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Hiromi Uehara, 2015.10.31 Dom Sindikata (The Trio Project) Belgrade, Serbia... barem tako kaze njen sajt.

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Cudno sto nema najave za Hiromi, koncert je samo za dva meseca. Krivo mi je sto Tony Grey nece biti sa njom kad najzad odem da je slusam uzivo.

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Ja sam se nakanio pa sam krenuo kačit' sopstven materijal, sad već skoro deceniju star. Kad mleko postane jogurt a pavlaka se pretvori u sirac. Bez kajmaka.

 

Lista će vremenom rasti pa kome se svidi neka svraća često dok raste testo.

 

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Bila sinoc na svecanom otvaranju Jazz festivala...

 

Jelena Jovovic i Jazz Junction su oduvali, snazan vokal uz pratnju fenomenalnih muzicara, prvi put slusala uzivo i odusevljena.

Onda je na scenu stupio James Brandon Lewis Trio... jbte kakav eargasm! Sax, bass i bubnjevi, savrseno se dopunjuju, u nekim momentima sam osetila vajb Alice Coltrane-a, da bi uz Bomako Love i Brother 1976 dosao do izrazaja i John Coltrane. U pesmi Lament for JLew, fantastican kombo rocka i jazz-a pri cemu ritam sekcija sabija. Doslo mi je da istanem i zaigram... Fenomenalno putovanje i iskustvo kroz muziku.

 

Overiti obavezno Days of FreeMan poslednji album koji je jazz vidjenje hip-hop-a, a prethodni je album obiluje spiritualnoscu koju srecem kod Coltrane-a. Moj novi omiljeni crnja :wub:

 

 

http://www.youtube.com/watch?v=tMof8h6Gzro

Edited by Face Of Melinda

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a1289548204_16.jpg

 

http://bosquemusic.bandcamp.com/album/four-noble-truths

"Four Noble Truths" is the first album of the project Bosque which was published in December 2015 with four instrumental tracks on its recording.

The band is led by Miloš Bosnić, doublebass and bass guitar player, whos idea was to gather a group of friends and record his first album.

The overall sound is based on classical instrumental jazz-rock setting, while music represents a mixture of influences of various musical and stylistic genres. It is a consequence of a wide musical interest of author and his past experience in performing in different ensembles and diverse genres.

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n 2014, celebrated Swedish free jazz saxophonist Mats Gustafsson sent a copy of his forthcoming album to one of his idols, the legendary comic book artist, record collector and musician Robert Crumb. Gustafsson’s upcoming record was a compilation of his experimental interpretations of some jazz classics by people such as Duke Ellington, Lars Gullin, and the Ayler brothers, and he sought Crumb’s opinion. Crumb, baffled, pulled no punches and responded with this brutally honest letter. In honour of the critique, Gustafsson named his next album Torturing the Saxophone, and proudly reprinted the letter amongst the liner notes.

 

(This letter features in the More Letters of Note book alongside many other fascinating pieces of correspondence -- more info at Books of Note. The letter was also read aloud by Matt Berry at Letters Live -- to see footage, go here. Image above, of Robert Crumb in 2011, by Marcelo Braga.)

Gustafsson:

 

I finally gave a listen to those LPs and the CD you sent me, of your own saxophone playing and some Swedish modern jazz. I gotta tell you, on the cover of the CD of your sax playing, which is black and has no text on it, I wrote in large block letters, in silver ink, “Torturing The saxophone—Mats Gustafsson.” I just totally fail to find anything enjoyable about this, or to see what this has to do with music as I understand it, or what in God´s name is going on in your head that you want to make such noises on a musical instrument. Quite frankly, I was kind of shocked at what a negative, unpleasant experience it was, listening to it. I had to take it off long before it reached the end. I just don´t get it. I don’t understand what it is about.

 

You actually go on TOUR with that stuff. WOW. People actually... sit… and... LISTEN… to that. I mean, they voluntarily go to the place, maybe even PAY… PAY to hear that stuff. And then they sit there, quietly, politely… and LISTEN. Unbelievable. I should go myself sometime and see this. Witness it with my own eyes.

 

I don´t say these things with the intention to insult you. You seem to be a perfectly nice, civilized guy with a good sense of humor. I am speaking the plain truth of my reaction to the records and CD you sent. That this noise could give anyone any aesthetic pleasure is beyond my comprehension, truly. Is this the logical end of improvisational music? Is this where it ends up? Where does it go from this point? Is there any audience for this “free jazz” besides other guys who play it and maybe their wives who must patiently endure it?

 

I just don´t get it. Am I too un-hip? Am I a square from Delaware? A thick from Battle Crick? A shmuck from Keokuck?

 

—R. Crumb

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