|
The Catch Of A Ghost
''The Catch of a Ghost'' is a live album by German saxophonist Peter Brötzmann, Moroccan guembri player Moukhtar Gania, and American drummer Hamid Drake. It was recorded in May 2019 at the Centro di Ricerca Musicale / Teatro San Leonardo in Bologna, Italy, during AngelicA, Festival Internazionale di Musica, and was released in 2020 by I Dischi Di Angelica. Brötzmann and Drake had previously recorded the album ''The Wels Concert'' (1997) with Gania's brother Mahmoud Gania, who died in 2015. Reception In a review for ''All About Jazz'', Mark Corroto wrote: "The music occupies a space beyond world music and, in some ways, outside of free jazz. Sure, we hear that familiar Brötzmann plaintive cry throughout, but the rhythms delivered by Drake and Gania are so mesmerizing... that this live date takes on a hypnotic atmosphere." Eyal Hareuveni of ''The Free Jazz Collective'' noted "the tension between Brötzmann's spectrum of contemplative, sometimes even lyrical playing and his wild s ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Peter Brötzmann
Peter Brötzmann (born 6 March 1941) is a German saxophonist and clarinetist. Biography Early life Brötzmann was born in Remscheid, North Rhine-Westphalia, Germany. He studied painting in Wuppertal and was involved with the Fluxus movement but grew dissatisfied with art galleries and exhibitions. He experienced his first jazz concert when he saw American jazz musician Sidney Bechet while still in school at Wuppertal, and it made a lasting impression. He has not abandoned his art training. Brötzmann has designed most of his album covers. He taught himself to play clarinets, then saxophones; he is also known for playing the tárogató. Among his first musical partnerships was with double bassist Peter Kowald. '' For Adolphe Sax'', Brötzmann's first recording, was released in 1967 and featured Kowald and drummer Sven-Åke Johansson. In 1968 ''Machine Gun'', an octet recording, was released. The album was self-produced under his BRO record label imprint and sold at concerts, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hamid Drake
Hamid Drake (born August 3, 1955) is an American jazz drummer and percussionist. By the close of the 1990s, Hamid Drake was widely regarded as one of the best percussionists in jazz and improvised music. Incorporating Afro-Cuban, Indian, and African percussion instruments and influence, in addition to using the standard trap set, Drake has collaborated extensively with top free jazz improvisers. Drake also has performed world music; by the late 1970s, he was a member of Foday Musa Suso's Mandingo Griot Society and has played reggae throughout his career. Drake has worked with trumpeter Don Cherry, pianist Herbie Hancock, saxophonists Pharoah Sanders, Fred Anderson, Archie Shepp and David Murray and bassists Reggie Workman and William Parker (in many lineups) He studied drums extensively, including eastern and Caribbean styles. He frequently plays without sticks, using his hands to develop subtle commanding undertones. His tabla playing is notable for his subtlety and flair ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Free Jazz
Free jazz is an experimental approach to jazz improvisation that developed in the late 1950s and early 1960s when musicians attempted to change or break down jazz conventions, such as regular tempos, tones, and chord changes. Musicians during this period believed that the bebop, hard bop, and modal jazz that had been played before them was too limiting. They became preoccupied with creating something new and exploring new directions. The term "free jazz" has often been combined with or substituted for the term "avant-garde jazz". Europeans tend to favor the term "free improvisation". Others have used "modern jazz", "creative music", and "art music". The ambiguity of free jazz presents problems of definition. Although it is usually played by small groups or individuals, free jazz big bands have existed. Although musicians and critics claim it is innovative and forward-looking, it draws on early styles of jazz and has been described as an attempt to return to primitive, often re ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Sintir
The sintir ( ar, سنتير), also known as the guembri (), gimbri or hejhouj or Garaya in Hausa language, is a three stringed skin-covered bass plucked lute used by the Gnawa people. It is approximately the size of a guitar, with a body carved from a log and covered on the playing side with camel skin. The camel skin has the same acoustic function as the membrane on a banjo. The neck is a simple stick with one short and two long goat strings that produce a percussive sound similar to a pizzicato cello or double bass. The goat gut strings are plucked downward with the knuckle side of the index finger and the inside of the thumb. The hollowed canoe shaped wooden body resonates a percussive tone created by knuckles slapping the camel neck top of the body while the thumb and index finger are plucking the strings. The lowest string on the sintir is a drone note and the second string, the highest in pitch, is tuned an octave higher and is never fretted. The third string is t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Wels Concert
''The Wels Concert'' is a live album by German saxophonist Peter Brötzmann, Moroccan guembri player Mahmoud Guinia, and American drummer Hamid Drake. It was recorded in November 1996 at the Schlachthof cultural center in Wels, Austria, and was released in 1997 by Okka Disk. In an interview, Brötzmann expressed his admiration for Guinia, and for Moroccan Gnawa music, stating: "In my way about thinking of the timing of tunes or pieces you play... after a time, you have to come to an end. But they never do - they get in a kind of trance... it goes on for hours and hours and hours." After Guinia's death in 2015, Brötzmann and Drake would go on to record the album '' The Catch of a Ghost'' (2020) with his brother, Moukhtar Guinia. Reception In a review for AllMusic, Joslyn Lane described the album as "a powerful interaction of three musicians from different countries, each of whom have extraordinary improvisational abilities and deep, grounded technique." He stated that the music i ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Mahmoud Guinia
Mahmoud Guinia ( ar, محمود ﯕينيا, and rarely or ; also spelled Gania, Guinea or Khania; 1951 – 2 August 2015) was a Moroccan Gnawa musician, singer and guembri player, who was traditionally regarded as a Maâllem (), i.e. master. The family name is Gania, which also was the spelling in the passport of the artist. He recorded for both domestic and foreign labels, and collaborated with numerous western musicians. Life Mahmoud Gania (or Guinia) was born in 1951 in the city Essaouira on the Atlantic coast. He was the second son of the master of Gnawa music, Maâllem Boubker Gania (1927–2000) and the famous clairvoyant and "moqaddema" A'isha Qabral. His brother Mokhtar Gania - as well as his late brothers Abdellah Gania and Bilal "Lahcen Zitoune"- is a gnawa Maâllem too, and their sister Zaida Gania - and the late Jmeia Gania - is another moqqaddema. Mahmoud Guinia was married to Mallika Al Machhour from Marrakech, with whom he had two sons and a daughter. H ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
All About Jazz
''All About Jazz'' is a website established by Michael Ricci in 1995. A volunteer staff publishes news, album reviews, articles, videos, and listings of concerts and other events having to do with jazz. Ricci maintains a related site, ''Jazz Near You'', about local concerts and events. The Jazz Journalists Association voted ''All About Jazz'' Best Website Covering Jazz for thirteen consecutive years between 2003 and 2015, when the category was retired. In 2015, Ricci said the site received a peak of 1.3 million readers per month in 2007. Another source said that the site has over 500,000 readers around the world. Ricci was born in Philadelphia. He heard classical and jazz from his father's music collection. He played trumpet and went to his first jazz concert when he was eight. With a background in computer programming, he combined his interest in jazz and the internet by creating the ''All About Jazz'' website in 1995. The website publishes reviews, interviews, and articles pe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tom Hull – On The Web
Tom Hull is an American music critic, web designer, and former software developer. Hull began writing criticism for ''The Village Voice'' in the mid 1970s under the mentorship of its music editor Robert Christgau, but left the field to pursue a career in software design and engineering during the 1980s and 1990s, which earned him the majority of his life's income. In the 2000s, he returned to music reviewing and wrote a jazz column for ''The Village Voice'' in the manner of Christgau's "Consumer Guide", alongside contributions to ''Seattle Weekly'', ''The New Rolling Stone Album Guide'', NPR Music, and the webzine ''Static Multimedia''. Hull's jazz-focused database and blog ''Tom Hull – on the Web'' hosts his reviews and information on albums he has surveyed, as well as writings on books, politics, and movies. It shares a functional, low-graphic design with Christgau's website, which Hull also created and maintains as its webmaster. Career In the mid 1970s, Hull accepted a job ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tom Hull (critic)
Tom Hull is an American music critic, web designer, and former software developer. Hull began writing criticism for ''The Village Voice'' in the mid 1970s under the mentorship of its music editor Robert Christgau, but left the field to pursue a career in software design and engineering during the 1980s and 1990s, which earned him the majority of his life's income. In the 2000s, he returned to music reviewing and wrote a jazz column for ''The Village Voice'' in the manner of Christgau's "Consumer Guide", alongside contributions to ''Seattle Weekly'', ''The New Rolling Stone Album Guide'', NPR Music, and the webzine ''Static Multimedia''. Hull's jazz-focused database and blog ''Tom Hull – on the Web'' hosts his reviews and information on albums he has surveyed, as well as writings on books, politics, and movies. It shares a functional, low-graphic design with Christgau's website, which Hull also created and maintains as its webmaster. Career In the mid 1970s, Hull accepted a jo ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
The Wire (magazine)
''The Wire'' (or simply ''Wire'') is a British music magazine publishing out of London, which has been issued monthly in print since 1982. Its website launched in 1997, and an online archive of its entire back catalog became available to subscribers in 2013. Since 1985, the magazine's annual year-in-review issue, Rewind, has named an album or release of the year based on critics' ballots. Originally, ''The Wire'' covered the British jazz scene with an emphasis on avant-garde and free jazz. It was marketed as a more adventurous alternative to its conservative competitor ''Jazz Journal'', and targeted younger readers at a time when ''Melody Maker'' had abandoned jazz coverage. In the late 1980s and 1990s, the magazine expanded its scope until it included a broad range of musical genres under the umbrella of non-mainstream or experimental music. Since then, ''The Wire''s coverage has included experimental rock, electronica, alternative hip hop, modern classical, free improvisat ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Peter Margasak
Peter Margasak is a music critic, journalist, and artistic director of the annual Frequency Festival in Chicago, an event that grew out of his longstanding work programming the weekly Frequency Series for experimental music, experimental, improvised music, improvised, and contemporary classical music, contemporary classical music. Margasak wrote for the ''Chicago Reader'' for 25 years. Career Margasak writes about disparate musical times and communities within the broad field of late-20th and 21st-century music. His contributions to ''The New York Times'' include a piece about Algerian "pop Raï, rai" artist Khaled Brahim and another on the Avant-garde music, avant-garde artists of the Theatre of Eternal Music and their battles for proprietorship of drone music; a ''Pitchfork (website), Pitchfork'' feature on the year 1979 in Chicago touches on both power pop and the racial dimensions of anti-disco sentiment during "the Rise of House music, House Music"; he has written about tri ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
.jpg "Click for more on -> The Wire (magazine)")