#chad taylor

[stlspeedofan]

Chad “Chizzad” Taylor from back in the day.

[toririvas]

listening to superpowereds again has me on the roy/chad train again. damn. these boys r so good together. double legacy heroes, learning how to work around their pasts.... hgh. mary and chad also have such potential chemistry in a platonic sort of way. they'd be so funny doing a pass off of their boyfriends. also the intra/ettin power couple would quite literally be unstoppable.

i think ive made this post before but like. cmon it's so good

[garadinervi]

jaimie branch – FLY or DIE, Directed by Mark Pallman, International Anthem, 2017. Cinematography / Editorial: Mark Pallman. Color: Alex Frankland. Audio Mix: Ben Treimer

FLY or DIE jaimie branch – trumpet Tomeka Reid – cello Jason Ajemian – bass Chad Taylor – drums

Cameos by: Matt Schneider – guitar Ben Lamar Gay – cornet Josh Berman – cornet

jaimie “breezy” branch ♥

[doomandgloomfromthetomb]

Rob Mazurek's Exploding Star Orchestra/Small Unit - Spectral Fiction

A frequently astonishing live performance captured last year at the Corbett vs. Dempsey gallery in Chicago. Over the course of two long, exploratory tracks, Rob Mazurek guides his Exploding Star Orchestra through some beyond-category zones. You could slot this next to something like Art Ensemble of Chicago's Nice Guys, but it exists on its own plane, following an inner logic and purpose. The "Small Unit" here is full of all stars — drummer Chad Taylor, Angelica Sanchez on the electric Wurlitzer, Damon Locks adding fragments of poetry and abstract electronics. Everyone gets a chance to shine, but it might be Tomeka Reid who lingers longest; during her knotty, gnarly solo spotlights, she suggests an alternate world where Thelonious Monk played cello instead of piano.

[dustedmagazine]

James Brandon Lewis/Red Lily Quartet — For Mahalia, with Love (Tao Forms)

Photo by Henri Selmer

For Mahalia, With Love by James Brandon Lewis / Red Lily Quintet

James Brandon Lewis reconvenes the Red Lily Quintet—with Kurt Knuffke on cornet, Chris Hoffman on cello, William Parker on bass, and Chad Taylor on drums—for a set inspired by songs associated with Mahalia Jackson, the towering figure in gospel music in the previous century. The group develops the brief melodies of these traditional devotional tunes into vehicles for improvisation and exploration, creating a joyful noise that celebrates Jackson and also recalls the exploration of themes associated with the Black church by Charles Mingus, Albert Ayler and Roland Kirk.

In some cases, such as “Swing Low” and “Wade in the Water,” the source material is readily apparent while in others it is less so. The set begins appropriately and gently with Lewis’s adaptation of one of Jackson’s signature songs, “His Eye Is on the Sparrow,” which provided the name for a radio show that she hosted in the 1950s and with which she wowed the 1958 Newport Jazz Festival. Lewis’s phrasing well captures Jackson’s meditation on a tune that, like the rest of those here, is beautiful in its simplicity rather than showy.

The quintet was rock-solid on its first outing, Jesup Wagon (2021), and is even more together this time around. Parker is, predictably, outstanding here, delving deep into the music whether soloing, as on “Go Down Moses” and the first minute of “Elijah Rock,” or providing bedrock support throughout. Hoffman’s cello often blends with Parker’s bass, somewhat like the dynamic between the two bassists in some of Coltrane’s bands. Knuffke once more serves as the perfect foil for Lewis as they alternately trade leads and blend their voices. His solo on “Deep River” well exemplifies his approach, building on the foundation established by Lewis before him, he ranges from flutters to searching cries consistent with the funereal theme of the song. Taylor, along with Parker, holds everything together, being equally effective in delivering frantic rolls, as on “Were You There,” and hand percussion, as on “Calvary,” and there are numerous satisfying moments when he and Parker lock in, such as the last couple minutes of “Elijah Rock”

Lewis’s ever-deepening mastery of the tenor is naturally on full display here. His playing, like this recording, delves into the history of jazz without ever sounding formulaic with a tone that is simultaneously ancient and cutting-edge. Here, his horn transforms into the voice of the great gospel singer, channeling as well the voices that she was influenced by and that influenced her.

Those who purchase the CD or vinyl versions can hear Lewis’s playing in a different context on a live recording of his composition for sax and strings with the Lutoslawski Quartet. Titled These Are Soulful Days, the piece interweaves themes from the spirituals and thus serves as a companion to the Red Lily Quartet recording. This fresh context for Lewis’s vision unfolds through the tranquil and plaintive “Prologue – Humility” and four movements to “Epilogue – Resilience.” The movements interweave more and less recognizable phrases from the gospel songs, particularly the dramatic eruption of “Wade in the Water” in Movement III, while “Epilogue” gets fairly noisy and atonal. An encore concludes the set in the form of a lyrical solo sax performance of “Take Me to the Water.”

For Mahalia, with Love, like Jesup Wagon and Lewis’s “Molecular” releases, is fairly high-concept, but the music is spunky and easy to enjoy, with plenty of groove and intensity. The bare nature of the source melodies is well-suited to jazz exploration (as successive generations of musicians have discovered). Lewis is still too young to be considered a jazz elder statesman (and national treasure), but he is steadily building a body of work and a perspective commensurate with that status.

Jim Marks

[donospl]

Co w jazzie piszczy [sezon 2 odcinek 15]

premierowa emisja 24 kwietnia 2024 – 18:00 Graliśmy: Vårterminen Trio “If I Should Lose You” z albumu “Vårterminen”    Big Fish “Seule mais pas trop” z albumu “Big Fish”    Prospectus” Navette Spaciale” z albumu “Météorie”    Ruth Goller  “Next timeI keep my hands down” z albumu “Skyllumina” – International Anthem Cassie Kinoshi’s Seed “I” z albumu “gratitude” – International Anthem Randi…

[musicollage]

Avram Fefer Quartet — Testament. 2019 : Clean Feed.

! acquire the album ★ attach a coffee !

[chez-mimich]

NJ WEEKENDER FALL EDITION 2023

Come si scrive nelle lettere di risposta ad importanti inviti ufficiali "per impegni istituzionali precedentemente fissati, non potrò intervenire..." ecc. ecc. Mi era finora capitato raramente di non assistere ad un concerto di Novara Jazz. E' capitato però, sabato scorso, per la coincidenza con un concerto della Scala, con biglietto acquistato tempo fa. E così, dopo averlo tanto ascoltato su disco mi sono perso "James Brandon Lewis Quartet" che, a detta dei molti presenti, ha dato, com'era prevedibile, il meglio di sé o meglio "hanno" dato il meglio di sé, insieme a Lewis, Aruàn Ortiz al pianoforte, Brad Jones al basso e il grande Chad Taylor alla batteria. Subito dopo (mi sono perso anche) "Cheickh Tidiane Seck Mandugue Quartet", con il particolarissimo pianoforte del malese Cheikh Tidiane Seck ed è vero un peccato perché la musica africana è quella che, negli ultimi anni, mi ha maggiormente emozionato e stupito. Quello che non mi sono perso (o almeno solo in parte), è la seconda serata di "NJ Weekender Fall Edition", appuntamento ormai tradizionale con l'edizione primaverile e quella autunnale, appunto. Non mi pronuncio sui DJset poiché non ho mai compreso appieno la funzione, ma sembra che Max Jazz Cat Conti, che ha aperto la giornata di domenica, sia stato un eccellente "compilatore”. Quello invece che ho gustato è stato il bel concerto dei "She's Analog", a cui si è unita una straordinaria Adele Altro (voce), che ha incantato il pubblico con una voce intima e calda, che risente di tanti echi del passato (magari anche quella di Suzanne Vega, tanto per buttare lì un nome). La band esplora territori tra il jazz e qualcos'altro, ed è proprio il confine con questo qualcos'altro, il luogo dove nasce la poesia del gruppo composto da Stefano Calderano alla chitarra, Luca Sguera alle tastiere, Giovanni Iacoviella alla batteria. Dopo la sosta per il piacevole buffet, eccoci di novo nella sala concerti di Nova (lo spazio Nova ha una sala concerti ed una sala performance, e su questo torneremo più tardi), per l'attesa esibizione di Daniela Pes. Anche qui il jazz è, diciamo così, un ambito di riferimento, poiché i ritmi e soprattutto le parole di Daniela Pes costituiscono una cosa a sé; si tratta di una lingua fatta di termini della Gallura e di termini inventati, che si amalgamano in un continuum di suoni elettronici di raffinata eleganza e misteriosa potenza evocatrice. La serata non è finita qui, poiché subito dopo il suggestivo set di Daniela Pes è stata la volta del collettivo “Addict Ameba”. Qualche parola sullo spazio Nòva, anzi semplicemente “Nòva”, va spesa, visto che il luogo pare ormai destinato ai concerti “in piedi”, che ormai sembrano aver preso il sopravvento su un ascolto di tipo più tradizionale. É probabile molti artisti gradiscano “avere il pubblico addosso”, però ci sarebbe anche da valutare se al pubblico piaccia stare addosso agli artisti. Indubbiamente un pubblico giovane, di cui spesso si lamenta la mancanza e magari con una birra in mano rigorosamente in piedi o seduto per terra, fa molto Mainzer Strße berlinese, dà quel tono anticonformista e alternativo che non guasta mai. Forse è da queste piccole cose che ci si incomincia a sentire anziani, visto che si preferirebbe, potendo, stare comodamente seduti in santa pace ad ascoltare chi suona, ma si sa non si può avere tutto…

[sinceileftyoublog]

jaimie branch Album Review: Fly or Die Fly or Die Fly or Die ((world war))

(International Anthem)

BY JORDAN MAINZER

Though the late trumpeter and composer jaimie branch's third album Fly or Die Fly or Die Fly or Die ((world war)) is a final statement, it's even more effective as an eternal one. It begins with keyboards that sound like church organs, an eerily somber sonic manifestation of irrevocability. As Chad Taylor's rolling drums enter, branch gives us one of her trademark trumpet blares, as if to announce, "I'm here." She wasn't one to spend much more time announcing her presence, though--the track segues into an Afro-Latin style jam, clacking percussion and horns in line with Lester St. Louis' nervy bowed cello. ((world war)) from then on spends most of its runtime just the way branch liked it, in a groove, with some breaks along the way to remind us of the urgency of the moment.

The story behind ((world war)) is bound to become lore. It was recorded in April 2022 during branch's artist residency at the Bemis Center for Contemporary Arts in Omaha. It was almost completed when she unexpectedly passed away later that year; her sister Kate, family, friends, and International Anthem then finished the album as they envisioned branch would have. It's branch's finest statement, both in terms of sonic virtuosity and cohesive ideality. On tracks like "borealis dancing" and "baba louie", the band stunningly changes rhythm and style halfway through, to shuffling hip-hop and funk on the former and from calypso to drippy jazz dub on the latter. Lead single "take over the world" is a masterclass in controlled chaos. branch repeats the refrains "Gonna take over the world / and give it back to the land" with stutters and trills, shouting koans atop simmering cello, driving drums, and Jason Ajemian's chugging bass. Eventually, branch puts delay pedal on her voice, sounding like something straight out of Kid A, uncanny but comforting and hopeful instead of glacial and isolating.

Perhaps the standout track on ((world war)) is "burning grey", which sees branch deliver more mantras atop the musical propulsion, howling like a wolf while begging us, "don't forget the fight". It's when she repeats "I wish I had the time" that she not only unintentionally breaks our hearts, given the context, but puts the onus on us to continue what she started. Midway through, the song collapses in on itself, almost a show of what happens when you do forget the communal mission of the human condition. branch was always inspiring, but on ((world war)), she galvanizes us into action.

[spilladabalia]

jaimie branch - take over the world

[myvinylplaylist]

LĪVE: Songs From Black Mountain (2006)

Epic Records

[diyeipetea]

Intakt: OM, Niggli-Loibner, Ydivide, James Brandon Lewis. Por Pachi Tapiz [Grabaciones de jazz]

Intakt: OM, Niggli-Loibner, Ydivide, James Brandon Lewis. Por Pachi Tapiz [Grabaciones de jazz]

Como de habitual, las propuestas del sello Intakt son bien variadas, a la vez que interesantes. Es lo que ocurre, una vez más, con las grabaciones publicadas en los últimos meses. El cuarteto OM (Urs Leimgruber, Christy Doran, Bobby Burri, Fredy Studer) es un veterano de la fusión del jazz con el rock. En activo con intermitencia, en septiembre de 2022 ha publicado el disco 50 (su título es…

[doomandgloomfromthetomb]

Anteloper - Pink Dolphins

Anteloper — the dynamic duo of Jaimie Branch and Jason Nazary — return with an absolutely killer new album, brewing up a very pleasing blend of electric Miles, J Dilla and Sun Ra. But Pink Dolphins isn't all about casting back to the past; Branch and Nazary sound firmly futuristic over the course of the LP's five exploratory tracks. They've recruited some ringers to help out too — Jeff Parker is in the producer's chair and contributes his unmistakeable guitar work, and Chad Taylor adds some chiming mbira to "Delfin Rosado." The interplay here is fierce and fun, especially on the radical "One Living Genus" which closes things out with 15 minutes of pure adventure. You gotta hear it.

[dustedmagazine]

James Brandon Lewis Quartet — MSM Live (Intakt)

MSM Molecular Systematic Music - Live by JAMES BRANDON LEWIS QUARTET with Aruan Ortiz, Brad Jones and Chad Taylor

James Brandon Lewis’ molecular systematic music is an unfolding phenomenon. It begins with the tenor saxophonist’s self-directed study of molecular biology, an investigation into the building blocks of life itself. That study has inspired an abstraction of structural concepts into a book of tunes, which he then hands over to his Quartet. 

Molecular systemic music doesn’t necessarily result in music that overtly follows double helix pathways, or manifests a Cecil Taylor-like cellular organization. Its processes are invisible to the casual listener, and it’s entirely possible to relate to molecular systemic music at the more widely accessible levels of melody, rhythm, energy and emotion. Lewis’ background includes lengthy stints playing church music; he knows all about fostering an affective connection with people who aren’t concerned his with technique and methodology. But the quartet does use this system to make music that maintains a high level of cohesion while providing room for its musicians to manifest their dialogic and improvisational skills that delivers the interactive charge that draws listeners to jazz. 

That charge pulses throughout MSM Live. Recorded after a COVID-imposed layoff in Zurich, Switzerland, it is the third album by Lewis, pianist Aruán Ortiz, bassist Brad Jones, and drummer Chad Taylor, following two studio recordings that were also released by Intakt Records (it seems that Lewis likes to find homes for certain of his projects, and then let them grow there). That means that the energy here is fueled by all the emotions stirred by an overdue reunion. Spread across two CDs, one gets to hear the musicians sparking ideas back and forth across chasms of open space in almost synaptic fashion. On “Cesaire,” a tune named for a Haitian poet, Ortiz and Taylor toss dizzying keyboard runs and correspondingly intricate percussion sequences in each other’s direction. The exchange is not so much a call and response as an overlapping conversation, enacted while Jones lucks pithy figures that seem to complete both their phrases. Lewis cuts through their turbulent stream of sound, channeling the density of sheets-of-sound era Coltrane. 

A listener hearing this group for the first time will pick up certain antecedents. There’s Coltrane, of course and a bit of the David S. Ware Quartet’s layered wall of sound. But the musicians’ individual characters soon come into play. Ortiz applies his conservatory-schooled facility with classical material to quicksilver dynamic shifts, and introduces judicious dashes of Cuban vernacular. Jones and Taylor have been part of his band, as well this quartet; as a unit, they toggle easily between dense, collective creation and conventionally supportive, figure-and-ground relationships, such as Jones’ fluent extended solo on the ballad, “Loverly.” They aren’t just running their own show behind the boss’s back, though. They’re closely attuned to the requirements of Lewis’s music, as evidenced by their playing on “Neosha,” where they realize an exquisitely braided framework the saxophonist’s bold, imploring melody, and the darting elaborations that follow.

Bill Meyer

[donospl]

Co w jazzie piszczy [sezon 2 odcinek 9]

premierowa emisja 6 marca 2024 – 18:00 Graliśmy: Lynne Arriale Trio  “Gratitude” z albumu “Being Human” – Challenge Records International Little North ft.  Oscar Andreas Haug “Le Guin” z albumu “While You Wait” – ACT Music Emile Parisien Quartet “Pralin” z albumu  “Let Them Cook” – ACT Music Mamiko Watanabe “Peacocks” z albumu „Being Guided By The Light” – JoJo Records Joe Webb “Munchin In…

[mikeladano]

REVIEW: Live - "Heaven" (2003 CD single)

REVIEW: Live – “Heaven” (2003 CD single)

LIVE – “Heaven” (2003 Universal CD single) If the goal is to review “everything” in the collection, then we must dig deep.  Sometimes you find things that you forgot you owned.  Things you have not listened to in 19 years.  Things you bought “for the collection” because they were cheap (staff discount).  This single would have cost me about two bucks.  Live were a good band once; Throwing Copper…