Enough with this gay ass rap crap and mediocre music this board has been reduced to, let's analyse some real music. I'll start:
"Alceu Valenca was born in countryside Pernambuco, Northeast Brazil. He is considered the most successful artist in achieving an aesthetic balance between traditional northeastern Brazilian music and a broad range of electronic sounds and effects from pop music. One can find traces of maracatu, coco and "repentes de viola" (improvising fast-paced Brazilian folk music) in most of his songs. Alceu was able to utilize the electric guitar the electric bass, and lately even a synthesizer was added to his broad scope of musical instruments.
Because of that, Alceu was able to recreate Northeastern traditional music, like baião, coco, toada, maracatu, frevo, caboclinhos, embolada and repentes: all sung with a sometimes rock sometimes alternative sounding music background. His music and his themes are intangible, universal and unlimited. However, his aesthetic basis is genuinely Brazilian Northeastern music."
Listened to pic related & holy shit clearly 10/10! Normies who disagree just don`t get it and can fuck off my Sup Forums
Jack Bennett
DLing it right now.
Eli Bailey
interesting thanks op
Luis White
"Today's Opinion" marks Cuban saxophonist/composer Yosvany Terry's first release as a leader for the Criss Cross label, coming shortly after his attention-grabbing appearance on Brian Lynch's 2011 release, "ConClave Vol. 2." Terry presents his original music with a band of like-minded young players, all rising stars in the Afro-Cuban jazz world: Michael Rodriguez on trumpet, Osmany Paredes on piano, Yunior Terry (Yosvany's brother) on bass, Obed Calvaire on drums, and Pedrito Martinez on percussion and vocals.
Terry's exquisite long-form compositions draw heavily from both authentic folkloric Cuban music, and modern jazz and create a unique and complex original sound. The album's opener, "Summer Relief" begins with an Abakua prayer recited by Martinez before the rest of the band comes in for the rhythmically intricate head that switches effortlessly between a dark Afro-Cuban groove and a tight swing. Terry, Rodriguez, and Paredes all prove to be more-than-competent soloists who are able to play both inside and outside of the rhythm and harmony to great effect and the rhythm section handles every twist and turn flexibly, but with a constant energy and groove. After the solos, the band returns to its Afro-Cuban vamp and Martinez comes back in with vocals, this time leading into a call and response Abakua chant with the rest of the band. Next, Terry and Rodriguez begin trading improvised phrases, bringing up the energy level of the group with each one. As they reach their fever pitch the chant fades in behind them, adding even more energy until they fade out.
Zachary Martinez
The entire band is obviously extremely potent, but it is Terry's compositions that set this music apart. Some, like "Inner Speech" or "Suzanne" lean more toward the jazz side of things, but the intricate poly-rhythms of the music always relate in some way to the Afro-Cuban side of things. The two "quieter" tracks ("Returning Home" and "Another Vision of Oji"), have a feel that hints at Bolero at some points, but Terry's writing creates tension with intriguing harmonies and dissonances, even when the band plays at a softer volume. The final track, "Son Contemporaneo" layers in rhythmically, anchored by a darkly impressionistic piano ostinato, before the whirlwind of a melody begins to unfold. In the improvisation section, the band shows their real potential for abstractness with improvisations that seem to flow effortlessly in and out the harmony and time, but with a simmering groove that is ever-present but ever-changing. Guest keyboardist Gonzalo Rubalcaba adds an extra dimension of abstractness to the piece by contributing another layer of sound to the melodies and group improvisation.
Gabriel Bell
Perhaps the best example of Terry's compositional genius however, is the second track "Contrapuntistico." It opens with a lush piano intro by Paredes that hints briefly at the melody before fading into a driving ostinato figure, over which the rest of the band layers in. Once again, poly-rhythms define the piece and the melody and rhythm section create an interesting push and pull of rhythm. The piece's unique harmony is worth noting too, and Terry doesn't shy away from intense dissonances in the horn and piano voicings. Terry begins the solos lightly, with the rhythm section sticking to a modified tumbao feel, but as his solo progresses the entire band seems to move further away from the traditional feel, but never quite lose it. Paredes solo follows a similar path, but any time things get too abstracted he begins to hint at traditional montuno rhythms (but of course with highly modified harmony). A brief recapitulation of the melody seems to dissolve into a free improvisation fade-out, but then underneath of everything a colorful new piano ostinato creeps in. The band introduces a new theme, a dark tone poem, that eventually leads into a new bassline that the rhythm section repeats, growing in energy each time. As they reach their apex, the horns come back in triumphantly with a new variation of the original melody of the song, now modified slightly to fit the new bassline and groove from the rhythm section! Terry and Rodriguez trade improvised phrases, while the rhythm section continues to grow in energy before one final recapitulation of the melody to end the tune.
Jack Edwards
>Yosvany Terry >Cuban afro
Downloading right away. Include links to the noobs.
Wyatt Kelly
Overall the album is an incredible success, that proves Terry to be not only one of the top improvisors of the day, but also a talented and innovative composer. It is apparent, even from a casual first listen, how much talent and chemistry this band has, but Terry's complex, long-form compositions keep the music engaging through many repeated listens and give the music a sense of depth. The music is intricate and challenging in terms of rhythm, harmony, and form but never loses sight of its traditional folkloric roots. The band matches the challenge of the music with tightly interactive improvisation that is adventurous but never at the expense of the groove. The album sets a new high-mark for "Latin jazz" and should be essential listening for anybody with interest in modern manifestations of the genre.
One of the most interesting yet not very popular late 90s brutal noise rock acts was a project known as The Flying Luttenbachers consisting of over 15 participants who have revolutionized their genre with avant garde, non-structural, free compositions.
One of their higher points was the 1996 album Revenge, but listening to 1997's Gods of Chaos is also recommended.
Dominic Bennett
"The Brothers Sandole" are pianist Adolphe Sandole and guitarist Dennis Sandole, who is probably best known as an early jazz educator. Among those who have studied with Dennis are John Coltrane, Art Farmer, James Moody, Pat Martino, and more recently, pianist Matthew Shipp. "Modern Music from Philadelphia," recorded and released in 1955, is one of the few studio recordings made by either brother, and mixes compositions by both in its set of ten tracks. The compositions are played by an octet including such notable players as Art Farmer, Milt Hinton, and George Barrow, among others.
Adolphe contributes the majority of the compositions, seven of the ten tracks, and his have a distinctly West Coast sound, reminiscent of the cool bop of the celebrated "Birth of the Cool" sessions. His harmony, however is pretty advanced, and the music takes some nice, unexpected twists. He also has an ear for counterpoint and large horn section serves him well as he is able to balance multiple moving lines among them. Perhaps the best example is "The Boys from Istanbul." Contrapuntal lines and modern harmony blend wonderfully with the beboppy approach and phrasing. "Arabu," though less contrapuntal has some nice, subtly dissonant harmonies in its horn voicings.
Carter Clark
Dennis contributes only three compositions to the recording (and two of them are very short) but they are all quite remarkable. "Perhaps One Touch Of..." is a melancholy ballad, with the multiple independent horn lines, creating a shifting layer of harmonic texture that sounds influenced by 20th Century classical music (Bartok comes to mind). Here Dennis takes his only solo of the album, and though it is fairly short, he proves to have quite a different concept from any other guitarist I can think of who was recording in 1955. "Grenadine" is just 40 seconds long, but is jam-packed with knotty counterpoint, crossrhythm, and attractively dissonant harmony. "The Tamaret" is Dennis's final compositional contribution and clocks in at one minute. This piece fits in more with the "cool" aesthetic of his brother's pieces with a laid back swing, however the harmony is still quite striking. Especially the bold unison chords in the horns at the end.
The solos by the band are somewhat hit-or-miss, but they are often quite short, and clearly not the focal point of the album. Farmer gives several good trumpet solos, like on "Arabu" or "Pieces of Eight," and alto saxophonist John LaPorta gives a nice solo on the latter tune as well.
Nevertheless, the solos are all passable in the context of these startling original pieces. Both brothers seem to have a clear goal in mind for the sound of this ensemble, yet they accomplish that goal in slightly different ways, giving the program a bit of contrast. The music sounds influenced at some points by other contemporary composers and arrangers including Gil Evans, Gerry Mulligan, Stan Kenton, and at times Charles Mingus, but the two brothers seem to have developed quite a unique approach to harmony. The generally rather average soloing on the album may hold it back from being a masterpiece, but the album is an undeniably strong statement from these two conceptualist brothers.
DL link here
Nathan Brown
"Gismonti was born in Carmo, Rio de Janeiro, Brazil, into a musical family. His mother was from Sicily and his father was from Beirut, Lebanon. At the age of six, he started studying the piano at Conservatório Brasileiro de Música. After studying the classical repertoire in Brazil for fifteen years, he went to Paris to delve into modern music. He studied with Nadia Boulanger (1887–1979), after acceptance as a student by the composer Jean Barraqué, a student of Anton Webern and Schoenberg. Boulanger encouraged Gismonti to write the collective Brazilian experience into his music.
The musical career of Gismonti spans five decades. The major phases are distinguished by record company, the ensemble format, and the musical collaborators. The most important ensembles are his Brazilian group Academia de Danças, including Mauro Senise (saxophone and flutes), Zeca Assumpção (bass) and Nenê (Realcino Lima Filho, drums and percussion), the duo with Naná Vasconcelos (percussion), and the trio with Charlie Haden (bass) and Jan Garbarek (saxophone). Dança das Cabecas, the first ECM record, was nominated 'Album of the Year' by Stereo Review and received the 1977 'Großer Deutscher Schallplattenpreis'."
Dança Dos Escravos ("Slave's Dance") is a solo album by Brazilian composer and guitarist Egberto Gismonti recorded in 1988 and released on the ECM label."
It's also necessary to point out how the band is, to my suprise, reuniting this year (after exactly 10 years!) for a gig in France on Sonic Protest festival under the lead of it's original establisher, Weasel Walter.
“Brooklyn Aura” is trumpeter Dave Scott’s 2016 release for the SteepleChase label. Scott’s three previous SteepleChase releases have utilized the quintet format, as does this release with a mixture of old and new faces. Returning are tenor saxophonist Rich Perry and bassist John Hebert, while pianist Jacob Sacks and drummer Satoshi Takeishi are new to Scott’s quintet.
The program begins with a short tone-poem “prologue,” then launches into five original works, all long-form pieces that blend free improvisation with composed material. “Persistence” is anchored by a flowing bassline (doubled by the piano) and has a rhythmically driven melody. The soloists play with varying levels of abstractness, but the entire band finds clever ways to reference the melody or bassline, even when their solos seem to break completely free of time or harmony. Both Scott and Perry have somewhat subdued tones on their respective instruments, but they can also achieve an edgy, more caustic sound too. Sacks contributes harmonically, creating tension and forward motion through attractive dissonance and tasteful rhythmic accompaniment. Hebert and Takeishi play reactively, but also manage to keep some semblance of structure, even when the rest of the band seems to have abandoned it.
Carson Robinson
so gay ass hipster music thats obscure is better then gay assed rap crap
The rest of the tracks take a similar approach, but each with a slightly different twist. “Non-adherence” is even more subdued, and the written themes interspersed throughout the piece seem to slowly take shape from what begins as free improvisation. “Eccentricities” takes the energy level up a notch with a rhythmically driven melody that is bitingly dissonant. Propelled by the aggressive drumming, the soloists reach their dynamic and energetic peaks. “Brooklyn Aura” opens with a beautifully restrained piano intro from Sacks before the horns come in, revealing the piece as a colorful ballad in the Wayne Shorter tradition. With Takeishi adding subtle splashes of color on brushes, it is Hebert’s bass playing that really stands out on this track that finds the band at their interactive best. The album closes with “11th Street Obstruction” which has a written line for the horns, but allows for freedom from the rhythm section. The rhythm section seems eager to follow the soloist down any path, and each solo has its own distinct direction and feeling.
With this album Dave Scott takes another step forward with his interesting concept of blending long-form composed works with free improvisation. This approach is seldom successful without a band that is open-minded and open-eared, and luckily, this quintet is both; throughout the record the band puts a priority on tight interaction. Even at their most abstract and free, close listening will reveal that some member of the band is almost always referencing the composed material in some way. This all adds up to create music of depth and character that remains engaging with repeated listening. “Brooklyn Aura” is one of the better jazz releases of 2015, and definitely proves that Dave Scott has vision and talent that is deserving of a wider audience.
Thanks dude, i'm uploading some cool shit for you guys, wait a sec.
Sebastian Rogers
Hermeto Pascoal (born June 22, 1936) is a Brazilian composer and multi-instrumentalist. He was born in Lagoa da Canoa, Alagoas, Brazil.[1] Pascoal is a beloved figure in the history of Brazilian music, known for his abilities at orchestration and improvisation, as well as being a record producer and contributor to many other Brazilian and international albums. Pascoal comes from a remote corner of northeastern Brazil, an area that lacked electricity at the time he was born. He learned the accordion from his father and practised for hours indoors as, being albino, he was incapable of working in the fields with the rest of his family.[2]
Hermeto's career began in 1964 with appearances on several Brazilian recordings alongside relatively unknown groups. These now-classic albums and the musicians involved (Edu Lobo, Elis Regina, Cesar Camargo Mariano) established widely influential new directions in post-bossa Brazilian jazz.
In 1966, he played in the Sambrasa Trio, with Airto Moreira and Humberto Clayber; they released only one album, Em Som Maior. Then he joined Trio Novo (Airto Moreira, Heraldo do Monte, Theo de Barros) and in 1967 the group, renamed Quarteto Novo, released an album that launched the careers of Pascoal and Moreira.[3] Pascoal would then go on to join the multi-faceted group Brazilian Octopus.
Pascoal initially caught the international public's attention with an appearance on Miles Davis's 1971 album Live-Evil, which featured him on three pieces, which he also composed.[2] Davis said that Pascoal was "the most impressive musician in the world". Later collaborations involved fellow Brazilian musicians Airto Moreira and Flora Purim. From the late 1970s onward he has mostly led his own groups, playing at many prestigious venues, such as the Montreux Jazz Festival in 1979. Other members of the group have included bassist Itibere Zwarg, pianist Jovino Santos-Neto and percussionists Nene, Pernambuco and Zabele.
Known as o Bruxo (the Sorcerer), Pascoal often makes music with unconventional objects such as teapots, children's toys, and animals, as well as keyboards, button accordion, melodica, saxophone, guitar, flute, voice, various brass and folkloric instruments.[2] Perhaps because he grew up in the countryside, he uses nature as a basis for his compositions, as in his Música da Lagoa, in which the musicians burble water and play flutes while immersed in a lagoon: a Brazilian television broadcast from 1999 showed him soloing at one point by singing into a cup with his mouth partially submerged in water. Folk music from rural Brazil is another important influence in his work.
