79 Results for : percussive
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V
As menacing and unhinged as ever, the pride of Staten Island is back with their fifth full-length offering, V. Raw and absent of modern technological trappings, the Budos pick up where they left off with 2014's "Burnt Offering," and finds the Budos expanding on the brooding, fuzz-fueled riffs, whilst harkening back to the Ethiopian inspired rhythms and percussive proclivity that put Budos Band on the map. "Old Engine Oil," a rocker at heart, kicks things into gear and delivers a high-octane burst of Budos mayhem. "The Enchanter" serves up a classic dose of upbeat afro-soul, drenched in a venomous assault of wall-melting proportions that leads you to the "Spider Web," a rumbling ode to the Cowbell Colossus whose punctuated horn stabs take you on an untamed ride to the dark side of the spoon. The side closes with "Peak of Eternal Night," whose odd time signature and haunting horns transport the listener to the peak of a menacing otherworldly landscape that's further explored in the final track "Ghost Talk" - a guitar driven groover that gives way to an organ-washed space ritual beneath sun-summoning trumpet blasts.Side Two opens with "Arcane Rambler," an interstellar ramble across space and time that leaves the listener in cosmic purgatory. "Maelstrom," released as a single shortly after the release of "Burnt Offering," boasts waves of furious sonic power that batter the listener via a maw of snarling sea-foam bubbling with the power of the Budos. Soon darkness falls as "The Veil of Shadows" is draped across the land - in this realm of twilight one quickly loses their way, only to find themselves at a dusk-to-dawn pyre of budonian proportions. "Rumble from the Void" then pulls you into a percussive black hole of formless beat-worship. There are no horns to help you here, just the tentacles of rhythm that tirelessly pull you back into the void. "Valley of the Damned" closes the record, it's twisting groove coupled with hypnotic drones of synth and horns transports you to a place of little hope and and even less reason.You've been warned...KEY MARKETING POINTS:? Album cover features a linoleum print by Budos Band Drummer, Brian Profilio, a NYC public school art teacher? Previous PR/Radio coverage: Wired, Pitchfork, NPR Music, NY Times, Last Call w/ Carson Daly, CBS Saturday Session, WNYC Soundcheck, KUTX, WFUV, WFMU...? Tour Dates confirmed in Seattle, Portland, San Francisco, Brooklyn &, New York? Official music for "Old Engine Oil"? Radio campaign by Distiller Promo + PR campaign by Girlie Action? "A punishing set of instrumentals...an uncompromising visceral appeal...party music with a scary edge" - Billboard? "Spooky, funky, freedom-loving fun: The chance to embrace something like that doesn't come along often, and it's to be cherished" - Pitchfork- Shop: odax
- Price: 17.99 EUR excl. shipping
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Celebrating Our Time to Remember
...AS COMPOSER: 'I have known Thiago de Mello for a couple of years, and have just heard three entire sets of Thiago's music at the annual Brazilian Jazz Festival presented by the Jazzmania Society, June 14th, 1980. I was very impressed by his writing - a unique and genuine style which encompasses a variety of moods and rhythm patterns paralleled by rich melodic and harmonic phrases. This is Thiago's strength, and from it, he has created a style of his own. Thiago de Mello is a very talented and unique professional composer who definitely deserves to be heard.' Gil Evans Jazz pianist, arranger, composer and bandleader. ____________________ 'I have been a performing musician for a quarter of a century and have had the privilege to tour the world wearing different musical 'hats'. Hundreds of concerts and few that are spiritually memorable. I can count on one hand the musical collaborations that have the spiritual effect on me that Thiago's artistry has had. Thiago's art is sincere and pure, his gifts speak from the heart of goodness. The world would be a more peaceful place if the folks that live on it were exposed to what Thiago is trying to communicate. And, I have no plans to buy any armor in the near future! Thank you, Thiago and God Bless.' Bil Jackson Principal Clarinet, Colorado Symphony Artist-Faculty, Aspen Music Festival Artist-Faculty, University of Northern Colorado ___________________________ '...His compositions...are beautiful. But they are also gentle, hypnotic, bewitching and beguiling.' The Boston Globe ___________________________ 'The Music of Thiago'. A unique blend of simple melodic material combined with a richness of harmonic textures whose bass lines parallel the chromatic sophistication of the late romantic composers! All this, and the varied and subtle syncopation which commands it's structure, has it's roots in the simple chants of the Indians of his native Amazon, in the intricate percussive texture of the Afro-Brazilian songs of the Brazilian Northeast, and in the sophisticated rhythms of contemporary musical idioms'. Richard Kimball Pianist & Composer _______________________ ...AS PERFORMER: '[workinkg with Thiago] created new dimensions of rhythm, color and nuance. His wizardry at the helm of such exotic instruments as the rain stick, berimbau, jungle's mouth and tortoise shell evoked the spirit and image of the rain forest itself.' Sharon Isbin Classical Guitarist ________________________ 'Gaudencio é daqueles artistas nacionais considerados estrelas do primeiro time de instrumentistas internacionais mas que são praticamente desconhecidos em seu próprio país.... A música de Gaudencio não se resume... em esquisitices de percussão... é o que o aluno de bateria da escola de música, Nélson Júnior, 18 anos, gosta de chamar de fusion. 'Ele é moderno, mas ao mesmo tempo mistura elementos eruditos', descreveu ao final do show. Análises à parte, Júnior mandou seu recado: os brasileiros precisam conhecer Gaudencio'.' André Garcia Correio Braziliense Brasília, Brazil _______________________ '... Thiago de Mello is a genius of percussion.' Jay Hoffman, WCBS News Radio New York City, USA ______________________ 'When I heard Mr. Thiago de Mello play his works on the guitar, I was truly amazed! His perfect conception of harmony in coordination with the proper bass is simple remarkable! This precious gift, this rare ability to sense and to feel every minute harmonic changes in supporting the melody was so expertly executed, that I received the utmost pleasure when listening to Mr. Thiago de Mello's playing. A truly unique talent!!!' Jacques Press Conductor & composer ______________________ 'On a range of instruments, Thiago de Mello produced extraordinary sounds. He's one of those percussionists who constantly plays melody, he shapes rhythms with the sensibility of a poet, coloring like an instrumentalist, phrasing like a singer.' The Boston Globe Boston, USA.- Shop: odax
- Price: 28.86 EUR excl. shipping
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Derailed
A heavy engine hum formed by the blunt bass rhythms of Selena "No Pick" Paquiet works as a heart beat held steady by the percussive stylings of Taryn "Hot Legs" Dorsey. It is dark heat strummed from the guitar of Nicole "Christ Child" Peoples and accompanied by the steam whistle wail of Rachael Ferguson that create a sound that is Locomotive, Funk, Soul and Punk.- Shop: odax
- Price: 26.25 EUR excl. shipping
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Creature
New and original things are always tough to describe. The urge to classify is comforting, perhaps necessary. Is it chamber-jazz? Or some kind of indie alternative rock? What about new wave improvisation? Frankly, I can't tell you. First and foremost, there is Ila Cantor's guitar. Cantor is a deep guitarist, her pick and strum and pluck equally resonant with classical Spain and hardcore rock, gypsy jazz and the cool touch of masters like Jim Hall. Creature is a strikingly pure guitar album: pure, but definitely not purist. There are effects, electronics. How could there not be, so many decades after Charlie Christian and Jimmy Hendrix and Robert Fripp? True to her moment in the history of the instrument, Cantor makes her guitar speak with a vocabulary replete and plangent, echo and call and foray into the unknown. No less definitive are Cantor's compositions: deliberate, almost stately in their postulation of theme, classical in their restraint - until they turn in sinuous development and break out in meticulous rhythmic discord, progressing not only harmonically but sonically, always coherent and shaped by a craft both measured and luxuriant. Like her guitar Cantor's writing embraces rather than fuses diverse musical forms. It is an unhyphenated music all her own. And then there is Cantor's trio, with Matt Brewer on upright bass and Tommy Crane on drums. The responsiveness - the back and forth of swelling and receding sound and percussive counter-rhythm, the absolutely assured foundation across which Cantor weaves her beguiling motifs and riffs and lines - is thrilling. This is a tight risk-taking trio, an organism that adapts impressively with every sonic bud and bloom. Why Creature? But else what do you call an animal, a living breathing vital thing that as yet has no name? This is indeed living vital emergent music. Before we try to name it, listen.- Shop: odax
- Price: 26.65 EUR excl. shipping
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Collision
Daniel Heagney's debut album 'Collision' provides the listener with a wide variety of solo percussion music. It includes the world premiere recordings of Peter Klatzow's 'Etudes for Solo Marimba' and Brett William Dietz's epic multiple percussion solo 'Nocturne'. The Album is rounded out with Rodney Sharman's beautiful vibraphone solo 'Apollo's Touch' and Steven Mackey's famous marimba work 'See Ya Thursday'. Review of Collision from the Percussive Arts Society September issue of Percussive Notes: It is always exciting to hear a young performer who is able to maneuver easily between a variety of styles and instruments with a unique maturity that is appreciated. Containing three works for keyboard percussion and one for multiple percussion, Daniel Heagney has produced a CD that should be recommended listening for those interested in both new repertoire and sensitive interpretation across a variety of percussion instruments. Composed for two, three, and four mallets, Peter Klatzow's "Etudes for Marimba" is a six-movement work that explores contrasting musical ideas and technical concepts on the instrument. These concepts range from the application of broken octaves to advanced polyrhythms. Commissioned by Heagney, each short movement is beautifully composed and performed. I hope this becomes a standard work on graduate student and professional marimba recitals. Rodney Sharman's "Apollo's Touch" is a quiet and intimate work for solo vibraphone. Seventeen minutes in length, it is the longest selection on the CD. Meandering freely between tonality and atonality, it produces a trancelike listening experience. While some of the pedaling of longer melodic lines gets a little blurry, Heagney's attention to detail renders a sensitive and affective performance. Steven Mackey's "See Ya Thursday" serves as a showcase for both the performer's technical and musical skill. Heagney displays this as the somewhat quirky musical lines are presented with clarity and intrigue. Scored for a variety of percussion instruments (bongos, tambourine, bass drum, cowbells, wind chimes, and tubular bells) and voice (percussion-like bursts of yelling), Brett Dietz's "Nocturne" is the most compelling work on the CD. The dialogue between various timbres almost gives the impression of a percussion ensemble piece. The introduction, disappearance, and subsequent reappearance of sonic material throughout clearly delineate the form and keeps the listener engaged. Heagney's strength as an interpreter is his sensitivity and patience in shaping each line, melodic or rhythmic, in a way that keeps the listener from being either bored or overwhelmed. -Jason Baker.- Shop: odax
- Price: 19.90 EUR excl. shipping
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Out of Water
European swan songs fly the nest From the moment she began, Rebecca Jones was whispering her paeans of broken hearted rats and autumnal loneliness to rapt Newcastle audiences. These early gigs served as a preview of a talent that, only months after she started out, has avoided all of the conventional trappings that befall most acoustic players: her haiku-esque lyrics capture glimpses of birds flying south for the summer, her songs cherry pick the percussive oddness of Tom Waits and mix it with the continental flair of Edith Piaf, and her unflinching live performances draw together the textures of woodwind, brass and string accompaniment. Rebecca has since become a unique voice in the North East music scene, happy to share a bill with unplugged or rock acts, and has won plaudits from the local music press, prompting Narc. Newspaper to include one of her recordings on a showcase CD of Tyneside-based talent. Jones' background informs much of her work... her international influences are as a direct result of her own migration: she was born in Dublin, raised in Brussels and wrote much of the album while travelling in Cambodia. She later worked with rare and endangered birds while channelling her love of the great outdoors into her music. Her repertoire now nimbly pays it's respects to American pop trailblazers Janis Joplin and Del Shannon, while at the same time encompassing the widescreen emotionalism of European heroes Jacques Brel and Carmen Linares. Only with more birds. And rats. The result is Out Of Water, her debut LP available from mid-September on Ex Libris Records.- Shop: odax
- Price: 19.79 EUR excl. shipping
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Rhyme or Reason
James Walker is a percussionist and composer specializing in jazz vibraphone and marimba. His music ranges from acoustic, straight-ahead jazz, to more electronic contemporary styles. James is one of the minority of jazz mallet players who have embraced electronics in creating his sound, using effects processing to create new timbres rooted in the beautiful natural sound of the vibraphone. James' personal sound is influenced not only by vibraphone masters such as Gary Burton and Bobby Hutcherson, but also by guitarists like Mike Stern and Pat Metheny. RHYME OR REASON has achieved radio air play in the US and abroad, and James' writings on percussion and jazz performance have been featured in Percussive Notes and Jazz Player magazines. Check out the sound files listed at left to hear the variety of sounds found in James' mallet work, including the warm electronic vibes sound (using signal processing) on 'Mirage,' the marimba background figures on 'Passport,' and the variety of percussion instruments used on 'East Shore,' ranging from vibraphone to steel pan to orchestra bells. The CD also reflects a variety of musical styles, including the Brazilian-influenced 'Mirage' and 'Passport,' the straight-ahead jazz of 'The Natural,' the Pat Metheny-inspired 'East Shore,' and the ballad, 'Don't Go.' A native New Englander, James recently returned to his home state of Connecticut after spending several years in the greater Chicago area. He currently resides in western Connecticut with his wife, Sara (sharing their home with their cats, Charlie, Murphy and Sammy). In addition to leading his own group, James freelances throughout the northeast corner of the U.S., having worked with such prominent local artists as Lance James, singer Mary Taylor, and percussionist Dwight Baldwin. He has recorded as a sideman with jazz saxophonist Ken Gioffre, singer/songwriter Michael Branden, guitarist Brad Ard, and Chicago steel pan artist Paul G. Ross.- Shop: odax
- Price: 16.99 EUR excl. shipping
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Walking Stones
This recording has sold over 50,000 copies which for Celtic and traditional music is outstanding. Here are some comments about the CD and Ken's playing (bio below): Rated as the most influential and popular hammered dulcimer player in a survey of players for a master's thesis on the hammered dulcimer. Wesleyan University, CT, 2005. "...one of today's most accomplished, musical hammered dulcimer artists...A hammered dulcimer player of great taste and sophistication," Elderly '...nothing short of astonishing' The Connection "...without a doubt, Ken Kolodner is one of the hammered dulcimer's top exponents, playing with a dexterity which would stun many a would-be hammerer." Folk Tales Magazine "...virtuosic" Audio "...stunning musicality" Dulcimer Player News "...Outstanding...soulfully beautiful." NY Times "...a fiddle and hammered dulcimer virtuoso...just the right amount of fire...totally delightful..." Sing Out, March 2005 "...A marvelous collection...delightful..." The Washington Post "...joyous...reminiscent of Joe Venuti's work...." Celtic Beat "He's a master at finding what Alasdair Fraser appropriately calls the "rhythmic underbelly" of a tune." Potomac Valley Fiddle Club Newsletter "...stirring...evocative..." The Washington Post, April, 2005. "This is just about all anybody could ask for in an instrumental recording. The tunes are all great...Ken's playing positively sizzles ...delightful...wonderful...Typically, Ken makes great use of syncopation...The up-tempo rhythms are really infectious..." Dulcimer Player News, 2005 'Queen's Polka starts out with a very cool damped down dulcimer backing up Laura's exciting fiddle lead with Robin playing a terrific cittern back up. This leads up to a wonderful crescendo transition into the Bournish Polka where the dulcimer takes an unmistakable driving lead. It excites me every time I hear it...You have here, the first ever Dulcimer Times hammered dulcimer Five stars album!' Dulcimer Times 'Walking Stones is a very rewarding musical journey... delightful listening. The whole is greater than the sum of the parts. The instruments weave seamlessly in and around each other and deliver that 'Celtic pulse' that, done right, seems as effortless and natural as breathing.' Dulcimer Player News "...inspiring...the interplay between the hammered dulcimer's precise percussive qualities and the graceful fluidity of Risk's fiddling was a real treat." "Rambles: A Cultural Arts Magazine" As a major part of the rebirth of the hammered dulcimer in the US, Ken is recognized as one of "one of today's most accomplished, musical hammered dulcimer artists...A hammered dulcimer player of great taste and sophistication," (Elderly). Ken is widely viewed among players as one of the most influential in the United States. Ken is well known for his improvisational and expressive style that has been described as 'nothing short of astonishing' (The Connection), "outstanding" (The New York Times), "marvelous" (The Washington Post) and "virtuosic" (Audio) and "stunning in it's musicality" (Dulcimer Player News) and "not to be missed" (USA TODAY). And Folk Tales Magazine writes, "...without a doubt, Ken Kolodner is one of the hammered dulcimer's top exponents, playing with a dexterity which would stun many a would-be hammerer." In more recent years, Ken has received greater recognition as an old-time fiddler. As a member of the trio Helicon (with Chris Norman and Robin Bullock) and Greenfire (with fiddler Laura Risk) and in solo appearances, Ken has toured extensively throughout North America and Europe and has been featured in nationally broadcast concerts on NPR, German National Radio, The Thistle and the Shamrock, the CBC, Performance Today, All Things Considered, and on the Voice of America (with a listening audience of over 90 million), as well as countless television and radio broadcasts around the U.S. Ken has been featured at numerous major festivals and performing arts centers in the U.S., was the first American to be featured at the International Hackbrett Festival. Among his performances with many choral groups and major symphony orchestras, was an appearance in Emmy-nominated CBS-TV Christmas special as the featured soloist with a combined chorus (The Baltimore Choral Arts) and a chamber orchestra of members of the Baltimore Symphony Orchestra. In addition to his work as a performer, Ken is highly sought after as a teacher of the dulcimer and, more recently the fiddle, having taught at countless festivals and music camps (on both fiddle and dulcimer) throughout the U.S. including The Swannanoa Gathering (thirteen years), Common Ground (four years), the John Campbell Folk School (five years), the Augusta Heritage Festival (three years), the Summer Solstice Festival (three years), Meadowlark (ten years) and numerous others. Adding to Ken's previous recordings, Ken's first solo release of Celtic music in 1997, Walking Stones, was a huge critical success. With sales of 50,000+, the CD hit the top of the World Music charts and was a top seller for BMG in their Classical/World Music category. In addition to solo performance, Ken has maintained a busy recording schedule. With Helicon alum Robin Bullock and Cordelia's Dad fiddler Laura Risk, the trio recorded the CD Greenfire in 1998. Helicon's A Winter Solstice (1999) became the first release for Dorian Recordings to win a coveted "Indie" (akin to a Grammy for thousands of Independent labels) for Best Seasonal Recording. Ken's eighth CD, A Roof for the Rain with Laura Risk, cittern-wizard Joseph Sobol and Keith Murphy (of Nightingale) again on the Dorian label was widely praised. Ken contributed an original work which has now been widely recorded ("Caspian Lake") to Mel Bay's Anthology of Masters of the Hammered dulcimer and has written three other tune books. Ken's most recent release in 2005 was Journey to the Heartland, on Maggie's Music. Ken has guest recorded on CDs by Scottish National Fiddle champion, Elke Baker, as well as many hammered dulcimer players (whom he helped mentor as well): Anna Duff, Susan Sherlock, Samantha Oberkfell, Rick Thum, Rachel Sprinkle and Deb Justice. Most recently, Ken produced The Preacher's Daughters featuring Rachel Sprinkle and Deb Justice. Ken's playing is also featured on a the newly-released compilation of many of the worlds' best hammered dulcimer players collected from many years of performance at the International Hackbrett Festival in Munich, Germany. Without any formal music background, Ken began learning to play the fiddle at age 23 by listening to recordings of bluegrass and American Old-time or Appalachian music. A few years after picking up the fiddle, Ken discovered the hammered dulcimer while in graduate school. Ken's interest in the two instruments developed into an ever-expanding musical appetite beginning with Celtic music and eventually into music spanning many cultures ranging from South American music to Chinese music. While he has mastered the fiddle and hammered dulcimer without formal musical training, he has had plenty of schooling. Along with his hammers, Ken holds a PhD in public health from Johns Hopkins. While most of Ken's professional career is devoted to music, Ken still actively works as a part-time epidemiologist (with over 90 publications), while his family and an avid interest in soccer maintain center stage!- Shop: odax
- Price: 27.21 EUR excl. shipping
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River of Romance
Music Biography of Paul Ramana das Silbey Romantic classical concert pianist Spontaneous compositions 'streaming' through his heart and soul Mr. Silbey has been a pianist since childhood, when, in New York City, he studied for ten years with Nina Grosavitch Zavadsky, star pupil of the legendary Rimsky Korsakoff. Mr. Silbey's closely supervised training mirrored that of the piano student in the movie 'Madame Souzatska', which was taken directly from Ms. Grosavitch's life and teaching methods. As Mr. Silbey matured, he became the accompanist for the Columbia University Glee Club, and Director of the Barnard College Glee Club in the late 1950's. After performing in New York's Town Hall, Steinway Hall and Carnegie Hall as a young man, he married and turned to a career in management, marketing and sales for a major corporation. In 1970, he decided to explore more fully the inner and outer worlds of experience, which led to a renewal of musical study and performance. After several years of learning the complexity and variety of world music, jazz and shamanic drumming, he formed a succession of experimental world beat dance bands, first in New York City in 1973 (the Collective Star), and later in Northern California in 1980 (Angelsong) With the advent of the new music technology, he drew on his classical background of theory, harmony and composition, while incorporating a wealth of contemporary percussive rhythms, melodies and arrangements. This marriage of classical and contemporary traditions led to several pioneering and creative dance/jazz/world beat albums: Music of the Mantric Wave (1974), Garuda (1975), American Mantra (1978), Angelsong (1982), Sound Power (1985), Millennium Dance (1990), Ecstatic Sound (1992), Ecstatica 1 (1994), and Ecstatic Emergence (1998). He returned to the live solo piano in 2000, and with intuition coupled with effulgent heart and soul, started composing/performing in a spontaneous flow he calls 'streaming'...almost immediately receiving an overwhelmingly enthusiastic response. Three romantic piano compositions and three videos are now completed. He invites you, the listener, to enjoy, dream, envision, voyage and experience the musical CD's: River of Romance (U 112), Love's Healing touch (U 114), and Worlds of Love (U 113). Also to enjoy are his two beautifully videotaped concerts, one performed for Thanksgiving 2000, the other for Valentine's Day 2001, recorded live at the Falkirk Cultural Center Mansion in San Rafael, Ca. The Thanksgiving concert is available in two parts, plus a CD (U 115) that combines the sound tracks of both of them (Live at Falkirk 2000). The Valentine's Day concert was shot for PBS airing and distribution. He performs at concerts, benefits, places of worship, social parties and intimate gatherings. In a new burst of inspired creativity, he has released in 2006 a new CD that is a live piano/harmonium concert, recorded at Fantasy Studios in Berekely Califronia... called 'Romantic Sanctuary'. It is also available through CD Baby. For further information, booking and ordering product, call 415-499-1769, or fax 415-499-9163, e-mail: yaluie@pacbell.net, or write P.O. Box 613, Fairfax, Ca. 94978.- Shop: odax
- Price: 30.58 EUR excl. shipping
