Worman, Woman, Woman - Kaiso Genius - Going Back To Africa (Vinyl, LP, Album)
There he hoped to find Moebius and force answers from him. While inside, Kain found the Balance Emblem and finally discovered Moebius, who managed to disable his powers with his staff.
However the vampire would not give up and managed to obtain the flame fragment of the Balance Emblem, following Moebius. Kain eventually forced Moebius to tell him that west of the Pillars, he would find a testament written on stone, though he was doubtful of the truth of this statement. He came upon a vista overlooking a lake and with the Balance Emblem, parted the mists over the water to reveal the hidden Vampire Citadel.
Inside Kain found a mural showed two champions that would determine the fate of Nosgoth, one a champion of the vampires, the other a champion for the Hylden. As Kain continued to search the Citadel, he found an image of the revolution of the human Guardians, showing that Moebius had lead the revolution against the ancient vampires.
As he looked upon a mural of the Wheel of Fate, the vampire heard a disembodied voice that claimed to be the Oracle of his ancestors. Kain arrived at Avernus Cathedral and found Raziel, who had also learned of the prophecy of the vampire and Hylden champion. Afraid of his destiny to be trapped in the Soul Reaver, Raziel engaged Kain, successfully wounding him and they began grappling with each other. But Kain still lived and awoke in the Demon Realm, where he was haunted by the Hylden and assaulted by the demons.
He managed to fight his way to a portal and emerged in the Avernus Catacombs. The Guardian of Time was shocked that the vampire survived and he was immune to his staff. Kain replied that he was always considered heartless and killed Moebius again, casting him into the Spectral Realm. Soul Reaver as it transformed, but to his shock, the body became Raziel. His former lieutenant restated his loyalty to Kain and gave himself up to the Soul Reaver. His soul then drained into the blade completely, completing the Soul Reaver.
Faced by the Elder God, Kain fought the monstrosity as the Spirit Forge collapsed and managed to defeat the false god, but not destroy it. When the Elder God threatened Kain as he teleported away, he just told it to burrow deep. Kain is cunning, ambitious, and determined with a sense of wise arrogance, as well as great bloodthirstiness. While at first he sought to free himself of his vampirism, he now embraces his vampiric side, as well as a growing sense of hatred for humans.
Kain is determined to escape the constant manipulations he has faced and take Nosgoth for himself. Kain has stated that as the corrupted Balance Guardian, he can never truly restore Nosgoth to its old self. His actions usually have subtle and cunning intentions behind them, but few are intelligent enough to see these hidden goals.
The best example is when Kain executed Raziel, which seemed like an act of jealousy, needing him to be reborn as a being with free will so he could change history and their fates. While Kain was once cynical and had little to no care for saving Nosgoth, after his decision, he constantly feels the burden on his conscience, knowing that the world is dependent on his actions.
Kain balances this with a sense of dark humor and irony, as seen from his use of former Sarafan warriors to create his vampire lieutenants. He values loyalty and believes traitors should be destroyed without a second thought. Kain makes little use of diplomacy, which seems to be a result of his anger, but it is actually a tool. His ultimate goal of giving the Pillars back to the vampires and restore Nosgoth is a well-meaning one, but Kain acknowledges such a thing may be beyond his reach.
Only after Raziel purified him did he finally gain a sense of hope. The Reaver was originally an enchanted sword, forged by Vorador at the Ancient vampires' behest to destroy their prophesied adversary, the Hylden champion. It could drain its victims' Blood, but was altered when it absorbed the soul of the time-traveling wraith Raziel. Hereafter, Raziel's spirit inhabited the blade, and it obtained the ability to devour the souls of those it struck. Much later in Nosgoth's history when Kain attacked Raziel with the physical blade, it proved unable to devour its younger self and shattered, releasing Raziel's soul the Wraith Blade.
The sword is able to devour the souls of the creature that strikes,to absorb the soul of wraith Raziel, the sword is made of two parts "The material" and the "spectral" by this, the sword attacks in a multi-dimensional way, attacking in the spectral and material realm to the same time. The sword also has other abilities like:the ability to drain the life energy of the creatures that hits, increase his power when hit, can destroy magical barriers like: Holy barriers, earth and ice barriers and protective barriers, while also making it possible to create a small forceshield that protects the wearer.
The sword can be equipped Woman an artifact known as "Balance emblem". The artifact it is made of 5 pieces, each one alignaed to a principle of the Pillars of Nosgoth being: "Balance", "Lighting energy ", "Flame conflict ", "Dimension" and "Time". Each one given specific powers to the Soul Reaver:. Balance : Surrounds the reaver with red energy, that increases the damage that the sword can take while also allows to make a energy onde weave and destroy holy barriers from one single hit.
Also the green energy that surrounds the sword, when attacked, reflect the damage and damage nearby enemies. Flame Conflict : The sword is surronds the sword with fire,his hits set fire to the enemy by a short time, also gives to Kain the ability to pyrokinesis at long range and can induce anger in nearby enemies making them attack each other.
Lightning Energy : The hits create a chain of electtricity rays that hit the nearby enemies. Light Reaver : Blinds enemies,one by one or in area, operates crystal oriented devices. Dark Reaver : Make the user invisible, can create matter from darkness,creating mini-shadows that chase and hit enemies. Water Reaver : his stucks freezing enemies and can make a exploxion of ice.
Able to freeze water. Earth Reaver : Grants the user control over his own weight, used to create earth brigdes,his attacks reflect in nearby enemies. Spirit Reaver: The only Reaver attuned to the Balance element, can purificate and increases much the power of the Blade. The sword being in contact with another version of it whether physical or spectralhas the ability to distorcion reality. Also gives Kain something called: Acausality; Type 2: "Temporal Singularity": Characters with this type of Acausality do not exist in either the past or the future, only the present.
This means they cannot be affected by changes to the past, while also making them resistant to Precognition that works by viewing the future, as they do not exist within it, and Fate Manipulation, for the same reason. In essence, they are able to choose their own fates, but they remain just as vulnerable at the point in time in which they do exist".
Kain is able to project energy from his hands, create forcefields, manipulate the Blood and Souls of creatures, possession, summon sky bolt, the ability to freeze a creature in time, is able to produce a mental shock in creatures stunned, the ability to manipulate light and he is able to shapeShift in differents forms.
He possesses sharp claws and telekinetic powers, begin able to manipulate objects and people's of differents ways, along with various magical abilities known as Dark Gifts. Kain is expert tactician with the conquest of Nosgoth in only years, even when he was the last vampire. Kain is also quite good using all kind of weapons but he is ultimately a swordsman. Also Kain is very good in stealth, infiltrate in fortless without being detected.
With the time, he gained new Dark Gifts from other vampires. His Dark Gifts include the ability to assume an intangible and invisible mist form, long distance jumping, the power to control the minds of the weak-willed, even higher speed, and pyrokinetic powers, as well as enhanced telekinesis from the Hylden Seer.
After defeating the Hylden Lord, Kain spent the years refining his powers, now sporting the power to teleport, the ability to fire lightning bolts, and the power to change into a swarm of bats to travel around.
Kain also has even strong telekinetic powers and became able to change into his mist form without mist nearby. He is also able to undergo any evolutionary sleep where he emerges with some new, less human adaption each time.
It allows Kain to move faster than normal, it is able to activate and deactivate it in fraction of seconds. Normally Kain cannot attack in this form, but if are in contact with natural mist, can do so while maintaining its intangibility.
Mind Control : With this spell Kain could throw a magic projectile that allowed him to replace a Human's Soul with his own, completely taking control of his victim's body and it's actions. While possessing an enemy, Kain's soul-absent body would be protected against all damage by a Repel barrier. The body possessed by Kain would immediately perish if it sustained enough damage or if the spell's grip was released, allowing him to regain control of his real body. Spirit Wrack : Could be considered an upgraded version of the Control Mind spell, because it allowed Kain to fire a magical projectile that replaced any creature's Soul with his own, taking full control of his victim's body.
Like the Control Mind spell, while his soul was absent, Kain's body would be fully protected by a Repel-like barrier; and if he decided to release his grip from the possessed body or it sustained enough damage, that body would inevitably perish. Blood Gout : When used, it allowed Kain to create a projectile from his own blood which upon striking an enemy, would drain their blood to feed Kain. Lightning : Summon thunderbolts of the sky that fall at real speed and disintegrates enemies.
Light : Kain create artificial light, it allows to illuminate an entire area, for several seconds, useful to avoid traps and avoid ambushes in dark places. Sanctuary : The spell enabled him to Teleport back to his grave from any place in Nosgoth. If Kain's health was very low, this spell would also partially refill his blood vial when used.
Biological Evolution : Pupating, also referred to as evolution or devolution, is a characteristic unique to the Vampires descended from Kain and the own Kain. All such Vampires evolve by "retreating into quiescent states from which they emerge transformed", developing new dark gifts and abilities corresponding to their individual traits. Enchanted senses and not-physical interaction : Kain is able to see and interact with spirits.
Absorbing veins : To kill powerful vampire Kain "absorbs his veins" and gain the Dark gift special abilities of the vampire. Blood absorption power : Kain can gain the power of anyone by drinking his Blood,and also gain physical strentgh and endurace.
Fury : Allows Kain make a much more powerful strike that normal, with his hands or a weapon. Floating : Allows Kain to silently land nearby Enemies and strike undetected. Looking down at my hands I can't help but wonder why I was chosen. I'm a monster with a special gift, but I can't control it. The werewolf inside of me, she's powerful, and I don't know I am beaten, battered, and bruised.
My wavy waist length dirty blonde hair is covered in dirt and my hands are aching, but that doesn't seem to faze mom in the slightest. After we split up with dad, she hasn't been the same. I guess losing him really affected her more than I thought. She never used to be like this; demanding, aggressive, and impassive.
I know he's safe, I can feel it through the bond, and I know she can too, but I guess not being able to see him is agitating her wolf. So until then, we're on the run, staying wherever we can, and practicing my combat and energy tactics until I can no longer stand. Mom and I have been on the run ever since we got separated from dad. Being rogues, there aren't many places we can go without stumbling on pack territory or other rogues, and dad never wanted to join a pack because he never believed in all that.
I can quote, "bullshit of being social creatures and having packs. But maybe if we weren't rogues he wouldn't be gone, and mom wouldn't be falling apart.
If there was a rogue standing in front, you would be dead now. They don't care who they kill, and you don't seem to care if you die. My whole body trembles, my wolf is practically begging me to shift and make her wolf submit to me, knowing that for some odd reason we can without breaking a sweat, but as usual, I hold her back. I know mom's going through a rough time right now, but sometimes I feel like she forgot that she isn't the only one who lost dad.
So with all the energy that I can muster up I close my eyes and try again. I try to tune into all the water around me, practically calling on any water particles to evoke, but no matter how hard I try, I can't. I remember what it wanted me to do last time, and how much power it had over me. I was the puppet and the strings were being pulled by whatever the hell it was. I open my eyes, "I can't," I say, letting shame settle over me. What I almost did! I stop myself mid sentence, knowing that I've never gotten this far to talking about what I've done.
On songs such as Joy Rider, Prez, bassist John Patitucci and drummer Brian Blade served as a tight, formidable anchor to Shorters lyrical solos and imaginative improvisations.
From master classes to jam sessions into the wee hours, the Panama Jazz Festival fostered the transformative power of music. Shannon J. Trumpeter Donald Byrd Dies at 80 T rumpeter Donald Byrd, who was known for his collaborations with top artists, innovative style and lifelong commitment to jazz education, died on Feb.
He was From his legacy as a proponent of hard-bop to his segue into jazz fusion and hip-hop, Byrds ability to transcend genres earned him respect from artists in all musical circles.
The product of Detroits celebrated music-education system, he was already an accomplished trumpeter by the time he graduated from Cass Technical High School. He earned his bachelors degree from Wayne State University in Detroit and his masters from the prestigious Manhattan School of Music, and went on to study music with famed educator Nadia Boulanger in Paris in Byrd played with the U. His Blue Note release Fancy Free exemplied this transition into more commercial jazzfusion and funk styles.
Though Byrds change. The trumpeter held teaching appointments at universities around the country, including Rutgers University, where he was the rst person to teach jazz, and Howard University, where he founded the jazz department and was named chairman of the Black Music Department. While at Howard, he formed a band with students called The Blackbyrds. The latter song reached No. Byrds inuence extended into the realm of contemporary hip-hop, and his recordings were sampled more than times by artists such as A Tribe Called Quest, Public Enemy and Nas.
Byrd was among the jazz musicians who performed on late hip-hop artist Gurus famous album, Jazzmatazz Vol. Hilary Brown. When it comes to bands with primarily local fan bases, the challenge escalates. One Los Angeles-based, New Orleans-obsessed label has devised a work-around to that kind of hometown disadvantage. It also provides a context that label executives hope will educate new listeners about how wide the brass-band gamut runs. Each band sounds completely different, said Ben Coltrane, CEO of Blue Train, adding that the emerging brass-band scene deserves documentation and a wider audience.
Ben Coltrane Releasing one album each day for seven days allows each album to stand on its own. With a release date of April 23, the groups new record, The Return Of The Mass Appeal, showcases work thats helped these elder statesmen of brass expand beyond their hometown and onto the international jazz circuit, thanks to a gig at the North Sea Jazz Festival.
The Young Fellaz Brass Band, Coltranes second roster addition, is more tied to the Frenchmen Street scene thanks to its ongoing performances there. The groups disc Danziger, which hits shelves on April 25, was fueled by political motives. It includes a song about the infamous Sept. But its really about the idea of activism in itself. Were experiencing harassment from police with new zoning and ordinances, as far as being able to play music on the streets live.
Other material on the disc deals directly with the tighter restrictionstying it into a larger push for reform happening in the city that now involves musicians, club owners and the overall live-music business. Other releases are less topical, but still document the evolution of a scene thats constantly in ux. Asked about the seven-discs-in-seven-days approach, Louisiana Music Factory owner Barry Smith, who pitched in to the effort by hosting instore performances and setting up a Blue Train bands display rack, said last years sales spike was evident.
This years releases will be sold online and at an April 26 CD release party at Frenchmen Street club Vaso, where all seven bands will perform. Jennifer Odell. Few musicians y so high under the radar, especially this six-time winner of the Downbeat Critics Poll in the Rising StarBaritone Saxophone category.
Dalys release Baritone Monk North Coast Brewing comes from an unusual placetting for its unusual approach to the works of the great pianist. DownBeat caught up with Daly between a gig in Miami and a class she was tion a given composer used. We barely stick to teaching in New Yorkto talk about the record, the tune. A lot of the tunes on the album are far off How did this project nd you? This project was such a fun mission because So when he called me up out of the blue and asked if Id be interested in doing some it was my job to just go out and listen to Monk.
I listened to all the Monk I could Whats your connection to the Thelonious nd, and that included all kinds of strange verMonk Institute of Jazz? It was just about hunting them down. We have a funny tie. Dougs call was such a Monk only wrote about 70 tunes, so once I had a Cinderella offering, but just a few weeks later, sense of what I wanted, I had my pick of the litter. How did that enthusiasm translate to the I said, Of course, theres nothing Id rath- tour and the recording?
Its wonderful when you dont have to wear er do! Afterward, I called Doug and thanked him for recommending me, but he said he had all the hats yourself producing an album.
Somehow I got on the Theres less clouding of your head space, so you can just focus on the music. This whole Monk Institutes radar just as all this started. They do so much for the cause. Im thrilled project is what I would call old-school cool. All We toured rst and then recorded, the way jazz the proceeds from the record go to support the musicians used to do it. The chance to do an Monk Institute, and I hope this is the beginning eight-day tour right before you record does something for the music that only playing for of a beautiful friendship.
Monk rarely included the baritone sax in We started in Vancouver and went down to his arrangements, but your adaptations Santa Cruz, and thats old-school. Thats what sound so natural. How did that transition you did before you made a recordyou went play out? Unfortunately, because of the Any music I love equates to the baritone. I state of the business now, people make a record started on alto originally and then worked my and try and get some gigs to promote it.
But way down, but the music is about interpretation. Its a small club of people who take the instrument seriously. I always loved synthesizers, but never used one really seriously until I heard [guitarist] Allan Holdsworths Flat Tyre in I see the tune as ground zero in terms of being the rst really great piece of music written for synths.
I then studied electrical engineering in hopes of one day being able to build a better synthesizer. I replaced that with a Yamaha QY70, and I started using a computer to compose. Eventually I got to play with Holdsworth, and I talked to him about what equipment he used. He mentioned an Oberheim Xpander, so that was the next thing I purchased. The Xpander was made inso when you turn it on, you have to say a prayer that it works. Eventually, I needed something a bit more reliable and portable.
I tried different synthesizers, and the Nord Modular G2X sounded best. It connects to a computer, and patches can be created in a virtual modular way to emulate a DX7 and a vocoder, as well as to do physical modeling. I began practicing various modulating intervallic patterns on the synthesizer, but I began to suspect that some of what Holdsworth plays is generated by patterns on the guitar ngerboardor that sometimes, he doesnt know even know exactly what notes he is playing. Keith Jarrett has said similar things, and I know Hancock and Kevin Hays sometimes create voicings by just letting their hands fall on the keys.
I realized that if the keyboard could be quickly transposed, all sorts of interesting lines could be created. Its hard to get synthesizers to groove. Most of them have a limited amount of choices as far as the attack is concerned.
I usually blend various different instruments so that one is taking care of the attack and others are taking care of the sustain. When recording, I also use a condenser microphone to pick up the sound of me hitting the keys. So what does the future hold for the design of the synth in ? I would like a foldable or modular version of a keyboard that is lightweight and separates into octaves.
I also wish that the Nord would let you load samples in and manipulate them, which would really help with the lack-of-attack part of the sound. Even better would be a lightweight, modular version of a Fender Rhodes that had a virtual synth included, and the Rhodes sound could be instantly digitized. Another idea is a Disklavier-style Rhodes piano or Hammond organ. As long as a sense of history and the continued use of traditional instruments is maintained, then I really look forward to hearing what the interfacing of humans and technology in an improvised setting will bring DB in the future.
When Schneider heard that the trombonists new CD would not include a chordal instrument, she had her worries. I thought with just trombone, trumpet and rhythm section that the music would be dry or just wild and free with soloing all over the place, Schneider said. Instead, it waswow! There are so many textures and combinations in the music, all there to create this emotional clout. Everybodys playing is killer, and still there is such incredible control.
For Keberle, the album represents many facets of his artistry and personal interests, including a love for Duke Ellington and The Beatles and a bandstand association in recent years with alt-rock star Sufjan Stevens. But its Keberles originality that shines brightest on Music Is Emotionin his playing and compositions, as well as his desire to seek new soundscapes. Keberle and trumpeter Mike Rodriguez intertwine gracefully, providing prodding support and accompaniment for each other in a setting where bassist Jorge Roeder and drummer Eric Doob, two extroverted and gifted players, are welcome members of the frontline, too.
Schneider believes that Keberles talent and musical values have led him to a place not much different from what she quests for, where there is a seamlessness between composition and improvisation, and an end goal to create an experience that everyone can be taken with. Keberle, in a phone conversation from his Brooklyn home, agreed that he tries to capture or portray a set of feelings in his writing, but that putting Catharsis together came out of more practical concerns.
Two earlier CDs, s Ryan Keberle Double Quartet and s Heavy Dreaming, feature his octet Double Quartet, which he found to be too cumbersome and expensive to bring out of town for long tours. Also, most clubs in New York either dont have pianos or have pianos that are beaten up, said Keberle, who is an accomplished enough ivoryist to be hired for gigs.
The two have been playing together for more than 10 years, starting out rst in the David Berger Jazz Orchestra, and have developed an intuitive connection that only comes with time and a plethora of gigs.
I continued to write music on the piano, but instead of creating for multiple voices, I needed to learn to write for just three voices and see how to make the most with three expressed melody notesand doing this for every beat and measure.
It really forced my hand into some heavy editing. The sparse instrumentation yet fully engaging sound of Catharsis was displayed at The Falcon, a club in Marlboro, N. Rodriguez pointed out later that even with Jay and Richie on board, Ryans music is so strong, his sound is what comes out.
Raised mostly in Spokane, Wash. Along with his parents and two younger sisters, he performed in a family band while growing up. Keberle also has been subbing regularly in the last four years for his former trombone teacher Steve Turre in TVs Saturday Night Live house band. Theres not a lot of rehearsal time, and you have to play the material convincingly, said saxophonist Lenny Pickett, the shows musical director.
Ryans always on top of it, though. He absorbs everything, listens closely and solos accurately. Trombonists are strange because were so totally normal, Keberle said. Theres no vibe or pretension. To get work, we tend to be resourceful and versatile. But things are opening up more for the trombone, and the trombonists that I know are some of the busiest musicians around these days. Thomas Staudter. Im constantly questioning myself, Dizack says.
Why am I doing thiswriting, practicing all the time? Is it to be the best? To win awards? To get certain gigs? No, thats not why I do what I do. I make music to communicate with people. And focusing on communication rather than ego is what enables a musician to express emotion on a deeper level, emotion that will resonate in others.
Compassion is the word, Dizack adds, summing up his communicative ethos. Thats what I want to express on and off the bandstand. I really believe that the type of person you are is the kind of music youll make. Negativity will come through, and the cherishing of relationships will, too. Such principles have served the year-old Milwaukee native well. Although Dizacks debut, s quintet session Beyond A Dream Fresh Sound New Talentwas full of promise, his sophomore release represents a quantum leap.
Dizack describes it as the feeling at that moment when you realize that what you had is gone. Dizack created the music for End Of An Era during a two-year period when he experienced a serious romantic LP and the deaths of two beloved grandparents. Watching coverage of the hurricane in Haiti only underscored personal bereavement with loss on a catastrophic scale. The albums nine pieceseight lithesome, textured Dizack compositions plus an instrumental interpretation of the Coldplay ballad What Ifpack a melancholy heft without a hint of melodrama.
Setting the tone is the subtle sweep of the title track: It has a noir feel with a glint of light, like neon shimmering off a rainwet city sidewalk at night. The different rhythm sections for End Of An Era were employed strategically. The band with bassist Joe Sanders friends with Dizack since they were kidskeyboardist Sam Harris and drummer Justin Brown played on the earthier tracks; the second group, with pianist Aaron Parks, bassist Linda Oh and drummer Kendrick Scott, was the choice for the more lyrically.
Charles Schiermeyer helped Dizack arrange the strings that appear on onethird of the album, with four players multitracked into a small orchestra. The recording experience left Parks impressed with Dizacks maturity. The pianist says, Philip is one of a handful of younger trumpeters who can make the extreme technical demands of playing his instrument appear to be nearly effortless.
It seems that he can pretty much play anything he wants to. He puts these abilities to use in the service of emotion and storytelling, rather than displays of dexterity or empty showmanship.
Earlier this year, he was in New York to record his third album, due for release by Criss Cross Jazz in the fall, with a band featuring Sanders alongside multi-reed player Ben Wendel, pianist Eden Ladin and drummer Eric Harland. The albums title, Single Soul, alludes to a quote from Aristotle that Dizack, in a romantic frame of mind, found inspiring: Love is composed of a single soul inhabiting two bodies. Growing up in Wisconsin, Dizack fell for his fathers Miles Davis records, which provided a mature expressive model.
There is such deep expressivity to Miles playing, he says. Even if his vocabulary on the trumpet doesnt really compare to what guys like Avishai Cohen or Ambrose Akinmusire have now, Miles has so much to communicate through sound, space, phrasing. And I believe every single note, emotionally. Thats what music is all about for me. Bradley Bambarger. The trio tapped into Finlands folk traditions, but with an eloquence and intimacy that could only be the result of three people working closely together.
When asked about the name Slo Motive, it becomes apparent that these three move in moderate, sometimes slow ways. Nothing lethargic, just medium, slash, slow, as soft-spoken group founder Orasmaa puts it. I like space, and I like to take my time, she says. Slo Motive is emblematic of Finnish musicians who play jazz but take their cues from other sources.
The orthodoxy of the music has been. It includes more national elements, more modal harmonies, using Finnish language. The band has composed music both in the studio and in performance. Assefa says, For the rst gig, I think Sanni had sketches, but, she chimes in, theres some text of my own, then we work with that. As for the standard? We used some original harmonies on that, an arrangement.
Ikonen admits, I had never played this composition, never even heard it, and you brought it to the studio. It doesnt stick out as a standard on the album.
It sounds like an original tune, like any other. In reference to the evenings set list, Orasmaaa faculty member at Brooklyns Conservatory of Musicsays, We make no predictions. The songs titles point more to collages than concrete, nished pieces.
John Ephland. But alto saxophonist Tim Green knows that there are audiences with even higher expectations. Im more nervous playing a hymn in church than a ballad at a jazz club, says the year-old Baltimore native. When youre playing with a gospel musician like Fred Hammond in Houston or Dallas, technical exhibitionism isnt going to cut it.
There may be a thousand people there for a service, and they all know that hymn by heart and expect to hear the melody done right. You have to dig deep to connect with the people or theyre just going to be sitting there staring at you. If you dont get the grandmothers up on their feet, youre not doing it right. I strive to invest that sensibility in my jazz playing, to play melodies that reach people. Melody is the soul of music, yes, indeed.
Green was born into a musical family, and although he was raised with music and in the church, he only came to playing gospel later, while studying at the Manhattan School of Music. Baltimore trombonist Marvin Thompson recruited the saxophonist for his MoHorns brass section, which backs such gospel stars as Hammond and Richard Smallwood. InGreen released his rst album, Divine Inspirations G Major Recordswhich features instrumental hymns and spiritual songs. He sees jazz as his true calling, though.
The sound is augmented by occasional wordless vocals, subtle synths and gospel organ. According to Green, the album works as a musical diary of his past few years, with biblical references as well as personal ones.
The sessions required different combinations of players to capture the vignettes just right, he says:. I thought of it sort of like a Quincy Jones production, with a certain band for a certain tune. Along with Greens lyrically minded originals, theres a ery sax-bass-drums take on Wayne Shorters Pinocchio and a version of Billie Holidays Dont Explain thats all alluring shadows and shimmering light.
With Greens own composing, Blanchard was a key inuence. Green says, From Terencewho comes from that Wayne Shorter legacy of writing music with a strong sense of melodyI learned how to write not just a piece of music, but a song. And every good song has a striking melody that carries all the way through it. As for his inspirations on alto, Green cites the inescapable Charlie Parker for the way he balanced technical virtuosity with a deep soul feel and Ornette Coleman for the freedom of his melodies.
A more contemporary hero is Kenny Garrett, whom he met through pianist Mulgrew Miller, a mentor. Green admires what he calls a real singing quality in Garretts style, adding, Every phrase lingers in your mind. Thats what Im after. McBride appreciates the Saturday-night vibe in Greens playing as much as the Sunday-morning feel.
What I like about Tim is his sound, his re and the fact that one can hear the hours he has put into his horn, McBride says. Theres denitely a soulful church feeling in his playingsomething thats all but lost in jazz these days. But to make this music sound as if it was easy to play, that was dicult.
The internationally renowned pianist and composer is referring to the blisteringly virtuosic title track to her new album, Move Telarcrecorded with contrabass guitarist Anthony Jackson and drummer Simon Phillips. Every bar is in a different meter for a couple of minutes and we also had a lot of odd meters, lots of different things going on, she says.
We practiced so LP, running just four bars again and again, until we sounded tight enough to make the song groove. Its still challenging to play, Hiromi, who turns 34 in late March, adds with a smile. Thats good. Its a testament both to the individual talent of each trio member, and to their collective vibe, that Move sounds equally energetic, organic and just plain monumental throughout.
Even midway through the opening track when Hiromis solo crescendos upwards in angularly timed cascades of notes, locked in tight with Jacksons anchoring bass but pushed and pulled with Phillips eruptions of even more angularly timed llsthe chaos is an illusion. Everything ts together by strange but beautiful design. This is one of the most exciting gigs I have had to date, says Phillips, who is largely known for his work with rock groups such as Toto and The Who, but grew up playing Dixieland jazz and swing and idolizing Buddy Rich.
Every night is phenomenally fun and extremely challenging, made more so by the fact that there are only three of us, so we can go anywhere we want in terms of improvisation. Every night is different.
Its also very challenging for me because Ive played in fairly loud ensembles with a guitar, and this was the rst time I have had just acoustic piano, bass and drums. I had to learn how to play extremely quietlyand the interesting thing is that Hiromi wanted the whole nine yards in terms of bringing my entire rock n roll drum kit.
The creation of Move demanded the throwing of oneself on the bonre, and thats what we did, says Jackson, whose gilded resume includes recordings with Paul Simon, Chick Corea and Steely Dan. It took a great deal of study, a lot of self-analysis, and thats just before we ever played together.
Its something you long forno pain, no gain. Theres always that technical intensity with Hiromi. Its always there with the very great projects and players. Even at its thickest and most explosive, Move never crosses the line into complexity for sheer complexitys sake. Rather, from Hiromis rigorously composed three-part Suite Escapism to the effervescent Brand New Day and morphing textures of PM, the album illustrates the sophisticated application of outstanding skillwith just the right amount of quirk thrown in.
Its a difcult alchemy, perhaps, but one that Hiromi has been honing from her rst notes as a recording artist. Hiromi Uehara was born in Shizuoka, Japan, and began studying piano at age 6. The disc generated an international critical buzz and became a best-seller, achieving gold status in Japan and winning Jazz Album of the Year from that countrys Recording Industry Association.
In the aftermath of such a high-momentum LP, Hiromi has gone on to collaborate onstage and in the studio with Corea, Stanley Clarke, Lenny White and Dave Fiuczynski. An artist with a strong international following, Hiromi routinely follows a rigorous touring schedule: Shell travel to Istanbul, San Francisco, Finland and Slovakia in the rst half of We have a lot of shows set up for this album, so I think the next year will be another traveling year, she says.
Well just keep going. I had wanted to work with Anthony Jackson on a full album for many years, she explains. I had him as a special guest for my. After crossing paths with Jackson in numerous cities and at various festivals, she broached the topic and got the sign-on she had hoped for. The more Hiromi wrote the music that would become Move, the more she homed in on the drum sound that would bring her album to life.
I was mixing a record at my studio, and somebody sent me a YouTube link of Hiromi and Chick Corea playing together, says Phillips of the rst time he became aware of his current collaborator. I was working on a mix for Toto, and David Paich and Steve Porcaro were doing some keyboard overdubs the next day. When we took a break, we pulled up the clip, and their jaws were on the oor. We wrapped up to run an errand and I was two blocks away in my car when the phone rang.
It was Hiromis manager inviting me to play on the project. It was fate! Whether drawn together by fortune or just a good sense of casting, the trio displays unmistakable chemistry throughout Movedue in no small part to tremendous mutual respect and admiration.
I love his tone, his beautiful sound, and his understanding of a wide range of music, Hiromi says of Phillips. Some people ask me.
Why did you want to play with a rock drummer? But I never considered Simon Phillips a rock drummer. He did a lot of projects with socalled rock music, but hes an amazing drummer who can play anything. I felt that the sound of the three of us, the tone, would meld well. Hiromi has glowing words for Jackson as well. I always tell Anthony that, when I play my solos, I feel like Im cheating, she says. He can make anybody sound good with his bass lines. He really improvises counterpoint toward how I solo and his ears are so big.
Hes an improviser and composer, and for him, its continuous composing during the song. Playing with him is an amazing experience and I enjoy every minute of it. If I go outside the harmony, he comes along on the ride with me.
In Jackson, Hiromi found not only a kindred spirit on stage, but in front of a pair of speakers. We often talk about great classical composers and pianists; its amazing how wide his interest for music is.
We can be listening to a track that he did for Steely Dan and, the next day, listen to a piece by Franz Liszt. Thats how I love to listen to music. Hiromi shaped the compositions and arrangements of Move to accent her favorite aspects of Phillips and Jacksons playing. Since I worked with them for many, many shows, I started to understand the depths and secret beauty of their playing, she says. His accompaniment on that song is loose, and his cymbal playing sings. Such a style may not be synonymous with Phillips name, Hiromi afrms, pointing out that he is generally known for playing in the pocket.
When I was jamming with him, I realizedwow! It gave me the idea to write music like that. One portion of Move that Hiromi crafted specically with Jackson in mind was the second movement of her suite, a composition format that she has greatly enjoyed exploring on previous albums as well.
For the Fantasy section, Anthony plays all of the melody for the rst couple of minutes, she says. He uses his volume pedal so beautifully that I wanted to hear itnot just as the composer, but as a big fan of Anthony. Im such a big fan of both these guys. Interestingly enough, the third player in the trio often has the hardest job.
As a player, I always feel like Im hired by the composer Hiromi, she says. When I write, sometimes I put together lines that I can play separately, but I want to hear them together as counterpoint. Its a cool combination, but can I Album) it? Sometimes I ask, Who wrote this? You come across many people who are very gifted but who have not formed themselves so much you hear enormous potential and a great deal of strength, but it can be raggedy.
But with Hiromi, there was a great deal of sophistication and control, he continues. She clearly had not gotten stuck in the mold of childhood prodigy who is getting older and is now an older childhood prodigy that will always be a childhood prodigya term that indicates enormous talent that has yet to really coalesce.
A few words from the pianist make it clear just how and why she has avoided such pitfalls. Im hungry to learn, so I always have my big ears open fully, ready to learn every single minute when I play, she says.
People like Anthony and Simon are living dictionaries. Im always trying to study and grow as much as I can. Much of Hiromis study is manifested in a dedication to listening not just to her immediate collaborators, but to great instrumentalists of all shapes and avors. It also means diving deep into classical piano. Classical composers have deep understandings of the instrument itself, she.
With Hiromi, it was immediately apparent that she. They are masters of the piano. They use the full range of the keyboard in writing, and not just the right half, which happens more when you have a bass player. When I play, even with a bass player, I want to use the whole piano and be fair to all the keys.
Otherwise the left hand is ignored and feels lonely, she says, laughing. As of lateHiromis current classical challenges included works by Bach, Debussy and Chopin. About every three months, she rotates in new pieces on which to hone her chops. So how long does it take her to master a Chopin etude, for example?
It never nishes, she says. That piece also appeared on her album Voice. Classical music is a great source, and listening to a lot of instrumentalists in any style who may not play your instrument really helps technically, she explains. Things that are easy for one instrument may not be technically easy for another, and each instrument has different ideas for lines because of its nature and how its made.
I like listening to trumpets and saxophones because they have completely different approaches to playing lines. You shouldnt think about technique when you play, she says. You have to be you. It cannot be about, I can play this and I can show you that.
It has to come from my heart and has to make sense musically, so I never really think about it when I play. I just need this ow or these lines, and those happen to require some kind of technique to happen.
Both on Move and on tour, Hiromi continues to weave together lines on both acoustic piano and synthesizer. My favorite piano is the latest Yamaha CFX, she says. It has an amazing bottom end that can compete with an orchestra and is great for playing a concerto. And especially working with this trio, its a great instrument. With Anthonys big contrabass guitar and Simons big drum kithe has two bass drums, maybe ve or six toms, a Gong Drum and OctobansI need [a powerful instrument].
For the albums quirky and expressive synth elements, Hiromi still uses the exible and programmable Nord Lead 2 keyboard that shes had from the beginning of her recording career. Im happy with it, but Im not stuck with it, she says. For this project, it was what I needed. For tunes like Endeavor, Hiromis synth work whomps and wails like a human voice, dancing through the track via a tone she programmed herself.
I dont have specic tactics when it comes to synth programming, she says. I tweak things around. I just explore until I get it right. For me, the keyboard is always an additional sound to the piano, she continues. Piano is the main instrument; I cant go anywhere without acoustic piano. Its been my best friend since I was 6 years old. Hiromi clearly loves playing for listeners who range so widely in terms of age, walk of life, and musical background.
The lady with the pearls told me that shed been listening to classical all Woman her life, that she could hear that I loved Bartk and Ravel, and said that she loved my stuff, she recalls. The Grateful Dead guy said, You rock, Hiromi! And the little girl? She told me that she had just started playing piano.
I asked her, Are you good? Its amazing and fascinating to me that all of these people are there in the same venue lis. Its been like that everywhere I go. Though Hiromis touring schedule keeps her extremely busy, she admits that her constant international travel is an uncomfortable means to a joyous end. You have to sacrice something to do whatever you love in life, so I guess I love performing too much, she says with a laugh. Its why I feel alive. I feel so at home on the stage, and I love making people happy with my music.
Whatever I have to go through to make that happen and get DB that sunshine is worth it. Move, however, was recorded in Indiana. I had almost no time off [in ] apart from writing, and the only slot I had to schedule a recording session was between Washington, D.
So to make our travel easy, the record had to be done either in D. Relying on the sensitive ears and investigative prowess of her longtime engineer, Grammy Award winner Michael Bishop, Hiromi and her team chose Aire Born Studios in the city of Zionsville.
It was just easy to travel there early from D. And then we ew to Luxembourg for a whole European tour. On the road, Hiromi doesnt just perform the material on her latest album, often delving into the solo piano work that she shared on s A Place To Be Telarc. Its great that Ive been doing so many different projects, and even though the main thing for me right now is this trio, I also love solo concerts in pure, acoustic halls.
Ive also done a couple duet concerts with Stanley Clarke, she adds. I just did one at the Montreal Jazz Festival with him. Playing with Anthony and Simon is really a dream come true for me. I learn so much, have an amazing time on the roadand then I get to say, OK, bye, and come to Montreal and play with Stanley Clarke. Its sometimes hard to believeit feels too good to be true. Though countries, gigs, and onstage collaborators may vary, Hiromi sees little difference city to city when it comes to positive energy from her audiences.
And regardless of what continent she may be on, a certain diversity of listenership seems to follow her. A great example was at a show in Stockholm, she says. Right in front of me, there was a woman with a pearl necklace who was really well dressed.
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