23-08-2019 JAZZ_MiX # 33 jazz tracks on the the JAZZ_line 2019-2014

23-08-2019 JAZZ:MiX # 33 jazz tracks on the the JAZZ_line 2019-2014 # Allison Miller's Boom Tic Boom, Jerry Douglas, Marcus Strickland's Twi-Life, The Comet Is Coming, Victor Gould, Nérija, Thought Gang, Roots Magic, Takuya Kuroda, The Breathing Effect, James Farm

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2019-2014

Adventurous jazz and modern creative improvisation ensemble led by drummer Allison Miller.  Boom Tic Boom is a forward-thinking jazz outfit led by drummer Allison Miller. The group first grabbed audiences with its eponymous debut, Boom Tic Boom, in 2010.
Allison Miller's Boom Tic Boom
Fuster (Allison Miller) 7:12
Slow Jam ((Allison Miller) 5:26
Shimmer (Allison Miller) 5:58
from Otis Was a Polar Bear 2016
... It's as if all of the tension of the past few years was suddenly released in a set of lithe, highly unpredictable songs. Helping to draw out this childlike energy are her longtime bandmates pianist Myra Melford, violinist Jenny Scheinman, and bassist Todd Sickafoose. Also augmenting the ensemble this time out is the gregariously talented front line of cornetist Kirk Knuffke and clarinetist Ben Goldberg. Many of the tracks on Otis Was a Polar Bear have a mutative quality as the ensemble winds its way through different feelings and textures in a given track... "Fuster" fuses Eastern European folk music with a dance-inducing Latin montuno-driven midsection...  the sultry funk of the aptly titled "Slow Jam" marries angular R&B tension with a film noir melody... "Shimmer" sounds like the inner workings of a mechanical clock set to music. Ultimately, Otis Was a Polar Bear feels like the work of a band whose members have weathered a storm together and emerged more united and joyful than ever.

Jerry Douglas is widely renowned as perhaps the finest Dobro player in contemporary acoustic music. His main foundation is bluegrass, but Douglas is an eclectic whose tastes run toward jazz, blues, folk, and straight-ahead country as well, and he's equally capable of appealing to bluegrass aficionados or new agers with a taste for instrumental roots music.
Jerry Douglas
Cavebop (Jerry Douglas) 4:51
Hey Joe (Billy Roberts) 4:19
2:19 (Kathleen Brennan / Tom Waits) 4:19
from What If 2017
Jerry Douglas is one of the world's most beloved musicians, and he became one the hard way: He's pushed through every boundary facing him, thwarted all expectations along the way, and practiced a work ethic that is staggering -- he has played on over 2,000 albums as a session player or leader. The Jerry Douglas Band is a three-year-old virtuoso septet that includes electric guitar (Mike Seal) drums (Doug Belote), horns (Jamel Mitchell and Vance Thompson on saxophone and trumpet, respectively), fiddle (Christian Sedelmyer), and bass (Daniel Kimbro), alongside his Dobro and lap steel. As a unit they careen across jazz, rock, bluegrass, folk, blues, and R&B with abandon... The cover of Tom Waits' "2:19" is a steamy, swinging, jump blues with Douglas' late-night vocal growl amid stinging lead guitars, honking saxophones, and backing harmony chorus. Douglas first covered Billy Roberts' "Hey Joe" on 1992's Slide Rule, but it didn't sound anything like this choogler. Tight flatpicked dobro, squalling fiddle, ripping electric guitar, and double-timed drums cook right out in front of the souled-out horns...

A sextet headed by the saxophonist and composer, assembled to record his debut as a leader for Blue Note. 
Marcus Strickland's Twi-Life
Relentlessness (Marcus Strickland) 5:47
Black Love (Marcus Strickland) 4:15
Aim High (Jermaine Holmes / Marcus Strickland) 7:33
from People of the Sun 2018
...Since then, Strickland has toured the globe as a headliner with Twi-Life (keyboardist Mitch Henry, bassist Kyle Miles, and drummer Charles Haynes) and as part of the Blue Note All-Stars. On many levels, People of the Sun picks up where Nihil Novi left off, but goes deeper and wider. The previous set was deeply influenced by Strickland's cultural and musical upbringing. As a child he was exposed to both Afro-Caribbean traditional and popular sounds as well as Southern rap, Motown, John Coltrane, and George Clinton's P-Funk enterprise. Those sounds and many others entwine inside groove-laden post-bop, modal, and contemporary jazz frameworks while extending and subverting the entire jazz tradition. In addition to his bandmates, Strickland enlisted close collaborator and trumpet ace Keyon Harrold and Cuban session percussionist Weedie Braimah...

"Apocalyptic space funk" trio from London, England, signed to the Leaf Label. Identified as Betamax Killer, Danalogue the Conqueror, and King Shabaka -- aliases of drummer Maxwell Hallett, keyboardist Dan Leavers, and saxophonist Shabaka Hutchings -- the Comet Is Coming describe their sound as "apocalyptic space funk," consciously and purposefully melding jazz, funk, electronica, psychedelia, hip-hop, and improvisation. Named after a BBC Radiophonic Workshop recording, the boundary-shattering trio woodshedded for a few months and emerged fully formed on South London's fertile, highly collaborative, slipstream jazz scene and began recording almost immediately.
The Comet Is Coming
Because the End Is Really the Beginning (Betamax / Danalogue / King Shabaka) 4:48
Summon the Fire (Betamax / Danalogue / King Shabaka) 3:55
Timewave Zero (Betamax / Danalogue / King Shabaka) 5:20
from Trust in the Lifeforce of the Deep Mystery 2019
England's sci-fi jazz trio the Comet Is Coming have been exploring the cosmos since 2015 when drummer Maxwell Hallett (Betamax) and keyboardist Dan Leavers (Danalogue) were playing a gig as futurist duo Soccer96 when they encountered Shabaka Hutchings (King Shabaka) hanging near the stage with a saxophone. They invited him up and improvised. Received enthusiastically, the trio formed the Comet Is Coming to explore a mutual love of Sun Ra, John and Alice Coltrane, Mahavishnu Orchestra, and future-forward electronica...  Trust in the Lifeforce of the Deep Mystery picks up where Channel the Spirits and its follow-up EP Death to the Planet left off as it attempts to "envisage a 21st century take on spiritual jazz that is part Alice Coltrane, part Blade Runner." Their association with the legendary American label -- home to many of their influences -- raises expectations that are both warranted and met.