Live Performances Reviews - JazzMusicArchives.com Live Performances Reviews - JazzMusicArchives.com http://www.jazzmusicarchives.com phil@jazzmusicarchives.com (Philippe Gratton) Thu, 11 Jun 2026 16:49:50 -0600 Steve Coleman Five Elements,Vilnius Nov'16,2014
It started - four guys on scene (divided right by half - rhythm section on the right and reeds on left) started with ultra-low funky electric bass pulsation and hundreds of listeners have already expected "James Brown came to town" show coming but things switched right to opposite direction. Extra-muscular and groovy (and funky in moments) rhythm section has been used as well regulated engine producing repetitive well-controlled pulsation, left-side scene's reedists duo demonstrated almost staccato acupuncture over drum-bass motoring. All sounded quite unusual and probably quite extravagant (unless you're familiar with Ornette Coleman (no relation)  music from 50s), but after 10th,20th or 40th minute for many's it looked as quite boring experiment. Four great musicians concentrated on demonstrating their ability to play extremely emotionless and controlled repetitive music, and they did it really well. All process reminded an excursion to modern scientific laboratory where four technology's stars tried to impress inexperienced visitors presenting them nana-technology's catalyze process, and obviously very proud being on the top of this science field. Closer to scientific seance end there were few freer sax/trumpet and electric bass bursts happened what resulted in public applause,  but obviously most popular show's song was concert closer - nice afro-jazz tune sung by all four members a-Capella.

For better-prepared listeners it was really interesting to hear what M-Base sounds like when played live, but generally it didn't differ all that much from Ornette later period's music. Too cold,too emotionless and too much calculated, it sounds more interesting as experimentation form. Announcing the concert it was said that "this music is all about energy and geometry", and if what is "energy" here was obvious,at the end of the gig lot of listeners understood what means "geometry" here. Even if math-rock (as music and term) was born later, tag "math-jazz" probably has sense in that case.

Full respect to Mama Jazz Fest organizer, she really did a great job filling the hall for such an unorthodox concert. Lot of people find out new (for them) form of jazz, and full respect to them - they survived that meeting surprisingly well. I would like to believe some of them will dig deeper and will find for themselves some new names, new sound and will enjoy the variety of jazz forms.
]]> http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=3828 Sun, 16 Nov 2014 15:51:23 -0600 http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=3828 Sabir Mateen-Juozas Milašius duo,Vilnius,Oct 19'14     
Just returned back home from nice show - US reedist Sabir Mateen and Lithuanian guitarist Juozas Milasius played as part of Vilnius Jazz Festival 2014 this night.

Sabir Mateen (63) is Philadelphia-born reeds player who started his career in RnB bands but later switched to free jazz and played with Horace Tapscott, Sunny Murray,Cecil Taylor,William Parker,Alan Silva,Mathew Shipp and Jemeel Moondoc among many others. Never a star as leader, he has strong collaborator reputation.

Juozas Milasius (46) is almost unknown outside of homeland, but in domestic scene everyone knows him well. Started playing guitar in mid'80s, Juozas became a young crowd idol very soon combining free improvs and loud and noisy shredding with happening elements and playing everywhere from rock concerts to free open-air shows. Later he started using electronic,computers,sound effects, founded few bands and played lot of solo guitar concerts. 

Last time I saw Juozas playing few years ago on same scene as tonight, he performed solo - tall guy wearing skirt  with electric guitar, amplifier and some sound devices,playing soundscapes spiced with noisy explosions. It was quite exotic but far not for everyone taste. And I never saw Sabir Mateen playing live before.

Today's show was kind of lottery for me - I didn't know what to expect, and it looked that chance to see good or bad show was 50/50. Now, when the show is finished but impressions are very fresh, I feel like it was a right choice to spend my night.

It was far not all that obvious triumph though - this concert looked more like meeting of two worlds. Sabir played sax,flute and clarinet, even sung kind of gospel a bit. He showed high professionalism in playing,but almost all night was framed in what could be tagged as "black free jazz tradition". When listening I just thought that his this night playing is "conservative" - doesn't matter how unusual it sounds speaking about free jazz. Sabir knows his music well and he plays perfectly what he (and many free jazzers of previous generations) play from 60s - and this music now sounds almost as classics, at least for those familiar with free jazz legacy. Juozas has very different roots - not originally jazz musician, today he played much more non-conformist and risky music,starting from free-shredding and finishing with pedals,modulators and other devices' noises. 

Strangest thing was that those two generally even didn't show what is usually called "interplay". But at the same time music somehow doesn't sound chaotic. Sabir,originally more collaborator than leader,stayed a bit in the shade,but his strong jazz rooted playing made excellent base for Juozas  acrobatics. Juozas,natural leader (today - wearing something reminding Superman coat) demonstrated his regular show playing (fortunately with big doze of humor) narcissistic rock star,comics Superman and infantile big child all at the same time. He didn't care much about tunes and hordes, even not always - about the rhythm, his interest was SOUND. That scratchy screaming guitar sound, loud almost hysterical, which starts fast and finishes just cut  even faster. He opened the show playing the shed at maximum loudness, just one horde,that switched to hysterical fingers trip around the strings, here and back,here and back. Sabir played what he know the best,without big relation to Juozas acrobatic,but music surprisingly sounded well.

Somewhere on the midway Juozas just moved to his pedals and other small devices playing (producing?) some cosmic -psychedelic sounds, then even played few tunes (here Sabir felt much better participating). Still Juozas returned again and again to his comfortable zone - production of strange and loud scratchy sounds,pushing Sabir in the shade again. 

Thinking about what I heard and saw there today (and probably even more from what I wrote trying to describe what happened there) it probably looks like it was chaotic even crazy and most probably far not great concert. This opinion would be wrong  - with big doze of humor and TRUE unpredictability of every next move, it was strange but great concert, especially by its atmosphere.

WADADA LEO SMITH - o cover

The second part of this night took young and quite fashionable(they debuted on  German major ACT label just few month ago and they really enjoy traveling around European jazz scenes) French Emile Parisien Quartet. Guys played professional mixing everything from trad jazz to fusion and free improvisation to one well-made and quite accessible mix. Fantastic drummer (probably a bit too heavyweight for current band's format), nice clarinetist-leader and acoustic bassist (piano player sounded a bit out of their game). But somewhere in the middle of their playing I just found myself thinking that all they have to say is already said. 
snobb2015-11-28 12:51:50]]> http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=3794 Sun, 19 Oct 2014 16:19:45 -0600 http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=3794 Kazutoki Umezu & Djamra in Vi-Code 24.08.2013 Kazutoki UMEZU, with his jazz rock project KIKI BAND, featuring Natsuki KIDO (guitar), Takeharu HAYAKAWA (bass), and Joe TRUMP (drums), was on a live tour all around Japan (this live tour has been held as a commemorative one for Zappanale 2013 they'd attended and their newest album "Coyote"). And finally they came to Osaka that day!


Look, and get surprised at the audience's passion


After their stage appearance and a storm of applause for'em, their gig got started with Natsuki's heavy jazz rock (one of their repertoires) "Crawler", with Natsuki's cool, strict guitar shots!


Natsuki KIDO (guitar)


His cool / brilliant guitar sounds knock us completely.




btw he's called as "Guitar Angel" by Kazutoki (see below).


Takeharu HAYAKAWA (bass)


In Zappanale, the audience shouted "Bass God!" for him (yeah this is the reason why Natsuki's called as "Angel").




The second song "Gibbs' Paradox" let us the audience hear Godfanatic heavy / gorigori-hard /  swift bass play!


The aggressive drummer Joe TRUMP (drums, percussion) aka "Drum Fairy".




His "Day / Break / Night / Shift" comprises supra-splendid deep drumming with psychedelic experimental jazz rock.


And Kazutoki UMEZU (saxophones, bass clarinet), a Japanese jazz rock KING.


He calls himself as "Sax Tengu", like others lol ... anyway, his play was a real killa!


His songs "Atama-uchi (reaching the limit in English)" and "Shiri-agari (contrary to Atama-uchi, getting better in English)" are superb experimental / avantgarde saxophone-based ones, with deep / aggressive plays by other three.


Their playlist was as follows; except the first "Crawler", all were featured in their newest album "Coyote" released a while before, that is a fantastic one.
  1. Crawler
  2. Gibbs' Paradox
  3. Gel-colloid
  4. Day / Break / Night / Shift
  5. Atama-uchi
  6. Coyote
  7. Geopathic Stress
  8. Shiri-agari
  9. Sou-shun (encore)

Listening to the encore "Sou-shun (early spring)", dedicated to Tohoku (Kazutoki's hometown) where has got damaged  via Higashi-nihon Daishinsai (Tohoku Earthquake and Tsunami) and Fukushima Daiichi Nuclear Plant Meltdown, we the audience could not help weeping indeed ... we said many thanks to them for such a excellent, gorgeous gig.




Thank you for reading my review for UMEZU KAZUTOKI KIKI BAND's gig in Osaka!

]]> http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=3119 Sun, 25 Aug 2013 06:18:27 -0600 http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=3119 Takayuki Kawamura & Djamra in Vi-Code 3.5.2013
After a dubstep band playing, a jazz trumpet master Takayuki KAWAMURA came on stage ... we had been looking forward to his "solo" gig, with only one trumpet and a effector.





Anyway, he's a tutor for Sayaka KAWADA, a trumpetter of Djamra.





At first, he played a jazz standard number "Summertime" for over 10 minutes with his original arrangement ... his solo work was very colourful and kaleidoscopic, with some improvised "detours".



Upon another standard one "Cute", he played as a trio (or quartet?) just with one trumpet, woohoo!





The following song was completely an improvisation, with sound effects via an effector. We cannot help pausingour breath during his excellent performance.





The last one, Herbie's "Chameleon", absorbed us obviously ... what an amazing stage he exerted.



His solo stage notified us that he's so talented and unique enough that his one-hour performance was a brilliant music gem for us.


Thanks to Takayuki for your splendid playing, and thanks to you for reading my live performance review. ]]> http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=2802 Fri, 03 May 2013 21:30:19 -0600 http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=2802 Djamra in Comin (Hiroshima) 19.1.2013 DJAMRA ... could they be fit for such a space? (LOL)


Especially for Sayaka (trumpet), Hiroshima is her hometown and this gig was held also for her fantastic return.



Akihiro (drums, percussion) was very enthusiastic as well ... and I was glad to take his pic at close range.


Shinji (alto saxophone) and Sayaka ... a good coupl ... err ... a good horn duo indeed.



Takehiko (keyboards, piano) was a double-sword player, as a grand piano player and as a keyboardist.
Interestingly he said he could play piano more smoothly than keyboard ... heh.



Shinji's play was more aggressive than usual ... he said his saxophone might rush ahead actually without himself ... heeh.




Masaharu's bass play was cool, but sadly he could not talk funkily so much during their MC time ... yeah, because he was not a hero / heroine that day.

They played songs as follows;

1. Pierrot's Foot Goes Into Convulsions (Ash*tsuri Pierrot)
2. Komurakaeri
3. Time Flies Like An Arrow (Are Ni Tsuite)
4. Alha-ha
5. Kamihitoe
6. Like A Dolphin
7. Neo Skin
8. Zetsuen Doon
9. Assassin In Sin (as an encore)



The audience got completely immersed in Djamra world ... a bit absent-mindedly?



Hey look, Sayaka got more relaxed ... at her hometown, with her kind mates.


Her MC was very sincere and natural ... that might she was a smilin' healer indeed.


A great jazzy / funky might for us, thanks to Djamra (especially Sayaka) for your fantastic gig present.
And thank you for your reading my live report. ٩(̾●̮̮̃̾•̃̾)۶  ]]> http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=2362 Sun, 20 Jan 2013 07:53:13 -0600 http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=2362 Djamra (and Katan HIVIYA) in Namba Bears 2.12.2012
December 2, 2012 ... it was rainy and we were freezing really, but a small live space named Namba Bears (Osaka, Japan) had gulped the audience up. DJAMRA, an Osakan star combo, had a joint gig with a acoustic guitar guru named Katan HIVIYA. Not only their repertoire but also some Japanese old pop songs they would play, while we had got more and more enthusiastic.

For me they looked a bit strained for getting through a newer program ... they gave us 7 songs aggressively, though.

Look at such a "poker" appearance of Masaharu (bass) and listen to his "broken" MCs (Unable? Sorry :P).

Anyway, welcome back Sayaka (trumpet)! We'd been waiting for yourself and your fantastic soundstream.

And the time has come ... 

After Katan playing superb guitar and singing terrifically, a strong music aggregate DJAMRA plus Katan HIVIYA had appeared in front of us!


They played some Japanese old pop songs, which were out dozens of years ago (in Japanese "Showa Kayo"). Ah by the way, they say especially Akihiro (drums) loves such a pop scene (he sometimes enjoys singing in a Karaoke bar) and ... he looked like a fish in the water hahahha.


Pleasant show time was over ... they got our ovation and shot a heavy song in answer to many requests.

Katan and Djamrers were very cool and drenched in fascinating atmosphere.


Thanks to DJAMRA all stars and Katan the guitarkilla for launching a fantastic show, and thank you for reading my report about DJAMRA in Namba Bears. ٩(̾●̮̮̃̾•̃̾)۶
]]> http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=2109 Mon, 03 Dec 2012 00:53:38 -0600 http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=2109 Newport Jazz Fest-Birdland-Jazz Standard

The day we arrived to New York we went to Jazz Standard to see Mingus Big Band (or Dynasty, not really sure). First time I was going to hear Mingus music live, I thought they would play mainly classics, I was wrong. 
To start with, 4 or 5 saxophonists were there, 3 trumpets, 3 trombones, drums, bass and piano. (first jazz band I saw that was that big)
They just blew our (dad, bro and me) heads off. Playing the 15 minute or so 'The Clown', with laughing from the part of the band, just freaking tight and awesome.
That and 'Chair in the Sky' (from Mitchell's album) were the highlights and that I remember the name of the songs.Embarrassed 'Chair in the Sky' was sung by one of the trombonists, soulblowing, I was stunned.
Unfortunately they didn't let us take pictures and much less record, so I found this on YouTube of the same band, if you're interested:
[TUBE]dEi-FLEFqzI[/TUBE]

Then it was Birdland! Steve Kuhn, Steve Swallow, Billy Drummond and Dave Liebman, entitled "Masters Quartet". It's somehow unfair to listen to Mingus and then to this. This quartet is made of pro's, with a long work through the past 4 decades. Still, it really wasn't that great. 
Steve, which I love one of his ECM albums, dissapointed me with his excessive use of notes to play each solo. Steve Swallow was playing a "weird" bass guitar that sounded sometimes like a guitar, I would have preferred an upright bass a million times.
Yet, Dave and Billy (who I wasn't aware of) really did the show for me. Lovely soprano sax playing, when covering a Wayne Shorter tune, as well as some wild tenor when they covered Mr. P.C. 
What really did the night for me was that we stayed for both shows, it was free if you stayed waiting inside for the next one. I drank an Irish Coffee, first time, haha, pretty cool, while my bro was having beer. 
We were really feeling the magic of the city from then on.
Some photos I managed to take, not of great quality

We then went to Newport, legendary festival of jazz. We had tickets for Saturday and Sunday, we saw both entirely, slightly rested there haha. There were three stages, for those who don't know. Fort Adams, which is the biggest but also the most unconfortable, the sun there burnt you. 
I'll point out the highlights for me:

Jack DeJohnette Group playing 'It's About that Time', just killer long composition with a funky yet tight group. I was really happy that the group was conformed by Dave Fiuczynski on guitar, I really like his unique playing. The rest of the group was Rudresh Mahanthappa, alto saxophone; George Colligan, piano; Jerome Harris, acoustic bass guitar, who I wasn't aware of any. Rudresh was really impressive, the other two were also great.

The Bad Plus with Bill Frisell: I knew the band but had never really heard much of them, other than that they were quite good, so I dragged my bro to see them. Pretty wild stuff, bordering free jazz constantly. Yet, there was one composition that was one of the best things from the whole Fest. They covered Paul Motian's "it should've happened a long time ago" which I didn't know, and wow, that was just trippy and awesome. Repetitive and slow moving piece that reminded me of those interstellar jams by 60s and 70s psych bands. The drummer, oh man, that guy is bad-ass.

Jenny Scheinmann and Bill Frisell: yep, Frisell again, he played three times, he was doing his Lennon album, but I didn't see that. I didn't know Jenny, violin player. Just the two of them, one really didn't know what to expect. It was slow-moving, minimalistic, gorgeous. Frisell really is superb when he uses those guitar effects to create tripping atmospheres, while Jenny played lovely melodies but also followed Bill's minimalistic ideas.

Pat Metheny Unity Band: I was pretty excited to see this, though didn't held high expectations. He played last, in Fort Adams, on Saturday. Masterful, he's Metheny, why did I doubt? He started the show playing his Picasso guitar alone, wonderful way of opening. And then the rest of the band came in. The compositions were of his new album which I don't have, yet, these days you don't expect much change from Pat, and not saying it is as a truly bad thing. The up-lifting melodies, the synth guitar, some latin influences, great, great, great. 
By the way, this band consists of Chris Potter on sax (soprano, alto, tenor and bass clarinet?), Ben Williams on upright bass and Antonio Sanchez on drums, the latter had a drum solo spot that was brilliant.
But there's more to his show. The Orchestrion things! Yes, the machine-instruments were there for a part of the show, really crazy seeing an accordion moving. Without Lyle Mays, Pat needed this, hehe.
Last highlight of his, he played "Are you Going with me?" (from Offramp) as an encore, while a rather sad tune in my opinion, it was simply beautiful to listen that live.

Kurt Elling was a suprise. My brother recommended me to see him, and I thank him. He's a singer with a quartet of bass,drums, guitar and piano, playing a really cool jazz. It was good for a change of the modern stuff that I mentioned before. The guy really knows how to entertain, jokes, scat, great vocals, and good compositions that varied, it wasn't really predictable. "Jazz fans have brain" that's what he said.

The Fest ended with Tedeschi Trucks Band at the Fort Adams stage. It was rather odd, but I think those who know about jazz festivals nowadays, expected this. They played for more than 2 hours, playing a very American kind of rock with blues influences, with a woman leading the vocals. At first it was a turn-off, although they weren't really bad. But hey, I already had listened to more than 10 hours of jazz or so, why not some rock which I'm a fan, eh? It was fun, long soloing, some nice brass section. But the climax was the encore. I had told my brother at first, "no man, they can't finish with rock! They should finish with funk, in any case!". That's what they did, covered two Sly Stone songs and it was just awesome. Danced, sung, fantastic.

In the end of the day, I was extremely pleased and we reached to various conclusions with my brother about the Fest. We found it cool that there was such a wide variety of jazz styles, including some really freak ones like Bad Plus and yet people applauded a lot, also were big bands and New Orleans jazz. Probably would have wanted some other names on the line-up, at first, but no, it was just perfect. 
One concern though is about something rather deeper, the promotion of jazz and it's rather unavailability for younger people to get to know the genre. The fest supposedely says that they're all in for the promotion of new stuff as well as introducing to younger audiences, yet the prices are really not accessible at all, I had the luck to go with my dad. The audience, over 3000 persons maybe much more, not sure at all, was 80% over 40. I have no problem with that, I wasn't really expecting otherwise, but I just think that it's a shame that many jazz lovers that are younger can't really watch this and have such experience.

I really wanted to throw this up, haha, sorry that it's not really greatly written. I'll try to upload some of the videos these days.


Abraxas2012-08-12 01:41:10]]> http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=1893 Sun, 12 Aug 2012 01:30:14 -0600 http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=1893 Djamra & Korekyojinn in Nakatsu Vi-Code 23.6.2012 DJAMRA and a super avantgarde rock trio KOREKYOJINN at Nakatsu Vi-Code, Osaka. When I got on the live space, lots of fans have queued up to enjoy the gig. Wow.





Before the gig, the five Osakan Jazz Rock prides had been in rehearsal. Pretty nervous / tense atmosphere (never as usual) was shot out around them ... I shouted without any intention "what's happening around them?" hahaha.





Upon 7PM, DJAMRA appeared on stage in front of us. Not only they (especially the leader / bassist Masaharu NAKAKITA) but also us the audience might have some comfortable tension before a Japanese avantgarde bigwigs standing there. And yeah, Masaharu had mentioned to me that they'd play more serious tunes than usual (Huh? :P).





DJAMRA had played some of their repertoires ("Pierrot's Foot Goes Into Convulsions", "Neo Skin", "Kamihitoe", or "Time Flies Like An Arrow" ...) and a newer version of "Alha-ha" featuring Sayaka KAWADA (trumpet). With not so much Masaharu's talk / MC as usual, they had launched cool (really cool) sound cluster seriously (more seriously). Also good to look at their serious (not easygoing) appearance with "great edge around them". Very suitable for the opening performance before such an avantgarde giant combo.



Anyway, Djamra had played;

1. Time Flies Like an Arrow
2. Neo Skin
3. Mood
4. Pierrot's Foot Goes Into Convulsions
5. Alha-ha
6. Kamihitoe
7. Dictator
8. Zetsuen Doon




And about 8:30PM ... at last we could meet the Japanese Avantgarde Giants KOREKYOJINN!


Mitsuru NASUNO (bass)


Natsuki KIDO (guitar)


Tatsuya YOSHIDA (drums, percussion)

They say they'd been upon a tour in Sapporo (far away from Osaka) until a day before ... we were afraid they'd got tired of a long trip indeed, but found that would be no problem just when their play got started. Wooow!









Natsuki, a cool guitarist, was playing loudly, speedily, and assertively. Mitsuru, a gentle / funky bassist, could be heard they'd have played for supporting their rhythm basis strictly behind two massive players. And Tatsuya ... can he feel any fatigue under such a tight tour?



He was "launching" drums / percussion sounds "like a aggressive-rhythm-based machinegun". Actually listened to his creations in plenty of projects, and I'd been quite immersed / completely knocked-out into his killa drum play.





Their playlist upon the stage were as follows (so many amazing tunes along with their perfect performance, woohoo!);

1. Arabesque
2. Watershed
3. Out Of Head
4. Tundra
5. Swan Dive
6. Lebanon
7. Kaleidoscope (Complete Version)
8. Isotope
9. Jackson (as an encore)



We the audience had got absorbed in their heavy grooves, danced to their polyrhythm (eh?), and enjoyed their powerful, aggressive avantgarde explosion fully.




Thank you for reading this live report for Korekyojinn & Djamra (the most splendid tag, methinks!) gig. ٩(̾●̮̮̃̾•̃̾)۶ ]]> http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=1809 Sat, 23 Jun 2012 22:23:16 -0600 http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=1809 Djamra in Nakatsu Vi-Code 29.01.2012 DJAMRA announced that they would appear on stage in Nakatsu Vi-Code about 8:30PM ... I was afraid I could get to Vi-Code ahead of the time or not, but no problem actually. (Arrived one hour before LOL. :P)

Upon 8:40PM, DJAMRA an Osakan cool progressive rock project, landed upon stage ... for them, that was the first (official) gig since they got to be a quintet (without a guitarist) and I was afraid they would feel nervous for this issue and, simultaneously for playing their newest song, but no problem too. They could play with feeling relaxed and smiling sweetly.



The combination of Sayaka and Shinji has got to be a very familiar sight now ...


Sayaka KAWADA (trumpet) and Shinji KITAMURA (alto saxophone)

His funny, funky talk has already been familiar of course.


Masaharu NAKAKITA (bass) ... talking optimistically.


Oh pretty intriguing play!

Their strict, aggressive play can be based upon the rhythm section, by Akihiro and Masaharu.


Akihiro ENOMOTO (drums, percussion)

And I’ve found that this cool man showed the most hearty appearance on the stage, especially on "Sayaka’s trumpet solo" (really).


Takehiro FUKUDA (keyboards)

They launched firstly 3 pieces as follows;
1. Komurakaeri
2. Kamihitoe
3. Club / Crab
Let me say the third song ... Masaharu played sensually (like a barmaid in loose tights), followed by loud / aggressive plays like a great fuss in a cabaret, and all of them shot scrap noises / sounds as if lots of crabs walk upon a seashore.




At last their mysterious new song titled "Own Goal" had taken a veil off!




Please imagine watching a football game ... attacking with each other, and just when the ball is shot off toward a defender, he fails in clearing the ball ... that is squeezed into the goal of his team ... he gets shocked into death ...


He (Shinji) gets shocked into death in front of Takehiro playing tragically.

I’ve felt much humour in this song ... oh, beautiful self-sacrifice, always appreciated in Japan (However, Takehiro was smiling during this song somewhat hahhaha).




In the latter part, they played this song and 2 more.

4. Own Goal
5. Dictator
6. Zetsuen Doon



Quite an incredibly fascinating gig by DJAMRA, with a new song about SELF-SACRIFICE.


Thank you for reading my report about DJAMRA in Nakatsu Vi-Code. ٩(̾●̮̮̃̾•̃̾)۶ ]]> http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=1472 Mon, 30 Jan 2012 01:46:03 -0600 http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=1472 I'm seeing Soulive / Lettuce tonight!!! Soulive, with opening act Lettuce, tonight in Philadelphia.

Rumor has it that John Scofield might make an appearance, who has guested on various albums by both bands.

For those who do not know, Soulive and Lettuce are both fronted and founded by guitarist Eric Krasnos. Soulive features brothers Alan and Neal Evans, who've played with various other jazz and funk musicians. Their music is jazz/funk/jam band-fusion. The band has featured John Scofield, Derek Trucks, Maceo Parker, Susan Tedeschi, Karl Denson, Robert Randolph, Joshua Redman, Kenny Garrett, Fred Wesley, and Sam Kininger as guests on some of their albums.

Lettuce is mostly funk/fusion, with Krasnos on guitar, Adam Deitch on drums, and various guests similar to Soulive's; like John Scofield, Fred Wesley, Maceo Parker, Sam Kininger, and Nigel Hall. These guys bring the in the pocket funk of James Brown, with more jazzy twists and super tight rhythms.

I can't wait for this show tonight, I'll fill you guys in on the details afterward.
]]> http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=1184 Sat, 05 Nov 2011 14:59:42 -0600 http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=1184 Joel Larue Smith trio live in India!

Music in Goa, India is known for its Latin American roots and one Goan musician Colin D'Cruz got the opportunity to perform Latin-jazz with a couple of masters from Brazil and America. Thanks to the Internet.

The internet has turned the world into one large interesting room and it was through the internet that Joel Smith saw and heard Colin's performances. Joel Smith is an American pianist, composer, arranger, educator and Latin-jazz performer. He leads a jazz trio which also features twenty-year-old Brazilian drummer Tiago Michelin who started playing drums at the age of three and now studies music at the world-renowned institute of jazz – the Berklee College of Music in Boston.

Jazz bass player Colin D'Cruz who has been making waves worldwide with his music regularly being published on the internet, saw yet another of his dreams come true. Joel Smith invited Colin to perform with his trio at the first of their world wide gigs. They played their first international gig at the live music venue – Blue Frog in Mumbai on the 31st of May 2011.

Colin had studied Joel's music through exchanges on the internet long before the first gig and he comfortably slipped into the band even though the trio actually got together for the first time onstage itself. Joel Smith's music has Afro-Cuban elements laced with intricate jazz harmonies and infectious Latin rhythm making it an intense yet enjoyable listening experience.

The packed house at Blue Frog responded to every track with thunderous applause and did not let go of the band even way past the last song for the show.

One of the tracks performed was named ‘Miramar' which is a very common name of cities in South America. Joel was quite surprised to know that there was a Miramar in Goa too and announced the fact to the audience dedicating the song to a few Goans in the audience. Colin discussed possibilities of having the band perform in Goa and Joel Smith has promised to include Goa in his worldwide itinerary.

]]> http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=637 Sun, 05 Jun 2011 22:42:37 -0600 http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=637 Peter Brötzmann Chicago Tentet +1, Budapest, 30.04 There are superheroes among us and I'm sure of it now. The Peter Brötzmann Chicago Tentet +1 form a league, many of them from different places and background, some rather rogue than good-natured.

Apart from every member's story and (super)powers, the recently turned-70 Bard of Wuppertal is the polarizing figure. Given his memorable, uncompromising, blunt style, in taboo expressions and primal essences, you'd think that this belief is immediately dictated (mellow: transfered) to the entire collective. But the Tentet is among the most versatile free-jazz bands out there, really. The music changes from one concert to another - and each of them will assume that, should you ask them about their methods, like it's a code.

The A[rtemovk]38 wasn't truly inspiring for a venue, save the fact that it's a frigging boat on the Danube. Concerts like these are more than significant, but when you have three more show the same evening (like the Grencso Kollektiv Toltet, also playing down in the bilge, trying to squeeze some more free-jazz after everything's been blown apart by the Tentet - plus more stuff happening on the upper terraces), it's clearly a business going on. The Tentet presented a two-part, hour and a half gig, with two improvs and a fugitive, but cool encore. The first part started with a bang (a sort of varesian cluster), quickly absorbed by a fantasy by Peter Brötzmann, "accompanied" (so to speak) by Paal Nillsen-Love and Michael Zerang. This solo seemed hallowed, not only to me, being fully exposed to his characteristic acerbity, but also for those from the Tentet that paused and were listening. Otherwise, the scenario seemed more competitive than that, like a showdown between the brass players, each one (except Per-Åke Holmlander, in the back at the tuba) lining up front, each with a different body language (Mats's frowning, Ken's rascal look, Joe's poker face, Jeb's prudery).

The art of the ensemble rises to a high point here. Not saying it isn't tempting to pick apart the heroes from the drifters. It's already the second time I've heard Mats Gustafsson and, I gotta say, I fear the third, because he could devour me for good then. There's something dark just waiting to burst outside of him everytime he starts playing: the man is absolutely Mephistophelian, spitting like a varan. Similar to Brötzmann's interventions, Joe McPhee's pocket trumpet solos were rare, but special and breathtaking. He isn't just playing his instrument, he's talking, reciting, singing, gurgling, spitting through it. Johannes Bauer seemed very British to me, in a sweat banker suit, the type that does free-jazz for a hobby. Wide allonges at the trombone, awkward body moves and a taste for isolated high pitches, punched separately, in sarcastic rhythms. I was more attracted to Nilssen-Love's energy than Zerang's good manners. With his skinny junky arms, Fred Longerg-Holm made the cello present in the more composed sections, although I would have preferred him not switch that to electronic shrieks.

At the end of this first epic, the Tentet shattered, with different music played individually or in small groups, wonderfully superimposed: warbles coming from the percussionists, grave syncopes carried out by Per, rag pizzicatos played by Fred, delirious music by Brötzmann and Ken Vandermark, with Mats, Johannes and Jeb signaling back the initial clusters. The second part was somehow less captivating, although a more complex game plan. And with a much-anticipated trio improv by Brötzmann, Vandermark (who was slightly scrooge for me that evening) and Gustafsson. The encore proved simple, Brötzmann starting with a grieving song, the Tentet introducing itself slowly, each eventually lamenting and wailing in their own way.

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 Ricochet2011-05-06 17:13:24]]> http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=478 Fri, 06 May 2011 15:23:13 -0600 http://www.jazzmusicarchives.com/forum/forum_posts.asp?TID=478