Ali̇en Invarsion

Motéma Music, now celebrating its 20th year as one of the world’s premier jazz/world labels, will release FlamenKora, a self-titled debut album from a new trio that unites West African Mande music with authentic Spanish flamenco guitar and American and Euro jazz trumpet to create a transglobal collaboration unlike any other. FlamenKora features German-born, New York-based trumpeter Volker Goetze, Senegalese-born, Paris-based kora master and vocalist Ali Boulo Santo Cissoko, and the rising Madrid flamenco guitar sensation, Alejandro Moreno. Following a series of sold-out shows in Europe, FlamenKora will introduce their cross-genre global music to the masses with their Motéma release on Friday, June 9th, 2023.

The Owsley Stanley Foundation, in partnership with the Ali Akbar College of Music in San Rafael, CA, is pleased to announce the sixth release from Owsley’s storied archive of live concert recordings – Bear’s Sonic Journals: That Which Colors the Mind, a previously unreleased 1970 live concert featuring one of the greatest masters of Indian classical music, Ali Akbar Khan (sarod), accompanied by Indranil Bhattacharya (sitar) and Zakir Hussain (tabla).

Some people would quickly run away from the music of someone who claims to admire the music of Berg, Crumb, and Cage. Franguiz Ali-Zadeh admires all of those composers and uses similar techniques in her composition, but she also finds inspiration in the music of her native Azerbaijan. With all of this, she creates especially evocative, picturesque works that invite listening more than once. Oasis, the opening work on this disc of her music featuring the Kronos Quartet, begins extremely quietly with water droplets, and then the quartet enters with desolate harmonics, depicting the desolation of the desert. Later in the piece, voices of those taking refuge in the oasis are heard. Ali-Zadeh's music is full of sounds beyond that of the traditionally played instruments of the string quartet and the piano, sounds that enhance and become part of the music. Sometimes it is techniques such as pizzicato, harmonics, col legno, or preparing or playing the strings of the piano; other times it is added instruments, as in Mugam Sayagi, or recorded sound, as in Oasis.

By the mid-'90s, Malian guitarist Ali Farka Touré was expanding his signature acoustic African blues by changing his instrumental palette and collaborating with Western musicians like Ry Cooder (as on 1994's Talkin' Timbuktu). While Touré gained prominence during this period, many die-hard fans tout the artist's earliest work as his strongest. The double-disc set Red & Green brings together two albums originally released by the French label Sonodisc between the mid- and late '80s. The original vinyl versions were long out of print and difficult to find, until their issue here on World Circuit/Nonesuch. Both albums are entirely acoustic (Touré didn't introduce an electric guitar until 1991's The Source), with minimal accompaniment on calabash and ngoni (a traditional four-string guitar), which perfectly complements Touré's percussive guitar style and plaintive, keening vocals.

Coursing through the cosmic pulse of Jazz-Funk is the inimitable influence of Lonnie Liston Smith. For over five decades, the legendary keyboardist and bandleader has been a driving force in shaping the genre's sound. Smith made his recording debut as a sideman for heavyweights Miles Davis, Pharoah Sanders, Gato Barbieri and Leon Thomas. He later formed his own ensemble, Lonnie Liston Smith and the Cosmic Echoes which delivered an incredible run of classic albums through the 1970s. His music has served as the foundation for immortal hip-hop samples and ecstatic dancefloor revelry. In late February 2020, Smith headlined Jazz Is Dead’s Black History Month series, giving many jazz fans what would be their last taste of live music before the nightmare of COVID-19 that took over in the weeks that followed. Now, he reunites with Jazz Is Dead to deliver Lonnie Liston Smith JID017 - a full-bloom tribute to the multitude of sonic strains that all lead back to the fingertips of the maestro himself.