Hermeto Pascoal & Aline Morena – 06 – Mudança

Experimental JAZZ Senza categoria

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Hermeto Pascoal & Aline Morena – 06 – Mudança

Hermeto Pascoal (born June 22, 1936) is a Brazilian composer and multi-instrumentalist. He was born in Lagoa da Canoa, Alagoas, Brazil. Pascoal is a greatly beloved musical figure in the history of Brazilian music, known for his abilities at orchestration and improvisation, as well as being a record producer and contributor to many other Brazilian and international albums.

Early life and career[edit]

Pascoal in Buenos Aires 1978.

Pascoal comes from a remote corner of northeastern Brazil, an area that lacked electricity at the time he was born. He learned the accordion from his father and practised for hours indoors as, being albino, he was incapable of working in the fields with the rest of his family.

Hermeto’s career began in 1964 with appearances on several Brazilian recordings alongside relatively unknown groups. These now-classic albums and the musicians involved (Edu Lobo, Elis Regina, Cesar Camargo Mariano) established widely influential new directions in post-bossa Brazilian jazz.

In 1966, he played in the Sambrasa Trio, with Airto Moreira and Humberto Clayber; they released only one album, Em Som Maior. Then he joined Trio Novo (Airto Moreira, Heraldo do Monte, Theo de Barros) and in 1967 the group, renamed Quarteto Novo, released an album that launched the careers of Pascoal and Moreira. Pascoal would then go on to join the multi-faceted group Brazilian Octopus.

see more on wikipedia

John Zorn – Jazz in Marciac – Live 2010

alternative rock Experimental JAZZ Senza categoria

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John Zorn – Jazz in Marciac – Live 2010

John Zorn (born September 2, 1953) is an American avant-garde composer, arranger, producer, saxophonist and multi-instrumentalist with hundreds of album credits as performer, composer, and producer across a variety of genres including jazz, rock, hardcore, classical, surf, metal, klezmer, soundtrack, ambient and improvised music. He incorporates diverse styles in his compositions which he identifies as avant-garde or experimental. Zorn was described by Down Beat as “one of our most important composers”.

Zorn established himself within the New York City downtown music movement in the mid-1970s performing with musicians across the sonic spectrum and developing experimental methods of composing new music. After releasing albums on several independent US and European labels, Zorn signed with Elektra Nonesuch and received wide acclaim with the release of The Big Gundown, an album reworking the compositions of Ennio Morricone. He attracted further attention worldwide with the release of Spillane in 1987, and Naked City in 1989. After spending almost a decade travelling between Japan and the US he made New York his permanent base and established his own record label, Tzadik, in the mid-1990s.

Tzadik enabled Zorn to maintain independence from the mainstream music industry and ensured the continued availability of his growing catalog of recordings, allowing him to prolifically record and release new material, issuing several new albums each year, as well as promoting the work of many other musicians. Zorn has led the hardcore bands Naked City and Painkiller, the klezmer/free jazz-influenced quartet Masada, composed over 600 tunes as part of the Masada Songbooks that have been performed by an array of groups, composed concert music for classical ensembles and orchestras, and produced music for opera, sound installations, film and documentary. Zorn has undertaken many tours of Europe, Asia, and the Middle East, often performing at festivals with many other musicians and ensembles that perform his diverse output.

Zorn’s compositions cross many genres and he has stated “All the various styles are organically connected to one another. I’m an additive person—the entire storehouse of my knowledge informs everything I do. People are so obsessed with the surface that they can’t see the connections, but they are there.” For Zorn “Composing is more than just imagining music—it’s knowing how to communicate it to musicians. And you don’t give an improviser music that’s completely written out, or ask a classical musician to improvise. I’m interested in speaking to musicians in their own languages, on their own terms, and in bringing out the best in what they do. To challenge them and excite them.”

more on wiki

Hermeto Pascoal & Aline Morena – 06 – Mudança

Experimental JAZZ Senza categoria Video

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Hermeto Pascoal & Aline Morena – 06 – Mudança

Hermeto Pascoal (born June 22, 1936) is a Brazilian composer and multi-instrumentalist. He was born in Lagoa da Canoa, Alagoas, Brazil. Pascoal is a greatly beloved musical figure in the history of Brazilian music, known for his abilities atorchestration and improvisation, as well as being a record producer and contributor to many other Brazilian and international albums.

Pascoal comes from a remote corner of northeastern Brazil, an area that lacked electricity at the time he was born. He learned the accordion from his father and practised for hours indoors as, being albino, he was incapable of working in the fields with the rest of his family.

Hermeto’s career began in 1964 with appearances on several Brazilian recordings alongside relatively unknown groups. These now-classic albums and the musicians involved (Edu Lobo, Elis Regina, Cesar Camargo Mariano) established widely influential new directions in post-bossa Brazilian jazz.

In 1966, he played in the Sambrasa Trio, with Airto Moreira and Humberto Clayber; they released only one album, Em Som Maior. Then he joined Trio Novo (Airto Moreira, Heraldo do Monte, Theo de Barros) and in 1967 the group, renamed Quarteto Novo, released an album that launched the careers of Pascoal and Moreira. Pascoal would then go on to join the multi-faceted group Brazilian Octopus.

see more on Wikipedia

 

Colin Stetson and Sarah Neufeld – Never were the way she was | Music Review | Tiny Mix Tapes

Experimental Indie rock Senza categoria

Much to the blessing of low-frequency drone and sad clamorous metronome lovers everywhere, Colin Stetson continues to thrive. The unfailingly singular approach to the sound that he has carved out never feels like mere indie novelty, even with Justin Vernon crooning over it. The man’s music is sorrowful and soundtrack-friendly, but there is always an element of imperfection, of adjustment and sweat and lag and lope. He mercilessly tweaks his repetitions, even as they are deploying their nec

Source: Colin Stetson and Sarah Neufeld – Never were the way she was | Music Review | Tiny Mix Tapes

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Colin Stetson and Sarah Neufeld – “The rest of us”

 

Roomful Of Teeth: NPR Music Tiny Desk Concert

ACOUSTIC Experimental Senza categoria Vocal

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Roomful Of Teeth: NPR Music Tiny Desk Concert

Mix a bit of yodeling with Tuvan throat singing, add in a pinch of Sardinian cantu a tenore, fold in compositions from cutting-edge composers and you have the vocal group Roomful of Teeth. This eight-voice ensemble, which includes the 2013 Pulitzer Prize-winning composer Caroline Shaw, is gleefully dismantling the traditional definition of ensemble singing right before our ears (and teeth!).

Musical descendants of the innovative extended vocal techniques of Meredith Monk, the Teeth tend to make sounds — some sweet, others alarming — that you probably haven’t heard from a group of humans.

In Australian composer Wally Gunn’s “The Fence is Gone,” verses emerge from an infrastructure of “oh-ha” syllables and a simple drum pulse, ending with women’s voices, tight in harmony, like a chord from a Casio keyboard. In Rinde Eckert’s “Cesca’s View,” imagine a lonely cowgirl on some windswept plain. Estelí Gomez gets her yodel on, beautifully, while the three other women vocalize in close, barbershop-style harmony. It literally ends on a high note.

To finish, Teeth founder and director Brad Wells contributes “Otherwise.” Warm, rounded tones in male voices contrast with a steely sheen from the women and a high drone like a Tibetan singing bowl. The harmonies take a tangy, almost Bulgarian turn, then we get something truly otherworldly. A pulsing, slightly creepy Sardinian “bim-bom” vocalise buzzes like a gigantic cicada. Dashon Burton’s operatic baritone soars above it all. The agility of the voices and multicolored blend they achieve are extraordinary.

As the applause faded away, one of the Teeth said, “Thanks for letting us yell at you.” No, I think it’s we who are grateful — and perhaps a little stunned. –TOM HUIZENGA

Set List
Wally Gunn: “The Fence Is Gone” 0:00
Rinde Eckert: “Cesca’s View” 4:30
Brad Wells: “Otherwise” 8:22

Credits
Producers: Bob Boilen, Tom Huizenga, Maggie Starbard; Audio Engineer: Kevin Wait; Videographers: Colin Marshall, Maggie Starbard, Susan Hale Thomas; Assistant Producer: Susannah Whittle

Render (The New Album)

by Roomful of Teeth

Render

Demetrio Stratos – 70th birthday

Experimental Senza categoria Video Vocal

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Demetrio Stratos – 70th anniversary

Once upon a time there was an “international popular group” called Area, and there was a man: Demetrio Stratos, lyricist, multi-instrumentalist, music researcher, frontman and singer of this band…

“He studied ethnomusicology, vocal extensions, Asian music chant, compared musicology, the problem of ethnic vocality, psychoanalysis, the relationship between spoken language and the psyche, the limits of the spoken language. He was able to reach 7,000 Hz, and to perform diplophony, triplophony, and also quadrophony. Daniel Charles has described him as the person who decimated monody by the demultiplication of the acoustic spectrum. His vocal abilities were explored and documented.  His study of the voice used as a musical instrument carried him to reach for the limits of human capabilities. The amazing research of Stratos brings many suggestions of unexplored fields of research that are still to be studied.(en.wikipedia).

Demetrio was born in April, 22nd 1945. He died in New York in June, 13th 1979… Today he would have turned seventy years… Happy birthday Demetrio

 

Buckethead with Claypool Bernie Worrell and Brain

alternative rock Experimental ROCK Senza categoria Video

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Buckethead with Claypool Bernie Worrell and Brain

From Wikipedia :

Les Claypool, bassist of many bands, including Primus, collaborated with virtuoso guitarist Buckethead, funk keyboardist Bernie Worrell, and former Primus drummer Brain (Bryan Mantia) under the name Colonel Claypool’s Bucket of Bernie Brains (a combination of all the band members’ names), after they met at the 2002 Bonnaroo Music and Arts festival. Worrell, Brain and Buckethead were there to perform with Bill Laswell as Praxis. Laswell was not able to play at the concert, so Claypool invited them to jam with him. From this point, they developed the concept of this supergroup. Their concerts pushed the improvisational envelope by preparing no material and not rehearsing beforehand. At one of their shows they prepared sandwiches onstage for the audience members to eat.

Colonel Claypool’s Bucket of Bernie Brains reunited in 2004 to record The Big Eyeball in the Sky, an album with equal parts instrumental and vocal songs. The band began an 18-state tour of the US on September 24, 2004. Claypool said the tour was “a traveling, oversized sock-puppet show spawned by the characters of a Tobe Hooper film and scored by Danny Elfman on bad acid.” The album features only one guest, the multi-talented Gabby La La (noted as Gabby Lang on Les Claypool’s Frog Brigade‘s Purple Onion) on vocals and sitar. She also opened on every show during the 2004 tour to mixed reviews as a solo act, sometimes with members of C2B3.

 

 

Jon Hassell Last Night The Moon Came

Experimental JAZZ Senza categoria

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Jon Hassell Last Night The Moon Came

Biography :

Composer/trumpeter Jon Hassell is the visionary creator of a style of music he named Fourth World, which he describes as “coffee-colored classical” – a mysterious, unique hybrid of musics that unfolds between the polarities of ancient and digital, composed and improvised, Eastern and Western. In the last two decades, his connoisseur recordings, built around a completely unique voice-like trumpet style (developed in studies with Indian vocal master, Pandit Pran Nath) have inspired a generation of collaborators like Brian Eno, Peter Gabriel, Kronos Quartet and Ry Cooder. His trumpet performances show up on records of world stars like Björk, Baaba Maal, and Ibrahim Ferrer. Film and theater credits include scores for Wim Wenders (Million Dollar Hotel, with Bono), The Netherlands Dance Theater (Lurch), Peter Sellars (Zangezi), and the theme for the hit TV show, The Practice. His 1999 acoustic audiophile recording, Fascinoma, produced by Ry Cooder, with bansri flute master, Ronu Majumdar and jazz pianist Jacky Terrasson, inspired a new generation of European musicians and, especially, trumpet players like Arve Henriksen, Erik Truffaz,Paolo Fresu and Nils Petter Molvaer, all acknowledging Hassell’s influence, leading beyond the gravitational pull of Miles Davis. In 2005, Hassell began touring with a new band, which he namedMaarifa Street, playing to new European audiences from Norway to Madrid to Rome to Berlin who were astonished at the discovery of this atmospheric music that defies category. His performance at the Vienna Kunsthalle, the cathedral of classical tradition, was hailed as “the concert of the year” in Der Standard. Early 2009 brought a reconnection to the prestigious ECM label with the release of a new CD, Last Night the Moon Came Dropping Its Clothes in the Street, and a Carnegie Hall concert in New York. Critical raves in The New Yorker, Vanity Fair, and European press signal the growing awareness of a master musician and a music without borders whose freshness comes increasingly into focus as time passes.

Along with ongoing concerts and new recordings, Hassell has recently intensified work on a long-awaited book, The North and South of You. Part of that work has been done in a series of public Conversations along with his musical collaborator of twenty-five years ago, Brian Eno. These have taken place in London’s Southbank Centre, the Sydney Opera House, Walker Art Center in Minneapolis, and, most recently in March 2011, to inaugurate the opening of a digital arts center in Paris, La Gaite’ Lyrique.

Very broadly, the theme of the book is about the loss of pleasure as a guiding principle in our lives and how the evolution the North and South of the planet and the evolution of our body’s north and south are echoes of one another physically, metaphorically and psychologically.

John Hussell_
Jon Hassell Last Night The Moon Came

Anna-Maria Hefele / Obertongesang

Experimental Senza categoria Video Vocal

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Anna-Maria Hefele / Obertongesang

Anna-Maria Hefele is an overtone singer and voice artist. She plays nyckelharpa, harp & other instruments.

In 2014 she graduated as Bachelor of Arts in Elemental Music & Dance Education with classical singing as her main subject from the Carl Orff Institute, Mozarteum University Salzburg

She started with overtone singing in 2005 and has written compositions for polyphonic solo voice since 2006. In 2006 she started building music instruments for her own use e.g. didgeridoo, wooden alpine flute (mit 6 holes), occarina, Bohemian folk harp.

Anna-Maria is a soloist as an overtone singer in different ensembles, such as “Supersonus – the European resonance ensemble” and “Orchester der Kulturen” in Stuttgart, conducted by Adrian Werum.

In 2013 she was a musician in Yvonne Pouget’s dance theatre “Die Füße und Ohren der Engel- Leben mit Ersatzteilen” and in 2014 she is also part of her ensemble in the current dance theatre production “La Cattedrale Nel Vento”.

From 2010 to 2012 she was a singer, composer and vocal artist at the Nationaltheater Mannheim for the contemporary ballet “the garden of other” by the Canadian choreographer Dominique Dumais.

She sings in different high quality choirs such as the Deutscher Jugendkammerchor (Robert Göstl), Europäischer Obertonchor (Wolgang Saus, Steffen Schreyer), Obertonchor München (Matthias Privler)

She’s also quite enthusiastic about old, traditional Bavarian folk-music and yodelling, and also plays traditional music for dancing with the Bavarian folk-music group “Garchinger Pfeiffer”. As she is also a teacher and gives workshops in overtone singing, yodelling and vocal improvisation.

Originally Anna-Maria Hefele was a maker of display models and studied at “Deutsches Museum München” from 2005-2009, where she graduated as the best of her year in Germany.

So she also likes working in a workshop even if she’s now more interested in building special music instruments for her own use. Her parents are both music instrument builders.

Anna Maria Hefele
Anna-Maria Hefele / Obertongesang

The Voca People

Experimental Senza categoria Vocal

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The Voca People

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