ALFA MIST STRUCTURALISM 24 BIT SERIES

Four compositions, 95-minutes of music, recorded on two CDs, happen to be an intriguing listening, which surprisingly lasted less then it was expected. For me, the program sounds as if six skilled professionals build a modern building - a unique one, with style and respect to the past, but without nostalgia, bravely looking ahead. Van Cauwenberghe's septet of guitar (who in moments demonstrates that he is familiar with shredding guitar techniques playing in rock bands), bassist, drummer, pianist, sax player and trumpeter play selected Braxton compositions with respect and their own touch at the same time. As a result, his music sounds as an engineered work, mechanically, but not formal or dry, since each brick has its own lively soul. Different from dominating composers, who often combine elements of different genres in one, Braxton returns back to a past trying to find the roots and the rules and codes, and uses what he finds in his new written music, on a genetic level, not like inspiration or imitation. More current Braxton music is rarely played by other musicians and it's a shame.

ALFA MIST STRUCTURALISM 24 BIT SERIES

'Ghost Trance Septet plays Anthony Braxton' is a logical continuation of Kobe's work - four Braxton Ghost Trance Music series compositions, recorded by skilled Belgium-Danish septet. In 2020 he released 'Ghost Trance Solos' - a solo guitar album with three Braxton compositions from Ghost Trance Music. The music itself is complex, but quite accessible.īelgian guitarist Kobe Van Cauwenberghe, who created the project 'No Pussyfooting', with music by Brian Eno and Robert Fripp, and is a member of electric guitar quartet Zwerm, is currently affiliated with the Royal Conservatoire Antwerp for an artistic research project on the music of Anthony Braxton. There is more information on Braxton's musical legacy presented in this nicely designed 'organic' CD package's booklet, but generally one doesn't need to learn much before listening. This line of music is written to be played in unison by any performer who wishes to participate in the 'ritual circle dance'. The concept of GTM composition is based on idea, that there exists a 'primary melody', which Braxton describes as 'a melody that never ends'. Later Braxton moved towards cross-genre compositional forms, usually related with jazz, but containing elements of contemporary concert hall music, some ancient folk, etc.īraxton's one remarkable experimental work is his Ghost Trance Music series, inspired by 19th century Native American Ghost Dances and written between 19. His early works (coming from the 60s and 70s) are mostly from the avant-garde jazz field, and some are accepted as genre standards. Still, she offers here on this album a lot of what her fans love most of all - her unique voice.Īnthony Braxton (born June 4, 1945) is one of the most respected of creative contemporary music composers and musicians, still active today (just a few months ago he played live in my hometown with his Saxophone Quartet). Her best songs are really great songs, those which are not as successful, can sound a bit boring. 'Nobody but You', the closer, is straight-ahead heavy blues rock again.Īs many previous Shemekia's albums, the newest one is a mixed bag of some strong songs and some fillers, offering a wide range of blues and Americana this time. On 'Dumb It Down', one can enjoy electric organ. 'The Dolls Are Sleeping' is an acoustic ballad (with Oliver Wood on acoustic guitar). She returns back to a country piece with 'Fell in Love With a Honky'. 'Barefoot in Heaven' is already characteristic Copeland RnB with soloing from Will Kimbrough's electric guitar. Shemekia returns to heavy blues-rock on the title song, a duet with guitarist and singer Cedric Burnside. 'Fried Catfish and Bibles' is pure Americana, with banjo and fiddle again, really danceable. 'Gullah Geeche' is an acoustic country-blues with banjo and fiddle on the front, and 'Why Why Why' is an old-fashioned ballad. 'The Talk', strongest album's blues, demonstrates how great a blues singer she really is. From the very first sounds of the new album, she offers simply, groovy pieces, which blow listener's hats away from their heads. Still with strong blues roots, she bravely moves towards high-energy blues-rock.

With 'Done Come Too Far', Copeland explores the new territories even deeper. Shemekia's previous album, 'Uncivil War', released in 2020, offered faster and a more rhythmic touch on blues, still being a mixed bag containing some top-songs and fillers as well.

Her voice is easy recognizable, and her straight-to-face, often naïve lyrics, are both her strong trademarks. American singer Shemekia Copeland spent the last decade releasing strong blues albums, rooted in tradition, but with a touch of freshness.

Alfa mist structuralism 24 bit