#OR Patrick plays the sax

[vinbitism]

"Alex Kralie and habit" this... "Patrick and habit" that..... what about Patrick and Alex guys...... I think they'd be so silly together... they'd be constantly trying to out smart the other it'd be annoying

[stardustfromtheotherside]

If you haven’t been afraid for your life this whole time then you’re a fool

so do we think he pulled out the acoustic specifically for his dad or do we need to fear for our lives going forward

[dustedmagazine]

K-the-I??? & Kenny Segal — Genuine Dexterity (Backwoodz Studioz)

It was a pleasant surprise when the announcement came through that Billy Woods’ Backwoodz Studioz had a late-year release in store from Kiki Ceac and Kenny Segal. Anyone paying attention to hip-hop in the last 10 years well knows Segal’s name, most likely via Woods’ acclaimed Hiding Places and Maps. But anyone paying attention to hip-hop in the last 20 years will recognize Ceac’s peculiar K-the-I??? nom de plume from releases on Mush, Ninjatune and Big Dada. Memories are short in the rap game, though, so if anything, Genuine Dexterity serves as a welcome reintroduction to one of the finer artists working downstream from Def Jux’s late-1990s breakout.

Like others in the Backwoodz orbit, K-the-I??? has weathered the whims of hip-hop taste making over a timeline that’s taken him from Cambridge, Mass to L.A. to Chicago to Berlin and back again. He took a mid-2010s sabbatical from music altogether. As he noted in an illuminating interview with Caltrops Press over the summer, his writing has gone from paper and pen to freestyles on a phone that then get printed out so he can read them clearly from behind the mic. He’s a fan of Broadcast and Mach-Hommy alike. This is a dude who knows what it means to be older, wiser, more focused, less provincial.

It shows in the rhymes and rhythms of Genuine Dexterity. “Ionosphere” sets the album in motion as it will continue, and it’s clear right from the off that K has not come to play around — these rhymes are razor-sharp. One thing that’s always impressed me dating back to my first brush with him on 2006’s Broken Love Letter is the clarity of his vocal delivery for such high speeds of tongue-twisting spitting. If anything, what it conveys is a sense of engagement, that K is locked all the way in; you can get him rifling through his verses before pulling up the reins to make sure you notice how easily he says his mission statement: “I bet I can touch the sky so easily / even if you don’t believe in me.” Features from formidable emcees like ShrapKnel, Open Mike Eagle and Fatboi Sharif do nothing to deter this attentiveness.

For his own part, Segal aids and abets with some of his better recent beats. While K’s tearing the mic apart alongside both Woods and Armand Hammer compatriot Elucid on “Spellcasted Television,” Segal lays down a beat to match with scrawling guitar that weds spacey synths and claustrophobically dirty percussion; it recalls nothing so much as the best El-P productions. Vinyl crackle lines the sax-wailing, vibraphone-inflected “Warhammer.” More jazz sampling, this time featuring a busy bassline and more horns, hit on “Crushed Heavenly.” Rubber-band oscillations straight out of a 1950s sci-fi film drive the verses of “Season of the Sickness” before the bass weight hits for the chorus. A bubblingly bucolic, RJD2-esque downtempo tone colors “Immediate Imminent Immunity.” Together with K and company tying it all together, the album works as one despite its occasionally surprising sonic ventures.

There’s a loose union of antediluvian hip-hop vets out there — Run the Jewels, the Backwoodz crew, Open Mike, Roc Marciano, Shabazz Palaces, you know these names — that in recent years have found a modicum of fame while maintaining a respectable semblance of artistic integrity. With Genuine Dexterity, it’s safe to add K-the-I??? to that list. The game, as it turns out, needed him.

Patrick Masterson

[greenouillee]

✨ Put 5 songs you listen to, post it, then send this ask to 10 of your favorite followers 

Going to use this as an opportunity to shill some jazz fusion for fans of different genres

Blue Sky - Quail What if you made a pop song, played it with a big band/rock band hybrid, and filled it with jazz solos. This band is tragically underrated, they're like a tighter version of Sammy Rae & The Friends imo.

What's Going On? - J-Music Ensemble Jazz cover of a track from Persona 5 with all the acid jazz and funk leanings of the original, executed by the legendary Patrick Bartley himself on sax, complete with two separate solo-trading battles and finishing with an insane percussion solo. My favourite song of all time if I had to pick. If you like VGM or funk, you'll love this.

Strasbourg/St. Denis - Roy Hargrove One of the most legendary jazz performances of all time. If you're looking for 'classic' jazz to get into, this is the piece and, more specifically, the performance that got me into jazz (It had to be split into two parts to avoid the youtube censor gods)

Lingus - Snarky Puppy Do you like rock? Do you like funk? Do you like songs that sound like they could be in a really groovy but slightly sinister Mario or Sonic level? Do you like pieces of music that are so good they got a standing ovation in the middle of the song? Do you like synth solos so good that multiple famous pianists said it made them feel sufficiently inadequate as to want to quit entirely? Well, you should. Also featuring the legendary Larnell Lewis (my current pick for best drummer in the world, any genre), who had never heard this song until the plane over to the recording studio; this was recorded the next day.

Beethoven's Piano Sonata No. 8 - Hiromi I wanted to showcase one of a whole subgenre of jazz interpretations of classical music, and while there are other individual pieces which stand out to me more, there are few performers with such incredible talent and virtuosity as Hiromi. While she does have a number of classical-inspired pieces, that's far from her one-trick, and her original work and in particular her Tiny Desk are well worth checking out (the first Tiny Desk song is so incredibly funky!). If you like this, please also check out Regina Carter, she is simply incredible.

There are literally dozens more I could mention, big and small: Chick Corea, Mulatu Astatke, Miles Davis, Avishai Cohen, Alfa Mist, Midorinomaru, Jacob Mann Big Band, Matthieu Fiset, Jesus Molina, Shubh Saran (massively recommend him if you like metal actually), the Mark Giuliana Jazz Quartet, Washington State University Big Band (also horrifically underrated, they've done some excellent versions of standards and some wonderful originals!), House of Waters, okay I could be here all day

that was a lot more than 5 songs and I know people are not likely to read this, let alone listen to those recommendations, but I had fun compiling and writing this, and that's what it's all about. Please anyone let me know if you listen to any of these!

[johnkatsmc5]

Martin Circus "En Direct Du Rock'n Roll Circus" 1970 + "Acte II" 1971 double LP +  "Acte III" 1974 + "N°1 USA Hits Of The 60's"1975 + "Tu Joues Ton Cœur" 1976 + "Rock'n'Roll Circus"1977 + "Martin "Disco" Circus 1978 +  "Shine Baby Shine" 1979 + "De Sang Froid"1980 + "Story 69-79" 1994 CD Compilation + "Origines" 2001 + "Evolution Française 1969-1985" 2025 LP Compilation France Psych Prog Pop Rock,Disco,Glam Rock

full 

https://open.spotify.com/album/3PbUcUMUeBOGQmJxXtTVZr

full musify

https://musify.club/release/martin-circus-martin-circus-story-1969-1979-1994-855897

https://musify.club/release/martin-circus-tu-joues-ton-coeur-1976-1159150

https://musify.club/release/martin-circus-acte-iii-1974-1739445

https://musify.club/release/martin-circus-shine-baby-shine-1979-1081135

https://musify.club/release/martin-circus-martin-disco-circus-1978-888935

https://musify.club/release/martin-circus-acte-ii-1971-1377540

https://musify.club/release/martin-circus-en-direct-du-rock-n-roll-circus-1970-1082438

Martin Circus is a bit like the French Rubettes. Between pop, rock, disco and variety, they have a string of successes such as the hit that would launch them "Je m'éclate au Sénégal" written by Gérard Pisani, former sax of Johnny Hallyday and Claude François. And yes! the Martin Circus are old hands and have worn out their pants on the benches of the Golf Drouot at the same time as the Black Socks and the Wild Cats. Before Martin Circus, we find all these beautiful people in Alan Jack Civilisation, Capitals or Balthazar. Before Ticky Holgado took care of their career, they released two excellent progressive rock albums. The first is even resolutely pop, even underground, recorded at the Rock'n'Roll Circus, a mecca of counterculture in the 70s. The second will remain in the memory with the unforgettable "Je m'éclate au Sénégal" which manages the feat of being banned from the air on Europe 1. Pierre Delanoë, former program director, found this song distressing, downright useless, unworthy of being broadcast on his airwaves. Another era, the same customs. Then comes the time for covers, starting with the Beach Boys' classics that invite them to the gates of glory. Then it's time for Disco and a track that climbs in the American Billboard. Another feat of arms is their presence in the Musical Comedy (it was called a rock opera at the time...), "The French Revolution" (with Daniel Balavoine, Dani, etc.) and in the cinema, in the film "Les Bidasses en vadrouille" where they replace Les Charlots at short notice. In short, until 1987 and sporadically until 2001, the official date of the end of the band, Martin Circus did not stop surfing on the musical trends of the moment. The result: some great popular successes, no chance of entering the history of French rock, but a reasoned choice for the good management of a bank account. Before Martin Circu The latest version of Alan Jack Civilisation which was released on 45 rpm in French for Alain Pewzner and René Guérin. Balthazar for Sylvain Pauchard and Gérard Blanc. Capitals for Patrick Dietsch who played on the band's only 45 rpm released in 1966. What has become of them? Alain Pewzner and Sylvain Pauchard join Daniel Balavoine on stage and in the studio. Alain Pewzner pursued a career as a "shark" with Jean-Jacques Goldman in particular. Sylvain Pouchard produced tracks for other groups such as Les Avions. He also released a 45 rpm under his name in 1971 with USA/USRR on the B side co-signed with Serge Gainsbourg! A title that can be found in the Martin Circus repertoire in 1980 Gérard Blanc (1948 – 2009) pursued a solo career that would take him to the top of the Top 50 in 1987 with "Une autre histoire". He has also written several titles for Stéphanie of Monaco... They appeared in 2001's Tribute to Trust and a breathtaking cover of "Antisocial". He died of a haemorrhage on 24 January 2009. He was 61 years old. After several 45s in the 70s, Paul-Jean Borowski released 2 albums in quick succession in 1981 and 1982. Patrick Dietsch has three albums to his credit, in 1974 and 1979 for Vogue and again in 2010. He works for Guitarist and Bass Magazine. As for Gérard Pisani, after a few solo attempts, he found himself in 1978 in the pseudo-punk group Bulldozer, where we also met Bob Brault and Paul-Jean Borowski. In 1996, he released a jazz album. Along with Patrick Dietsch and Paul-Jean Borowski, Bob Brault can be seen in the film Camping. They are part of the group that animates the crazy evenings at the Flots Bleus campsite. Bob Brault is also the author of film scores such as Les Sous-Doués pass le bac....~

Martin Circus "En Direct Du Rock'n Roll Circus" 1970

Credits Bass Guitar – Bob Brault Drums – Jean-François Leroy* Flute, Soprano Saxophone, Bugle, Piccolo Flute – Gérard Pisani Guitar – Patrick Dietsch Organ – Paul-Jean Borowski Vocals – Gérard Pisani (tracks: A4, A6, B2, B3, B5, B6), Patrick Dietsch (tracks: A1, A3, A5, A6,), Paul-Jean Borowski* (tracks: A1, A2, A5 to B2, B5, B6) Tracklist La 3ème (Ouverture) 2:50 Moi J'ai Fait La Guerre 3:51 Tout Tremblant De Fièvre 5:25 Tomahawk 2:33 Barbe Bleue 2:50 Moi Je Lis Des Bandes Dessinées 3:00 Le Matin Des Magiciens 3:45 C'est Pas D'la Soupe 2:45 Troïka 4:00 À Quoi Sert Ma Prière 3:40 Nos Larmes Tombaient 5:00 La 3ème (Final) 1:45

Martin Circus "Acte II" 1971 double LP

Credits Bass, Flute, Percussion, Vocals, Narrator – Bob Brault Bugle, Tenor Saxophone, Alto Saxophone, Soprano Saxophone, Clarinet, Flute, Trombone, Percussion – Gerard Pisani* Drums, Violin, Viola, Percussion, Vocals – Rene Guerin* Guitar, Organ, Percussion, Vocals – Alain Pewzner Organ, Piano, Vibraphone, Accordion, Vocals – Sylvain Pauchard Vocals, Guitar, Percussion, Narrator – Gerard Blanc* Tracklist Boudjateelack Pourquoi Tous Ces Cris 6:15 Chevauchée Fantastique 5:04 Poème 8:00 Ti'Bill Poussières 7:05 J'Ai Perdu 6:20 J'Suis Une Groupie 3:52 Ouvrez Vos Mémoires 3:40 Je M'Eclate Au Senegal 4:11 Le Tromblon Magique 4:20 Hyznogod 3:37 Images 2:43 A Dada Sur Paranoïa 4:48 Façon De Parler 7:54 O'Secours Bob 3:50 J'Aimerai Bien Te Faire Flipper Un P'Tit Peu 3:34 Ma Guitare 3:47

Martin Circus "Acte III" 1974

Credits Bass, Flute, Vocals – Bob Brault Drums, Percussion – René Guerin Featuring [Débilités] – Tiki Holgado* Guitar, Vocals – Alain Pewzner Piano, Organ, Keyboards – Sylvain Pauchard Vocals, Guitar – Gérard Blanc Tracklist Docteur 3:36 Fille D'Amour 3:36 Elle Chante Au Soleil 4:08 Je Suis Né Sans Voir 3:49 On Aurait Tout Pour Etre Heureux 4:15 Je T'Aime 3:16 Les Indiens Du Dernier Matin 4:08 La Bossa Blanche 4:18 Un Accident Heureux 3:20 Toi L'Univers 3:00 Les Ballons Nous Emmènent 0:38

Martin Circus " N°1 USA Hits Of The 60's"1975

Tracklist Ma-Ry-Lene 2:39 Judith Sois Discrete 2:50 Prends Le 1er Train 2:57 Un Sourire 3:26 L'amie Des Esprits 2:49 Mets Ton Habit 3:13 Nana - Hey Hey 3:47 Monnaie Monnaie 3:01 Cette Fille Me Rend Fou 2:49 Heureux Tous Les Deux 2:28 Mais Qu'est-ce Que T'as 2:53 Mon 1er Hold Up 2:50

Martin Circus "Tu Joues Ton Cœur" 1976

Tracklist Tu Joues Ton Cœur 3:57 Chicago Dolly 3:37 Priorité A L'amour 3:24 Chasse Mon Blues Au Loin 2:55 C'est Comme Ça 2:21 Direction N.O. 3:26 Si Tu Me Loupes 3:13 Baby Baby Babe 2:38 Ça Rit Ça Pleure 2:48 Vis Ta Vie Ma-Ma-Mie 3:43 Suffit D'un Rien 4:04 L'ami D'un Soir 3:01

Martin Circus "Rock'n'Roll Circus" 1977

Tracklist Rock'n'Roll Circus 5:47 Hey Disc-Jokey 3:48 Roi Du Flipper 2:57 Tu Boudes Mon Téléphone 3:28 Comme Au Bon Vieux Temps Du Rock'n'Roll 3:11 Les Dix Commandements (St Bémol Priez Pour Lui) 4:55 Planche De Skate 2:24 Super Fan Des Rois Du Rock'n'Roll 3:26 Danse Et Tente Ta Chance 3:50 Drague Party (Le Bon Temps Ça Roule) 4:13

Martin Circus "Martin "Disco" Circus 1978

Tracklist Ite Missa Est 6:37 Pour M'En Aller Plus Loin 8:31 Pouêtt 0:22 Disco Circus 14:06 Pouêtt Pouêtt 0:25

Martin Circus "Shine Baby Shine" 1979

Tracklist Number One Woman 4:48 Calling Time 6:28 Each Day 6:07 I've Got A Treat 7:53 Shine Baby Shine 7:01 Happy Ending 5:44

Martin Circus "De Sang Froid"1980

Tracklist Tous Des Robots S.O.S. Aux Galaxies U.S.S.R/U.S.A Bains- Douches Le Tango De L'Espace Arrêtez Tout Banana Baby Tu M'Etranges Plastique Conclusion

Martin Circus "Story 69-79" 1994 CD Compilation

Tracklist Je M' éclate Au Sénégal 4:06 Marylène 2:41 Je Danse Comme Un Pingouin 4:08 Drague Party 3:44 Les Indiens Du P' tit Matin 4:54 Si Tu Me Loupes 3:13 People Réveillez-Vous 4:10 Shine Baby Shine 3:19 Tout Tremblant De Fièvre 3:39 Docteur 3:35 Retour De La Bastille (Français, Français) 1:59 Le Matin Des Magiciens 3:48 J' ai Perdu 6:24 A Dada Sur Paranoïa 4:43 J' aimerai Bien Te Faire Flipper Un P'tit Peu 4:23 Pourquoi Tous Ces Cris 3:43 Ouvrez Vos Mémoires 3:45 Il Faut Rêver 2:57

Martin Circus "Origines" 2001

Tracklist 1 On Aimerait Bien Qu'Ça Change 2 Urgence 3 Je M'Éclate Au Sénégal 4 Tout Tremblant De Fièvre 5 Question De Survie 6 La Planète Des Femmes 7 Vivement Lundi 8 Arc-En-Ciel 9 Nostalgie 10 La Voie Du Milieu 11 Elle Est Pas Belle La Vie 12 Comme Des Dieux 13 Au Même Endroit

Martin Circus " Evolution Française 1969-1985" 2025 LP Compilation

Tracklist Tout Tremblant De Fièvre 3:37 Façon De Parler 6:28 Annie, Christine Ou Patricia 4:05 À Bas Tous Les Privilèges 2:20 Les Indiens Du Dernier Matin 4:10 Mon Premier Hold-Up 2:48 Disco Circus (François K edit) 7:45 Bains Douches 5:06 J'T'Ai Vu Dans Le Canoé 4:42 Pourquoi Tu M'Lâches Pas 4:30

Membres Derniers membres

Alain Pewzner - guitare, orgue, chant (1971-1988, 2001, 2016-2017) Sylvain Pauchard - claviers, basse, chant (1971-1988, 2001, 2016-2017) Tom Bock - chant (2016-2017) Félix Sabal-Lecco - batterie (2016-2017) Anciens membres Bob Brault - basse, flûte (1968-1975, 1988, 2001) Gérard Pisani - saxophone, flute, bugle, chant (1968-1972, 1980, 2001) - († 2020) Paul-Jean Borowsky - claviers, chant (1968-1971, 2001) Patrick Dietsch - guitare, chant (1968-1970, 2001) - († 2021)[11] Jean-François Leroi - batterie (1968-1970) Gérard Blanc - chant, guitare (1971-1987, 2001) - († 2009) René Guérin - batterie, percussions (1971-1978, 1988, 2001) Michel Libretti - guitare, chant (1970) Donald Rieubon - batterie (1970) Charlie Cohen - basse (1978) Serge Haouzi - batterie (1978) Gilles Tinayre - claviers (1978) John Lorck - batterie (1979-1980) Manu Vogel - basse (1980) Pascal Woyciechowski - batterie (1980) Christian Padovan - basse (1985-1986)

Discographie

Album en public 1969 : En direct du rock'n'roll circus (en concert)

Albums studio

1971 : Acte II (double LP)[13] 1974 : Acte III 1975 : N°1 USA - Hits Of The 60's 1976 : Tu joues ton cœur 1977 : Drague Party - Rock'N'Roll Circus 1978 : Disco (bande originale du film Les Bidasses en vadrouille) 1979 : Martin “Disco” Circus (pressage LP US[14]) 1979 : Shine Baby Shine 1980 : De sang froid 1980 : In Cold Blood (pressage LP US) 2001 : Origines

Singles

1969 : Tout tremblant de fièvre (studio) / Barbe-Bleue (studio) 1969 : Le Matin des magiciens (studio) / Moi je lis des bandes dessinées (studio) 1970 : Dis-moi / Chanson pour un cadavre 1971 : Je m’éclate au Sénégal / Moi j’aime bien prendre mon pied 1971 : Sénégal / Dis-moi (pressage italien) 1971 : Je danse comme un pingouin / J’aimerais bien te faire flipper un p’tit peu 1971 : Je m’éclate au Sénégal / Je danse comme un pingouin (pressage allemand) 1972 : Les Indiens du petit matin (part. 1) / Les Indiens du petit matin (part. 2) 1972 : Il faut rêver[15]/ Annie, Christine ou Patricia 1972 : Gotta Keep Flying / Il faut rêver 1973 : Je me suis retrouvé en tutu / Je deviens comme fou fou fou 1973 : People, réveillez-vous / Nous sommes dans ce monde 1973 : La patrie est en danger / Français, Français 1974 : Un coin qui sent le foin / J’aimerais bien t’embrasser 1974 : L’Accident heureux / À vous de jouer Milord 1974 : Docteur / Je t’aime 1975 : Ma-ry-lène / Loin d’ici 1975 : Wonder tube (Ba ! Ba ! Hey ! Hey !) / Ma-ry-lène 1975 : Bye-bye Cherry / Le Violon et la Mélodie 1976 : Si tu me loupes / Un cœur qui bat 1976 : Tu joues ton cœur / Vis ta vie ma ma mie 1976 : Chase the Blues Away / Call Me (pressage allemand) 1977 : Drague Party (Le bon temps, ça roule) / Priorité à l’amour 1977 : Comme au bon vieux temps du rock’n’roll / Roi du flipper 1977 : Les Dix Commandements / Rock’n'roll Circus 1978 : J’en perds mes baskets / Hey disc jockey 1978 : Et puis, tu t’en vas / La Boule à tango 1978 : Pour m’en aller plus loin / Ite missa est 1979 : Disco circus / Ite missa est (pressage canadien) 1979 : Before it gets dark / Disco circus (pressage US) 1979 : Notre meilleur copain, c’est Tintin (vocal) / Notre meilleur copain, c’est Tintin (instrumental) 1979 : Shine Baby Shine / I’ve Got a Treat 1979 : Number One Woman / Each Day 1980 : Look Around / American Trip (pressage italien) 1980 : Bains-douches / Le Tango de l’espace 1980 : Tous des robots / Bains-douches 1980 : USSR / USA / Plastique Conclusion 1981 : Bingo-banco / Mes vœux les plus saints 1983 : Solange / J’t’ai vu dans l’canoë 1984 : Disco Circus / Disco Circus Medley (pressage canadien) 1985 : Trop sentimental / Pourquoi tu m’lâches pas ? 1987 : Je m’éclate au Sénégal / Ma-ry-lène 1987 : Je m’éclate au Sénégal (version 87) / Medley (Intro - Ma-ry-lène - Drague Party (Le bon temps, ça roule) - Si tu me loupes - Shine Baby Shine - Na-na-hey-hey-good-bye - Je m'éclate au Sénégal) 1988 : La Toka-toké (part 1) / La Toka-toké (part 2)

Anthologies

1973 : Tout tremblant de fièvre 1974 : 12 titres + 4 1976 : Greatest Hits : les Grands Succès du... Martin Circus 1979 : Le Double disque d'or du Martin Circus 1979 : Martin Circus chantent leurs succès 1979 : Marylène 1987 : Les Originaux (inclus un titre inédit Columbia signé J-M. Vignon - A. Pewzner - C. Pewzner) 1994 : 69 Story 79 2002 : Singles 69-74 2002 : Ca le fera 2004 : Anthologie 2008 : Les Plus Grands Succès de Gérard Blanc et Martin Circus (inclus cinq morceaux avec Martin Circus et une version solo en live de Je m'éclate au Sénégal)

Martin Circus "En Direct Du Rock'n Roll Circus" 1970 + "Acte II" 1971 double LP +  "Acte III" 1974 + "N°1 USA Hits Of The 60's"1975 + "Tu Joues Ton Cœur" 1976 + "Rock'n'Roll Circus"1977 + "Martin "Disco" Circus 1978 +  "Shine Baby Shine" 1979 + "De Sang Froid"1980 + "Story 69-79" 1994 CD Compilation + "Origines" 2001 + "Evolution Française 1969-1985" 2025 LP Compilation France Psych Prog Pop Rock,Disco,Glam Rock

https://johnkatsmc5.blogspot.com/2025/03/martin-circus-en-direct-du-rockn-roll.html?view=magazine

https://johnkatsmc5.tumblr.com/post/778813175161405441/martin-circus-en-direct-du-rockn-roll-circus

[slackville-records]

(62 YEARS AGO)

September 1, 1961 - John Coltrane: Africa/Brass is released.

# ALL THINGS MUSIC PLUS+ 4/5

# Allmusic 4.5/5

# Down Beat 2/5

Africa/Brass is the eighth studio album by John Coltrane, released on September 1, 1961.

Recorded:

May 23, 1961 and June 7, 1961, at RVG's Englewood Cliffs studio

Personnel:

John Coltrane – soprano and tenor saxophone

Booker Little – trumpet

Julius Watkins, Bob Northern, Donald Corrado, Robert Swisshelm – french horn

Bill Barber – tuba

Pat Patrick – baritone saxophone

McCoy Tyner – piano

Reggie Workman – bass

Elvin Jones – drums

__________

ORIGINAL LINER NOTES

John Coltrane is a quiet, powerfully-built young man who plays tenor saxophone quite unlike anyone in all of jazz. His style has been described as "sheets of sound" or as "flurries of melody." But, despite the accuracy, or lack of accuracy, of such descriptions, it is a fact that Coltrane's style is wholly original and of growing influence among new tenor players.

Perhaps he himself best described his dazzling style in a recent Down Beat article with writer Don DeMichael. "I started experimenting because I was trying for more individual development. I even tried the long, rapid lines that Ira Gitler termed 'sheets of sound' at the time. But actually, I was beginning to apply the three-to-one chord approach and at this time the tendency was to play the entire scale of each chord. Therefore, they were usually played fast and sometimes sounded like glisses."

Although Coltrane has absorbed this experiment into his present style and moved on, its effect was shocking, and intriguing, in the jazz world.

Most recently, as this album will attest, Coltrane has become absorbed by the rhythms of Africa. During the editing sessions for this album he noted, "There has been an influence of African rhythms in American jazz. It seems there are some things jazz can borrow harmonically, but I've been knocking myself out seeking something rhythmic. But nothing swings like 4/4. These implied rhythms give variety."

For this record, Coltrane composed two of the three selections, then discussed the orchestration thoroughly with Eric Dolphy, a reed player of enormous talent. Pianist McCoy Tyner of Coltrane's group was the third member of the discussion group.

"Actually," Dolphy recalled, "All I did was orchestrate. Basically John and McCoy worked out the whole thing. And it all came from John; he knew exactly what he wanted. And that was, essentially, the feeling of his group."

AFRICA has an unusual form. Its melody had to be stated in the background because Coltrane is not tied down by chords. "I had a sound that I wanted to hear," Coltrane remarked of this composition. "And what resulted was about it. I wanted the band to have a drone. We used two basses. The main line carries all the way through the tune. One bass plays almost all the way through. The other has rhythmic lines around it. Reggie and Art have worked together, and they know how to give and take." This work began with Coltrane's quartet. He listened to many African records for rhythmic inspiration. One had a bass line like a chant, and the group used it, working it into different tunes. In Los Angeles, John hit on using African rhythms instead of 4/4, and the work began to take shape. Tyner began to work chords into the structure, and, in John's own words, "it's been growing ever since."

The instrumentation--trumpet, four French horns, alto sax, baritone sax, two euphoniums, two basses, piano, drums, and tuba--is among the most unusual in jazz. But, Dolphy explained, "John thought of this sound. He wanted brass, he wanted baritone horns, he wanted that mellow sound and power."

Coltrane heard the playbacks and nodded. "It's the first time I've done any tune with that kind of rhythmic background. I've done things in 3/4 and 4/4. On the whole, I'm quite pleased with Africa."

GREEN SLEEVES is an updating of the old, revered folk song. It's included in this set because Coltrane, in recent months, has been studying folk music. "It's one of the most beautiful folk melodies I've heard," he said. "It's written in 6/8, and we do it just about as written. There's a section for improvisation with a vamp to blow on."

The quartet has been playing this theme recently, and the arrangement is based on Tyner's chords. Dolphy notated it. "For me," Coltrane said, "Greensleeves is the most enjoyable to play. Most of the time we get a nice pulse and groove. It was a challenge to add the band to it. I wanted to keep the feeling of the quartet. That's why we took the same voicings and the same rhythm McCoy comps in."

BLUES MINOR is a piece the quartet has been playing of late. It was assembled at the recording session. "It's a head," Dolphy said. "McCoy gave me the notes. I wrote out the parts, and the band did it on one take." It swings loosely with the ease and drive of a head arrangement.

All in all, this album is representative of the state of musical mind of John Coltrane, 34, on his way to something new and exciting, but pausing along the way to sum up the fresh and provocative work he has accomplished this far.

~ Dom Cerulli

TRACKS

Side one

1. Africa (Coltrane) – 16:28

Side two

1. Greensleeves (traditional, arranged by McCoy Tyner) – 10:00

2. Blues Minor (Coltrane) – 7:22

[wqbytop100]

WQBY

Top100 for the week ending April 20, 2025

-^Yesterday ---Alan Walker, Ali Gatie -1 --13weeks-- [3weeks@#1]

-^Gone --Shallou -2 --8weeks--

^Opposites --Vicetone, Linney -5 --3weeks--

-^Too Much --Dove Cameron -4 --6weeks--

-Act Of God --Layton Giordani, Linney, Sarah de Warren -6 --10weeks--

Burn --Jorvis Voorn, Tom Walker -3 --8weeks-- [2weeks@#1]

^Smoke The Pain Away --Calvin Harris -7 --5weeks--

-Dreamin ---Dom Dolla, Daya -8 --5weeks--

^Hopeful --Aname, Lydmor -12 --7weeks--

^By Your Side (In My Mind) --Leony -13 --13weeks--

^Toxic Til The End --Rose -23 --10weeks--

-^Love In Real Life --Lizzo -14 --7weeks--

Flex --Tiesto, Oscar L -9 --7weeks (#3)

Loveless --FAST B OY -10 --7weeks-- (#3)

^Still Bad --Lizzo -19 --5weeks--

Call My Name --AVAION -20 --14weeks--

-^Crash --Loud Luxury -18 --8weeks--

Everything Changes (But I Won't) --Rose Gray -11 --12weeks-- [2weeks@#1]

-^Meet Me --Ownboss, EME -22 --10weeks--

-^Radio --Steve Aoki, Tripple Reid, Jessica Biao, KABU -21 -5weeks-

^Party People --Rose Gray -26 --7weeks--

-^Autopilot --NiiKO & SWAE, Twin Diplomacy -25 --12weeks--

^Cupid's Bow --Oly Alexander (Years & Years) -28 --5weeks

-^Play Pretend --Georgio Gee, SYMEO -27 --5weeks--

Rebellion --R3HAB, Michael Patrick Kelly, Shaggy -15 --9weeks [2weeks@#1]

Imposter Syndrome --Let Down -17 --14weeks-- (#3)

^Is It Just Me --Mike Posner -30 --10weeks--

^Into The Blue --Will Sass f/Kamille -71 --3weeks--

^Creme Brulee --David Archuleta -65 --3weeks--

^Highlights --Morgan Page, Phillip Strand -45 --3weeks--

Slow Motion --Marshmello, Jonas Brothers -16 --13weeks (#8)

Love Let Me Go --Said The Sky, Dia Frampton -24 --6weeks (#19)

I Wish You Were Dead --Lucuna Coil -31 --6weeks-- (#29)

-Slow --Vize --34 --7weeks--

Underneath It All --Mike Posner --32---7weeks-- (#32)

-^Vanish Into You --Lady Gaga -37 --5weeks--

^Garden Of Eden --Lady Gaga -Lady Gaga -46 --4weeks--

^Bleed --Malcolm Todd, Omar Apollo -47 --4weeks--

^Stranger's Town --Eelke Kleijn, Zoe Aska -56 --4weeks--

-Out Of Time --Justin Mylo, Ryos, Alessia Labate -41 --6weeks--

-Another Way --Vikkstar, Syn Cole, KDH, Joe Jury -42 --7weeks-

-Last Night I Dreamt I Fell In Love --Alok, Kylie Minogue -43 --9weeks--

-^Ban This Song --Moon Walker -48 --7weeks--

TYSM --Cheat Codes, Salem IIese -29 --17weeks-- (#9)

Lights On --Marshmello, FAANGS -33 --20weeks-- (#5)

-^Feel Again --TELYKAST, Moe Lisa -49 --10weeks--

^Angel Of Mine --Tobiah -50 --10weeks--

^No Bad Vibes --Jazzy, KILIMANJARO, Jayda -58 --4weeks--

The Door ---Teddy Swims -44 ---18weeks-- (#7)

^Gotta Move --Bless You --74 --3weeks--

-Delete Ya --DJO -51 --5weeks--

-Wrap Yourself Around Me ---D.O.D, NORTH -52 --6weeks--

-Above The Water --Blanke, CADMIUM, Ben Provencial -53 --5weeks--

^Next Summer --Damino David -55 --5weeks--

^Euphoria --Armin Van Buuren, Alok, Norma Jean Martine, LAWRENT -59 --4weeks--

^Stay --Fisher -60 --3weeks--

^Beautiful People --David Guetta, SIA -98 --2weeks--

Push The Tempo --SUB FOCUS f/Katy B -35 --13weeks-- (#2)

Without You --Petite Biscuit, Surf Mesa, JP Saxe -36 --17weeks-- (#4)

***Neverland (From Japan) --ANYMA, BASET -(new) --1week--

Hypnotized --ANYMA, Ellie Goulding -57 --13weeks-- (#57)

Heaven Knows --KASKADE & PUNCTUAL f/Poppy Baskcomb -39 --18weeks-- (#3)

When I Got You --Cash Cash, Lovelytheband -63 --9weeks--

Abracadabra --Lady Gaga -64 --9weeks--

Someone Else --GT_OFICE -40 --18weeks-- [4weeks@#1]

Believe (Shooting Stars) --R3HAB, Mufasa & Hypeman, Mufasa, RANI -38 --18weeks-- [3weeks@#1]

***It Can Be Better Now --Aname, Welt -(new) --1week--

^Sweet Danger --Obongjayar -94 --2weeks--

^Unendlichkeit (rework) --Robin Schulz, OSWALD -78 --2weeks--

^Angels For Each Other --Martin Garrix, Arijit Singh -72 --3weeks--

^I Want You --Vandelux -73 --4weeks--

^Look Back ---ESSEL -76 ---3weeks--

-^My Heart Goes --Sam Feldt, Oaks -75 --5weeks--

^A Life Worth Dying --Josiah Queen -77 --2weeks--

So Far --Shallou -69 --4weeks-- (#69)

^Love Me To Heaven ---Jonas Brothers -90 --2weeks--

***Mr. Lie To Me --Kris Kross Amsterdam, Eyelar -(new) --1week--

-^Bambadem --David Penn -79 --3weeks-- [OFF]

^Somebody To Love --YOTTO, Eli & Fur -89 --2weeks--

***Til The Last One Dies --Chris Young -(new) --1week--

-^Edge Of The World --MEDUZA, INNELLEA, GENESI, Nu-Lu -81 --4weeks--

^Secrets --Tiesto, KSHMR, Vassy -87 --3weeks--

^Throwing Stones --Massano -93 --2weeks--

^Never Walk Alone --BLOND:ISH, Stevie Appleton -99 --2weeks--

^Lifeline --Jonas Blue, Izzy Bizu -100 --2weeks--

^Bacliando --Ownboss, Fafaq -91 --2weeks-- [OFF]

^50/50 --Knox --92 --2weeks--

***Forever Young --David Guetta, Alphaville, Ava Max -(new) --1week-

***Bell Bottoms Up --Lainey Wilson -(new) --1week--

***Hold Up I'm Doing Something --Emmit Fenn -(new) --1week--

Senorita --Tiago PKZ -62 --11weeks-- (#17)

***I Follow Rivers --Tiesto, Oaks -(new) --1week--

***Gravity --Joshwa, Lauren Nicole -(new) --1week--

***Brand New --Grace VanderWaal -(new) --1week--

***Animal --Ship Wrek, Datti -(new) --1week--

***Last Girls At The Party --The Beaches -(new) --1weeks--

***Hot & Mysterious --Austin Millz & Kah-La -(new) --1week--

***Relax --Surf Mesa, SACHI -(new) --1week--

***Dive In --Vicetone, Welt -(new) --1week--

***Loose --ENHYPEN - (new) --1week--

15 NEW this week 4/20/2025

#60 Neverland (From Japan) #67 It Can Be Better Now #77 Mr. Lie To Me #88 Forever Young #89 Bell Bottoms Up #90 Hold Up I'm Doing Something #92 I Follow Rivers #93 Gravity #94 Brand New #95 Animal #96 Last Girls At The Party #97 Hot & Mysterious #98 Relax #99 Dive In #100 Loose

[theloniousbach]

FROM THE SMALLS LIVE ARCHIVE: PATRICK CORNELIUS with Jason Palmer, John Ellis, Nick Vayenas, Alex Goodman, Helen Sung, Peter Slavov, and Johnathan Blake, SMALLS JAZZ CLUB, 11 DECEMBER 2024, 7:30 pm set

Of course, I was curious about a gig with Jason Palmer, John Ellis, Helen Sung, and Johnathan Blake on it. I figured an octet would feature arrangements rather like a small big band and, when I found out that this gig was playing music composed on commission from Chamber Music America that it would be more through composed and abstract. The opening of the first tune with a clarinet chorus of PATRICK CORNELIUS and John Ellis on bass clarinet kept the illusion alive.

But, the various illusions shifted. I was fine with the tunes being jazzy and accessible, not composed and abstract. Similarly, Cornelius used all the voices for richer heads and occasional backgrounds for soloists, but it wasn’t that arranged. So it was largely just a crowded bandstand playing some perfectly fine tunes. But, while Jason Palmer got several solos acquitting himself well and Johnathan Blake was irrepressibly himself, interesting to see him in a larger ensemble too. Helen Sung got solos only on the last two tunes. Her comping was tasty but she shared the chordal rhythm instrument with Alex Goodman’s guitar—and he got more solos. And Cornelius gave himself all of the sax solos on alto except one for John Ellis at the end. Given that Ellis tends toward the dryer, sparer range of the tenor, there would have been some sonic overlap. Still Ellis was/is far more interested. Nick Vayenas was fine on trombone with solid solos and certainly adding that color to the charts. Alex Goodman played with a few too many effects for my taste and took up solo space.

While I was fine to see some expectations confounded, I really did want to see more of Sung and Ellis in particular. But, perhaps with different players on piano and tenor playing the same stuff, I would have said it was an interesting enough gig with some worthwhile aspects. Because, that’s what it was—interesting and worthwhile.

[daggerzine]

REZN- Burden (Sargent House)

Chicago’s REZN’s fifth release was recorded during the same session as their previous album, Solace, back in 2021. Burden has seven songs of heavy psych filled with darker themes that take the listener around the world. Solid production of doom and gloom metal from Matt Russell (of Mortal Void) at Matt Talbot’s (of Hum) Earth Analog Studios in Tolono, IL. The band features Rob McWilliams on guitar and vocals; Phil Cangelosi playing bass and rainstick; Patrick Dunn on drums and percussion; and Spencer Ouellette adds synths, sax, lap steel, flute, and piano. The album kicks off with “Indigo.” It’s an explosive wall of sound capturing many metal genres in one song, which actually sets the tone for the rest of the album. “Instinct” has a creepy, eerie intro with a wobbling bass line that builds up to a sonic sludgefest with swirling guitars and throbbing bass. “Descent of Sinuous Corridors” is a short, a little over a minute, siren-like echoing keyboard-y instrumental piece that transitions well into the next song. “Bleak Patterns” comes in with a bang as a Spanish (or Egyptian?) sounding melody that eventually resorts back to the sludge of REZN. Egyptian guitar with power chord bass makes this a unique escape to another world. With “Collapse,” trickling echoing guitar work begins this one. Another jam that builds and builds to sonic distortion bliss. Here’s the video:   

 “Soft Prey” has a slower, softer, James Bond theme (or spaghetti western?) sound to it. It eventually turns into a mass of swirling guitars and an amazing saxophone solo that creates a beautiful escape. Saving the best for last, the album ends with “Chasm,” possibly my favorite. Mike Sullivan (of Russian Circles) adds a killer guitar solo as well. It’s another massive sludgefest pushing my woofers to the limit from start to finish. (And the finish made me wonder if I actually blew my speakers!) Check out the video here:

Not usually my cup of tea, but now I’m going to have to check out Solace to compare the two albums. Looks like they tour extensively, so maybe I’ll catch them soon. ERIC EGGLESON

(Photo: Alexa Viscius)

https://www.rezn.band/

https://music.apple.com/us/artist/rezn/1441800527

[kamrinortiznumberonefan]

Paris is a city for dreaming.

Guitarist Nick Rossi flew to the City of Lights a year ago for the International Duke Ellington Meeting, a three-day conference for experts, scholars and musicians devoted to Ellingtonia, the musical world surrounding America’s most consequential 20th century composer, bandleader and pianist. A scholar of pre-World War II jazz who’s lived in the Mission for two decades, Rossi gave a short talk on guitarist Fred Guy, a key member of the Ellington Orchestra from 1925 to 1949. After communing with some of his favorite authors and researchers, Rossi came home with a nagging question and the seed for his next musical mission.

“Why doesn’t San Francisco, or California or the West Coast, have an ensemble dedicated to Duke’s music?” he wondered. “Not to throw shade on groups that play Ellington, but there are bands exclusively devoted to Ellingtonia in many other cities and countries, but not here. I realized these are my marching orders.”

The long trek from Paris to San Francisco culminated at Mr. Tipple’s last October, when Rossi’s nine-piece Jazzopaters debuted at the Civic Center supper club, which has become the project’s home base. Focusing on pieces recorded by Ellington’s small groups, variously sized ensembles broken out from the orchestra to showcase its singular voices like alto saxophonist Johnny Hodges, trumpeter Cootie Williams, and baritone saxophonist Harry Carney, Rossi’s Jazzopators play a dance show Saturday at the Community Music Center.

With pianist Rob Reich and Patrick Wolff on alto sax and clarinet, the group features some of the region’s most esteemed improvisers alongside hot jazz specialists Mikiya Matsuda on bass and Riley Baker on drums, For Rossi, playing a gig walking distance from his home isn’t unusual. A Mission resident since 2002, “the longest I’ve lived anywhere, period,” Rossi has performed at Curio Bar & Restaurant and The Liberties with small groups recent years, and provided a propulsive score for the Wednesday night Cat’s Corner swing dance sessions that recently moved to the Valencia Room (formerly the Elbo Room). He’s back in the neighborhood June 8 at the Verdi Club with Nick Rossi Swing Six, playing a monthly dinner dance series.

Rossi’s Jazzopaters also perform Friday at Stanford University as part of the Department of Music’s Jazz Inside Out series, a sit-down concert that allows the group to play with a wider array of tempos and dynamics. But Rossi notes that Ellington’s music was often created for dancing, and bringing it into the CMC’s ballroom feels particularly apt. He’s played the hot jazz and swing dance party known as the Bootleggers Ball there several times, “and playing this music in a space that existed when this music was created is kind of a big deal to me,” Rossi said. “We’re having this active dialogue with the past in as real a way as possible.”

[screamingforyears]

IN A MINUTE: A POST_PUNK_ISH EXPRESS…

@dontgetlemontx are here w/ “LAST CHANCE FOR ROMANCE,” the latest single from their forthcoming LP titled ‘Have Some Shame’ (4/23 @alacarterecords_@summerdarlingtapes) & it finds the Austin-based trio anthemically rising & falling across 4 ½ mins of dizzingly delightful & synth_popping NüWave.

“SHE SAYS” is a brand-new single from @freeplayangel & it finds @underpassband mastermind Alexander Miranda’s recording/live musical side project dub_popping its way across 3 ½ echoed mins of grooved out & hypnotically tranced ArtRock.

@housesofheaven are here w/ “DESERVE,” the second single from their forthcoming LP titled ‘Within/Without’ (4/26 @felte_label) & it finds the Oakland-based trio of Keven Tecon (vox/synth/guitar/programming), Adam Beck (synth/guitar/programming) & Rachel Travers (drums) linking up w/ Mariana Saldaña of @ms.boan to bring 4 mins of beat-driven & electro_popping SynthWave.

“LINES” is the latest single from @maxbandnyc’s forthcoming debut LP titled ‘Maxband On Ice’ (4/5 @holm.front) & it finds the New York-based quartet of Max Savage, Patrick J Smith, Eric Read & Tim Nelson wielding their winsome personalities across 5 ½ mins of hawkishly hooked, funkily post_punked & stoically deadpanned Indie.

“GIFT OF KNIVES” is the title-track from @replicacityco’s recently released EP (@power_goth) & it finds the Denver-based trio of Nathan Rodriguez (drums), Matt Dunne (bass) & Corey Fruin (vocals/guitar) bringing 3 ½ mins of their frantically haunting PostPunkingHardcore.

“LOST APPEAL” is the second single from @vessel.atl’s forthcoming LP titled ‘Wrapped In Cellophane’ (4/2 @doublephantom) & it finds the ATL-based quartet of Alex Tuisku (drums/vox), Keron Robinson (guitar), Dan Pulido (bass) Isaac Bishop (sax/keys/vox) skanking their way across 3 saxxed up & six-string shimmered mins.

[dustedmagazine]

Bill Callahan — Resuscitate! (Drag City)

Photo by Patrick Masterson

One could argue a bit of malleability, some openness to interpretation, is a hallmark of any decent song, but Bill Callahan’s songs are more often than not built with loose borders, pockets to be filled with riffing and vamping, space to stretch the legs. While he undeniably releases records of songs — YTI⅃AƎЯ, the album in support of which he was touring for Resuscitate!, was his eighth under his own name and something like his 19th if you count the Smog works — there’s a degree to which they bleed around the edges, unfurling in ways that make you forget where you started and with only a vague awareness that it will eventually end.

Such unfurlings may be less comforting or familiar for the indie-rock audiences from whence Callahan came, but they’re practically de rigueur among jazz and jam band audiences — which, curiously, is whom Resuscitate! seems to propitiate over the course of its 10-track, hour-and-a-quarter runtime. Where Callahan’s records hint at or explore with restraint such reaches, in person, they’re allowed to bloom in full. Songs naturally mutate once they've been laid to tape, Callahan says in the liner notes, but these songs were evolving with a Bruce Banner-esque ferocity and needed to be documented.

It’s hard to imagine a better venue for such documentation than Chicago’s Thalia Hall, a stately former opera house dating from 1892 in the Pilsen neighborhood with excellent acoustics regardless of where you stand or what you’re watching. It’s also hard to imagine a better group of backing players, with veteran Chicago concern Natural Information Society’s Joshua Abrams and Lisa Alvarado and tenor sax man about town Dustin Laurenzi, plus stalwart Austinite guitarist Matt Kinsey, Dirty Three drummer Jim White and Congolese singer-songwriter Pascal Kerong’A (who opened for him on the night in question) all playing their part during the course of the March 2023 midtour set. The results are illuminating.

A word about the tracklist. In an interview for The New Yorker a couple of years ago, Callahan told Amanda Petrusich he has a particular talent for sequencing (“It’s the only thing to do with making music that I think I’m good at,” he laughed), so he presumably gave great consideration to what ultimately got released — and what didn’t. That’s also illuminating: Left out of Resuscitate!’s final tracklist is “Cowboy” (Gold Record), “Bowevil” and “Drainface” (YTI⅃AƎЯ), “Too Many Birds” (Sometimes I Wish I Were an Eagle) and “In the Pines” (A River Ain’t Too Much to Love). Callahan’s set may have erred on the heavy side of recent material (as much of this tour did), but he was even-handed in what he cut and ruthless in how he ordered what was left; only opener “First Bird” is left untouched in its original place.

He would’ve been fine leaving the sequence as he played it, frankly, but Resuscitate! sharpens Callahan’s considerate cowboy demeanor even whilst songs expand in length and narrative moments stretch out in relatively small spaces, extending into stories that meander, convoluted and beautiful as any bedtime story.

You could see why this would appeal to certain festival folk, and the mood on the ground that night was very much akin to one you’d find at an appreciative Oslo show or a late-hour Bonnaroo set despite a healthy heaping of reverent Callahan faithful. The whoops and hollers are there in the margins of or breaths between as songs unfold like loose unbuttonings, ebullient exclamation marks left in the wake of, say, Laurenzi tearing it up during the nearly 13-minute “Coyotes” or occasionally breaking through the mix as “Naked Souls” hits its groove. Such flavor is endemic to live albums, but it’s interesting how much Callahan has tried to collar it despite the music’s open-world expansiveness. Not that he was ever much one for it, but there’s also minimal banter; the focus remains squarely on the songs’ real-time evolution.

Smog standby “Keep Some Steady Friends Around” might be the most indicative track for where Bill Callahan was at during this snapshot in time. It’s as domestic as its newer setlist compatriots — and heavier in a way, as though Callahan has deeply observed over the decades what it means to have steady friends around, and what it means to build a gate. What Resuscitate! reflects is where that gate lies: Forever the folk troubadour but now with a more stable home life to lean on, Callahan can afford himself the luxury of opening up that gate and letting more of himself out — though what he lets in remains the provenance of his closest confidants and spiritual tribe. Even at his most open, the gate remains a gate.

Patrick Masterson and Margaret Welsh

[mirandamckenni1]

Liked on YouTube: Man! I Feel Like A Woman! - Shania Twain (Marilyn Monroe Style Cover) feat. Allison Young || https://www.youtube.com/watch?v=08wwMzJrFsA || Man! I Feel Like A Woman! - Shania Twain (Marilyn Monroe Style Cover) ft. Allison Young Get our new album: https://ift.tt/BReusTZ | Tix: http://pmjtour.com Subscribe: http://bit.ly/subPMJ | PMJ on Spotify: https://ift.tt/gX9WMQd The sensational Allison Young returns to the PMJ bandstand to give Shania Twain’s 1999 country-pop hit, “Man! I Feel Like A Woman!” a 1950s Marilyn Monroe twist, with a nod to the iconic Old Hollywood musical number, “Diamonds Are A Girl’s Best Friend.” Follow & Connect with Allison Young: YouTube: https://www.youtube.com/@allisonyoungmusic Facebook: https://ift.tt/CGpJh15 Instagram: https://ift.tt/ByjPqma Bandcamp: https://ift.tt/0cKeIRu TikTok: https://ift.tt/Anh7btW See Postmodern Jukebox LIVE! Tickets On Sale NOW for the US/Canada, UK, Europe, Australia/NZ, Asia — find over 100 dates on sale here: https://ift.tt/umjcBXU Follow Postmodern Jukebox: "Bat Signal" Mailing List: https://ift.tt/0cRMuHP Facebook: https://ift.tt/ObQPf3W Instagram: https://ift.tt/pLjEkzv TikTok: https://ift.tt/4v1EYKx Twitter: https://twitter.com/pmjofficial Shop: http://shoppmj.com Watch More Postmodern Jukebox: Newest Videos: https://youtube.com/playlist?list=PL7A4D9C100657150E&playnext=1&index=2 Popular Videos: https://youtube.com/playlist?list=PLJZH8sevmMq5rnnzsmkbteoFOWCdBx24u&playnext=1 Jazz Covers: https://youtube.com/playlist?list=PLJZH8sevmMq4yD3ezQ3jFJfw68ZU1f_NS&playnext=1 Soul Covers: https://youtube.com/playlist?list=PLJZH8sevmMq5WazmMNVZL_S6yXuL7oxpe&playnext=1 Swing Covers: https://youtube.com/playlist?list=PLJZH8sevmMq5SrR0uFw9W-XidSoq3FiYi&playnext=1 Watch by Decade: https://youtube.com/user/ScottBradleeLovesYa/playlists?sort=dd&shelf_id=218&view=50 Watch by Mood: https://youtube.com/user/ScottBradleeLovesYa/playlists?sort=dd&shelf_id=219&view=50 Listen to Postmodern Jukebox on: iTunes: http://bit.ly/itunesPMJ Spotify: http://bit.ly/spotifyPMJ Google Play: http://bit.ly/googlePMJ ____________________________________________ Follow The Musicians: Casey Brefka (Trumpet) Instagram: https://ift.tt/9X2Qv8W Facebook: https://ift.tt/zVrv5XL Dan Hitchcock (Tenor Sax) Instagram: https://ift.tt/qsy5tZV YouTube: @danhitchcock124 Jeff Adams (Trombone) Instagram: https://ift.tt/dov8BJC https://slideadams.com/ Thor Jensen (Guitar) Facebook: https://ift.tt/ze5MIah Instagram: https://ift.tt/gXD1KVp Twitter: https://twitter.com/thorbobby Jared Manzo (Bass) Facebook: https://ift.tt/7wuctD6 Instagram: https://ift.tt/Mh1pxb2 Chris Gelb (Drums) Facebook: https://ift.tt/JPdtgWz Instagram: https://ift.tt/U5q9DRh Scott Bradlee (Piano & Arrangement) YouTube: https://youtube.com/scottbradlee Spotify: https://ift.tt/m5XovnB Substack: https://ift.tt/zL7ExhU Arranged & Produced by Scott Bradlee Cinematography by Andrew Rozario & Mike Stryker Engineered, Mixed & mastered by Thai Long Ly https://ift.tt/o8UqNZ0 Hair & Makeup by Nichole Pechonis https://ift.tt/NAvsIB6 Wardrobe by Sunny Holiday Production coordinator: Patrick Coleman #shaniatwain #Cover #marilynmonroe

[johnkatsmc5]

Le Grand Nébuleux Et Les Laveurs De Consciences "Les Pirates Du Cortex"1978 + "Le Grand Nébuleux" 2023 (unreleased album from 1979) France Prog Jazz Rock,Fusion Experimental

youtube

https://www.youtube.com/playlist?list=PLJC5bOVBufwCToNYZJT9sk8-3cDIbd7_f

Le Grand Nébuleux Et Les Laveurs De Consciences "Les Pirates Du Cortex"1978

Interesting and complex jazz rock album with some freer structures. It tends to get a bit shrieky in the sax department and the compositions stray towards the unhinged. But that's not to say their aren't some stellar moments as well. Rhythm section is super tight, and the guitar playing sometimes has an acidic tone, which is more than welcome. Best track, and at complete odds with the rest of the material, is a mellow hand-percussion / flute piece with quirky French voices. Had the album been more composed and less improvised, it would've been a monster. As it stands, it's still quite good.....~ Credits Alto Saxophone [Sax Alto] – Patrice Quentin Baritone Saxophone [Barython] – Gérard Amsallem* Bass, Acoustic Guitar – Christian Nys (2) Drums, Percussion [Percussions] – Robert Plisson Guitar [Guitares] – Jean-Pat Rochow* Percussion [Percussions] – Patrice Abaoub Piano, Synthesizer – Thierry Joubertex Tenor Saxophone [Sax Ténor], Soprano Saxophone [Sax Soprano], Flute – Antoine Duvernet Vocals [Chant] – Alain « Mickey » Durand*, Jean-Pierre « Jappy » Gormond* Tracklist A1 Mogue Soloist, Guitar – Philippe Gohard 6:18 A2 Les Pirates Du Cortex 5:40 A3 Mayday Synthesizer – Didier Laure 6:04 Face Sud B1 Manali 2:48 B2 Sekou Toure Blues 13:19

Le Grand Nébuleux Et Ses Laveurs De Consciences "Le Grand Nébuleux"2023 (unreleased album from 1979)

New release on the Monster Melodies label of an unreleased album by Grand Nebuleux et ses Laveurs de Conscience. The group's final production after Les Pirates du Cortex released in 1976 on the Hocco Mitu label, this second album by the group, after various personnel changes over the years, comes from sessions recorded in 1979. It includes tracks with vocals, unlike the first album which was only instrumental, which mixes funk jazz and psychedelic rock sounds. The group joins here the universes of Zappa and Gong, while keeping its own originality. In 1975, Jean-Pierre Gormond (singer), Christian Nys (bassist), Mickey Blow (singer, harmonicist) and Jean-Patrick Rochow (guitarist), living in the suburbs of Paris, on the banks of the Seine and Marne and the Seine St Denis, got together frequently to play music. Christian and Jean-Pierre were already members of Impact, a group that gained some notoriety in the region before being renamed Amnésie. Other members join the quartet, Bidou (flute and saxophones) and François Abbou (percussionist). The latter offered in December 1975 to record a demo in a studio located in Yonne, "La Pense Folie" equipped with an 8-track. Thierry Jouberteix, familiar with the place, joins them on keyboards. After listening to the demo, a friend from the studio, Colin du Liège, decided to produce the group and have it recorded in the same studio, this time equipped with a 16-track Otari. For the occasion, he invites a brass section made up of three members of Urban Sax: Patrice Quentin (Alto Sax), Antoine Duvernet (Tenor Sax, Soprano and Flute), and Gérard Amsellem (Baritone Sax). Drummer Robert Plisson completed the composition of the group. Le Grand Nébuleux et les Laveurs de Consciences is born. Le Grand Nébuleux and les Laveurs de Consciences was one of the first groups to claim the influences of ethno-electric African music (Fela, Don Cherry) and jazz (Miles Davis) mixed with a rock sound....~ Credits Alto Saxophone, Tenor Saxophone – Antoine Duvernet Artwork – Alain Durand Balafon – Thierry Jouberteix Bass, Flute, Tenor Saxophone, Vocals – Nicolas Houdebine Clarinet, Tenor Saxophone – Mikel Estrin Drums – Robert Plisson, Roland Rover Drums, Bass – Christian Nys Guitar, Vocals – Jean Patrick Rochow Vocals – Jean-Pierre Gormond Tracklist A1 Qu'Est-Ce Que Je Fais Dans Ces Latrines ? A2 Robert Le Dromadaire A3 L'Oiseau Mouche A4 Mycose ! B1 Thème Zen B2 Elle A B3 Assure L'Azur B4 Faut Pas rêver B5 Mycose 2 B6 Fringale Sud B7 Lola

Le Grand Nébuleux Et Les Laveurs De Consciences "Les Pirates Du Cortex"1978 + "Le Grand Nébuleux" 2023 (unreleased album from 1979) France Prog Jazz Rock,Fusion Experimental

https://johnkatsmc5.blogspot.com/2025/05/le-grand-nebuleux-et-les-laveurs-de.html?view=magazine

https://johnkatsmc5.tumblr.com/post/783248083195674624/le-grand-n%C3%A9buleux-et-les-laveurs-de-consciences

[moodmusicmonday]

What a STRONG start for May! Check out this amazing playlist! Seriously! Pop it on in the car, while you're working or even when you're doing your Spring cleaning! Great list, and even greater fics to come! HUGE thank you to all of our creators that submitted their songs! Make sure to be looking out for these *NEW* stories!

Can't wait? Well, you're in luck! Some fics have already been released--and you NEED to check them out! Look for the 📖, then click on the link! Don't forget to show your support! Like, comment and/or reblog!

As always, thank you so much for supporting this blog! Whether you actively participate or you signal boost us, we see you, and we love you so, so much! We'll see y'all again soon! 💜

~🎵~

@alj4890

“Sparks” - Coldplay; Mixed Signals, *new* series [OPH, Ethan Ramsey x  f!OC (Chris), ft. Bryce Lahela  and Tobias Carrick] 

@aussiegurl1234

📖 “Gone” - NF, Julia Michaels; Black Silk, Chapter 5: Thora;  [TRR AU; Liam x f!OC (Alice), Drake x f!OC (Delilah)]

@cariantha

📖 “Hey Stupid, I Love You” - JP Saxe; Power Play [OPH; Ethan Ramsey x f!MC (Sawyer Brooks)]

@peonierose

Wildflower, Part 1/? [OPH; Keiki Lahela (*new* f!MC) x Koa Haulani (m!OC)]

- “Sweethoneylove” - Babe Blakes - “Have You Ever Seen the Rain?” - Creedence Clearwater Revival - “Wildflower” - 5 Seconds of Summer - “Blurry Eyes” - Michael Patrick Kelley - “Fallin’ for You” - Colbie Caillat

@tessa-liam

“Ready For Anything” - Landon Austin; Smoke and Mirrors, Chapter 7 [TRR/TRF+; Liam Rys x f!MC (Riley Brooks- Rys)]

“Fall Into Me” - Forest Blakk; Marabelle, Chapter 5 [TRR; Liam Rys x f!OC (Sophie)]

@txemrn

“I Don’t Miss You Anymore” - Loveless; Like Ships in the Night, TBD (OPH; Ethan Ramsey x f!OC [former])

“Take Me with You” - Secondhand Serenade; I Don’t Have Anything to Hide… There’s Just One More Thing… (OPH; Ethan Ramsey x f!OC (Tatum Erikson)]

~🎵~

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[mini-starfruit]

Today's album review: No-No by Dylan Fujioka and Patrick Shiroishi Sometimes, when I experience a piece of art, I feel as though speaking about it at all might reduce the impact it's had on me. That words can't do it justice, and that I will use the words to remember, as I have in school and routine. Fujioka is a drummer, and Shiroishi is a saxophonist. Despite the restricted nature of instrumentation at play here, this album succeeds at exploring sounds and ideas I could not have imagined. Most striking of all is the use of outright silence on this record; I've thought for a long time that silence is an underutilised "sound" in music. The absence of sound, the attention to any noise. The experience of suddenly finding yourself back in the physical space you inhabit, and the small ambient noises therein. It's something I was surprised to find in this album, and excited to revisit as I went in for my second, and then third listen. Importantly, it's not all silence. Stretches of quiet, pensive ambience are split in half by bouts of frantic, jazzy saxophone and drums. Often, the drums are alone, quiet and tapping where the saxophone is seemingly nowhere to be found. Other times the saxophone solos, nearly inaudible, as if testing the waters of silence with it's sound. The songs are long, giving time to explore these phases of silence, trepidation, and expressive sound. Were the songs subdivided, I think their effect would be lost, their ideas separated and compartmentalised.

There are some noises produced by Fujioka's sax that I knew, consciously, were the product of a finely engineered brass instrument, but were to my ears totally alien from what I thought was "saxophone". I would describe these sounds, but I could neither effect their presence nor willingly spoil their impact for prospective listeners. Paired with Fujioka's stunning performance, Shiroishi's drums are perfect. Perfectly complementing tone and pace, they are sparse and exploratory at most times. When the composition comes into something that could resemble a "normal" experimental jazz duet, they are energized, even manic. I am reminded, strangely, of Japanese slowboat jazz. Haunting, careful, atmospheric; Melancholic, frightened, erratic. Sometimes, when I experience a piece of art, I feel as though speaking about it at all might reduce the impact it's had on me. Fortunately, I can always go back and listen to music. It's not so simple with art found in a gallery, or a show found in a basement. Favorite track: The House That No Longer Exists