DJ ROB SWIFT (X-Ecutioners, USA)

the Architect album release tour March 2010

The Architect Album
Release Tour 2010
March 2010: 19 – 28 2010

DJ ROB SWIFT (X-Ecutioners)
www.djrobswift.com
www.myspace.com/djrobswift
www.ipecac.com

New Album: The Architect
Rel. Date: February 23, 2010
Publisher: Ipecac Recordings

Interview:

Dear Music Fans,

One of the most famous and celebrated Djs and turntablists in the world is back with a slamming new album “The Architect”, this time blending Hip Hop, scratching and classical music.

DJ ROB SWIFT is part of the biggest Dj group “the X Ecutioners” on the planet and toured and worked with everyone: Red Hot Chili Peppers, Linkin Park, Fat Joe, Everlast, Mike Patton (Faith No More), Cypress Hill, Wu Tang Clan, Eminem, Good Charlotte, Xzibit, Dan The Automator and even truly forward-thinking Jazz legends such as Herbie Hancock and Bob James.

It’s ROB SWIFT’S debut release on Mike Patton’s (Faith No More) Ipecac Recordings label, a perfect fit as both men have been challenging the notion of music for years. They have previously toured together promoting Patton’s Peeping Tom project and their collaborative effort General Patton Vs. The X-excutioners.

Tour Facts, Dates, Videos, Infos … read more …

Jeff Tyzik – Jammin’ In Manhattan

Inser att jag är inne i en funkperiod just nu för jag dras väldigt mycket till musik som har mycket funk i sig. Den här skapelsen är en helt ny erfarenhet för mig och ger associationer till Tom Browne, Stanley Clarke, Herbie Hancock m.fl. Uttans bra är det i alla fall och bitvis så är det ståpälsvarning.

Måste för övrigt berätta om ett intressant fenomen. Har ju den lilla widgeten Feedjit på högra sidan av bloggen. Där kan man då se var folket som besöker bloggen kommer ifrån. De senaste dagarna blev jag lite förbryllad när det började trilla in besökare från alla möjliga hörn på jorden. Det kom besökare från Pakistan, Indien, Turkiet och en mängd andra länder som lixom inte språkmässigt torde ha något utbyte av min blogg.

Så först tänkte jag att de hittat hit pga musiken och det kan till viss del nog äga sin riktighet. Men hur i hela fridens namn har min blogg plötsligt kunna tränga igenom det stora bloggbruset som trots allt finns. Jo, det var tack vare en snubbe som skapat nåt som han kallar alphainventions.com. Det är en sajt som i realtid loggar inlägg från alla möjliga bloggar och av någon anledning hade någon lagt till min blogg i hans bevakningslista. Vem som gjort det vet jag inte men det kvittar för det är ändå lika fascinerande att folk av någon anledning fattar intresse för bloggen trots att den bara blinkar förbi på nån sekund på hans sajt.

Men det kanske kan sporra nån människa där ute i något avlägset land att börja lära sig svenska bara för att kunna ta del av mina blogginlägg.

Tjillevippen

notbugs

It’s all about timing.

B.
valcone.net

Don Cherry – pocket trumpet / Herbie Hancock – piano / Ron Carter – bass / Billy Higgins – drums / Live in New Orleans, 1986

Don Cherry has always been one of my favorite trumpet players. He was so different, exotic and adventurous, swinging away in his own idiosyncratic way. Much like Monk, a man to whom he owed a tremendous musical debt, and to whom this delightful reading of “Bemsha Swing” is dedicated.

You might need a bigger gun

Good morning everyone,

Just a quick reminder that we play Nov 20 (tomorrow) at Louis’.  I’m excited for our set, Voyno is excited for the set and Handy is…Handy.

So silence.

That was good wasn’t it?  I thought so at least.  The importance of it all is the contrast between noise/music and its opposite.  As an example in another area: If everyone wore white all of the time, that crazy cat who wore some coloured shoes or scarves would be super hip.  Same for music.  That crazy cat who takes the time to add some silence to their day, solo or song is the one who is super hip.

Ie: Miles Davis and Ahmad Jamal

Peace,Love&GoodVibes
SnowDove,ArmsUp

p.s. Silent Hill scared me close to death

For the Miami New Times music blog Crossfade.

Burly, bearded Zac Brown and his band play Sunset Cove Amphitheatre on Saturday. The highlight of the evening will likely be a beer-drenched, sing along performance of his fiddle-laced, pleasantly simple and patriotic country smash “Chicken Fried.” It’s a fun little ditty that got me thinking about all the really great songs inspired by food — or with something edible in the title. Here’s my highly subjective list. 

Continue reading/check out the clips.

Jazz is my idea of how a tune should go. – Louis Armstrong.

Happiness blues – Charlie Parker

One thing I like about jazz is that it emphasized doing things differently from what other people were doing.  It pulled me like a magnet, jazz did, because it was a way that I could express myself. – Herbie Hancock

The people in Japan know more about the history of jazz and the musicians than the people in the United States do. – Billy Higgins

A good quartet is like a good conversation among friends interacting to each other’s ideas.  As far as playing jazz, no other art form, other than conversation, can give the satisfaction of spontaneous interaction. -  Stan Getz

The biggest problem with American music right now, is that kids don’t listen. They come by it honestly, Americans don’t listen anyway. When people go to concerts, they say I’m going to see… not, I’m going to hear.  – Branford Marsalis

I never even thought about whether or not they understand what I’m doing . . . the emotional reaction is all that matters as long as there’s some feeling of communication, it isn’t necessary that it be understood.  – John Coltrane

A session in jazz is comparable to an open forum where theories and opinions are discussed openly and freely. Without inhibition or the fear of being reprimanded, a soloist rises and speaks without the aid of notes or previous preparation. Speeches with words of various inflections and insinuations are replaced with a flow of melodic, rhythmic music. One soloist will speak for himself on a chosen topic and then retire to hear the feelings of another on the same subject.  -  Stan Kenton

I’d rather play jazz, I hate rock and roll. – Ginger Baker

You not only have to know your own instrument, you must know the others and how to back them up at all times. That’s jazz.  -  Oscar Peterson

To most white people, jazz means black and jazz means dirt, and that’s not what I play. I play black classical music. – Nina Simone

Life is a lot like jazz… it’s best when you improvise. – George Gershwin

Words are the children of reason and, therefore, can’t explain it. They really can’t translate feeling because they’re not part of it. That’s why it bugs me when people try to analyze jazz as an intellectual theorem. It’s not. It’s feeling. – Bill Evans

By and large, jazz has always been like the kind of a man you wouldn’t want your daughter to associate with. – Duke Ellington

…art courtesy of www.debrahurd.com

My dream jazz quintet: Oscar Peterson/Piano,  Freddie Hubbard/Trumpet,  John Coltrane/Saxophone,  Ray Brown/Bass,  Jeff Hamilton/Drums.  Jeff is the only one of my dream jazz quintet still living and he is also a contemporary of mine at Indiana University.

Ceora – Lee Morgan …click this one for a taste of beautiful music that defies categorization.

My FM station?  88.1 KKJZ is often available to me at my home, 166 miles south of their antenna in Long Beach, CA.

Z tą płytą wiąże się pewna przykra historia, którą wam teraz, drodzy czytelnicy, opowiem. Otóż w czasach bujnej młodości studenckiej mieszkałem w Warszawie razem z dwoma przyjaciółmi. Jeden z nich miał niezwykle szkodliwą, jak się potem okazało, skłonność do studentek FUW-u, i gdy jedna z tych studentek odwiedzała kiedyś nasze mieszkanie, zauważyła na mojej półce płytę Herbiego Hancocka i s-ki pt. Gershwin’s World. Zapytała, czy może ją pożyczyć, a ja oczywiście z wrodzonej grzeczności zgodziłem się. Przyjaciel mój wkrótce potem rozstał się rzeczoną studentką, a płyta moja przepadła. Ten przydługi wstęp stanowi więc swego rodzaju apel: niecna koleżanko, jeśli to czytasz (a jestem przekonany, że nie czytasz), pokalaj się, przyodziej wór pokutny i oddaj mi moją płytę!

Ale dosyć już sensacji, mówmy o muzyce. Album Gershwin’s World nie jest nowy, na dodatek o ile mi wiadomo nadal cieszy się dobrymi wynikami sprzedaży. Ten album jest trochę jak film Ocean’s Eleven — wiemy, czego się spodziewać, żadna rewolucja nas nie spotka, a mimo to chętnie oglądamy, głównie ze względu na sprawną realizację i plejadę gwiazd. Na Gershwin’s World gwiazd nie brakuje. Obok samego Hancocka usłyszymy muzyków takich jak Chick Corea, James Carter, Kenny Garrett, Wayne Shorter, Joni Mitchell, Stevie Wondera i innych wielkich. Nie dość, że gwiazdy jazzu, to jeszcze wykonujące same hity: “Summertime”, “The Man I Love”, “St. Louis Blues”, “My Man’s Gone Now”. Czy jest sens słuchać czegoś tak przewidywalnego?

Tak, bo dobrze grają. Co z tego, że brakuje tu rewolucji, skoro interpretacje są po prostu piękne? Szczególnie zapada w pamięć kapitalne wykonanie “Summertime” z Joni Mitchell na wokalu oraz “St. Louis Blues” ze Steviem Wonderem. Na domiar dobrego, album zawiera kilka utworów nie napisanych przez Gershwina (vide wspomniany “St. Louis Blues”), ale będących dla niego inspiracją — szczególnie pięknym przedstawicielem tej kategorii jest druga część koncertu fortepianowego G-dur Ravela, fantastycznie wykonana przez Hancocka.

Jeśli więc czytelniku poszukujesz około godziny dobrze (rzetelnie?) zagranego jazzu, że tak powiem, mainstreamowego, idź do sklepu i kup sobie Gershwin’s World. Albo najlepiej kup dwie takie płyty i przyślij mi jedną.

Herbie Hancock
Gershwin’s World
Decca 1998

This is some of Herbie’s best work while a part of Blue Note Records. It’s not a very long album, but this Blue Note compilation is beautiful. “Cantaloupe Island” and “Watermelon Man” are some personal favorites. It’s amazing where these songs can go with respect to the original studio versions.

http://www.megaupload.com/?d=23NCFYHN

This is an incredible rendition of “Cantaloupe Island”. Enjoy.

Herbie killin’ it with “Watermelon Man”..

This song comes off of Herbie Hancock’s album, Head Hunters. Herbie is one of those musicians whom I don’t have enough music by, but I try to listen to as much of what I do have and what I can get my hands on. This song starts off the album, and does so in a magnificent way. It just has a really jazzy (bass?) line and a drum come out and play around a little, then the other instruments chime in. It would really be pointless to try to explain every part of the song, so I wont.

But the reason why this song is so great to listen to when you’re high is because it’s just jazzy and funky and fun. It’s also a really well-done song, so it’s not as if you’re listening to something shitty that’s also fun to listen to. I would recommend listening to this song right after you finish smoking; i.e. you should try to be as high as possible when you put this on, if you’re burnt out then you might just get irritated. There really isn’t too much else to say about this song except that I think you should listen to it because it’s amazing.

Chicago  1974

Kit Downes - exquisite art for free! (Picture: Russ Escritt)

No, I don’t mean the stuff Ornette did on that famous 1961 disc with the Jackson Pollock painting on the cover, nor all the totally improvised music uninhibited by set rhythm, melody or chord sequence that has happened since and continues to flourish on the free/improv scene.

I’m talking about jazz you don’t have to pay for. The thought that links free jazz” and “problem” was one that passed through my mind at about 5.50pm on Friday evening. I was standing beside a pillar in the Symphony Hall foyer in Birmingham, and the pianist Kit Downes was reaching the climax of an extraordinary piano solo.

He had begun it quietly and fairly simply, moving gracefully through the chord changes provided by saxophonist Sam Crockatt who had written it and was leading the band. But then Downes – surely the busiest pianist in the UK at present, seeming to be in every second band I come across – started to add bits, striking new takes on what could be played over these changes, tricky runs up through the octaves and down again. And then he added even more. Bassist Oli Hayhurst and drummer Ben Reynolds dug deep in response and Downes just kept on adding not only harmonic and melodic complexity but jaw-dropping rhythmic shifts of emphasis too.

I have heard some pretty fine pianists over the past 12 months, from Keith Jarrett in the Royal Festival Hall at £45 a shot (and not the most expensive ticket that night by any means) to Herbie Hancock at Symphony Hall at not much less than that, to Liam Noble or Tord Gustavsen for about a third of a Jarrett. Now, I am not saying those pianists weren’t worth the money. They certainly were. And I am not saying Kit Downes is (yet) in that class. But free? I am hearing this exquisite art for free?

Of course the gig can’t be put on for free. In the case of the “Free Jazz” sessions which happen nearly every Friday evening between 5.30 and 7pm in front of the panoramic windows onto Centenary Square in the centre of Birmingham, the audience is relieved of the need to dip into its own pockets because THSH, which runs Birmingham Town Hall and Symphony Hall, have dipped into theirs, and Birmingham Jazz, a small organisation which is responsible for an awfully large chunk of jazz activity in this city, has done likewise to produce and present such an excellent programme and ensure the musicians get paid the going rate.

And I am sure there will be times in the future when we will all be paying a goodly sum to hear Kit Downes, or Sam Crockatt, or Ben Reynolds (We already pay a bit to hear Oli Hayhurst in the Zoe Rahman Trio, for example). As it happens, I remember hearing Jamie Cullum for free in a session produced by Birmingham Jazz at the old Fiddle & Bone, a precursor to the current SH gigs. And what would I pay to hear him now? Well, as much as £44, actually, with the booking fee, for his appearance at Symphony Hall next year.

So my point is not that there shouldn’t be free jazz, but, I suppose, should it be quite this good? If the Symphony Hall foyer crowd can hear jazz of this calibre for free – and they are not alone – the Jam House crowd can do the same on one Tuesday in every month when Birmingham Jazz puts a gig on there; Kit Downes performed with his trio at the Criss Cross Jazz Club in Moseley a few weeks ago and a hat was passed round – then what incentive is there for them to pay a few quid to see more? And is there the possibility, in this Western capitalist world we live in, that, inevitably, we all begin to put a value on something relative to the value that is put upon it by the market? You know where I’m heading without me having to mention celebrities or football players or merchant bankers…

Now, this free jazz thing is only a small tributary of a bigger river that has loads of flotsam and jetsam floating down it in the form of free download sites, file sharing, putting one over on the record industry fat cats and all that. But we are not talking Beyonce or Robbie Williams here. We are not talking about Sony and Warner Bros. We are not talking about Pirate Bay and BitTorrent and all that mullarkey.

What we are talking about is some kind of recognition that jazz musicians are worth something, and it shouldn’t be left to the promoters alone to show their appreciation in actual cash. Because, let’s face it, the amount of money a well-established jazz musician is making is pitiful, so heaven knows how one just starting out even affords the baked beans to go on the toast.

I don’t know the answer to all this, and I do want opportunities for young, aspiring jazz musicians to get a chance to show what they can do to the listening public. I just wonder if that listening public knows quite what a good deal it is getting.

I really would like to start some kind of discussion about this whole issue, so whether you are a musician, a promoter, part of that audience, an accountant, a PR person, whatever – please let me know your thoughts and feelings.

eg kjem heim med lufta
forsiktig bitande i kinna
brennande kald i nasen
første dag i november
sit ein mann
i eit lyst kjøkenvindauge
i det eg går ned bakken
frå trikkestoppet

For that song I was not a lucky yougn girl.  I first heard the song at the same time as the videoclip.  I was probably about 3-4 years old.  My older cousins loved that song so when the song started on tv, my cousins ran and put up the volume.  The beat was so weird for me but when I saw the robots…. I ran next to the tv so I wouldn’t see them.  I was soooooo scared!!! I asked my cousins to turn off the tv… it never happened…

Now everytime I hear that song, I feel weird inside.  I can’t listen to the whole music.  It’s not that I see the robots in my head, it’s only the song, I think it’s creepy.

One of my musical idols and genuinely nice guy.

OFICIAL WEBSITE:http://www.myspace.com/ciscoadvent

WPLYWY:

New Order, Kraftwerk, Front242, Nitzer EBB, Neon Judgement, “DR Who TV series”, Pink floyd, Led Zeppelin, Jimmy Hendrix, Yellow Man, Tipper Iree, saxon sound system, masquerade Sound System, B ellis, Arthur Baker, John Fox, Man Parish, Jonzon Crew, Michael Jackson, Q Jones, herbie hancock, Soul Sonic Force, Zapp, Loose Ends, SOS Band, Bob Marley. seen, Dondi, brim, mode 2, zaki Dee, Gary Newman, A.C.R., London all star breakers, Break Jam, Run DMC, Public enemy, EPMD, stetsonic, London Posse, Tim Westwood, Colin Favour, Kid Batchelor, Detroit Techno, Electro, Chicago Acid & Early 80’s NYC House

Early CLUBS Visited + Performed…………………………………………

Klink Street “London”, Confussion “London”, Boccaccio “Belgium”, The Orbit “Leeds”, Twilo “NYC”, DEMF “Detroit”, Tresor “Berlin”, So Cal “L.A.”, Limelight “NYC”, Heaven “London”, Sankeys Soap “Manchester”, Hacienda “Manchester”, Fabric “London”, Lost “London”, Club UK “London”, Cream “Liverpool”, Atomic Jam “Birmingham”, Tribal Gathering UK (circa 93-97), Shoom “London”, Zapp “Brighton UK”, Monegreos “Spain”, Awakenings “Amsterdam”, Mayday “Germany & Poland”, Gazzometer “Vienna”, Liquid Rooms “Tokyo”, Womb “Tokyo”, Ageha “Tokyo”, How Sweet it is “L.A.”, Palace Complex “Melbourne”, Hyperspace “Budapest”, I Love Techno “Ghent”, Dance Valley “Amsterdam”, Shine “Belfast”, Fuse “Brussels”, Metro “Chicago”, Smart Bar “Chicago”, Mazzo “Amsterdam”, The End “London”, Fabrik “Madrid”, Macumba “Madrid, Moog “Barcelona”, Omen “Frankfurt”, Motor “Detroit”, Sonar “Montreal”, Florida 135 “Spain”, La Real “Spain”, U60311 “Frankfurt”, Trax – Rohstofflager “Zurich”

Download now: (copy&paste..)

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JELLI: ALL REQUEST RADIO

Welcome to Jelli, user-controlled radio. This past week, I had the chance to catch up with Mike Dougherty, CEO of Jelli, at Digital Hollywood to ask him some questions about the site. Incidentally, Mike is not the lead singer of the band Soul Coughing as I had excitedly thought before meeting him. Apparently, I am not the only person to make this mistake.

The Product

Here’s the jist. Log on, start listening, and start voting music up or down based on what you want to listen to you. Others will do the same. The combinations of all of that voting will determine what comes next in the playlist. If you really want to hear that Herbie Hancock track, “rocket” it to the top of the list. If you really can’t stand that Citizen Cope song, “bomb” it out of the playlist. I come from a traditional radio background, and as a DJ for 5 years, I was quite used to the programmed playlist that neither I nor the listener had any control over. The playlist was dictated by a number of rotations coordinated in advance by the radio Program Director, band manager, and artist. In essence, if you requested something, there was pretty much no chance in hell that it was getting on air. This web site flips the switch on the whole radio industry.

The Hotness

Pandora, MySpace Music, iTunes, and pretty much any other online music service you can think of are very one-to-one types of experiences. You pick the music and based on what you are selecting, in certain cases, the service recommends additional music it thinks you will like.

Jelli brings the social aspects of traditional radio back to the forefront allowing users to each play DJ selecting and voting on music as the playlist runs its course. In addition, every Sunday on Live 105 in San Francisco from 10PM – Midnight, what plays on Jelli plays on traditional radio. It should come as no surprise that this is the most highly trafficked time for Jelli.

The Lameness

I would much rather listen to music that I and a few of my friends are selecting rather than listening with the main group. I don’t really need to hear that Soundgarden song once an hour and I know my friends would never subject me to that. Also, giving new users more power seems to be a must. On my first try to the service, a track that I had rocketed to the top was quickly bombed by another user and removed from the playlist. Sad face. Dougherty claims that this may be on the horizon.

What Comes Next

Jelli will be nationally syndicated allowing any radio station to follow the Live 105 lead and empower listeners on their airwaves. In addition, 5 stations in Australia will also begin carrying Jelli as of November. Live DJs? Also on the way. Also, users will eventually be enticed with incentives for their participation in the site.

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• Jelli’s crowd-sourced radio opens up to the U.S., Australia (news.cnet.com)

Herbie Hancock grava música em São Paulo

O lendário pianista Herbie Hancock esteve no Brasil na semana passada preparando um trabalho especial. O mestre do jazz esteve em São Paulo, no estúdio NaCena, para gravar uma faixa para seu próximo DVD, com a participação da cantora Céu e do multiinstrumentalista Curumin.

Em estúdio, Hancock foi acompanhado por Céu nos vocais, Curumin na bateria, Lucas Martins no baixo e Rodrigo Campos na percussão.

O DVD do músico, intitulado Imagine, reunirá a passagem de Hancock por diversos locais do globo, retratando diversos estilos musicais.

Imagine tem previsão de lançamento para 2010.