Affichage des articles dont le libellé est Jim Black. Afficher tous les articles
Affichage des articles dont le libellé est Jim Black. Afficher tous les articles
2.1.11
Le Concert du Nouvel An : "Endangered Blood" live à Amsterdam
Chris Speed - ts, cl
Oscar Noriega - as, bcl
Trevor Dunn - b
Jim Black - dr
Bimhuis
Amsterdam, The Netherlands
18 November 2011
Thanks to the uploader on Dime !
01. Plunge
02. Rare
03. Uri Bird
04. Valya / Tacos at Oscars
05. Promises Kept
06. Elvin Lisbon
07. Iris
08. Faces & Place
09. Epistrophy / K
10. Andrew’s Diddy - Variation I
11. Texting Pavone
6.7.09
932 - Ellery Eskelin, Andrea Parkins, Jim Black "One Great Night ... Live" !
YeSSSSSSSSSSSSSSSSS !
Directly bought at Ellery, on his site, I received it on Saturday.
And there, attention: recording in public, as it is, magnificent.
I had not perceived to there all these interlacings, these curves, these melodic, harmonious crossings, this presence.
The musicians dare to take time, settle down quietly, as sometimes friends could enter discussion, present arguments, let them a little mature, then propose it the others, without forgetting what has just been said.
Even if sometimes some sound ascents can let augur time(weather) forts (and that's fine), more marked words, ideas which ask of the power to be born, he(it) gets free of the set(group) a shape of plenitude, a climate contrasted and qualified as an immense color palette.
Not all the colors, but certainly among the most beautiful.
The set of these 3 musicians, made by improvisation and by complicity, makes us live one thousand births!
Directly bought at Ellery, on his site, I received it on Saturday.
And there, attention: recording in public, as it is, magnificent.
I had not perceived to there all these interlacings, these curves, these melodic, harmonious crossings, this presence.
The musicians dare to take time, settle down quietly, as sometimes friends could enter discussion, present arguments, let them a little mature, then propose it the others, without forgetting what has just been said.
Even if sometimes some sound ascents can let augur time(weather) forts (and that's fine), more marked words, ideas which ask of the power to be born, he(it) gets free of the set(group) a shape of plenitude, a climate contrasted and qualified as an immense color palette.
Not all the colors, but certainly among the most beautiful.
The set of these 3 musicians, made by improvisation and by complicity, makes us live one thousand births!
Warmly recommended
1.1.09
706 - Tim Berne, Jim Black, Nels Cline "Live 14 septembre 2008" : le concert du nouvel an !
Quelques renseignements indispensables (sur qui est qui et qui joue quoi) :
Tim Berne alto sax
Nels Cline guitar
Jim Black drums
Après, pour les titres, c'est assez confus.
Mais il y a de la musique et des entretiens, vu que c'est un direct d'une radio du New-Jersey.
N'empêche (vous voyez comme j'use du n'empêche) que cette radio nous offre un truc assez dingue : ce trio !
Et en dehors des temps de bla bla, ça joue.
01 intro bla bla
02 musique
03 bla bla entretien interview
04 musique
05 encore bla bla entretien interview
06 musique
07 fin bla bla
Tim Berne alto sax
Nels Cline guitar
Jim Black drums
Après, pour les titres, c'est assez confus.
Mais il y a de la musique et des entretiens, vu que c'est un direct d'une radio du New-Jersey.
N'empêche (vous voyez comme j'use du n'empêche) que cette radio nous offre un truc assez dingue : ce trio !
Et en dehors des temps de bla bla, ça joue.
01 intro bla bla
02 musique
03 bla bla entretien interview
04 musique
05 encore bla bla entretien interview
06 musique
07 fin bla bla
J'espère que ma "tracklist" ne vous détourne pas de ce monumental concert.
Rassurez-vous, il y a beaucoup plus de musique que de bla bla.
Et question musique, ce trio possède des atouts indiscutables.
Pour une première (oui, c'est leur toute première fois), c'est très fort, d'emblée.
C'est donc, ici, le concert du nouvel an.
De l'an 9.
Rassurez-vous, il y a beaucoup plus de musique que de bla bla.
Et question musique, ce trio possède des atouts indiscutables.
Pour une première (oui, c'est leur toute première fois), c'est très fort, d'emblée.
C'est donc, ici, le concert du nouvel an.
De l'an 9.
11.11.08
615 - Jim Black AlasNoAxis "Dogs of Great Indifference"
Les "Chiens indifférents".Très ou beaucoup indifférents.
Drôle de titre.
Précis et d'actualité.
Les chiens très indifférents sont des compatriotes en humanité assez.... détachés.
Lointains.
Peu ou pas sensibles aux dégâts qu'ils provoquent.
Des naufrageurs, en somme.
Ceci reste une interprétation très perso.
D'où faillible.
L'objet CD est fortement recommandé.
Musicalement & visuellement.
W & W propose des objets artistiques sonores & visuels sublimes.
Dites-vous que l'emballage est à l'image de la musique.
Et inversement.
Et là, doucement attirés par cette attente, vous allez vous précipiter pour acheter l'objet.
Sonore & visuel.
Ceci est indispensable.
Petit rappel (pour les oublieux !)
Jim Black: drums
Chris Speed: tenor saxophone
Hilmar Jensson: guitars
Skuli Sverrisson: bass.
Ce 4tet est impérial.
Il y a une belle approche chez All About Jazz.
19.6.08
5 cent - Ellery Eskelin - Jessica Constable - Andréa Parkins - Jim Black - Philippe Gelda "Quiet Music"
Ellery Eskelin - tenor saxophoneJessica Constable - voice
Andrea Parkins - accordion, piano and sampler
Jim Black - drums and percussion
With special guest Philippe Gelda - piano, organ and voice (on selected tracks)
disc one
1. coordinated universal time 11:22
2. I should have known 6:32
3. 48 A & B 6:18
4. read my mind 8:01
5. instant counterpoint 10:38
6. how do I know 6:32
7. quiet music 9:12
disc two
1. split the difference 4:43
2. cuarenta y neueve 5:20
3. the curve 12:32
4. let's change the subject 3:56
5. like I say 5:32
6. La Berceuse d'Angela 6:22
7. tomorrow is a new day 22:35
Coordinated Universal Time
The Curve
Instant Counterpoint
Vous pouvez acheter directement les alboumes d'Ellery Eskelin sur son site, c'est ce que je fais...
****Liens supprimés****
28.5.08
475 - Ellery Eskelin Andrea Parkins Jim Black : 12 (+1) Imaginary Views
Why the word "imaginary" you ask? Because these pieces barely exist, at least on paper. They exist more so in our minds and imaginations at the time we perform them. But of course as documented on this recording they exist in a very real way. As with all improvisation there is an element of indeterminacy that when negotiated in the spur of the moment ultimately results in definitive musical statements. And these pieces rely on improvisation more so than any we've played thus far. Each one is an idea, a concept containing some specific element that characterizes an otherwise open improvisation.
These twelve short pieces were conceived of and written as a suite and were developed in performance during our 2001 spring tour of Europe. Since the ideas and concepts were predetermined I think the use of the word "pieces" does apply. We're operating about as close to the border of pure improvisation as possible while still performing what could rightly be thought of as compositions. But just to throw everyone off balance a little bit I'll continue to refer to them as imaginary. In retrospect I can see that there is a certain trajectory that can be traced over the course of our our previous recordings that led up to this point. Our first recording, "Jazz Trash", probably had more to do with texture than groove while "One Great Day..." showed me that having musicians that could switch between itchy and scratchy texture improv to rock band in the blink of an eye was a great asset. On "Kulak 29 & 30" we kind of embraced our our "inner" rock band with a bit more gusto and on "Five Other Pieces (+2)" we introduced some cover tunes into the book. Then on "The Secret Museum" I began writing music that was a bit more open, partially inspired by a couple of tunes written by guitarist Eugene Chadbourne that we recorded on that project. After hearing our renditions of his music Eugene paid us a very nice compliment saying, "I like the way the three of you have such different personalities in your playing, but it holds together. You are the Beatles of avant jazz!" Looking back, I might have thought that this instrumentation was too limited to take us this far. In fact, one New York radio DJ (who seemed almost surprised that he even liked our first record) was sure that there would be nowhere to go after "Jazz Trash". But even to my own surprise there is still more to do. In many ways this music is a recapitulation of all we've done so far, but probably the most fundamental difference is the change in overall organization and presentation of the music. This suite of pieces can be seen as twelve imaginary miniatures, magnifying smaller more detailed improvisational ideas as they appear and disappear, shifting and mutating in and out of the musical foreground. The musical information on the page may be minimal yet the music that results is very different than had there been no "pieces" involved. From the beginning I always had the idea that this was a band of improvisers for whom I happen to write music in order to structure the sound and make sure that certain things occur in the music that I wanted to hear. This requires that we improvise more as composers than soloists.
Needless to say, putting these same pieces in front of any other musicians would result in something very different. So how does a dry, academic and overly analytical explanation of music such as this one suffice when one tries to reconcile this listening experience to the real world? Well, that's up to each and every listener. I don't espouse affixing specific meanings and connotations to music. The music is simply a catalyst for you to explore feelings and emotions that perhaps you've not thought about or felt before, wherever you are, whatever you do. Sometimes I worry that jazz and improvisational music seems destined to exist within a small and insular world.
I deeply appreciate every person who comes to this music but sometimes the situation frustrates me. I like to think that this music can communicate to anyone who wants to open up to it. No prerequisites, no secret knowledge for "getting it". Just an openness and a desire to experience something different. All the music that I like best in the world has a certain communicative power to it, from the introspective electricity of the Bill Evans trio to the intensity of a late John Coltrane recording. It could be the skronk of a kick-ass punk band, the emotional directness of a simple pop tune or the grandiosity a symphony, it's not really about style. So in the end this music may not be for everybody but it certainly is for anybody. Oh, and as for Thelonious Monk's rarely played composition "Oska T", which closes the program; given it's "minimal" quality on paper it simply seemed about as natural to us to play as anything we've ever done. And so we did and yet it finishes the recording with a slightly different "view"...
Ellery Eskelin November 2001 New York City Ellery Eskelin with Andrea Parkins and Jim Black 12 (+1) Imaginary Views
Ellery Eskelin - tenor saxophone Andrea Parkins - accordion, piano, sampler Jim Black - drums and percussion
1 opener 4:22 2 four chords 3:27 3 low(ly) 4:49 4 plastiche 4:06 5 grafik 6:11 6 hûm 2:02 7 modular 7:38 8 naked eye 7:05 9 combulatory 5:24 10 kicks 3:17 11 middle C 3:42 12 magnets 3:16 13 oska t 5:29 Total Time 60:48
***** Liens supprimés *****
These twelve short pieces were conceived of and written as a suite and were developed in performance during our 2001 spring tour of Europe. Since the ideas and concepts were predetermined I think the use of the word "pieces" does apply. We're operating about as close to the border of pure improvisation as possible while still performing what could rightly be thought of as compositions. But just to throw everyone off balance a little bit I'll continue to refer to them as imaginary. In retrospect I can see that there is a certain trajectory that can be traced over the course of our our previous recordings that led up to this point. Our first recording, "Jazz Trash", probably had more to do with texture than groove while "One Great Day..." showed me that having musicians that could switch between itchy and scratchy texture improv to rock band in the blink of an eye was a great asset. On "Kulak 29 & 30" we kind of embraced our our "inner" rock band with a bit more gusto and on "Five Other Pieces (+2)" we introduced some cover tunes into the book. Then on "The Secret Museum" I began writing music that was a bit more open, partially inspired by a couple of tunes written by guitarist Eugene Chadbourne that we recorded on that project. After hearing our renditions of his music Eugene paid us a very nice compliment saying, "I like the way the three of you have such different personalities in your playing, but it holds together. You are the Beatles of avant jazz!" Looking back, I might have thought that this instrumentation was too limited to take us this far. In fact, one New York radio DJ (who seemed almost surprised that he even liked our first record) was sure that there would be nowhere to go after "Jazz Trash". But even to my own surprise there is still more to do. In many ways this music is a recapitulation of all we've done so far, but probably the most fundamental difference is the change in overall organization and presentation of the music. This suite of pieces can be seen as twelve imaginary miniatures, magnifying smaller more detailed improvisational ideas as they appear and disappear, shifting and mutating in and out of the musical foreground. The musical information on the page may be minimal yet the music that results is very different than had there been no "pieces" involved. From the beginning I always had the idea that this was a band of improvisers for whom I happen to write music in order to structure the sound and make sure that certain things occur in the music that I wanted to hear. This requires that we improvise more as composers than soloists.
Needless to say, putting these same pieces in front of any other musicians would result in something very different. So how does a dry, academic and overly analytical explanation of music such as this one suffice when one tries to reconcile this listening experience to the real world? Well, that's up to each and every listener. I don't espouse affixing specific meanings and connotations to music. The music is simply a catalyst for you to explore feelings and emotions that perhaps you've not thought about or felt before, wherever you are, whatever you do. Sometimes I worry that jazz and improvisational music seems destined to exist within a small and insular world.
I deeply appreciate every person who comes to this music but sometimes the situation frustrates me. I like to think that this music can communicate to anyone who wants to open up to it. No prerequisites, no secret knowledge for "getting it". Just an openness and a desire to experience something different. All the music that I like best in the world has a certain communicative power to it, from the introspective electricity of the Bill Evans trio to the intensity of a late John Coltrane recording. It could be the skronk of a kick-ass punk band, the emotional directness of a simple pop tune or the grandiosity a symphony, it's not really about style. So in the end this music may not be for everybody but it certainly is for anybody. Oh, and as for Thelonious Monk's rarely played composition "Oska T", which closes the program; given it's "minimal" quality on paper it simply seemed about as natural to us to play as anything we've ever done. And so we did and yet it finishes the recording with a slightly different "view"...
Ellery Eskelin November 2001 New York City Ellery Eskelin with Andrea Parkins and Jim Black 12 (+1) Imaginary Views
Ellery Eskelin - tenor saxophone Andrea Parkins - accordion, piano, sampler Jim Black - drums and percussion
1 opener 4:22 2 four chords 3:27 3 low(ly) 4:49 4 plastiche 4:06 5 grafik 6:11 6 hûm 2:02 7 modular 7:38 8 naked eye 7:05 9 combulatory 5:24 10 kicks 3:17 11 middle C 3:42 12 magnets 3:16 13 oska t 5:29 Total Time 60:48
***** Liens supprimés *****
22.5.08
468 - Arcanum Moderne, par le trio d'Ellery Eskelin
Je pense que je devrais particulièrement créer une rubrique "Trio".
Très particulièrement "Trio". Même quand ces "trios" sont parfois plus de ...3. Comme pour le "Ten" d'Ellery Eskelin, où le trio croise d'autres musiciens / artistes.
Cela ne change rien, c'est à la base un trio.
Rien que le message précédent (oui, juste là, le n° 467) est centré sur un trio.
Pourquoi des "trios" ? Ben justement, c'est toujours magique, un trio.
Essentiel.
Les mots se forgent avec une poignée de lettres.
Pareil pour les musiques.
Avec une poignée de notes & des "trios".
Celui d'Ellery Eskelin est un trio majeur.
Formidablement créatif.
Comment l'impro se construit.
S'improvise.
Comment construire l'impro.
Quelques éléments de réponse dans cet alboume où non seulement il y a ce son terriblement beau du sax d'Ellery Eskelin, mais (ET) aussi toute la lumineuse présence d'Andrea Parkins et de Jim Black.
Il est question ici de musique de rêve, quand le marcheur avance sans savoir qu'il avance.
Oublier le pas, n'être que le chemin.
***** Liens supprimés *****
Très particulièrement "Trio". Même quand ces "trios" sont parfois plus de ...3. Comme pour le "Ten" d'Ellery Eskelin, où le trio croise d'autres musiciens / artistes.
Cela ne change rien, c'est à la base un trio.
Rien que le message précédent (oui, juste là, le n° 467) est centré sur un trio.
Pourquoi des "trios" ? Ben justement, c'est toujours magique, un trio.
Essentiel.
Les mots se forgent avec une poignée de lettres.
Pareil pour les musiques.
Avec une poignée de notes & des "trios".
Celui d'Ellery Eskelin est un trio majeur.
Formidablement créatif.
Comment l'impro se construit.
S'improvise.
Comment construire l'impro.
Quelques éléments de réponse dans cet alboume où non seulement il y a ce son terriblement beau du sax d'Ellery Eskelin, mais (ET) aussi toute la lumineuse présence d'Andrea Parkins et de Jim Black.
Il est question ici de musique de rêve, quand le marcheur avance sans savoir qu'il avance.
Oublier le pas, n'être que le chemin.
***** Liens supprimés *****
23.4.08
451 - Ellery ESKELIN Ten
1. If Not Now 2. Tell me When 3. Anyone's Guess 4. Say it Again 5. Ask to Be 6. More Than That 7. Anywhere, Not Here 8. If So 9. Ask Me Why 10. No Illusions 11. I Couldn't Say 12. Take Me
Ellery Eskelin saxophone ténor;
Andrea Parkins piano - accordéon - sampler;
Jim Black batterie - percussions;
Marc Ribot guitare;
Melvin Gibbs basse électrique;
Jessica Constable chant
Some words about "Ten" here
and here
and here.
Pour les 10 ans de ce trio, Ellery Eskelin propose un alboume avec invités de marque : Jessica Constable (qui maintenant fait partie intégrante du quartet), Marc Ribot & Melvin Gibbs.
Les passants connaissent déjà Jessica Constable (Soul Reactive, unique tentative française de jazz électronique, de trip hop, de groove, de ....).
Ce trio + trio d'invités est une étape essentielle vers les musiques improvisées sans limites. La magie de ce "Ten" tient autant à la diversité des propositions musicales (trio, duo) qu'à la liberté de l'improvisation généreuse, intimiste, électrique et étrange. Depuis que le trio existe - 1994 - , ce "Ten" nous propose des résumés futurs, de la matière à venir, de nouvelles voies.
Tous les alboumes sont disponibles sur le site d'Ellery, directement, sans détours.
N'hésitez pas.
***** Liens supprimés *****
Ellery Eskelin saxophone ténor;
Andrea Parkins piano - accordéon - sampler;
Jim Black batterie - percussions;
Marc Ribot guitare;
Melvin Gibbs basse électrique;
Jessica Constable chant
Some words about "Ten" here
and here
and here.
Pour les 10 ans de ce trio, Ellery Eskelin propose un alboume avec invités de marque : Jessica Constable (qui maintenant fait partie intégrante du quartet), Marc Ribot & Melvin Gibbs.
Les passants connaissent déjà Jessica Constable (Soul Reactive, unique tentative française de jazz électronique, de trip hop, de groove, de ....).
Ce trio + trio d'invités est une étape essentielle vers les musiques improvisées sans limites. La magie de ce "Ten" tient autant à la diversité des propositions musicales (trio, duo) qu'à la liberté de l'improvisation généreuse, intimiste, électrique et étrange. Depuis que le trio existe - 1994 - , ce "Ten" nous propose des résumés futurs, de la matière à venir, de nouvelles voies.
Tous les alboumes sont disponibles sur le site d'Ellery, directement, sans détours.
N'hésitez pas.
***** Liens supprimés *****
25.8.07
239 - Tiny Bell(e) Trio et les âmes errantes
Sam Hill
At Dusk
Prolix
Loopy
One Shot
Nicht so schnell, mit viel Ton zu spielen [R. Schumann]
Gowanus
Wandering Souls
Ferrous
Tiny Bell Trio :
Dave Douglas, trompette
Brad Shepik, guitare électrique
Jim Black, batterie
S'il est questions de chants pour des âmes errantes, ce sont celles de Booker Little et de Roland Kirk, les musiciens qui ont influencés Dave Douglas.
Ce trio étonnant distille un alcool à base de mélange. Au blues s'ajoute la mélancolie, des airs des Balkans, et une solide et très élevée foi, pas dans sa version religieuse, mais foi dans la musique comme passeport universel.
Le repertoire est passionnant de bout en bout, il n'y a pas l'ombre d'un seul temps mort sur cet alboume chaudement approuvé.
(lien dans le commentaire)
238 - Black Splay (AlasNoAxis 2)
Jim Black (drums)
Chris Speed (tenor saxophone, clarinet, keyboards)
Hilmar Jensson (electric guitar)
Skuli Sverrisson (bass)
1 Aloe Evra
2 iCratic
3 Cheepa Vs. Cheep
4 You Were Out
5 War Again Error
6 Ble
7 Myndir Now
8 Ant Work Song
9 Awkwarder
10 Blissed - (Selfchatter mix)
Jim Black qu'on a découvert notamment derrière ses toms et ses cymbales au sein du "Tiny Bell Trio" de Dave Douglas ou du superbe trio d'Ellery Eskelin, s'affirme aujourd'hui comme l'un des acteurs décisif de la scène new-yorkaise.
«Ceux qui suivent de près les milieux du jazz moderne devraient bien connaître le jeu absolument unique du batteur Jim Black. Ce musicien d'à peine 33 ans a en effet déjà a son actif une quantité impressionnante d'enregistrements et on peut affirmer qu'il a contribué à transformer radicalement le rôle du batteur de jazz moderne. Comme le batteur de rock / jazz progressif Bill Bruford, Jim Black se distingue de plusieurs de ses pairs par ses fusions hétérogènes de rythmes traditionnels syncopés ou de backbeats inhabituels avec des polyrythmes complexes. Ce jeune homme au style inventif, qui a fait irruption sur la scène du jazz aux côtés de l'excellent saxophoniste Tim Berne et de son groupe novateur "Bloodcount", a aussitôt été remarqué par plusieurs amateurs.
L'engagement musical considérable de Jim Black auprès de musiciens reconnus et audacieux tels le pianiste Uri Caine, le saxophoniste Ellery Eskelin, le trompettiste Dave Douglas, les saxophonistes Chris Speed et Tim Berne,pour ne nommer que ceux là, lui sert de tremplin pour son premier projet comme leader "Alasnoaxis" avec Winter & Winter.
Outre ses collaborations durables avec quelques-uns uns des poids lourds du jazz moderne, le batteur a également participé aux enregistrements d'étoiles montantes, dont le pianiste-compositeur Satoko Fuji, le guitariste Ben Monder, le claviériste Jamie Saft et le trompettiste Cuong Vu. Quel que soit le groupe ou la musique jouée, Jim Black apporte une contribution essentielle. Le jeu immédiatement reconnaissable du batteur, son étampe indélébile font qu'il se démarque : les années passées à se frotter aux meilleurs lui ont en effet apporté une formation que ne saurait fournir aucune institution - même s'il a également fréquenté la prestigieuse Berklee School of Music de Boston, Massachusetts.» Glenn Astarita
(lien dans le commentaire)
29.7.07
228 - AlasNoAxis de Jim BLACK
Jim Black «AlasNoAxis»
Winter & Winter Music Edition N°910 061-2, 2000,
distrib. Abeille Musique (non, ce n'est plus Harmonia Mundi)
1. M m
2. Optical
3. Maybe
4. Ambacharm
5. Garden frequency
6. Poet staggered
7. Backfloatpedal
8. Icon
9. Luxuriate
10. Boombye
11. Aug and dromedary
12. Trace
13. Nion
14. Melize
15. Angels and artiface
Skuli Sverrisson - guitar
Jim Black - drums
Hilmar Jensson - electric guitar
Chris Speed - sax clarinet
Il y a un très bon commentaire de ce premier album d'AlasNoAxis, mais la reproduction est interdite, alors voilà, c'est sur le site d'Abeille Musique
Alboume trés chaudement reccomandé, ainsi que tous les autres alboumes d'AlasNoAxis.
(lien dans le commentaire)
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