When noise or other unpleasant acoustic appearances are being overlaid with “white sounds” such as ocean waves, rain, wind etc. the human ear seems to perceive them as softer and less disturbing. This healing principle from psychoacoustics can be wonderfully applied to music – as bassist Martin Wind impressively proves on White Noise. The Flensburg native is one of the German fIgureheads on the New York jazz scene. For the recording of his new album White Noise, he surrounded himself with two European “Jazz icons of the highest order”: Philip Catherine, for many critics – besides John McLaughlin – the most respected guitarist in Europe. And the Dutchman, Ack van Rooyen, whose warm and soft tone on trumpet and flugelhorn is his unmistakable trademark. “In a world where silence is becoming more and more of a luxury, I wanted to set a little acoustic opposite pole. Kind of a sound oasis, in which the audience can lean back and enjoy the music undisturbed to its fullest effect” explained Wind on the concept of White Noise - the quietest in his discography so far. But if you’re worried that three jazz virtuosos ended up among esotericists, you’re mistaken.
A mighty feather in the cap of UK saxophonist Nat Birchall – and a set that really shows just how much he's opening up his sound in recent years! The set is a second meeting between Birchall and Al Breadwinner – and like the previous, both artists handle a wide range of instrumentation in a mode that matches 70s dub production styles with jazzy elements too – as Nat plays tenor, soprano, melodica, organ, piano, and percussion – and Al handles drums, organ, guitar, piano, and more percussion too! Breadwinner recorded and mixed the set – with the kind of mysterious vibe that almost recalls Lee Scratch Perry at Black Ark – and the duo are joined by Vin Gordon on trombone, David Fullwood on trumpet, and Stally on baritone sax. Titles include "Wise Man Style/Dub Of The Prophet", "Tribute To The Great Tommy McCook", "Man From Jones Down", "Upright Living", "Mystical Dawn", "African Village Dub", and "Upfull Dubbing". ~ Dusty Groove
A sublime mix of Latin rhythms and soulful hardbop from trombonist Conrad Herwig – working here in a formula he's used before, but which seems especially well-suited to the music of Horace Silver! Silver's work for Blue Note always had these wonderful currents of Latin and exotic modes in the rhythms – expanded more strongly here by the group, with conga work from Richie Flores ringing out next to the bold piano lines from Michel Camilo and Bill O'Connell, both great players for a date like this. The mode is different than Horace, but in a great way – and in addition to trombone solos from Herwig, the album also features Craig Handy on alto and flute, Igor Butman on tenor, and Alex Sipiagin on trumpet. The date is a live one, which really increases the energy of the music – on titles that include "Peace", "Gods Of The Yoruba", "Nica's Dream", "Song For My Father", "Nutfille", and "Cape Verdean Blues". ~ Dusty Groove
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