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Dawda Jobarteh / Stefan Pasborg – Duo (Ilk Music, ) ***** The free-improv Jitter trio is comprised of Danish, Berlin-based double bass. Microsoft ScaleUp Berlin – meet Danish startup Be My Eyes One of the biggest challenges for the startup before the start of the ScaleUp program was Since they launched their app in January , more than 1,, February 4, The Danish government is paying its students to go to college. to earn degrees that do not meet the demand of the country's labor market. and international security issues from The Washington Post's Berlin bureau.
Probably that is best portrayed in the thriller movie "Blue Ice" with actor Michael Caine playing a jazz club owner and Watts' band was the house jazz combo that brilliantly rocked the house. The Band had four days of rehearsals and then had a performance at the then newly opened Danish Radio Concert Hall in Copenhagen.
All but two of the pieces here are rewrites of earlier, previously recorded selections either with the Rolling Stones or a selection of suits from his duet record with another drumming legend Jim Keltner.
But to make a big band work has really very little to do with "star power" and has really everything to do with hard work. If it is played too conservative then everything will sound predictable and everyone will get bored. For a start, this record doesn't break any new ground. The emphasis is more on moods, harmonies and at moments the arrangements do nod at Gil Evans' or Mingus' styled approaches.
The date opens with two parts of "Elvin Suites" which as an original tune from the project with Kelter is a single composition. The original is an African styled piece with African harmonic voices meshed with piano flashes and cymbals. All of that is beautifully arranged here with dry hissing of Watts' brushes that drives the first part. It is indeed difficult to discern between what's arranged and what is spontaneous. The band's rapport is impressive and everything it plays sounds right.
Microsoft ScaleUp Berlin – meet Danish startup Be My Eyes
The second part emphasizes the drums and there are polyrhythmic runs that drive this piece with saxophonist Uffe Markussen taking the lead and soon the band steps on the gas and ups the game loud. The Rolling Stones classics are beautifully rearranged and reharmonized. Nothing in these arrangements would hint at the original songs but a solo instrument would take a lead and directly reference the original melody.
Even though named as "Faction" as soon as one hears the melody on the flugelhorn it becomes clear that this is "Satisfaction. The arranger shows a daring flair for reimagining these songs. Each of them is rethought and remodeled in order to come out with a vibrant new music.
With its imaginative blend of melodies and grooves and colorful textures and timbres, these songs are a launchpad for the big band and its soloists to shine.
Charlie Watts: Charlie Watts Meets the Danish Radio Big Band
There is a certain easiness and flow in this composition, but no blandness at all. The various soloists are stimulating and attentive conversationalists, always listening and often picking up on each other's quips.
The album closes on a high note with a beautiful stomp "Molasses. Here is another collection of some of the finest of the Danish kingdom. Take some of the most seminal pieces of Afro-American modern and free jazz and transform them into African-tinged pieces, played by the West-African harp, the kora, amplified and with electric guitar effects, accompanied only by drums, but a hard swinging drums. The two began to play together in but released only now their debut album.
Pasborg is one of the most versatile figures in the Danish vibrant jazz scene and his output covers arrangements of modern classic compositions with The Firebirds trio, the fusion trio Ibrahim Electric, his Stax Tribute quartet, or his Free Moby Dick quartet that covers iconic songs by Led Zeppelin and Black Sabbath.
Jobarteh sound on both pieces as a proficient guitarist coming from the school of Sonny Sharrock, adding to the kora distortion and fuzzy effects, while Pasborg plays with his usual powerful manner and the two sound as a single massive group. The four traditional-sounding pieces are less intense and more lyrical, still, stressing the immediate and deep rapport that Jobarteh and Pasborg have developed and the organic rhythmical shapes that both construct.
The quartet pieces, intersected by short solo pieces and duets with La Cour.
Gemmer, are concise compositions refuse to resort to any obvious or established formulas, but still all highlight strong melodic and lyrical veins. All are delivered with organic and subtle interplay by the two quartets, playing with great patience and focus.
These compositions offer different but brief perspectives on his intricate and carefully-crafted textures and nuanced compositional architecture. Slowly the overlapping ideas and motifs accumulate to a profound work of a mature and opinionated composer with a unique voice. Gemmer affinity with La Cour is quite impressive and both sounding as expanding each other idea, playing in almost telepathic interplay.
These Scandinavian gentlemen have a reputation of ones with a less than gentle attitude towards their respective instruments, still, all are very resourceful improvisers. The trio plays eight brief pieces, all improvised live in the studio and all titled after distinct characters, totaling in about 25 dense minutes.