Annexus Quam’s first record, originally released in 1970, is a peculiar mix of psychedelic rock and jazz, one of those distinctly Krautrock records from that era. There are plenty of spacy sound effects as well as drugged-out vocal moaning, while primitive rhythms pound away with savage ferocity, especially on the second track. The longer third cut slows things down slightly, with plenty of soloing of guitar, keyboard, and more vocal moaning over the rhythmic washes of sound and ragged percussion, and then adds in some cosmic electric guitar riffing toward the end. The side-long fourth track is far mellower, as a piano leads into a relaxed but swinging number that is far jazzier than the rest of the disc, though still based more in underground rock than jazz. The piece soon takes on the psychedelic weirdness of the earlier tracks as it starts to sway off kilter with more wordless vocals and studio effects and many transitions of sound. Annexus Quam (Osmose) is not quite rock and not quite jazz, but is a very nice listen for more adventurous listeners from either school, especially in the light of more recent post-rock developments.
Astrud Gilberto was born Astrud Evangelina Weinert, the daughter of a Brazilian mother and a German father, in the state of Bahia, Brazil. She was raised in Rio de Janeiro. She married João Gilberto in 1959 and emigrated to the United States in 1963, residing in the U.S. from that time. Astrud and João divorced in the mid-1960s and she began a relationship with her musical partner, American jazz saxophone player Stan Getz.
She sang on two tracks on the influential 1963 album Getz/Gilberto featuring João Gilberto, Stan Getz, and Antônio Carlos Jobim, despite having never sung professionally before this recording. The 1964 single version of “The Girl from Ipanema”, taken from the 1963 album, omitted the Portuguese lyrics sung by João Gilberto, and established Astrud Gilberto as a Bossa Nova singer. It sold over one million copies and was awarded a gold disc. In 1964, Gilberto appeared in the films Get Yourself a College Girl and The Hanged Man. Her first solo album was The Astrud Gilberto Album (1965). Upon moving to the United States, she went on tour with Getz. Beginning as a singer of bossa nova and American jazz standards, Gilberto started to record her own compositions in the 1970s. She has recorded songs in Portuguese, English, Spanish, Italian, French, German, and Japanese.
In 1982, Gilberto’s son Marcelo joined her group, touring with her for more than a decade as bassist. In addition, he collaborated as co-producer of the albums Live in New York (1996) and Temperance (1997). Her son Gregory Lasorsa played guitar on the Temperance album on the song “Beautiful You”, which features singer Michael Franks.
Gilberto received the Latin Jazz USA Award for Lifetime Achievement in 1992, and was inducted into the International Latin Music Hall of Fame in 2002. In 1996, she contributed to the AIDS benefit album Red Hot + Rio produced by the Red Hot Organization, performing the song “Desafinado” (Portuguese for “slightly out of tune”, or “off key”) along with George Michael. Although she did not officially retire, Gilberto announced in 2002, that she was taking “indefinite time off” from public performances.
Her original recording of “Fly Me to the Moon” was edited as a duet using a recording of the same song by Frank Sinatra for the soundtrack of Down with Love (2003). Her recording “Who Can I Turn To?” was sampled by The Black Eyed Peas in the song “Like That” from the album Monkey Business. Her vocals on “Berimbau” were sampled by Cut Chemist in his song “The Garden”. Her recording of “Once I Loved” was featured in the 2007 film Juno. The “Astrud” track on Basia Trzetrzelewska’s 1987 album, Time and Tide, is a tribute to Gilberto.
Gilberto is an ardent advocate of animal rights.
1991 – Lightnin’ Hopkins – Soul Blues (Prestige Records)
01. 00:00 • I’m Going to Build Me a Heaven of My Own
02. 05:59 • My Babe
03. 09:22 • Too Many Drivers
04. 12:54 • I’m a Crawling Black Snake
05. 17:46 • Rocky Mountain Blues
06. 21:41 • I Mean Goodbye
07. 24:44 • The Howling Wolf
08. 28:39 • Black Ghost Blues
09. 32:12 • Darling, Do You Remember Me
10. 35:53 • Lonesome Graveyard
The Giants of Jazz is a live album of an English concert by Art Blakey, Dizzy Gillespie, Al McKibbon, Thelonious Monk, Sonny Stitt and Kai Winding, who were collectively billed as The Giants of Jazz, which was released on the Atlantic label.
Art Blakey – drums
Dizzy Gillespie – trumpet
Al McKibbon – double bass
Thelonious Monk – piano
Sonny Stitt – alto and tenor saxophone
Kai Winding – trombone
UNIKO is the collaboration between the Kronos Quartet and Finnish duo, accordion adventurer Kimmo Pohjonen and sampling guru Samuli Kosminen. Commissioned by Kronos, UNIKO received its world premiere at the Helsinki Festival in 2004, with additional performances in Moscow, Molde (Norway) and in New York at the 2007 BAM NEXT WAVE Festival with three sold out performances. The album was recorded at Avatar Studios in NYC following the BAM concerts. Producer is Iceland’s Valgeir Sigurðsson, known for his work with Björk and other outstanding, adventurous artists.
UNIKO is highlighted by Pohjonen’s electrified and MIDI-fied accordion with Kosminen’s electronic percussion devices which reproduce his own accordion samples and his samples of Kronos’ instruments. These samples, together with live strings and electric accordion plus effects and manipulations create a new, multi-dimensional sound world.
“You know when you’re dreaming, and you’re unconscious, yet you know where you are” Kimmo tells me “and then you wake up but you’re still in your dream? Well this is Uniko”.
(Fiona Talkington – June 2013)
Beautiful soul-jazz LP from 1958 with master harpist Dorothy Ashby in a quartet with flute, bass and drums. She’s maybe more famous for her psychedelic, break-laden “Afro Harping” and “Rubiyat…” LPs, but this album is from a more gentle, sentimental time and all the more heavyweight for it! If you’re a harp-lover, prepare to be knocked out by this magical record!
Dorothy Ashby – harp
Frank Wess – flute
Herman Wright – bass
Art Taylor – drums
The extraordinary debut album from percussionist, drummer and producer Sarathy Korwar – Day To Day – fuses traditional folk music of the Sidi community in India (combining East African, Sufi and Indian influences) with jazz and electronics. It’s a collaborative release by Ninja Tune with The Steve Reid Foundation – a charitable trust established by Brownswood / Gilles Peterson with the dual objective of helping musicians in crisis and also supporting emerging talent. Sarathy is an alumnus of the Foundation’s development program, mentored by Four Tet, Emanative, Floating Points, Koreless and Gilles Peterson – all trustees of the foundation.
“Sarathy instantly caught my attention when he said he wanted to make an album that embraced both Indian folk music and jazz – two worlds that have had a big influence on me. His album succeeds in bringing these things together in an elegant way, but it’s his own style and ideas that come through the most in the music. Refreshingly different, this is a deep and powerful listening experience.” Four Tet
Bryan Ferry invests considerable time and energy in cover albums (he should, considering that they compose a good portion of his solo catalog), treating them with as much care as a record of original material. He’s always found ways to radically reinvent the songs he sings, so it’s easy to expect that his collection of pop standards, As Time Goes By, would re-imagine the familiar. Instead, As Time Goes By is his first classicist album, containing non-ironic, neo-traditionalist arrangements of songs associated with the ’30s. That doesn’t mean it’s a lavish affair, dripping with lush orchestras — it’s considerably more intimate than that. Even when strings surface, they’re understated, part of a small live combo that supports Ferry throughout the record.
He’s made the music as faithful to its era as possible, yet instead of rigidly replicating the sounds of the ’30s, he’s blended Billie Holiday, cabaret pop, and movie musicals into an evocative pastiche. Ferry is at his best when he’s exploring the possibilities within a specific theory or concept; with As Time Goes By, he eases into these standards and old-fashioned settings like an actor adopting a new persona. Since Ferry has always been a crooner, the transition is smooth and suave. He makes no attempt to alter his tremulous style, yet it rarely sounds incongruous — he may sound a little vampirish on “You Do Something to Me,” but that’s the rare case where he doesn’t seamlessly mesh with his romantic, sepia-toned surroundings. On the surface, it may seem like a departure for Ferry, but in the end, it’s entirely of a piece with his body of work. True, it may not be a major album in the scheme of things, but it’s easy to be seduced by its casual elegance.