Fred Fred Anderson

Versatility has characterized the career of Ari Brown, a Chicago-based reedman and occasional pianist who plays hard bop and post-bop as convincingly as he plays avant-garde jazz. After growing up on the city's South Side and graduating from high school in the early '60s, Brown attended Chicago's Wilson College, where he met Jack DeJohnette, Henry Threadgill, Roscoe Mitchell, Joseph Jarman, and others who would later become members of the Association for the Advancement of Creative Musicians (AACM).

"Fantastic studio recording, caught by Taylor Hales at Chicago's legendary Electrical Audio, documenting the first full meeting of all the players on this album. Mako Sica, at this point in time revolve around the core duo of Przemyslaw Krys Drazek (electric trumpet, mandolin, electric guitar) and Brent Fuscaldo (vocals, electric bass, harmonica, thumb piano, gong, percussion). For this session, these two are joined once again by Chicago's always-revelatory percussionist, Hamid Drake, with whom they have previously recorded Ronda (FTR 409LP) and Balancing Tear (FTR 513LP). In addition, Ourania features the upright bass and shamisen of Tasu Aoki (Drake's longtime partner in Fred Anderson's trio).

Digital Primitives - Hum Crackle & Pop (2009) {Hopscotch HOP42}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 338 Mb | MP3 @320 -> 132 Mb
Full Artwork @ 300 dpi (jpg) -> 16 Mb | 5% repair rar
© 2009 Hopscotch Records | HOP 42
Jazz / Improvised Music / Avant-Garde Jazz

Hum Crackle and Pop, the long awaited second release of Digital Primitives forges a group sound that is fresh and unique. Digging deeply to unearth the roots of American music, the trio fuses a new sound from blues, folk, jazz and funk, with accents from the music's African antecedents.

As the debut recording of an ensemble rooted in deep and abiding friendships The Daily Biological is a creatively roiling conversation. The unusual trio of drums (Chad Taylor), saxophone (Brian Settles) and piano (Neil Podgurski) creates tough and engaging music that unfurls in kinetic conversational bursts.

' Over the decades, James Brown collaborated with, and encouraged, some of funk's leading ladies. During the '60s and early '70s in particular, every Brown show featured a 15 or 20-minute break when he would leave the stage, turning it over to a young female singer who'd perform her own mini set - an event that became a tradition and an important part of the revue. It is these women who are collected across this marvelous and historically potent two-disc set. This is a crucial collection of the original women who rock: the soul and funk divas who paved the way.' AMG