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Chris Jennings - Drum'n Koto (2013)
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Chris Jennings - Drum'n Koto (2013)

30-05-2014, 08:44
Jazz | FLAC / APE

Chris Jennings - Drum'n Koto (2013)

Artist: Chris Jennings
Title Of Album: Drum'n Koto
Year Of Release: 2013
Label: Promise Land
Genre: Jazz, Modern Jazz, Ethno Jazz, Bass
Quality: FLAC (tracks+.cue)/MP3
Bitrate: Lossless/320 kbps
Total Time: 54:03
Total Size: 310/124 mb


01. Left Turn Signal
02. Bass Intro to Teyla Ferechteh
03. Teyla Ferechteh
04. Fifth Face
05. Always Line 9
06. Trieste Klok [05:26]
07. Ney & Guitar Intro to Silent Speech
08. Silent Speech
09. Tehran
10. You Are Missed
11. Vantan (Waiting)

Personnel: Mieko Miyazaki: koto, voice; Chris Jennings: double bass; Patrick Goraguer: drums, santour; Nguyên Lê: guitar; Kudsi Ergüner; ney.

For his seventh album as leader, Paris-based bassist Chris Jennings allies himself with like-minded adventurers in koto player Mieko Miyazaki and drummer Patrick Goraguer. The common denominator between the musicians is openness to music that transcends borders and labels. Miyazaki plays in guitarist Nguyen Le's Saiyaki along with tabla player Prabhu Edouard; Goraguer—a regular in Jennings quartet—has played with bassist Richard Bona and singer Fema Kuti, while Jennings's collaborations include oud player Dhafer Yousef and saxophonist Lee Konitz. The idiom that the three converse in is, perhaps unsurprisingly, a hybrid of jazz and roots music, though their rich vocabulary and flexible grammar is as unique as it is captivating.

Chamber intimacy, rootsy rhythms and improvised passages interweave on "Left Turn Signal," which revolves around an infectious koto ostinato and drum and bass groove. Jenning's affinity with Algerian gnawa music imbues the upbeat "Teylà Ferechteh," which is preceded by an extended bass intro. Goraguer and Jenning's dancing rhythms create a platform for Miyazaki, who steers a course between melodic lead and free improvisation. The delightfully loping groove and pretty koto melody of "Fifth Face" concedes space for bass, koto and guitar solos; Jenning's unhurried lyricism, Miyazaki's harp-like glissandos and bent notes, and Le's sinewy jazz-rock are portraits in contrast but their brevity ensures the tune is not hijacked.

Metronomic drum and bass evoke the rhythm of the Paris metro on "Always Line 9"; Miyazaki and Le's lively improvisations capture the bustle and energy of the city's underground. Le's solo is an especial delight—his bending single notes and gnarly, spluttering finger-work sounds like a feisty cross between veena slide-guitarist Vishwa Mohan Bhatt and guitarist Richard Thompson. The slower paced "Trieste Klok" features Miyazaki in equally expansive mode; her tumbling single note lines and billowy cascades—punctuated by bent notes that seem to cry—create a dramatic dramaturgy.

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loverr   User offline   30 May 2014 12:33


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