#binker golding

[burlveneer-music]

Village of the Sun - First Light - Binker and Moses team up with Simon Ratcliffe of Basement Jaxx for a spiritual jazz LP (Gearbox Records)

Village Of The Sun is an enigmatic collaboration between UK jazz virtuosos Binker Golding & Moses Boyd and electronic music legend Simon Ratcliffe of Basement Jaxx fame. Born out of a shared passion for improvised instrumental music, the new project sees all three of the artists steps into relatively new territory, combining their respective sensibilities to create something all at once atmospheric and danceable. All tracks written by Simon Ratcliffe, Binker Golding and Moses Boyd Apart from ‘Ted' - written by Ted Moses, Simon Ratcliffe, Binker Golding and Moses Boyd Binker Golding: tenor saxophone Moses Boyd: drums Produced and Mixed by Simon Ratcliffe and all other instrumentation by Simon Ratcliffe

[de-salva]

BINKER & MOSES - The Death of Light 

Alb. "Alive in the East?" (2018)

Binker Golding - tenor saxophone     Moses Boyd - drums

Featuring: Yussef Dayes - drums Tori Handsley - harp Evan Parker - tenor saxophone, soprano saxophone Byron Wallen - trumpet

[sonicziggy]

"Cesca" by Village of the Sun, Simon Ratcliffe, Moses Boyd, Binker Golding https://ift.tt/U0Ti1lc

[luuurien]

Binker Golding - Dream Like a Dogwood Wild Boy

(Jazz Fusion, Americana, Post-Bop)

Mixing jazz with classic Americana, blues rock, and country soul, Binker Golding's latest album is unlike any other jazz album to come out this year. Its sound is one rooted in ecstatic expression and painterly musical landscapes, Dream Like a Dogwood Wild Boy treating you to one of the most passionate and impactful albums Golding has ever put out.

☆☆☆☆☆

Do I ever have a soft spot for Dream Like a Dogwood Wild Boy. An album mixing two of my favorite musical styles, jazz and country, is almost surefire to be a winner, but Binker Golding puts on such an electrifying show that it's clear he's not sacrificing any of his artistic power for aesthetic indulgence. Dream Like a... innovates not through going for any kind of wild, experimental jazz sound, but by returning to the fundamentals of the genre and its origins: blues, country, Americana, and the resulting music is some of the most energetic and soulful this year. Not having to create a whole new framework for his music to work around the way he had to for something like his February collaboration with Moses Boyd, Feeding the Machine, Golding's music sounds more free and emphatic than ever, exploring themes of death, masculinity, alcohol, and fatherhood through the eternally rustic sound of heartland Americana and jazz. While these points aren't necessarily felt in the music through lyrics or storytelling, it's knowing and hearing these elements throughout Dream Like a... that makes the album such a delight. A quintet comprised of guitarist Billy Adamson, double bassist Daniel Casimir, pianist Sarah Tandy, drummer Sam Jones, and Golding himself on tenor sax, Dream Like a...'s small ensemble makes way for some of the most passionate and expressive music this year. The rhythm section, Casimir and Jones, have been part of Golding's live shows for years now, while Tandy takes over from Joe Armon-Jones and Adamson is a new part of things entirely. By keeping the rhythm section tight and comfortable, the songs drive forward confidently and fluidly while letting the new members show themselves off without having to worry about the chemistry you have to build with a rhythm section over time. After Adamson throws down some jangly blues guitar chords on the incredible nine-minute opener (Take Me to the) Wide Open Lows, Casimir and Jones get right into formation, Jones' bouncy drum fills and consistent ride cymbal notes pushing the song forward like a car cruising down an empty highway. From there, Tandy and Golding share a melodic role, Golding's bubbly solos always converging with a memorable sing-along melodic line that makes for a return point throughout the piece. Dream Like a... was designed as a reminder of the humanity and heart that goes into making music, Golding wanting to "...cover positive & negative relationships {he's} had to both people and things", and by utilizing things like Adamson's blues guitar on the slow ballad 'Til My Heart Stops or a soft, sentimental chord progression like the one on My Two Dads - dedicated to both his father and stepfather who passed away in the past two years - he's able to take the hundreds of feelings connected to that loss and preserve it eternally in his music, the euphoric accelerando in the song's last minute or so one of the most thrilling moments in music this year. It's a precious gift to be able to hear Golding in such an intimate way, approaching feelings that his music has never had the chance to before with the instrumentation backing him up in every moment. It's genuinely hard to find any issues in music that bring out emotions so freely and passionately, Golding using the medium he knows best to explore feelings in a way few others will this year. Because he's not tethered to a voice or songwriting, it's doubly as powerful when you can feel your heart connecting with his in the heartfelt memorial that is My Two Dads or the electrifying With What I Know Now, everything that's been sitting with him for years all coming out in one fell swoop that's impossible to not fall in love with. Golding also makes sure that the rest of his team have a presence within the record, too, making sure he's not the only one at center stage, letting Tandy deliver a sunset-warm solo on the dreamy finale All Out of Fairy Tales or throwing in some standard swing on Howling and Drinking in God's Own Country to show off just how controlled and precise a bassist Casimir is, contributing to the album's sense of cohesion and chemistry between performers that takes it to that next level. Where his 2019 album Abstractions of Reality Past and Incredible Feathers focused on his experiences as a teenager and young adult - and the ways in which that informed his music - here on Dream Like a... he approaches things with a more mature frame of mind, taking the wistful and relaxed nature of country music and putting it into a jazz context where Golding's music can take root, the liquid guitars and gold-covered saxophone on Love Me Like a Woman only something that could come from an artist digging through feelings that have had more time to simmer inside him. Through that, Dream Like a... is able to bring out the most impressive collection of tracks he's ever put out, in one of the most unique and unexpected ways that could happen. Binker Golding is one of the best contemporary saxophonists doing it right now, and with Dream Like a Dogwood Wild Boy he proves exactly why he's earned that title. His music is creative, unparalleled, and always exciting, and that has never been the case more than it is here. Seriously, what has come out in even the past decade that sounds remotely like this? It's something incredibly special and innovative Golding has done here, marrying classic Americana sounds with the rich harmonic and melodic language of jazz without sacrificing any of what makes both styles of music so special and distinct. You can imagine hearing this live in the midnight hours of a humid country bar, evening hours lit up by Binker and his crew in a way nobody else could manage, the energy high and the sound there in full without the quintet having to strain their performances to reach it. Dream Like a Dogwood Wild Boy is an album that I hope will become a landmark for contemporary jazz music, an album with a sound so distinct and memorable that even as it returns to tradition in its instrumentation, it keeps a modern creative spirit alive through it all. I'm not sure there will be anything to come out in the jazz scene that'll be even a fraction of how mesmerizing Dream Like a Dogwood Wild Boy is, and I don't want there to be. Nobody else could conjure the magic Binker Golding does here.

[sinceileftyoublog]

Binker Golding Interview: Youth and the Wild

Photo by Carl Hyde

BY JORDAN MAINZER

“I’m just not that interested in fitting in.”

It’s a statement that certainly rings true for Binker Golding’s second solo album Dream Like A Dogwood Wild Boy, out Friday via Gearbox Records. Up until this point, you could pinpoint the tenor saxophonist, composer, and one half of excellent duo Binker & Moses as part of an ever-burgeoning British jazz scene, one that has seen the likes of Sons of Kemet, Nubya Garcia, and Zara McFarlane receive global reach and acclaim. Press play on Dream, however, and you hear an unfamiliar sound, at least for Golding: bluesy slide guitar, then drums, piano, and double bass, all before his saxophone enters. It sounds like the instrumental to a classic rock song, still embedded in a jazz tradition, but threatening to bridge the gap.

Sure, in a few years and probably many albums later, we’ll look back on Dream Like A Dogwood Wild Boy as Golding’s “heartland jazz Americana” record, one where influences of John Mellencamp and Skip James rubbed elbows with the current cream of the crop of UK jazz heavyweights like drummer Sam Jones, bassist Daniel Casimir, and pianist Sarah Tandy. The genre-hopping is certainly thrilling, on moments like Golding’s saxophone taking a lead vocal against Billy Adamson’s twangy guitar lines on “Love Me Like A Woman”, or the rock harmonies of guitar, piano, and saxophone on album closer “All Out Of Fairy Tales”. But the idea that Golding isn’t concerned with fitting in is especially illuminating when listening to the album, which was born out an intense period of self-reflection for Golding. He had lost both his biological father and stepfather. He was looking at the characteristics he had inherited from his dad, good and bad. He was looking at himself as a man. If jazz as a genre is one inherently collaborative and outward-looking and listening, Golding’s second album--though displaying mighty band chemistry--is a bit of a thematic outlier. It’s instrumental, but you can hear the way it communicates the contrasts between the expanse of the music and middle American landscapes and the inner depth of Golding’s thoughts. 

I asked Golding some questions about Dream Like A Dogwood Wild Boy over email, including its influences, communicating lyrical themes instrumentally, and playing live. Read our conversation below.

Since I Left You: Why did you decide on a blues, heartland rock, Americana-influenced aesthetic for your second album?

Binker Golding: The music is just another part of who I am. It’s an honest reflection of how I felt at the time. I think people often think that you’re hopping genres or being influenced by something new that you’ve come across, but it just wasn’t the case for this record. The music was right there on the surface for me. I’ve always felt deeply attached to those styles, and over the course of my life, I’ve become them. I suppose it surprises people, given the current climate of British jazz, but I’m just not that interested in fitting in.

SILY: The first single and opening track "(Take Me To The) Wide Open Lows" opens with bluesy slide guitar riffing. Was it important for you to open with a specific sound so different from what you had presented before?

BG: Yes, I’d say so. It’s usually a good idea to make a big statement on the first track of a record, to draw the listener in and let them know what sort of world the album inhabits. In a way, the first track is an overture for the rest of the album. I felt “Wide Open Lows” was probably the most representative of the sound of the album, so it made it as the first track. I don’t think it would’ve worked anywhere else on the record. I wanted the guitar solo that opens the track to be unusually long. I wanted a sprawling track that was evocative of the sort of landscapes I was thinking of. I’m also against the contemporary idea that a piece of music has to get straight to the central part as quickly as possible. Intros are currently at their most short in the history of popular music. I think this is a travesty.  

SILY: Like you've said, it's hard to explicitly explore concepts like masculinity, humanity, love, and sex on an instrumental album. At times, however, I feel like certain instruments--whether your saxophone or electric guitar or even drums--take the lead the way a vocal would. Did you notice that? Was that intentional?

BG: There was definitely a lyrical intention to the way I wrote the melodies and to the way I directed the band, in particular the soloists, Billy Adamson on guitar and Sarah Tandy on piano. The solos the three of us played were as free as ever, but we were deliberately trying to play the songs in a lyrical fashion. For most of the songs, I wanted people to hear them and say, “There should be words to this,” or, “I can hear lyrics to this.” I wanted to invite the listener into making up their own lyrics to the songs.

SILY: What's the inspiration behind the title "My Two Dads"?

BG: Literally, my biological father and my stepfather, both of whom died in 2020. I wasn’t looking to pay tribute to them in any way, and I don’t like to think of it as a tribute as such. I often write pieces and get halfway through and start to think to myself, “This is about this person,” or, “This is about this time,” etc. The piece is less about the memory of them and more about the feeling of the loss of them. I realized I had no more male father figures in my life, and there was a profundity to that. I also had three friends who were going through the exact same thing at the exact same time. All of them were males, and the loss of our fathers were a big talking point for us.

SILY: Were you at all inspired by British folk and folk-rock on this record?

BG: Not so much British folk, but certainly American and Canadian folk-rock. Mainly Neil Young, James Taylor, Joni Mitchell, [and] Tracy Chapman, and then hugely by heartland rock musicians, mainly Springsteen and John Mellencamp. I listen to a lot of old American folk music also. The Delta Blues artists like Skip James and Mississippi Fred McDowell are very important to me. I listen to a lot of the traditional Appalachian music also.

SILY: What's the inspiration behind the album title?

BG: Dogwood is a tiny town in Kentucky. It’s very remote. It’s somewhere I imagined I’d like to go to and just be alone, have no worries or cares, at least for a short time. Youth and the wild go hand in hand with that idea. I like instructional titles. If they’re good, they help the listener get into the music. I take great consideration over them.

SILY: What's the story behind the album art?

BG: The album is another portrait of me in one way or another. My first album was, too, but this one was a bit more complex. The cover is very loosely based on the painting Wanderer above the Sea of Fog by Caspar David Friedrich. The important thing about the painting and cover of the album is the fact that the face is hidden, and as a result, you can’t tell what expression the subject has on. I wanted it to be ambiguous. The back cover is just a shot of my hands. The inside has pictures of my face, but the expression is completely blank, which is deliberate. I wanted the listener to decide what mood the album is based in, in a similar fashion to the Mona Lisa. The wanderer above the sea fog is slightly triumphant in the sense that it symbolizes the conquest of nature. Something has been won. I wanted the cover to be the opposite. I’m not on a mountain top. The ground is completely flat, and there’s no crop left. Instead, there are weeds growing where the crop once was. I didn’t want it to be negative, just subtle and ambiguous.

SILY: Are you playing this record live? If so, how are you adapting it to a performance?

BG: Yes, we’ve been playing it very faithfully live. It’s not too hard to adapt, minus some of the guitar parts. We play the songs in the exact order that they appear on the record. I don’t really think they work any other way. We also don’t play any of the songs from the previous album, as I don’t think they blend very well, except for “You, That Place, That Time”.

SILY: What's next for you?

BG: I’m currently writing a follow up to this album. When one’s done, I just start another one. I’ve not found a better way to live my life. I’m happy living like that.

SILY: Anything you've been listening to, watching, or reading lately that's inspired you?

BG: I seldom draw inspiration from external sources, which people often find odd to hear. I read regularly and watch films often, but as I say, they don’t often feed back into my work except for in a technical aspect. I suppose people that tell stories about people are ultimately the thing that’s inspired me most in the last 5 or so years. For example, the filmmaker Ingmar Bergman: I’d like to one day make an album that serves the same purpose as one of his films. I’m interested in telling stories about people through music.

[littlemisslol-fic]

playlist: SO from Seventeen's POV

HELP LMAO OKAY LETS GO

Growing | Ricewine

Plants | Crumb

Oh Fuck | Sad Barbie

I Got | Young and the Giant

Dropped | Phantom Planet

Oh Shit | Pharcyde

Ouch | Tragically Hip

My Two Dads | Binker Golding

Are | Sweet Dove

Making Out | Nico Play

Again | Janet Jackson

GUYS PLEASE LAUGH THIS TOOK SO LONG TO FIND ALL THESE SONGS

(and batz if you want a legit playlist lemme know and I'll make a real one dsjfdsj the joke was too good to pass up)

[joshhaden]

Lorraine Baker's Eden (2018, Spark) includes her version of my father's tune "Chairman Mao". w/ drummer Lorraine Baker, saxophonist Binker Golding, pianist Liam Noble, bassist Paul Michael.

[sonmelier]

39. Binker & Moses | Feeding the Machine

🏴󠁧󠁢󠁥󠁮󠁧󠁿 Angleterre | Gearbox | 50 minutes | 6 morceaux 

Le batteur Moses Boyd et le saxophoniste Binker Golding s’adjoignent les services d’un troisième larron, expert en effets électroniques, en la personne de Max Luthert. Ils basculent tous ensemble dans un processus créatif aussi spontané qu’avant-gardiste, les deux musiciens de jazz étant poussés dans leurs retranchements pour pouvoir « nourrir la machine » (des synthétiseurs modulaires pour l’essentiel). Enregistré en trois jours, ce disque témoigne de l’exceptionnelle vitalité du jazz actuel (et notamment de la scène londonienne). 

[hatingwithfears]

TOP 150 ALBUMS of 2022

150- Scarcity- Aveilut

149- Alice Glass- PREY//IV

148- Plains- I Walked With You a Ways

147- Sigh- Shiki

146- Bjork- Fossora

145- Boris- Heavy Rocks

144- Father John Misty- Chloe and the Next 20th Century

143- Vieux Farka Toure & Khruangbin- Ali

142- Palm- Nicks and Grazes

141- Deathcrash- Return

140- Rhodri Davis- DWA DNI

139- Hagop Tchaparian- Bolts

138- Cheekface- Too Much To Ask

137- Sarahsson- The Horgenaith

136- Sam Grendel- BlueBlue

135- Sam Gendel, Antonia Cytrynowicz- Live a Little

134- Makaya McCraven- In These Times

133- Julian Lage- View With a Room

132- Earl Sweatshirt- SICK!

131- Whatever The Weather- Whatever The Weather

130- Absent in Body- Plague God

129- Moin- Paste

128- Cheri Knight- American Rituals

127- Matt Ball- Amplified Guitar

126- Jairus Sharif- Water and Tools

125- Behemoth- Opvs Contra Natvram

124- Monster Rally- Botanical Dream

123- Ashenspire- Hostile Architecture

122- Death Cab For Cutie- Asphalt Meadows

121- Dave Douglas- Secular Psalms

120- Cult of Luna- Long Road North

119- Maria Moles- For Leolanda

118- Full Court Press- Full Court Press

117- Animal Collective- Time Skiffs

116- Luminous Vault- Animate the Emptiness

115- Mizmor & Thou- Myopia

114- KMRU & Aho Ssan- Limen

113- Sofie Birch- Holotropica

112- Avishai Cohen- Naked Truth

111- Philippe Bronchtein- Catch My Breath

110- Nik Colk Void- Bucked Up Space

109- Kelly Lee Owens- LP8

108- Nick Cave and Warren Ellis- Blonde

107- Infinity Knives, Brian Ennals- King Cobra

106- Johanna Warren- Lessons for Mutants

105- Joel Ross- Te Parable of The Poet

104- Brad Mehldau- Jacob’s Ladder

103- The Comet Is Coming- Hyper Dimensional Expansion Beam

102- Avishai Cohen- Shifting Sands

101- Patricia Brennan- More Touch

100- Madeleine Cocoas- Spectral

99- Skulcrusher- Quiet The Room

98- Caroline- Caroline

97- Knifeplay- Animal Drowning

96- Avalanche Kaito- Avalanche Kaito

95- Billy Woods- Aethiopes

94- Mamaleek- Dinner Coffee

93- Silvia Tarozzi & Deborah Walker- Canti di Guerra, di Livorno e d’amore

92- Melissa Aldana- 12 Stars

91- Joy Guidry- Radical Acceptance

90- Binker Golding- Dream Like a Dogwood

89- black midi- Hellfire

88- Akusmi- Fleeting Future

87- Arp- New Pleasures

86- Daniel Rossen- You Belong There

85- Junior Boys- Waiting Game

84- Shearwater- The Great Awakening

83- Florist- Florist

82- Szun Waves- Earth Patterns

81- No Age- People Helping People

80- Lucretia Dalt- ¡Ay!

79- Rich Ruth- I Survived, It’s Over

78- Colin Stetson- Chimaera I

77- Ulla- Foam

76- The Lord + Petra Haden- Devotional

75- Nonsun- Blood & Spirit

74- Bill Callahan- Reality

73- Aoife Nessa Frances- Protector

72- The Soft Pink Truth- Is It Going To Get Any Deeper Than This?

71- Kendrick Lamar- Mr. Morale & The Big Steppers

70- High Pulp- Pursuit of Ends

69- Soul Glo- Diaspora Problems

68- Dawn Richard & Spencer Zahn- Pigments

67- Bartess Strange- Farm to Table

66- Burial- Antidawn

65- Keiji Haino & Sumac- into this juvenile apocalypse…

64- Beth Orton- Weather Alive

63- Jenny Hval- Classic Objects

62- Angel Olsen- Big Time

61- Nils Frahm- Music for Animals

60- Daniel Bachman- Almanac Behind

59- Wilco- Cruel Country

58- Boris- W

57- Goose- Dripfield

56- Steve Lacy- Gemini Rights

55- Sun’s Signature- EP

54- Gang of Youths- Angel in Realtime

53- Mary Lattimore & Paul Sukeena- West Kinsington

52- Aeviterne- The Ailing Facade

51- Pusha T- It’s Almost Dry

50- Black Country, New Road- Ants From Up There

49- Ashley McBryde presents: Linderville

48- Alina Bzhezhinska & Hip Harp Collective- Reflections

47- Pinegrove- 11:11

46- Various Artists- Here It Is: A Tribute To Leonard Cohen

45- Bonnie Light Horseman- Rolling Golden Holy

44- Chat Pile- God’s Country

43- Oren Ambarchi- Shebang

42- Oren Ambarchi, Johan Berthling, Andreas Werliin- Ghosted

41- Horse Lords- Comradely Objects

40- Brian Eno- FOREVERNOMORE

39- Anja Lauvdal- For a Story Now Lost

38- CC Sorensen- Phantom Rooms

37- Kali Malone- Living Torch

36- Heart of The Ghost- Summons

35- Miles Okazaki- Thisness

34- Weyes Blood- And in The Darkness, Hearts Aglow

33- Maggie Rogers- Surrender

32- Loraine James- Building Something Beautiful For Me

31- Eli Winter- Eli Winter

30- Oded Tzur- Isabela

29- Sharon Van Etten- We’ve Been Going About This All Wrong

28- Max Richter- The New Four Seasons: Vivaldi Recomposed

27-Heith- X, Wheel

26- Ian William Craig- Music For Magnesium_173

25- Cecile McLorin Salvant- Ghost Songs

24- Medicine Singers- Medicine Singers

23- Joe Rainey- Niineta

22- Andrew Bernstein- A Presentation

21- Bill Orcutt- Music for Four Guitars

20- Danger Mouse & Black Thought- Cheat Codes

19- Tanya Tagaq- Tounges

18- Destroyer- Labyrinths

17- Lambchop- The Bible

16- Sault- Air

15- Claire Rousay- Everything Perfect is Already Here

14- Jeremiah Chiu & Marta Sofia Hunter- Recordings from the Aland Islands

13- Yayamoto+Fowler+Parker+Hirsh- Sparks

12- Nickolas Mohanna- Sight Drawings

11- Jasmine Myra- Horizons

10- William Parker- Universal Tonality

9- Michael Giacchino- The Batman

8- Beach House- Once Twice Melody

7- Surya Botofasina- Everyone’s Children

6- OHYUNG- Imagine Naked!

5- The Smile- A Light for Attracting Attention

4- Sarah Davachi- Two Sisters

3- Immanuel Wilkins- The 7th Hand

2- Big Thief- Dragon New Warm Mountain

1- Rachika Nayar- Heaven Come Crashing

[burlveneer-music]

Talking Therapy Ensemble - Talking Therapy - EP from Emma-Jean Thackray’s skronk unit

Talking Therapy Ensemble are something between free-jazz madness and groove, somehow between composition and improvisation, and exist somewhere between the public and the private. Through the cathartic process of improvisation they find a release of stress and suffering - their talking therapy - inspired by the blues, crusty punk, the confessional poets of the 50s and 60s, and artists such as Art Ensemble of Chicago, Sun Ra Arkestra, Albert Ayler, and Irreversible Entanglements.

Emma-Jean Thackray - vocals, trumpet, and percussion Binker Golding - saxophone Matt Gedrych - bass Dougal Taylor - drums

[de-salva]

Binker Golding - tenor saxophone     Moses Boyd - drums

* Live at Total Refreshment Centre (London, 25th July 2017)

[parkerbombshell]

Rules Free Radio Jan 3

Tuesdays 2pm - 5pm  EST Rules Free Radio With Steve  Caplan bombshellradio.com On the next Rules Free Radio with Steve Caplan, we'll spend the entire show we’ll spend listening to music that came out in 2022. We’ll revisit music by a few of the year's favorites, we’ll hear new tracks we didn’t get around to from artists I played, and we’ll hear a bunch of the releases we never got around to checking out. There will be a range of music including some Rock and Pop releases from artists like Robyn Hitchcock, Triptides, Ward White, The Speedways, Richard Ohrn, and Arctic Monkeys. Some singer-songwriter offerings from Chris Brain, Katie Spencer, Florence Dore, Caamp, and others. We’ll hear some Jam bands and funk including Snarky Puppy, Trombone Shorty, and Hedvig Mollestad. We’ll do a set with an international flavor with Hermanos Guttierez, BALTHVS, and Abraxas. The third hour is a variety of the many great Jazz releases of 2022 including one from Jakob Bro and Joe Lovano’s tribute to drummer Paul Motian, Joel Ross, Binker Golding, Enrico Rava and Fred Hersch, and a few more. All starting Tuesday afternoon at 2 pm on Bombshellradio.com! Broken Bells - Invisible Exit Annie Taylor - All The Time The Dowling Poole - The Same Mistake Again Ward White - 50,000 Watts Ago Triptides - Midnight Katie Spencer - Go Your Way Chris Brain - Peace and Quiet Khruangbin and Vieux Farka Toure - Tamalla Nilüfer Yanya - The Dealer BALTHVS - Eclipse Solar Hermanos Gutiérrez - Thunderbird Charlie Gabriel & Preservation Hall Jazz Band - Yellow Moon Abraxas - Göbekli Tepe Fenella - The Metallic Index Arctic Monkeys - Body Paint Carla dal Forno - Mind You’re On Christine and the Queens - My Birdman Robyn Hitchcock - The Shuffle Man The Speedways - A Drop In The Ocean Caamp - Come with Me Now Florence Dore - Sweet To Me Librarians With Hickeys - When We Were Young Richard Ohrn - Seal Your Move Snarky Puppy - Mean Green Ebi Soda - Pseudocreme Trombone Shorty - Lifted Emanuel Harrold - Yes We Can Hedvig Mollestad and Trondheim Jazz Orchestra - On The Horizon part 2 Noah Garabedian - Expectation. Regret Binker Golding - Howling and Drinking in God’s Own Country Harish Raghavan - In Tense Joel Ross - Prayer Trish Clowes - Morning Song Jakob Bro & Joe Lovano - Song To An Old Friend Vadim Neselovskyi - Winter in Odesa Enrico Rava and Fred Hersch - Retrato em Branco e Preto Read the full article

[pdmtsn]

Various - Blue Note Re:imagined II 2022 (2022)

A1 Yazz Ahmed - It A2 Conor Albert - You Make Me Feel So Good A3 Parthenope - Don't Know Why A4 Swindle - Miss Kane

B1 Nubiyan Twist - Through The Noise (Chant No.2) B2 Ego Ella May - Morning Side Of Love B3 Oscar Jerome & Oscar #Worldpeace - (Why You So) Green With Envy B4 Daniel Casimir, Ria Moran - Lost

C1 Theon Cross - Epistrophy C2 Maya Delilah - Harvest Moon C3 Kay Young - Feel Like Making Love C4 Venna & Marco - Where Are We Going?

D1 Reuben James - Infant Eyes D2 Binker Golding - Fort Worth D3 Cherise - Sunrise D4 Franc Moody - Cristo Redentor

Genre: Jazz Style: Contemporary Jazz

[ceevee5]

Back to the one token jazz act per year again. We see you, Mercury Prize. Tom Misch (Quarantine Sessions). Binker and Moses (Feeding The Machine). Sault (Air). Trish Clowes (A View with a Room). Alabaster DePlume (Gold).

[onlyexplorer]

Binker Golding's New Album Has an American Flair | Features

Binker Golding’s New Album Has an American Flair | Features

Binder Golding is part of a crucial generation of British jazz musicians who have made their mark internationally. A saxophonist and composer, his work as a soloist, conductor and collaborator has helped break the glass ceiling, resulting in a fantastic catalog of improvisational gems. Yet Binker also has a dark side to him. He has long been a fan of other aspects of American art, ranging from…