miércoles, 22 de noviembre de 2017

Satoko Fujii: Satoko Fujii Orchestra New York - Fukushima (LIBRA RECORDS 2017)



Satoko Fujii Confronts the Fukushima Nuclear Accident
in Major New Work for Orchestra New York

Fujii's nuanced musical response to the disaster features some of her most powerful composing for improvisers

"Satoko Fujii's large ensemble music is one of a kind... For avant big band, this is an outfit on the cutting edge." -Grego Edwards, Gapplegate Music Review

"... a triumph of modern big band music, powerfully brought to life by an immensely talented group." -Stuart Kremsky, Journal of Jazz Record Collectors reviewing 2014's Shiki

"The Ellington of Free Jazz." -Cadence Magazine


Fujii conducts ensemble featuring Tony Malaby, Ellery Eskelin, Nels Cline, Dave Ballou, Natsuki Tamura, Joey Sellers, Joe Fiedler, Curtis Hasselbring, Stomu Takeishi, Ches Smith, Andy Laster, Oscar Noriega, and Herb Robertson.


Gathering together her all-star Orchestra New York to record for the tenth time, composer-pianist Satoko Fujii releases Fukushima (Libra, available December 15, 2017), a deeply moving and personal contemplation of the nuclear power plant disaster that shook Japan and the world in 2011. Fujii conducts the 13-piece ensemble in a monumental album-length composition that runs the emotional spectrum from despair to hope. With her characteristic attention to form, texture, and melody, she also provides a platform for some of New York's best improvisers, many of whom were founding members of the band 20 years ago, to make powerful statements of their own. The close collaboration between composer-conductor and performers results in one of the most riveting and moving socially conscious musical statements in recent memory.

"Right after the accident, I was afraid that we might not be able to live in Tokyo or even anywhere else in Japan," Fujii says. "A crazy-big area was affected by radiation and our country is not big. The distance between Tokyo and Fukushima is only around 200 kilometers. I felt hopeless. Of course, there were some people who didn't think it was a serious problem. The worst thing for me was the election right after the Fukushima accident. People still supported the politicians who said we need nuclear reactors. Other people in Japan thought differently and didn't support those politicians. And I have found people all over the world who think differently, as well. Fukushima is one of those issues that connects deeply with other matters in the world now-money, power, nationalism."

Fujii's musical response conveys the full weight of her feelings. Her assured handling of drama and pacing have never been more evident or used to such telling effect. The hour-long piece opens with the simple sound of air passing through instruments, echoing the sound of human breathing, creating a sense of vulnerable humanity that suffuses the entire work. "In the context of Fukushima, the breathing or air sound is peaceful, calm, and life-affirming for me," she says.
Shaping the music in real time as she conducts, Fujii leads the band on a spiritual journey through sorrow, rage, and ultimately to a stunning sense of hope and optimism. "I know we human beings can live brightly in any situation and circumstance," Fujii says. "I would like to believe it is not too late for us to make a change for the better."

Of course, Fujii's compositions are incomplete without improvised contributions from her remarkable ensemble. "My charts for large ensemble are not like classical music that can be played only by reading," she says. "With my charts, I need great improvisers to play and develop them. And with all these improvised parts, I need to conduct and give cues to the band to make the charts work, come together, and feel alive. I feel like the whole band is my instrument."


And what an instrument she has in this band, which includes saxophonists Tony Malaby and Ellery Eskelin, guitarist Nels Cline, trumpeters Dave Ballou and Natsuki Tamura, trombonists Joey Sellers, Joe Fiedler and Curtis Hasselbring, and the blue-chip rhythm team of bassist Stomu Takeishi and drummer Ches Smith, among others. With an ear for creative combinations of voices and contrasting textures and density, Fujii deploys them in different combinations, ranging from solo to duos and trios to full ensemble improvisation, throughout the course of the performance. Highlights include the close interplay between baritone saxophonist Andy Laster and guitarist Cline on the first track (the piece is continuous, but split into five tracks on the disc) and Oscar Noriega's melodic solo cradled by a lovely brass choir on Track 3. A sustained series of alternating passages for duet pairings of trumpeter Herb Robertson with drummer Smith and bassist Takeishi with guitarist Cline highlight the fourth track.

Fujii is also making available a second version of Fukushima, featuring her singing on Track 2. CDR copies of the vocal version of the composition can be ordered on her website: www.satokofujii.com/.

Fujii always tackles big musical ideas in her big band writing and sometimes turns to life's deepest spiritual issues as well. With this ambitious album, her first extended piece for large ensemble that addresses social issues, she has made another step forward with her art. "I just would like to have the listener take in the whole piece as an experience," she says, "and feel something."

Critics and fans alike hail pianist and composer Satoko Fujii as one of the most original voices in jazz today. She's "a virtuoso piano improviser, an original composer and a bandleader who gets the best collaborators to deliver," says John Fordham in The Guardian.

In concert and on more than 80 albums as a leader or co-leader, she synthesizes jazz, contemporary classical, avant-rock and Japanese folk music into an innovative music instantly recognizable as hers alone. Over the years, Fujii has led some of the most consistently creative ensembles in modern improvised music, including the ma-do quartet, the Min-Yoh Ensemble, and an electrifying avant-rock quartet featuring drummer Tatsuya Yoshida of The Ruins.

Her ongoing duet project with husband Natsuki Tamura released their sixth recording, Kisaragi, this year. "The duo's commitment to producing new sounds based on fresh ideas is second only to their musicianship," says Karl Ackermann in All About Jazz. Aspiration, a CD by an ad hoc band featuring Wadada Leo Smith, Tamura, and Ikue Mori, was released this year to wide acclaim. "Four musicians who regularly aspire for greater heights with each venture reach the summit together on Aspiration," writes S. Victor Aaron in Something Else.

She records infrequently as an unaccompanied soloist, but her latest solo album, Invisible Hand, led Dan McClenaghan in All About Jazz to praise her "stream of ideas, eschewing repetition and cliché in the crafting of her solo work, her loveliest and most accessible music." Fujii has also established herself as one of the world's leading composers for large jazz ensembles, leading Cadence magazine to call her, "the Ellington of free jazz."

martes, 21 de noviembre de 2017

John Zorn - The Hermetic Organ Philharmonie De Paris (TZADIK 2017)



John Zorn returns to his original instrument with a new volume of organ improvisations recorded at his infamous Weekend in Paris in April 2017. The organ at the Grand Salle Pierre Boulez is one of the most powerful and versatile in France, and Zorn approaches it with great sensitivity and wild abandon. Includes both the full 40 minute concert recording, and over 30 additional minutes of Zorn alone at the manuals in rehearsal the same day.

Office Nr 16:
1. Rituel
2. Une Crise de Nerfs
3. Prière Empoisonné
4. L’heure des Sorcières

John Zorn: Organ




Samuel Strouk - Silent Walk + Premiere Party: Le Lundi 27 / 11/ 17 Cafe de la Danse, Paris


1er album Silent Walk
Disponible chez Fo Féo Productions / Universal Music

+ PREMIERE PARTIE

LE LUNDI 27/11/2017 À 19H30

A l'écoute de Silent Walk, l'album du guitariste Samuel Strouk, imaginez des paysages vierges, jamais découverts par l'homme, qui vont, au fur et à mesure se déflorer, s'ouvrir à nous, et devenir familiers. A travers l'émotion et la sensibilité dégagées par cette musique, l'auditeur va s'immiscer avec grâce dans ces territoires imaginaires.

Samuel Strouk propose un jazz atmosphérique singulier et prégnant, où la rigueur de l'écriture et de l'interprétation font bon ménage avec l'incertitude de l'improvisation, et où la notion rythmique se réinvente entre swing et rubato.

L'album intitulé Silent Walk, empreint d'un grand lyrisme et d'une sensibilité à fleur de peau, a été confectionné par Samuel Strouk, à la manière d'un peintre, ou d'un cinéaste, avec un sens inné de la narration. Cela aboutit à un projet musical inclassable, qui ne ressemble à rien de connu.

Avec Silent Walk, Samuel Strouk défriche tout en finesse un monde sonore aux mille reflets aux lisières du jazz, du classique, de la world, et de la musique contemporaine, à découvrir avec le premier extrait Lands.


A 36 ans, Samuel Strouk est un guitariste, un compositeur, un arrangeur, et un directeur musical, déjà connu et réputé dans le milieu de la musique classique et des musiques improvisées (actuelles et traditionnelles). En tant que compositeur, son carnet de commande est bien rempli après la réussite de différents projets ambitieux, qui ont suscité de belles réactions : un double concerto pour violoncelle et accordéon, un quatuor pour cordes et guitare, « La Saison Eternelle » pour orchestre, violon et violoncelle, où se mêlent les langages de Vivaldi et de Piazzolla, « Poems » où se juxtaposent un orchestre à cordes et une rythmique pop ou « My Romantic Lebanon » qui met en avant un violon solo au sein d’un orchestre à cordes et d’un combo jazz.

 Samuel Strouk, de plus en plus implanté dans le monde du jazz, est aussi depuis cinq saisons, le directeur artistique et le programmateur du festival de jazz de Maisons-Laffitte qui a lieu tous les ans au mois de juin. Il était donc temps que ce brillant diplômé en guitare classique et en musique de chambre, enregistre enfin un disque sous son nom, en tant que leader, guitariste, et compositeur, proposant un jazz atmosphérique singulier et prégnant, où la rigueur de l’écriture et de l’interprétation font bon ménage avec l’incertitude de l’improvisation, et où la notion rythmique se réinvente entre swing et rubato.

L’album intitulé « Silent Walk », empreint d’un grand lyrisme et d’une sensibilité à fleur de peau, a été confectionné par Samuel Strouk, à la manière d’un peintre, ou d’un cinéaste, avec un sens inné de la narration. Cela aboutit à un projet musical inclassable, qui ne ressemble à rien de connu, et qui rendrait fou de jalousie Manfred Eicher (le patron du label Ecm) par le soin apporté à l’architecture sonore et à la gestion de l’espace, du temps, et du silence…..


Pour ce premier album sous son nom, le guitariste Samuel Strouk a formé un quintette où il est entouré de ses deux compères : l’accordéoniste Vincent Peirani et le violoncelliste François Salque, ainsi que du contrebassiste Diego Imbert et du clarinettiste Florent Pujuila (souvent à la clarinette basse).

Cinq instruments fortement empreints de lyrisme, aux sonorités graves et feutrées, qui proposent une riche palette de timbres et de couleurs, où mélodies, harmonies et rythmes s’interpénètrent avec bonheur au service d’une musique habitée, dense, et contrastée. La musique de « Silent Walk » exprime l’idée d’un voyage intérieur où l’on perçoit des images mentales, comme si l’on assistait à la projection d’un film imaginaire, et puis cette « Marche Silencieuse » évoque aussi une revendication du mélange de genres. Il s’agit de tracer une troisième voie entre le monde de la musique classique et celui du jazz.


David Virelles - Gnosis (ECM 2017)

In this vivid and exciting project, the Santiago-raised and New York-based pianist-composer David Virelles looks towards one melting pot from the vantage point of another. A far-reaching work with deep cultural roots, Gnosis speaks of transculturation and traditions, and of the complex tapestry of Cuba’s music – the sacred, the secular, and the ritualistic – but the work’s shapes and forms could only have been created by a gifted contemporary player thoroughly versed in the art of the improvisers. Strings, woodwinds and percussion all have their roles to play in Gnosis, viewed by Virelles as “several families functioning within one unit: this dynamic symbolizes multicultural interaction.” Virelles’ responsive piano and the vocals and percussion of Román Díaz, a profound figure in the transmission of Afro-Cuban musical history, are at the centre of the action. Gnosis was recorded at New York’s Avatar Studios in May 2016 and produced by Manfred Eicher.


1 Del Tabaco y el Azucar  04:01
2 Fititi Nongo  02:24
3 Lengua I  03:27
4 Erume Kondo  02:03
5 Benkomo  05:25
6 Tierra  06:16
7 De Ida y Vuelta I  03:42
8 Lengua II  01:35
9 De Ida y Vuelta I  01:35
10 Nuna  02:32
11 Epilogo  02:40
12 Dos  01:55
13 Caracola  04:04
14 Visiones Sonoras  01:28
15 De Portal  01:19
16 De Tres  02:35
17 De Cuando Era Chiquite  00:41
18 De Coral  02:50

David Virelles   Piano, Marímbula, Background Vocals
Román Díaz   Lead Vocals and Percussion (Bonkó Enchemiyá, Ekón, Nkomos, Erikundi, Itones, Nkaniká, Marímbula, Claves, Mayohuacán, Pilón, Carapacho de Jicotea, Coconut Shells)
Allison Loggins-Hull   Piccolo, Flute
Rane Moore   Clarinet, Bass Clarinet
Adam Cruz   Percussion (Steel Pan, Claves)
Alex Lipowski   Percussion (Orchestral Bass Drum, Temple Blocks, Bongos, Gong)
Matthew Gold   Percussion (Marimba, Glockenspiel)
Mauricio Herrera   Percussion (Ekón, Nkomos, Erikundi, Claves), Background Vocals
Thomas Morgan   Double Bass
Yunior Lopez   Viola
Christine Chen   Violoncello
Samuel DeCaprio   Violoncello
Melvis Santa   Background Vocals



Michael Zilber - Originals For The Originals (ORIGIN RECORDS 2017)



The Bay Area saxophonist / composer's 11th recording as leader or co-leader is a labor of love that reflects both his keen sense of the history of the music and his infinite capacity to SWING. Citing the profound influence of seven sax masters - Michael Brecker, Sonny Rollins, Dave Liebman, Wayne Shorter, Joe Henderson, John Coltrane and Paul Desmond - Zilber, along with New York greats Dave Kikoski on piano, bassist James Genus, and drummer Clarence Penn, has fashioned a potent homage that is infused with all-knowing nods to his heroes. "...art music of the highest order performed with passion, wit and verve." JAZZTIMES.


Breckerfast Club
Leaves (for Michael Brecker)
Partly Sonny
Autumn Lieb
Weather Wayne
Pastel Blues (for Wayne Shorter)
Hen House
Late Night Trane (in the distance)
Lieb Dich
Coltraning Daze
St. Paul (Desmond)

David Kikowski: piano
James Genus: bass
Clarence Penn: drums
Matt Clark: piano (7)
Peter Barshay: bass (7
Akira Tana: drums (7)

PJ Perry Quartet - Alto Gusto (CELLAR LIVE 2017)


This is an album for the bebop fans. Not the blisteringly fast, artsy-fartsy bebop, though – I’m thinking about the lovey Parker ballads and all the times Miles forgot he was done with bebop after the 50s. Actually, the last track on here is a Parker tune. And the PJ Perry Quartet is extremely good at what they do: important in a style that can be undone undone by its own complexity. The rhythm section is one of the tightest I’ve heard, and Perry himself knows when to turn it up or down with his own sax playing, his riffs feeling like anything from sweet cooing to what I imagine a heart flutter sounds like. Maybe this is what it sounds like to be in love… or maybe I’m just feeling romantic from listening to this.

Ease It
Close Your Eyes
After the Morning
We’ll Be Together Again
Stablemates
Two Bass Hit
Quasimodo


Fred Hersch wins major French awards


Jazz pianist and composer Fred Hersch
wins major French awards

Prix in Honorem Jazz and Coup de cœur jazz from l'Académie Charles Cros 2017

Prize in honor of jazz for Hersch’s entire career on the occasion of the release of his recording Open Book (Palmetto Records) and his autobiography Good Things Happen Slowly: A Life in and Out of Jazz (Crown/Archetype Press)

Coup de cœur jazz for Open Book

Pianist and composer Fred Hersch has won the Prix in Honorem Jazz as well as the Coup de cœur jazz from l'Académie Charles Cros 2017 (prize in honor of jazz from l'Académie Charles Cros).  The prize honors the totality of Hersch’s career on the occasion of the release of his solo disc, Open Book (Palmetto Records, September 8, 2017), and of his autobiography, Good Things Happen Slowy: A Life in and Out of Jazz (Crown/Archetype, September 12, 2017). 

Hersch has also won the Coup de cœur jazz for his recording Open Book.


“I am so honored to be recognized by l'Académie Charles Cros,” says Hersch. “The Académie has been a generous and long-time supporter of my work and I am humbled and grateful for these major honors.”

Hersch will appear in concert in Paris at Sunside in Paris at 9 pm, November 21 and 22, 2017.  For a full touring schedule go to www.fredhersch.com.

As French journalist Xavier Prévost writes in the press release issued by l'Académie Charles Cros:


“Each time one hears Fred Hersch (especially solo), one is struck by the type of magic which imposes itself from the opening measures: by the strong counterpoint in the left hand, while the right hand lays out, comments on, and extends the melodic field (the song). The clarity of the lines which progress in complete independence, and yet with absolute coherence, reminds me each time of Glenn Gould, who in a challenging, defiant way mixed dizziness and legibility. And also Lennie Tristano, another example of the direct connection between one’s fingers and the musical thought. And however, there’s nothing abstract: sensuality and lyricism come from the same voice. This musical miracle takes place whatever the material: an original composition, dreamy as much as sinuous; a jazz classic from the 50’s (Whisper Not); a bossa nova that has often been reworked (Zingaro, alias Retrato Em Barnco E Preto, also known as Portrait in Black and White), played the way one plays a prelude and fugue of Bach, but while forgetting the division between them; even a totally free improvisation (Through the Forest), recorded in concert, where the vertigo becomes unfathomable. And it’s all pleasant, including Eronel by Thelonious Monk (the pianist loves to go in that direction, notably at the end of a performance). To conclude, Fred Hersch offers us a piano version of a song by Billy Joel, And So It Goes, as if to remind us of his attachment to song. Everything is played with a devotion to jazz, and with the great freedom of interpretation and even of metamorphosis that that music offers.


One can retrace the life of this rare musician by reading (in English at the moment) the autobiography that he has just published: Good Things Happen Slowly, A Life in and Out of Jazz (Crown Archetype). There one discovers the singular journey of an artist who, in his personal life as well as in his musical life, employs all his energy to become himself. Music in general, and jazz in particular, are invoked in these pages with force and lucidity, notably through the portraits, and descriptions of meeting with major artists: Jaki Byard, the encyclopedic professor of jazz piano at New England Conservatory in Boston; McCoy Tyner, who after a concert made himself accessible to the admiration of a young musician. What follows, chapter to chapter, hides nothing of a life which had its moments of suffering and grave illness. And yet Fred Hersch is here, and well, more alive than ever, even more accomplished in his art!

The Prix in Honorem permits us to celebrate a complete artist who has issued under his name dozens of discs, who has also tackled chamber music, and who has been the pianistic accompaniment to the great jazz voices (Norma Winstone, Jeri Brown, Jay Clayton, Janis Siegel) but also the great opera voices (Renée Fleming, Dawn Upshaw).”

About Fred Hersch

A select member of jazz’s piano pantheon, Fred Hersch is a pervasively influential creative force who has shaped the music’s course over more than three decades as an improviser, composer, educator, bandleader, collaborator and recording artist. A ten-time Grammy Award nominee, he continues to earn jazz’s most prestigious awards, including recent distinctions as a 2016 Doris Duke Artist and 2016 Jazz Pianist of the Year from the Jazz Journalists Association. 

Hersch has long defined jazz’s creative edge in a wide variety of settings, from his breathtaking solo recitals and exploratory duos to his extraordinary trios and innovative chamber settings. With some three dozen albums to his credit as a leader or co-leader, he consistently wins an international array of awards and lavish critical praise for his albums. The 2015 Palmetto album Fred Hersch SOLO, his tenth solo disc won the French Grand Prix de Disque de L’Académie de Jazz. His 2016 release, Sunday Night at the Vanguard (Palmetto), is a definitive statement by his long-running trio with bassist John Hébert and drummer Eric McPherson; it earned Hersch two Grammy nominations. His newest solo CD is Open Book.

Hersch has earned similar distinction with his writing, garnering a 2003 Guggenheim Fellowship in Composition. He’s collaborated with an astonishing range of artists throughout the worlds of jazz (Joe Henderson, Charlie Haden, Art Farmer, Stan Getz, Bill Frisell); classical (Renée Fleming, Dawn Upshaw, Christopher O'Riley); and Broadway (Audra McDonald). Long admired for his sympathetic work with singers, Hersch has joined with such notable jazz vocalists as Nancy King, Janis Siegel, Cecile McLorin Salvant, Norma Winstone and Kurt Elling.

The feature documentary The Ballad of Fred Hersch premiered at the prestigious Full Frame Film Festival in March 2016 to a sold-out house and rave reviews and is now streaming on Vimeo. His memoir, Good Things Happen Slowly, was published 2017 by Crown Books/Random House.

About The Académie Charles-Cros

The Académie Charles-Cros, (Charles Cros Academy) is an organization located in Chézy-sur-Marne, France, that acts as an intermediary between government cultural policy makers and professionals in music and the recording industry.

The Academy is composed of fifty members specializing in music criticism, sound recording, and culture. It was founded in 1947 by Roger Vincent with Armand Panigel, José Bruyr, Antoine Goléa, Franck Ténot, and Pierre Brive – critics and recording specialists - and led by musicologist Marc Pincherle. It was named in honor of Charles Cros (1842–1888), inventor and poet (friend of Arthur Rimbaud and Paul Verlaine) who was one of the pioneers of sound recording.

The Academy continues to stay abreast of advances in technology, from the development of 78 RPM gramophone records to CDs, DVDs, playable torrents and all other readable, transportable music formats available today.

Every year since 1948, the Academy has given out its grand prize, the Grand Prix du Disque, to recognize outstanding achievements in recorded music and musical scholarship. Prizes are awarded in the field of popular song, classical music, jazz, and other categories of recorded music, as well as for outstanding books of musicology. Categories vary from year to year, and multiple awards are often made in one category in the same year.

Almost Black Friday! (CHALLENGE RECORDS)


Coming friday it is Black Friday and we celebrate that with exclusively on that day, a 30% discount on our website challengerecords.com! This is the perfect opportunity to order your holiday presents next friday with this special discount.

The most wonderful albums for a great price and ideal as a present for the coming December month. 

This discount is valid until Saturday, November 24th 12PM (UTC)

* The discount is available on selected labels (Challenge Classics, Challenge Records, Challenge Jazz, Buzz, CuGate Classics, Double Moon Records, Retrieval, Between the Lines, Globe, Fondamenta, Phaedra, EPR-Classic, Signum, TCB, Piano 21, Lawo Classics, Berthold Records, V-Flow, Daybreak, Andrey Klemm Productions, Timeless Jazz Legacy, A Records, JJ-Tracks, PineHill, Van Dyck Records, Supertracks Records, Drukplaten, Fineline, SunnyMoon Records and Antoine Marchand).

lunes, 20 de noviembre de 2017

DUB SYNDICATE unveil previously unreleased track 'Boggled Minds'


Ahead of their extensive early catalogue reissue,
available November 10th via ON U SOUND.


Ahead of the reissue of their classic albums, the legendary Dub Syndicate dig deep into their vaults, unveiling a previously unreleased track ‘Boggled Minds’ (Lifted from the forthcoming ‘Displaced Masters’ LP, which features nine stripped-back takes of early On-U dub magic.).

Dub Syndicate was initially one of the many studio-based projects masterminded by Adrian Sherwood in the early days of his maverick independent label, built around deep and heavy reggae rhythms, and marshalling the talents of a revolving cast of Jamaican and British musicians. It evolved over time to become the main musical vehicle of Lincoln Valentine Scott aka Style Scott (former drummer with the Roots Radics and Creation Rebel), usually involving Style laying down backing tracks in Kingston, and then Adrian applying his mixing board magic when the tapes arrived in London.

The first four Dub Syndicate studio albums are being re-pressed on vinyl in high quality new editions with printed inners, download cards and bonus tracks where available. This includes the rare second album, One Way System, originally a cassette-only edition on the seminal ROIR label from NYC, and reissued now as a double gatefold version with new artwork, re-cut at 45rpm for maximum frequency impact. Also included in this batch is the collaborative North Of The River Thames set with ace melodica player Doctor Pablo. Once again everything is anthologised on CD in the 5-disc Ambience In Dub 1982 - 1985 boxset, complete with 24 page booklet.

In addition to many much-loved studio albums such as Stoned Immaculate, Dub Syndicate also became a barnstorming live act and a staple of the festival circuit. Tragically, on 9 October 2014 Style Scott was senselessly murdered in his home in Jamaica. An irreplaceable and unique musical talent is gone, but his music will live on forever.

The reissue campaign encompasses the following Dub Syndicate releases:

‘The Pounding System’ LP
‘One Way System’ 2LP
‘North Of The River Thames’ LP (with Doctor Pablo)
‘Tunes From The Missing Channel’ LP
‘Displaced Masters’ LP (Unreleased versions from the vaults)
‘Ambience In Dub 1982 – 1985’ 5CD + 24-page book


On-U Sound Records is an English record label best known for releasing its own unique flavour of dub music since the 1981. The label is owned by producer Adrian Sherwood and home to acts such as Tackhead, Dub Syndicate, African Head Charge, The London Underground, Little Annie, Creation Rebel, Mark Stewart, Gary Clail, New Age Steppers and Singers & Players. Producer Adrian Sherwood generates the On-U signature sound.

ESKORZO presenta La Tumba


· Hoy se estrena “La tumba”, segundo adelanto del próximo álbum de Eskorzo, Alerta Caníbal.

· El tema cuenta con la colaboración de Amparanoia.

· El disco, octavo en la carrera de Eskorzo, verá la luz el 1 de diciembre.

· Las primeras diez fechas de la gira de presentación se anunciarán el próximo lunes.



Tras el regreso de su exitosa gira por Colombia, los granadinos se centran por completo en la promoción de su inminente octavo álbum, Alerta Caníbal. Hoy vuelven a la carga y nos presentan el segundo adelanto, "La tumba", donde cuentan con la colaboración de Amparanoia, reina madre del mestizaje patrio.

En "La tumba" se vislumbra un claro acercamiento hacia la música latinoamericana y, de paso, hacia la iconografía fúnebre de México. A la canción le sienta como un guante la voz de Amparanoia, que se animó a colaborar con el grupo en las sesiones de grabación, en plena Vega de Granada. Del mismo modo, Amparanoia participa en el videoclip, una filmación espectacular dirigida por Miguel Ángel Caro.

Las imágenes están concebidas como homenaje a los desaparecidos en cualquier conflicto bélico. Se trata de una crítica a la sinrazón de cualquier guerra. Según el autor del vídeo, “es una metáfora de lo que le ocurriría a estas víctimas en un plano astral sin definición, en un limbo, donde los protagonistas se abrazan a la utopía de la paz”. Así que "La tumba", con juguetones fraseos de guitarra eléctrica, los metales festeros y el canto jaranero de Tony Moreno, muestra toda la esencia de Eskorzo: un bailecito a pesar de las penas de los que se quedan muertos en vida.


Eskorzo son pioneros de la música mestiza en España. Comenzaron su andadura en 1995. Tras el éxito cosechado con su anterior entrega, Camino de fuego (2014), el septeto atraviesa ahora su plenitud. Alerta Caníbal supondrá una apuesta decidida por los ritmos y sonoridades de Latinoamérica. Un emocionante viaje musical en el que cumbia y rock conviven con bullerengue, afro-rumba, balkan, punk, o incluso vallenato, siempre con los matices únicos y la calidad que han definido las producciones de Eskorzo.

Crítica y seguidores coinciden en que Eskorzo viven un momento de plenitud y madurez. Los andaluces han dado varios pasos más allá en su exploración musical a lo largo de esta década. Varios cientos de conciertos en el viejo continente avalan su conquista del público europeo. Casi nadie se había atrevido, por ejemplo, a experimentar con las claves del afrobeat del tótem nigeriano Fela Kuti (Eskorzo Afrobeat Experience, 2013). En 2014 encandilaron a todos con el single de "Suave", aplaudido éxito en el que Eskorzo se unían con Coque Malla y el acordeón de Celso Piña, titán de la cumbia mexicana.

La banda está integrada por Tony Moreno (voz), José Uribe (batería), Manuel Collados (guitarra y coros), José Gustavo Cabrerizo (bajo), Jimi García (trompeta y coros), Prudencio Valdivieso (trombón y coros) y Zeque Olmo (percusión).

Llega la 10º edición de MESTIZAO FESTIVAL a Granada, los días 24 y 25 de Noviembre


MESTIZAO FESTIVAL
X EDICIÓN
NOVIEMBRE
VIERNES 24 Y SÁBADO 25
GRANADA · SALA EL TREN

BALKAN BEAT BOX
THE SKATALITES
CHE SUDAKA
LA SRA. TOMASA
JAMMIN'DOSE
JUNO & DARRELL
AJSAN BALKAN
OH MY RITA!
···
CABALLITO SOUND SISTEMA
SR. LOBEZNO
BARBASS SOUND
RADIO BABYLONIA DJS
DJ ANDYLOOP
ION DIN ANINA

ABONO 2 DÍAS X 26€  ·  ENTRADA POR DÍA 16€ 
Precio en Taquilla: 30€ Abono 2 Días - 20€ Entrada por día
venta en www.mestizao.com y Discos Bora Bora (Granada)


Llega la X edición del festival invernal más importante de las músicas del mundo y sonidos mestizos en Andalucía.

Los próximos viernes 23 y sábado 24 de noviembre Mestizao Festival vuelve a Granada en su X edición.

La cita granadina con las músicas del mundo más bailables se consolida y pasa de una sola jornada a un fin de semana completo.

Balkan Beat Box y los legendarios The Skatalites encabezarán las dos noches de conciertos en la sala El Tren.

Cumplir diez ediciones es algo de lo que pocos festivales pueden presumir en estos tiempos de burbuja y volatilidad festivalera, pero Mestizao no sólo ha llegado a este hito, sino que lo hace en su mejor estado de forma, y con su programación más extensa y ambiciosa hasta la fecha.

La noche del viernes 23 estará liderada por los israeloneoyorquinos Balkan Beat Box, en plena gira de presentación de su exitoso “Shoot it Out”. Los acompañarán La Sra. Tomasa, Ajsan Balkan, Oh My Rita!, Caballito Sound Sistema, Dj Andyloop, y Ion Din Anina.

El sábado 24 tomarán el relevo los 30 discos y 53 años sobre las tablas de los incombustibles The Skatalites, junto a Che Sudaka, Jammin’ Dose, Juno & Darrell, Sr. Lobezno, Barbass Sound, y Radio Babylonia Djs. 

Las entradas para cada una de las jornadas se pueden adquirir todavía a 16€, y el abono de dos días por sólo 26€ en www.ticketea.com y físicamente en Discos Bora-Bora (Granada)

Comienza la cuenta atrás! Música multicultural con raíz y festividad, Granada es Mestizao!