Posts Tagged ‘ IMPROVISATION ’


The group Canbombe proposes to take you on a hypothetical trip through Cuba, Brazil until Buenos Aires to rediscover the traditional latin-american culture.
The music, which is composed and arranged by Silvio Zalambani, is inspired by many characteristic styles of these countries, of which it underlines their european and above all common african origin.

The “Grupo Candombe” started in 2000 as a research project about the traditional latin-american music, after being inspired by a presentation of Ernesto Cardenal’s book “Quetzalcòatl”, ex Minister of Nicaragua.
The group has performed in different theatres, clubs and festivals. In 2002 the project was proposed in Brazil.

The group has just released two recordings: the first CD “Grupo Candombe” was released in 2001 (and reprinted in 2004) and presented at the Alighieri Theatre of Ravenna and then the live concert was broadcasted by RAI Radio3-Suite directed from Rome; the second CD “Grupo Candombe 2″ was released in 2005 and it was presented on RAI Radio1, during the program ” Brasil”.

For 2010 they’re working on a new albun with the argentine singer Sandra Rehder; many collaborations are also planned with other international artists like brazilian Mario Féres (pianist and singer), Lulla Oliveira(multi-instrumental composer and “Pae de Santo” of afrobrazilian Candomblé), Diana Horta Popoff (singer, flutist-pianist and composer), and argentine Lucas Guinot (pianist and composer) and Lucrecia Longarini (singer).


One of the consequences of the flooding of New Orleans in 2005, was the exodus of its population, including musicians who lived in the most affected. The city was in crisis and its reconstruction would take a long time, not only by the pace of construction, but the return of investors in local show business. One of the artists who then left the city was Evan Chirstopher who moved to Paris in search of job opportunities.
Clarinetist Californian had been living and performing in the city since 1984. and adopted the style of Creloe, quite characteristic of the city, assuming for itself the role of ambassador of this style, Which the most expressive name is Sidney Bechet,
In fact, in his discography, which contains only three titles, one can see its impeccable virtuosity and precision of execution of the music.
In the latest project, now back to New Orleans, Evan pays tribute to the gypsy guitarist Django Heinherdt.
The latter, fusing Gypsy Swing with New Orleans grooves and rhythms of “le monde Créole” released their debut CD, Django à la Créole (Fremeaux & Associates) at the 2008 French Quarter Festival in New Orleans.


Yes, those are they!

Yes, those are they!

WE PLAY PARADES AND SHOWS. (we also clean up real nice for recordings and private parties) WE’RE OUT OF BROOKLYN, BUT WE’RE ALL OVER THE PLACE. YOU MAY HAVE SEEN MEMBERS OF THIS BAND PLAYING IN OTHER, MORE WELL KNOWN BANDS, (like Antibalas, Davy Jones Band/Monkees, Arcade Fire, Steely Dan, Imogene Heap, as well as probably a bunch more that I either can’t remember or just don’t even know about). STILL, ALL THESE FINE PEOPLE KEEP COMING BACK TO PLAY SHOWS AND MAKE NICE RECORDINGS WITH THE E.B.B.B.. I AM ETERNALLY GRATEFUL FOR THAT. ..

ETERNAL BUZZ BRASS BAND  (visit us for more…)
Eric Biondo, Jordan McLean, Michael Leonhart, Kenny Warren – Trumpets
Mike Williams – Bass Trumpet
Aaron Johnson, Buford O’Sullivan – Trombones
Rob Jost – French Horn
Leah Paul – Tenor Sax & Piccolo
Matt Moon – Tenor & Bari Sax
Colin Stetson – Baritone & Bass Sax
Cochemea Gastelum – Bari Sax
Stuart Bogie – Clarinets
Tom Abbs – Tuba
Josh Kaufman – Banjo/Glockenspeil
Phil Ballman, Dylan Fusillo – Drums
Geoff Mann – Zebumba, Snare and Bandleader

You can now find our debut full-length album, “Evolution” on Rope-a-Dope Digital Records. It’s as easy as just looking up “Eternal Buzz Brass Band” on iTunes, or pretty much any other music downloading spot.



                             Dream in color by Frank Morrison

Dream in color, by Frank Morrison

In the beginning it was the emptiness, so arrived the artists. Not necessary there was the light but slowly arrived the audience. After all, in spite of the light or the darkness, arrived the New York Times.
Neighborhood of immigrants, poor and therefore properties at affordable prices, attracted artists and their marginal, experimental and daring proposals.
Music students, musicians, singers are creating what might be called a sound of their own neighborhood, permeated by influences of the whole world that are opposed to exhausted pop trends. Instrumental, electronic and psycodhelic music, rock and brass bands, concret music, funk, jazz. So this is Brooklyn. Now the nightlife have grown up: clubs, art gallery, recovered buildings and, of course, the speculative boom.
Setting the highlight on Brooklyn, let’s read Al Margolis talking in 2006 about the beggining, in this article published @ The Brooklyn Rail.


The timing of this article may be perfect. As I write, the New York Times has just published a piece about the renaissance of rock clubs in New York City in the post-CBGB era, citing Brooklyn as “the biggest growth area.” Well, twenty years ago there may have been musicians living in Brooklyn, but you certainly couldn’t get anyone to come into Brooklyn to see music. How do I know? We tried.
In 1985, after some time living on the West Coast, I moved back to the ancestral home of Brooklyn. In 1986 Doug Walker of the post-spacerock group Alien Planetscapes began having concerts in his third-floor walkup over a fish store on Fifth Avenue in Park Slope. (Sadly, Doug died this past April.) These were the days of the cassette network, where you found out from magazines like Op, Sound Choice, and Option about who was making and trading interesting music without commercial considerations worldwide—by mail. (Among the almost–household names who have come through the cassette scene are Merzbow, Jim O’Rourke, Amy Denio, Francisco Lopez, John Hudak, and many others.)
To quote cassette-network pioneer Carl Howard: “In the mid-1980s, the explosion of alternative music networking through things called audio cassettes was at its peak. Doug Walker had already offered the world both duet and trio versions of Alien Planetscapes with fellow-traveller performers such as Louis Boone (Born to Go; The Land of Guilt and Blarney; Friends of Mescalito) and David Prescott. Performances usually occurred in whatever Brooklyn apartment Doug happened to be living in at the time, due to the inherent bulkiness of the musical equipment, as well as due to the extreme age of some of the analog synthesizers and mixers. “Doug contacted me early in 1986 because he had seen my alternative and self-published music magazine ARTITUDE, and may have been aware that I had been running the cassette label audiofile tapes as well. While Doug had been a cassette trader of live rock and jazz for years, he had also begun trading Alien Planetscapes tapes internationally with like-minded producers of low-budget, self-released music on cassette. It further helped matters that Al Margolis, whose Sound of Pig cassette label was already in high gear by 1986, lived locally as well. Doug began contacting people throughout this DIY network ambitiously.”
There was a small scene happening, and Doug’s was a place to see interesting music and either trade ideas with old friends or meet new ones. Dave Prescott, Arnold Mathes, Barney Jones, Cheryl Sobas, Pat Gillick—some of these people I played with, and some just made music I enjoyed, but the connections, both personal and musical, were invaluable. For example: I had met Cheryl through reading about her in Sound Choice. We got together, then started going to Doug’s. I did a performance with her there along with guitarist Larry Olsen and drummer Paul Richard, and then we all began to play and record in various combinations. Cheryl met Pat, who she still lives with to this day, who was a friend of Ron Anderson of the Molecules, and—well, you get the picture.
Somehow, in 1987, myself, Carl Howard, husband-and-wife experimentalists Dan and Detta Andreana, woodwind player Brian Charles, and bassist/DJ Dave Mandl hooked up with fellow musician David Chevan, who was running a weekly concert series called Bar None at Lauterbach’s, a neighborhood bar in Park Slope. They had a live rock series on weekends and, probably trying to make some extra dough during the week, they gave Chevan a spot. He was busy working on his masters degree and having a kid, so at some point he had to back out, and he passed the series to us. So for seven months in 1987 and 1988 we found ourselves in charge of a weekly new music series. In South Park Slope, Brooklyn.
And it was fun. We all got a chance to play and present not just music but dance and poetry. There was jazz and free-improvisation and electronic experimentation. Musicians who were traveling wanted to play there. An audience? I can never remember ever having more that twenty people (if that many). The series was constantly shifting days—from Wednesday to Thursday to Tuesday. We got some press. We presented, among many others, Amy Denio, Ron Anderson and Yellow Tang, cellist Fred Lonberg-Holm, Judy Dunaway, Alien Planetscapes, Sue Ann Harkey, Ellen Christi, Jack Wright, Davey Williams, David Fulton, and Charles Gayle, not to mention a long list of poets and dancers.
I think the performances by Demo Moe—a really loud rock improv trio—and E. J. Vodka, who was loud and industrial, and had a real goat’s head that he kicked around, and smashed the place and left it a mess, were the death of the series. The local neighbors were complaining, most of the audience who did come didn’t drink, and I think the owners felt that they could make as much money with a new dartboard as they did with all this “art.” And it would be quieter. So in April 1988 what might have been the only weekly new-music series in Brooklyn died.
We had fun. And now that I no longer live in Brooklyn, and the old neighborhood has Issue Project Room and Barbès and all the other venues—well, it happened before. Just so you know.

About the Author

Al Margolis runs the Pogus label and has performed and recorded for the past twenty-two years as sound-artist If, Bwana.


Yesterday was released their third album “3” (Rune Grammofon) and one of the ten tracks could be listened @ myspace! The beautiful Someday, which shows the dramatic and cool style of the vocalist Susanna Wallumrød and keyboard player Morten Qvenild. They will be playing a special concert at the festival Punkt in Kristiansand on the 4th of September. The official release-concert will be at Parkteateret in Oslo 10th of And the album can be bought at Itunes. more about the band


The Clientele formed a long time ago in the backwoods of suburban Hampshire, playing together as kids at school, rehearsing in a thatched cottage remote from any kind of music scene, but hypnotised by the magical strangeness of Galaxie 500 and Felt, and the psych pop of Love and the Zombies. During a pub conversation the band collectively voted that it was OK to be influenced by Surrealist poetry but not OK to have any shouting or blues guitar solos. From that moment on they put their stamp on a kind of eerie, distanced pure pop, stripped to its essentials and recorded quickly to 4 track analogue tape.

These recordings were released as lovingly packaged 7” singles at the tail-end of the 90s, and compiled as the millennium ended into the debut album, ‘Suburban Light’, now hailed as one of the finest records of the decade. From the faded pop art of ‘Suburban Light’ came a move into the fog with the 2nd LP, ‘The Violet Hour’, released in 2003. An attempt to create a deeper, more mysterious sound, it was an archetypal Clientele record: hypnotic, self-enclosed, meticulously creating its own world.

The Clientele re-invented their music with Strange Geometry (2005) and God Save the Clientele (2007); Brian O’Shaughnessy (My Bloody Valentine, Primal Scream) and Mark Nevers produced, and El Records legend Louis Philippe provided typically gorgeous string arrangements. The sound was bigger, brighter, and clearer, MacLean’s ringing, classically-influenced guitar style and James Hornsey’s melodic bass combining to create a different kind of depth and atmosphere for the newly sparkling songs, which now came complete with crossover appeal; incongruously, one of them even featured in the Keanu Reeves / Sandra Bullock weepie, “The Lake House”.

‘Bonfires on the Heath’ is in a sense a return to the Clientele’s roots; the dreamlike suburban landscapes first encountered in the early singles, their trippy sense of menace stronger now. Back in London, they’ve drawn on older traditions of English folk, which exist here side-by-side with the band’s more familiar bossa and pop elements, creating a timeless eeriness. It’s often said the best bands create their own sound; The Clientele have gone one further and created an entire world.
Orson Absence (from myspace)


Trevor C. Jones @Music & Happenin’s in New Orleans

One could learn a lot about our city by heading to a Midnite Disturbers show.
You could learn about older traditions or about the current state of music in New Orleans. You can see a band that provides new meaning for the word “supergroup” or get a glimpse of the six or seven individual bands that are leading the new era of New Orleans funk music. A Midnite Disturbers experience is an educational one to say the least.

Since there’s so much to learn, we’ll break down the Disturbers by instrument to get a closer look at the brains behind the beast. As with most brass bands, the Midnite Disturbers do not necessarily show up with the same line-up every night, but opts for the best combination of players for a given gig.

Troy Andrews of Trombone Shorty and Orleans Avenue, adept jazz-men Alcedrick Todd and Shamar Allen and Jamelle Williams of Kirk Joseph’s Backyard Groove, lead the trumpet section. Alcedrick is a widely accomplished trumpeter and has played with The Neville Brothers, among many more. Troy is always fun to watch and his great sense of showmanship should never undermine his rock-solid chops.

The trombone section of the MD’s is perhaps the most fun to watch. The combination of Big Sam Williams of Big Sam’s Funky Nation and Mark Mullins of Bonerama is a potent mix. Sam Williams is similar to Troy in strategy, but much more suave than brazen. Mark Mullins’ tipsy trombone style is one of the most recognizable, powerful sounds in New Orleans.

The ubiquitous Skerik joins Ben Ellman from the funk-flagship band, Galactic, to fill up the middle frequencies, supporting the trumpets while floating above the sousaphone’s bass-line. To me, the saxophone section of a brass band is the most important. You might notice the trumpet solo rising above the band or the sousaphone groove you’re dancing on, but the saxophones provide the intricate counterpoint inside the groove which makes New Orleans brass music what it is. Skerik is a chameleon to say the least; he can be found sitting- in with everyone who is anyone, especially around Jazz Fest. Ben Ellman always provides a focused attack with a dirty tone. His solos are anxiously awaited all show.

Rounding out the tonal bottom of the group are Kirk Joseph, formerly of the Dirty Dozen Brass Band and Matt Perrine, Mark Mullins’ partner in crime in Bonerama. These are the cats that keep feet moving and rear-ends grooving for hours at a time.

Last and certainly not least are the founders of the group, Stanton Moore of Galactic and Kevin O’Day, multi-faceted musician and illustrious editor of the very words I write to you now. Stanton and Kevin hold the groove down on snare and bass drum, respectively. This traditional combination of drums, separated from their modern drum-set amalgamation, is another immediately distinguishable aspect of brass band music.

The Midnite Disturbers stepped out this Jazz Fest with late-night shows and a spot at the Fest itself. The logistics of propagating a group with such high-caliber musicians is difficult without a doubt. But the Midnite Disturbers are more concerned with bringing a certain vibe to their shows, rather than obsessing over membership or repertoire. By doing this, they represent the very meaning of brass band music in New Orleans. The Midnite Disturbers are all about energy, family and community, concepts represented by their music, showmanship and the only city where such a supergroup could form, New Orleans.


Let’s made no-music, as solution or as alternative for the meanless sound of the begin of this century. Or in another hand, let’s hear and make the same music that was done, 50 or more years ago. Between these proposes there is a great fear: maybe there’s no options to do something new. A kind of fear or worse: make music just to win money, nothing else.
In spite of these questions many musician which are trying and doing, diferent music, a lot of experiences abroad, and I think that there’s much more to do and play in Brazil.
In 2007 I’ve met de Axioma Project, at the Tim Festival. A singer, Sandra Ximenez, a piano and “computer-player”, Felipe Julián and a saxophonist Leonardo Muniz Corrêa, which have been making and experiencing music. They’ve impressed me using brazilian poetry, brazilian folk music, they’re creating a work that must be respected, melting urban music with counntry music, and eletronics.
They’ve just released 2 albuns (Axial, 2004 and Senóide, 2007), and now they’re ending the 3rd, named Simbiose, and they’re invinting the fans to opine and suggest about the new songs. To download all the songs Check it out @


(Expensive Shit, from the álbum with the same name, 1976)

Nigeria is the most populous country in Africa with over 141 million inhabitants, according to UN estimates in 2006. One of the largest producers of oil in the world, this is a country marked by violent and successive political conflicts, poverty and AIDS, endemic. In less than twenty years, Nigeria has become the second largest producer of films in the world, only behind of India and ahead of the United States. Movies are produced foor the home video market, in a country that has virtually no cinemas. As we can see, this country is sufficient to provide treatment and research in various branches of the humanities, for decades, to understand its tremendous diversity.

This brief contextualization is needed to presents a great musical phenomenon emerged from Nigeria.

It was in 1968 that a Nigerian, Fela Anikulapo Kuti , born in Abeokuta (1938) presented the african-beat. After a tour by the United States, the trumpetist, singer, keyboardist, conductor returned to Nigeria and presents a complex sound that linked the African rhythms and songs to jazz, with lyrics in Nigerian pidgrin and sometimes in yoruba. Continue reading


The principle of intrusive relationship (Submarine Reconds) second album of the Brazilian group São Paulo Underground was elected the best album of 2008 by The Wire. The magazine which is considered the bible of the improvised music world, promoted the choice from the votes of 50 European and American music critics.
The band was created in 2005 by the American trumpeter Rob Mazurek and three Brazilian musicians: Mauricio Takara (drums) Guilherme Granado (percussion, samplers and keyboards) and Richard Ribeiro (second battery). Improvising, combining sounds and ideas of the working group, looking closer to the reality of the city, recording its contradictions and its intangible limitations. Like any new and experimental work, however, is outside of what is expected for the common audience. Worse, following alongside another groups like this, without turn the strangeness caused by these and other new ideas in music to the real audience’s interest. Just check it out the article written by João Marcos Coelho in the Brazilian newspaper Estado de Sao Paulo. The discomfort is now realy necessary to exit from the musical lethargy.