Out of Sweden comes new jazz sounds from guitarist Anders Nilsson's group Aorta, a group that glances briefly back at the late '60s and '70s, then forges ahead, showing some possible directions for the music to go if it is to remain vital. Aorta probably won't be doing a week at the Vanguard any time soon, but if there's any music that can even remotely be called jazz and has any chance of capturing the ears of teens and twenty-somethings (the holy grail in music sales), this is it.
While there are whiffs of Tony Williams' Lifetime and '70s work by John McLaughlin and, of course, Miles Davis, Aorta has its own fingerprint, thanks in large part to Nilsson's twisting compositions. The guitar and horn work is aggressively virtuosic and the rhythm section demonically driving. Aorta revives, refreshes and continues several areas of jazz, some still kicking and others moribund.
Electric jazz has attempted comebacks of late. Aorta plows ahead as if the glory days never passed. Some of Nilsson's compositions seem to show an awareness of the work of contemporary innovators like Henry Threadgill. Finally, Aorta makes daring forays into freely improvised music. Blood is garage jazz at a high level.
Track Listing: 1. Blood Of The Soul;
2. Mr. WC;
3. Trails Of Blood;
5. Hint House;
6. Daily Blues;
9. Let's Music.
Personnel: Anders Nilsson - electric guitar & voice; Mattias Carlson - tenorsax, electrified altosax & voice; David
Carlsson - electric bass; Peter Nilsson - drums.
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.