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Blue Buddha


  • Code: TZ4010
  • Manufacturer: Tzadik (USA)
  • Manufacturer's code: 0702397401025
  • Price: 66.99 zł
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Avant Jazz / Free Improvisation / Avant-Garde
premiera polska:
2015-10-26,
Wydawnicto Audiofilskie

seria wydawnicza: Spectrum Series
kontynent: Ameryka Północna
kraj: USA
opakowanie: digipackowe etui
opis:

multikulti.com - ocena: * * * * 1/2:
Gdy nowojorskie media podały informacje o zawiązaniu się tego kwartetu wielu fanów improwizowanego jazzu sporo sobie po tym fakcie obiecywało. W końcu mamy tutaj do czynienia z muzykami o niepodważalnej reputacji w jazzowym światku. I chociaż dwóch z nich, Dave Douglas i Bill Laswell miewali w ostatniej dekadzie chwile lepsze i gorsze, to na płycie "Blue Buddha" każdy bez wyjątku pokazuje swoje najbardziej kreatywne oblicze.

Trębacz, Dave Douglas dysponuje błyskotliwą techniką i charakterystycznym, łatwo rozpoznawalnym brzmieniem instrumentu. Muzyka, którą wykonuje, z jednej strony nacechowana jest nowatorstwem, w traktowaniu jazzowej kompozycji, a z drugiej charakteryzuje się głębokim i erudycyjnym poszanowaniem różnorodnych muzycznych tradycji. Jego bogata dyskografia ( 30 autorskich albumów i udział w ponad 100 nagraniach innych liderów) obejmuje nagrania wydane w tak renomowanych wytwórniach płytowych jak: Hat Art, DIW, Soul Note, Blue Note, New Word Records, Arabesque, Songlines, Winter & Winter, RCA Victor, Premonition Records i założonej przez siebie Green Leaf Music.
Przez 15 lat współpracy z Masadą Johna Zorna nagrał z dla wielu najważniejszym jazzowym kwartetem 2-iej połowy XX wieku 22 płyty. Wspólpracuje z artystami tak odmiennymi jak Anthony Braxton i Sheryl Crow - z Suzanne Vegą i Hanem Benninkiem, Fredem Herschem i Myrą Melford, Urim Cainem i Patricią Barber.

Bill Laswell należy do najciekawszych i najpłodniejszych artystów naszych czasów. Jako basista, producent, wizjoner i szef kilku wytwórni przyczynił się do powstania kilku z bardzo interesujących i znaczących płyt ostatniego 30-lecia.
Odcisnął swoje piętno na setkach albumów, większość, z których jest charakterystyczną dla niego mieszanką punkowej energii z funkową rytmiką. Swoim konceptualnym podejściem do dźwięku, zawsze wykraczał poza utarte szlaki branży udowadniając, że jest jedną z najsilniejszych osobowości w muzyce współczesnej.

Saksofonista Louie Belogenis, pozostający pod wielkim wpływem Alberta Aylera ma za sobą długoletnią współpracę z nestorami jazzu awangardowego jak Rashied Ali, Sunny Murray czy Borah Bergman, ale też chociażby z Johnem Zornem. Jego improwizacje na tenorze są klasą same dla siebie, zaczynał w kręgu rodzącego się na przełomie 50/60 lat free jazzu, fascynowali go Coleman, Coltrane i Ayler i wszystko to przeniósł do poetyki ponadgatunkowej improwizacji.

Perkusista Tyshawn Sorey, choć najmłodszy z zespołu, bardzo szybko zapracował na miano jednego z najlepszych obecnie jazzowych perkusistów. Koncertuje na całym świecie z własnymi projektami, jak też znakomitymi muzykami: Steve Coleman, John Zorn, Vijay Iyer, Wadada Leo Smith, Dave Douglas i Tim Berne. Jego dorobek kompozytorski, to ponad 160 utworów, od kompozycji na zespoły jazzowe do dużych form na orkiestrę. Sorey zaprzecza pojęciu sekcji, której perkusista tworzy tło czy miejsce dla lidera.

Siedem kolektywnych kompozycji wypełniających płytę z jednej strony przywodzi na myśl najlepsze nagrania free jazzu lat 60-tych i 70-tych, z drugiej strony jednak mamy do czynienia z materiałem tak zdumiewającym, poszerzającym w znaczny sposób paletę dźwięków, że nie przypomina konkretnego okresu w rozwoju muzyki - mógł być nagrany także kilka dni temu. Swoboda wykonawcza i porozumienie między muzykami jest porażające.
Długie improwizacje saksofonu splecione są z mięsistym, głębokim brzmieniem basu Laswella-czasem zasypującego słuchacza kaskadą dźwięków, czasem ograniczającego się tylko do pojedynczych dźwięku są prawdziwą ozdobą płyty, Dave Douglas buduje swoje improwizacje z wielkim polotem, słychać, że muzycy są cały czas skupieni i każdy utwór grają z pełnym oddaniem. Jakby tęsknili za sobą i tą muzyką, czekali na nią.
Tyshawn Sorey jak zwykle zadziwia swoją abstrakcyjną wyobraźnią, tkana przez niego, gęsta, wielopoziomowa, niebywale hipnotyzująca sieć rytmów, łączy wiele szkół i technik - od współczesnej klasyki, przez całą jazzową tradycję, po funk.
Muzycy pokazują, że jazz jest ciągle w doskonałej kondycji pod warunkiem, że biorą się za niego prawdziwi wirtuozi!
autor: Andrzej Fikus


Editor's info:
Tenor saxophonist Louie Belogenis plays with a luminous open heart, and a tone reminiscent of Albert Ayler. Cutting his teeth with masters such as Rashied Ali, Sunny Murray and Borah Bergman he has recorded several CDs under his own name, and now presents his most unique and adventurous group to date. Featuring an all-star ensemble of three of the most exciting musicians working today, this brilliant group performs as if part of a sacred ceremony, seamlessly weaving together diverse traditions. Uncompromising improvisational music that speaks to the spiritual.

soundstagexperience.com:
Looking back over his incredibly prolific 22-year recording career, which has generated close to 40 albums under his leadership, you may find it difficult to remember that trumpeter Dave Douglas was something of a late bloomer. Born in 1963, he was a week away from turning 30 when he went into Sear Sound in midtown Manhattan to record Parallel Worlds, his debut on the Soul Note label. That noted, the New Jersey native was anything but a musical neophyte when he made that recording; he had been honing his sound since he was nine, including almost a decade on New York City's downtown music scene.

The son of an IBM executive, Douglas attended a private high school in New Hampshire before moving on to the Berklee College of Music, the New England Conservatory of Music, and New York University, yet his post-graduate work was positively old school -- busking on the street, touring with hard bop master Horace Silver, and jamming with other hungry young turks on the Lower East Side.

In the 1980s the area between East 14th Street and the Financial District was a laboratory for improvised music -- much as it had been for avant-garde music 20 years earlier and for punk in the 70s. Cheap rents, an artist-friendly vibe, and an abundance of rehearsal and performance locations made the East Village a prime place for collaborative exploration.

Genre-hopping composer John Zorn was based there. So was guitarist Elliot Sharp. Another influential guitarist, Bill Frisell, was a fixture too, before lighting out for Washington State in 1988. More than a decade younger, Douglas worked hard to find his niche, as did another newcomer, saxophonist Louie Belogenis, a self-taught musician who was drawn to the ecstatic playing of Albert Ayler. Their paths would diverge in the 90s, with Douglas moving from creative peak to peak with multiple projects and Belogenis remaining a vital voice with a tighter focus but a much lower profile.

Zorn -- ever the team builder -- has remained a common factor, and in 2014 he reunited Douglas and Belogenis for an evening of improvisational music at The Stone, his East Village performance space. That reunion sparked the idea for a recording, Blue Buddha, which combines Douglas and Belogenis with bassist Bill Laswell and drummer Tyshawn Sorey -- an exceptionally creative rhythm section.

Although the compositions are jointly credited, this is a Belogenis-driven project -- informed by his decades-long Buddhism practice and structured like the free-blowing sessions that have dominated his career. That makes Douglas's participation even more interesting, given that he has seldom delved into collective improvisation on record since the 80s. While he turned heads initially with his repertoire of extended trumpet techniques and willingness to explore far outside the mainstream -- as defined by the dominant trumpet voices of the time (Wynton Marsalis, Roy Hargrove, Terence Blanchard, et al.) -- Douglas has a solid core of melodicism in his playing and has developed a parallel reputation as a highly lyrical composer. In that regard, he has followed the model of trumpeter Kenny Wheeler, who dabbled in free jazz alongside John Stevens, Evan Parker, and others in the 60s, but built his reputation on his love of romanticism.

As free improvisation goes, this is not as coruscating or as dense as might be expected, given Belogenis's work with drummer Rashied Ali in the band Prima Materia. Although -- following a contemplative 12-minute opening piece filled with portent -- Belogenis blows fierce, acrid-toned choruses, Douglas usually remains grounded, parrying the saxophonist's cries with breathy long tones or low-pitched burbles. The exception is "Wrathful Compassion," which finds Belogenis and Douglas trading torrents of notes over electronic distortion and a thicket of percussion.

"Double Dorje" pairs Belogenis with Sorey for a high-energy duet that showcases the drummer's quick hands and fluid imagination. Where most drummers in this genre sound like their goal is to fill every gap with a curtain of percussive motion, Sorey is far more thoughtful and strategic.

Zorn, who produced the set for his Tzadik label, loves acoustic sound, so it is interesting to hear what he does with a combination of three acoustic instruments and Laswell's electric bass. The chosen soundstage pushes the sax, trumpet, and drums forward, leaving Laswell as a liquid-sounding presence under it all. Bass fans may not love it, but it is an attractive mix for the music being played.

One constant in Douglas's career development has been change, and the change has been overlapping, with one focus of exploration or type of ensemble supplanting the preceding one without ever completely replacing it. To this point, he maintains no fewer than six "current" projects and an additional 14 that are available "by special request." Even his so-called string ensemble -- the band that recorded Parallel Worlds -- can be booked if the price and timing are right.

While the range of these ventures is extraordinarily broad -- from the electric sextet Keystone to acoustic ensembles that are inspired by the music of Wayne Shorter, Jimmy Giuffre, Don Cherry, and Randy Weston -- the soul of each is the warmth of Douglas's tone and his restless spirit. In that regard, he remains in the sway of Miles Davis, who always sounded like himself, whether he was playing hard bop, shifting time signatures, or electric jungle music.

And if his quintets of the 1950s and 60s remain the quintessential Davis settings, so too is Douglas's quintet his most logical "home." Currently including saxophonist Jon Irabagon, pianist Matt Mitchell, bassist Linda Oh, and drummer Rudy Royston, the quintet has been together for eight years, and Brazen Heart is its sixth studio album. In recent times the quintet has also been the vehicle for Douglas's most heartfelt playing.
by James Hale


Audiophile Audition, ocena: * * * *:
We owe a big thanks to John Zorn. If it wasn’t for Zorn, we wouldn’t have the adventurous quartet known as Blue Buddha, which consists of trumpeter Dave Douglas, bassist Bill Laswell, drummer Tyshawn Sorey and tenor saxophonist Louie Belogenis, who is the leader and producer of this project, out now on the Tzadik label’s Spectrum Series. All four musicians have strong ties to the New York City free-jazz/improv scene. The self-taught Belogenis had enduring relationships with drummers Rashied Ali and Sunny Murray. Douglas has led various groups and performed with numerous likeminded musicians. Laswell’s background covers almost every musical genre, not just jazz, and he has worked with artists such as Pharoah Sanders. And Sorey has become the go-to percussionist for several similarly-slanted players including Myra Melford, Steve Lehman and Pete Robbins.

The Blue Buddha quartet had its genesis when Belogenis and Douglas were part of a larger ensemble Zorn put together for a curated event. Douglas and Belogenis knew each other but had not seen each other for years. Belogenis says, “There was an amazing hookup. We both heard and felt it…we were developing a musical language and having a real exchange of ideas.” The two later independently told Zorn about that evening’s alchemy. Zorn understood the opportunity, suggested Laswell and Sorey, and the result was an early 2015 recording date and this self-titled, 53-minute album of all new music.

The seven tracks, which stretch from over 12 minutes in length to just under four minutes long, are grounded in Belogenis’ Buddhism: he has been an active Buddhist for more than four decades. He regards his meditative practice as fundamental to his performances. Belogenis states, “I try to have my music reflect…peacefulness; the sincere desire to overcome obstacles and remove impediments.” Belogenis cites John Coltrane, Albert Ayler and Sanders as influences for that kind of direction. Those musicians created music which ranged from contemplative to chaotic and the Blue Buddha foursome follows a parallel path.

Laswell, Belogenis, Sorey and Douglas commence on the 12-minute, invocation-inclined “Purification,” which has a spiritual and spacious aspect. Belogenis’ tenor sax plays off against Douglas’ trumpet, while Laswell layers an effects-speckled electric bass underpinning as Sorey utilizes cymbals, light percussive taps and ambient rhythmic embellishments. During “Purification,” there are hints of European avant-garde music, and it has a beautifully explorative approach, even as the piece intensifies to a resounding conclusion. “Renunciation,” which clocks in at 8:11, has an analogous affinity for expansive freedom. The performance escalates eventually into a fiery form where Douglas’ trumpet and then the tenor sax reach for the stratosphere while Laswell furnishes some unique melodies and harmonies, and Sorey responds with some remarkable, rapid rhythmic excursions.

Free jazz or free improv is the norm on other, tougher pieces. The shortest cut, “Wrathful Compassion,” is four minutes of harshly harmonized material, with Laswell’s distorted and buzzing bass seething underneath a sax and trumpet fusillade. Laswell’s heavy metal music tendencies (hear his band Praxis as an example) come to the forefront on this clamorous tune. There’s an unhurried but equally unfettered feel to the Buddhist-tinted “Double Dorje.” The title refers to a Sanskrit word connoting a thunderbolt and diamond. Essentially, a double dorje is a type of club with a ribbed, spherical head at one end and—if crafted as a weapon—has a sharp point at the other end for stabbing. Listening to “Double Dorje” one can hear sax and trumpet used as auditory weapons, with slices and thrusts from both horns. There’s also sharpness to the bruising but at times tender “Diamond Vehicle,” where Sorey’s adroit drumming and the twinned horns provide an unconventional but engaging aura. Laswell’s perspiring bass adds an impromptu edge. At times, Belogenis recalls Pharoah Sanders, while Douglas supplies some of his most blistering lines. Laswell’s bass sound throughout “Diamond Vehicle” is deep, nearly as reverberant as a cavern, while Sorey’s athletic drumming and the horns obtain a higher platform of tonal qualities. There is also a cave-like timbre heard on the closer, “Lineage,” a sensitive Belogenis and Sorey duet. While Belogenis presents a mix of single-note flourishes and imaginative and imagistic chords, Sorey mingles Asian and East Indian percussive effects. As the seven-minute track progresses and quickens, Sorey shifts to rolling toms and weightier beats and the tenor sax attains a Coltrane-esque authority. Blue Buddha should be heard and experienced by those who are followers or devotees of the 1960s and 1970s NYC loft jazz scene; who want to investigate an excellent post-Sanders undertaking; or who gravitate to outsider jazz music.
by Doug Simpson


jazzandblues.blogspot.com:
Blue Buddha is a special collective group consisting of Dave Douglas on trumpet, Bill Laswell on electric bass, Louie Belogenis on tenor saxophone and Tyshawn Sorey on drums. The music was recorded live in the studio without edits or overdubs and that sense of "without a net" excitement pervades the disc. This group plays spiritual jazz of a unique nature beginning with “Purification” which is spacious, with the saxophone playing off against the trumpet and disjointed percussion. The music takes a long time developing but the payoff is well worth it with excellent drumming and cries of saxophone and trumpet. Belogenis plays some raw and rending saxophone to open “Double Dorje” and Sorey responds with open percussion, very free and unfettered with a Spiritual Unity feel. There is some really great saxophone and drum interplay, making for a wonderful match of musicians. “Truth of Cessation” has spacious breathy trumpet, playing quiet long breaths and longing peals of saxophone responding followed by open ended drumming and Laswell’s enveloping soundscape. Trumpet in free space sounding confident and making a statement, the kind of music Douglas used to make with groups like the Tiny Bell Trio. “Wrathful Compassion” is the band at its most ferocious and it is an absolute thrill ride from start to finish. The full group comes out immediately playing fast and hard, making for a very exciting free jazz sound that is going for broke developing a swirling a mass of extraordinary sound, moving into sensory overload. The trumpet and saxophone are absolutely scalding while the bass and drums manhandle the rhythm. Bruised deft drums and baying horns give a haunted air to “Diamond Vehicle” followed by hollow sounding electric bass. Beats of trumpet and rough grained sandpaper saxophone, bubbling bass percolate before things really start to move. Powerful jabs and peals of trumpet engage back and forth with Belogenis’ unrestrained saxophone. He has an amazing free sound that recalls Pharoah Sanders at times. Laswell’s supportive bass has an unusual sound throughout the record, buoyant and cavernous while Sorey’s facile drumming is fascinating throughout. “Lineage” ends the album with saxophone calling out with bare supplication, like a humble prayer. Gong like cymbals add to the spiritual feeling, delving into deep meditative thought and the bringing forth of hopes and dreams. Sorey gets more aggressive, again driving excellent drum and saxophone interaction. They move faster and more unfettered, reaching and digging in deeper and propelling themselves higher, for a superb conclusion. This music has a sacred vibe to it that runs from the great avant garde jazz of the 1960’s through to today. The music is luminous and open hearted, imposing yet quite accessible.
by Tim

muzycy:
Dave Douglas: Trumpet
Bill Laswell: Bass
Louie Belogenis: Tenor Saxophone
Tyshawn Sorey: Drums

utwory:
1. Purification
2. Double Dorje
3. Renunciation
4. Truth of Cessation
5. Wrathful Compassion
6. Diamond Vehicle
7. Lineage

total time - 42:51
wydano: 2015-08-21
more info: www.tzadik.com

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