web-archive-net.com » NET » B » BRYANAAKER.NET

Total: 252

Choose link from "Titles, links and description words view":

Or switch to "Titles and links view".
  • heavenreviews
    Beautiful are haltingly somber yet luxuriant At times the two instruments simply do not mix well Jelly Roll Morton s King Porter Stomp is prue jazz thanks to Mile s trumpet but the guitar portion lags Mile s Falsetto goes a little bit too far off track to accomplish much and Hank Williams Your Cheatin Heart is unrecognizable because the guitar is trying to catch up to the trumpet Miles and Frisell get bonus praise for attempting something this ambitious and unorthodox Overwelmingly Heaven succeds in breathing new life into many of these tunes while allowing Miles an oppurtunity to showcase his vision as a small bandleader Review by Boston Herald Online 4 30 02 The intimate conversational and dare it be said delicate nature of chamber jazz may not jibe with the brawny macho aura that hangs over jazz as a whole but it has exerted its charms on the music since at least the 1920s Each subsequent decade has had its share of jazz masterworks that use restraint and understatement as their ace in the hole Though rarely identified in this way Miles Davis s iconic Kind of Blue 1959 qualifies as a chamber jazz recording Keeping the dynamic levels in check and encouraging lyricism over technical display even when dealing with such passionate improvisers as saxophonists John Coltrane and Cannonball Adderley Davis took a winning chance on subtlety For discriminating modern jazz players Davis s lesson whether consciously learned or not has yielded significant results The duet is the most intimate of chamber jazz situations On Heaven trumpeter Ron Miles settles in for nearly an hour of gentle music making with guitarist Bill Frisell Gentle and at times achingly personal yet it s never lost in the ether of its own introspection The flinty edge that the

    Original URL path: http://www.bryanaaker.net/heavenreviews (2016-04-27)
    Open archived version from archive

  • rarumlinernotes
    wanted me Anything was possible The atmosphere was really up at this session Manfred and all the musicians were so excited and happy to be doing what we were doing In Line This piece is from the very first record under my only name The orfinal idea for me to do a solo recording At that point I was still pretty intimidated being in the studio especially alone and wasn t able to follow through with this plan I recorded this piece and a few others alone and then came back a few months later and did some duets with Arild Anderson Sing Song This piece is from the second record I made with Jan Garbarek The recording was done after quite a bit of touring We played in the U S and in Europe especially in Norway Even though we had been playing a lot live Jan didn t allow us any of the new music untill we go into the studio He wanted the music to take shape for the first time as we were recording it I was really impressed by that kind of courage Introduction India This is from the first recording with Paul Motion s Trio with Joe Lovano made during our first European tour This group has turned out to be one of the most rewarding inspiring musical and personal situations I ve ever been in and one of the longest lasting Paul writes some of the most beautiful simple perfect melodies I ve ever heard Introduction is one of them Resistor Tone Music I Heard This was the first time I d recorded all my own music with other musicians With Manfred s help I put together a dream group of players We had never played together as a group before and have never since Maybe someday Al Foster was originally going to be the drummer for this recording and at the very last minute he was unable to do it I was in a real panic and called up Paul Motion to confide in him During that period Paul was strongly commited to playing only his own music and was not doing any sideman work so I was very surprised and happy when he offered to play He really made this music happen and brought it together like he always does Closer I chose this piece not for what I played as a soloist but for the way the quartet sounds as an ensemble I ve always loved Clara Bley s songs This was the first time I d ever played with John Surman and Paul Bly We later went on to do a long tour of Europe and the Caribbean and did another recording Paul Bley Quartet Most of our live concerts were improvised from beginning to end As a guitar player I find the piano probably the most instrument to play with It s so easy for things to clash harmonically You have to be so careful not to get

    Original URL path: http://www.bryanaaker.net/rarumlinernotes (2016-04-27)
    Open archived version from archive

  • masadalinernotes03

    (No additional info available in detailed archive for this subpage)
    Original URL path: /masadalinernotes03 (2016-04-27)

  • lauravierspromophoto2003

    (No additional info available in detailed archive for this subpage)
    Original URL path: /lauravierspromophoto2003 (2016-04-27)

  • mixarticle
    help out on an album of her own When we started we really didn t intend for it to be the kind of project that it ended up as Kalish recalls We certainly weren t planning on going into a major studio for a long period of time Rickie had a couple of things mapped out when we went in but she really wrote the record as we progressed in the studio It was an interesting process to watch her take the germ of an idea like a very raw vocal or a little guitar riff and develop it over time She definitely has a unique way of creating he says with a laugh There are so many steps along the way and so many decisions that impact the next step One of the interesting things is that she doesn t clue you in which is sometimes a wonderful thing because you re constantly surprised Of course the other side of that is some days you don t know where your feet are I am a bit of a challenge to work with because I m so of the moment Jones admits It s Oh I have an idea let s go do that Maybe the people I m working with were doing one thing and now they ve got to set up for something else But for me that s the nature of art In a lot of recordings people don t work that way It s This is what we re doing today and the artist be damned I don t let that go down I think the producer s job is to facilitate and to be ready for what happens not to tell people what s going to happen Composing on guitar or piano Jones generally went from ideas to song outlines in a few hours That process was recorded and some of it became master tracks There were never really demos notes Kalish Because we used Pro Tools and had with Jason Wormer a really good Pro Tools guy we were able to fix and clean up and actually use some of those raw tracks as the master tracks which was great because a lot of these songs are so much about the vibe This record is not about a lot of playing or a lot of solos Rickie is one of the great minimalists of our time and it s about the vocal the words and the vibe that she creates Jones is known for her eclectic and demanding taste in musicians Past collaborators have run the gamut from Steely Dan s Walter Becker jazz bassist Charlie Haden and Scottish cult and critical faves the Blue Nile to musician producer David Was A common denominator if there is one is an ability to connect on some visceral level with the emotion of a song Working at The Village some unexpected and fruitful musical interactions took place including three tracks recorded according to Jones in one

    Original URL path: http://www.bryanaaker.net/mixarticle (2016-04-27)
    Open archived version from archive

  • mountanalogpress

    (No additional info available in detailed archive for this subpage)
    Original URL path: /mountanalogpress (2016-04-27)

  • The The Bill Frisell Discography Uncut 2004

    Original URL path: http://www.bryanaaker.net/uncutcdback (2016-04-27)
    Open archived version from archive

  • mylabpressrelease
    around the turn of the century the 1900s that is and were now in the public domain As the duo built the basic song structures they realized that while they appreciated the wizened feel and rhythm of the archival recordings it would be better if they replaced most of the samples with live musicians who could both play the vintage parts and be open to interpolate the material as well We used those samples as the catalyst for starting a composition Martine says then we d start messing around and go Shit Frisell would sound great over that and what about Skerik over this With that in mind Martine and Horvitz put out the call to many of their recent collaborators such as the aforementioned luminaries Frisell Skerik Kang Previte and Barnes The trio of bassist Keith Lowe guitarist Timothy Young and drummer Andy Roth all of whom were Horvitz s bandmates in the rock jazz combo Zony Mash also came on board as well as a host of other performers and musicians that Martine and Horvitz had worked with and produced and which they considered part of their community including guitarist Doug Wieselman saxophonist Briggan Krauss and even Horvitz s wife vocalist Robin Holcomb It was basically our community of people Tucker says So many of those people are in various bands with each other and the lines can get blurry sometimes But this really felt like we were having our friends over going Hey why don t you try this Recording the tracks for what would become Mylab s self titled debut was also a communal experience as Wayne and Tucker first got their hands dirty at Horvitz s Other Room studio in Seattle then shifted over to Martine s own Seattle studio Flora for the initial round of overdubbing The final round of Mylab sessions were held just last summer at Trillium Lane Studios located in the midst of a pastoral 15 acre spread on Bainbridge Island in Washington In the end Horvitz and Martine s ability to assemble and mix such an incredibly diverse range of pop rock jazz folk urban bluegrass traditional and alternative artists produced the kind of adventurous sonic orchestra that would have made the late great Sun Ra proud The proof of course is in the music From the Henry Mancini esque bounce of the album opener Pop Client to the Chuck Berry beat of Land Trust Picnic or the spooky Pet Sounds meets industrial NIN flavor of Earthbound Mylab is clearly not afraid to cross over and transcend any schools of music Mylab isn t limited to influences from this hemisphere however as the track Phil and Jerry is based upon field recordings Martine made during a trip to Mali while Fela Kuti s Afro beat figures prominently in the upbeat syncopations of Fancy Party Cakes and there s even a touch of Massive Attack s brooding British trip hop on Not In My House It s all there mixing and

    Original URL path: http://www.bryanaaker.net/mylabpressrelease (2016-04-27)
    Open archived version from archive