument, but his music is always jazz with a tinge of Arabic musical notation. Prior to the making of this album, he wanted to forge a quartet. The choice for the bassist and drummer was quite straight-forward in the form of two legends Dave Holland and Jack DeJohnette, respectively. Selecting the pianist was tricky, until the well-known ECM owner/producer Manfred Eicher put forward the name of English pianist Django Bates.

The resulting music is beautiful. Mr Brahem's composition is generally profound, yet we can find a deeper meaning with a super band like this. Ocassionally, the short duets between Mr Brahem and each of his band-member was very meaningful. I have never imagined the marriage between oud and piano, two contrasting instruments with vastly different heritage and background, can be so natural (in the track La Nuit). The oud and drum intro in the title-track Blue Maqams is so exciting.

The first few minutes of the opening track, Opening Day, present Mr Brahem in the trio setting with Mr Holland and Mr DeJohnette presents the most solid foundation you can ever hope for in jazz setting. In this moment, listeners can be happy if the rest of the album goes on as a trio format. However, when Mr Bates' trickling piano enters the scene, listeners immediately can appreciate that the unit becomes even more intimate. The band complements each other, giving room for improvisation, and yet in every corner of the note we can still appreciate Mr Brahem's compositions.

The highest point of the album can perhaps be heard in the Bom Dia Rio. It is gloriously executed from start to finish. The start is Mr Brahem's solemn solo intro with the oud, which then enters Mr Holland's precise and melodic bass lines to preclude the entrance of other band members. The whole band just enjoys this moment, plucking every note from the tree of music. The composition is both tight and free simultaneously.

Mr Brahem's composition, his playing, and the solid band members rightly get the credits. Mr Holland is in imperious form, receptively providing foundation for other band members. Mr DeJohnette is a master in this art, in which he brings subtletly and sensitivity. I cannot imagine any other drummer in this world which is able to fill the role in this album other than Mr DeJohnette. For Mr Bates, it is a delightful wildcard, with his pianism is that is so elegant and reserved. Although the album credits only with four musicians, I wish to acknowledge another member of the band: Manfred Eicher, the producer. He is the man with the ears, which arguably the most important instrument in this business. Mr Brahem himself thanks Mr Eicher for encouraging the music to speak for itself, without too much control or takes.

Blue Maqams is one of the greatest albums that I have ever listened to, and the best recording in the past year.

[skaphander]

 Anouar Brahem – Blue Maqams 

[tanyaluca]

Happy Relaxing Weekend dear Friends!! :))**

[rickthedoctor-blog]

DJANGO BATES’ BELOVÈD - The Study Of Touch (ECM 2534)

Mai come in questo caso titolo fu più azzeccato. Il “tocco” sui tasti d’avorio di Django Bates, pur vivendo in parte sull’onda dell’improvvisazione, si propone come efficace paradigma per mostrare quanta dedizione e quanto impegno un musicista dotato di grande sensibilità deve profondere per raggiungere risultati d’eccellenza.

Da questo punto di vista, il pianista inglese non deve prendere lezioni da nessuno ma, anzi, si percepisce come un raffinato didatta dotato di classe innata e di profondo amore per il jazz. Così, chiamati a sé il bassista svedese Petter Eldh e il batterista danese Peter Brunn, realizza un album in cui, durante la lunghezza delle undici tracce che lo compongono, le memorie dei grandi del passato incontrano una visione musicale del presente da cui traggono linfa vitale e una freschezza invidiabile.

Estimatore di Charlie Parker (la dinamica “Passport” è un chiaro omaggio al “bop” di cui “Birdie” si fece portavoce) ma anche del Jarrett meno ‘sperimentale’ e introspettivo, Bates fa fluire le note con naturale dolcezza come in “Little Petherick” o in “This World” ma si lascia andare anche a fraseggi più spigolosi e vivaci (”Giorgiantics”, “Slippage Streets”) fino a confluire nella notturna e misteriosa title-track, di ‘monkiana’ memoria che si propone come summa delle idee esposte lungo l’intero lavoro.

Musicista, didatta, pianista, jazzista... Tutti epiteti che singolarmente stanno stretti a Django Bates che, proprio come un moderno Thelonious Monk sfugge a qualsiasi definizione lasciandoci solo la traccia indelebile di un genio innato per la musica.

[onett199x]

Anouar Brahem | Blue Maqams

The latest from Tunisian oud player Anouar Brahem puts him in a quartet with pianist Django Bates, bassist Dave Holland, and drummer Jack DeJohnette on another set of originals.  Instrumentation-wise, this album is the closest I’ve heard from him to a traditional jazz setting, but it still feels very Middle Eastern - even with jazz legends Holland and DeJohnette, it’s still very much grounded in the classical Arabic style.  There are only a few tracks on here where it really picks up to a more straight-ahead jazz sound, and even those parts aren’t for the entire track.  The more I listen to Anouar Brahem, the more I can get behind his sound.  It’s totally unique and highly atmospheric, and it has a deceptively simple beauty to it like the music of, say, Erik Satie or Ludovico Einaudi (if they were North African rather than European).  As solid as this album is, I think Le Voyage De Sahar is still my favorite.

[projazznet]

Happy Birhday to Bill Bruford (born 17 May 1949)! Bruford ranked No. 16 on Rolling Stone's list of the "100 Greatest Drummers of All Time".

Bill Bruford’s Earthworks – All Heaven Broke Loose

All Heaven Broke Loose is the third album by Bill Bruford’s Earthworks, featuring Django Bates, Iain Ballamy and Tim Harries. It was released on EG Records in 1991.

AllMusic awarded the album with 4.5 stars and its review by Scott Yanow states: “Full of unpredictability, subtle mood changes, touches of eccentric funk and a surprisingly creative use of electronic rhythms here and there, Bruford’s band plays intense but sometimes melancholy and introspective music. Recommended”.

Bill Bruford – electronic, acoustic and chordal drums Django Bates – keyboards, E♭ peck horn, trumpet Iain Ballamy – saxophones Tim Harries – acoustic and electric bass