Michael Schiefel & David Friedman – Hiptoe (2024)
FLAC (tracks) 24 bit/44,1 kHz | Time – 01:10:48 minutes | 680 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Traumton
I made up a definition, solely for myself, a highly subjective description of the result of a truly spontaneous musical interaction. I call it “pure music”. It’s not some term that musicologists might use to analyze musical phenomena. It’s personal. It describes a feeling I get in an ideal improvisational setting. It defines what happens to me when I feel that certain spark of creative excitement beyond the material, structure, form, harmony, etc.
It’s special, selective, the opposite of “the norm”, the “every day” experience.
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David Friedman, Tilo Weber, Oliver Potratz – Surge Of Silence (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 43:37 minutes | 860 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Malletmuse Records
Sometimes, seemingly unrelated events come together. Many years ago when I was busy doing studio work in New York, I met the young recording engineer Marti Robertson, who impressed all the heavy studio cats with her great expertise and charisma.
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David Friedman – Weaving Through Motion (2014)
FLAC (tracks) 24 bit/44,1 kHz | Time – 57:38 minutes | 488 MB | Genre: Jazz
Studio Masters, Official Digital Download | Front Cover | © Traumton
An absorbing solo vibraphone session from jazz vet David Friedman, who went twenty years since his last solo outing. His newest, Weaving Through Motion, is likely to lead to some regret that he doesn’t do the solo thing a bit more often. Along with a bunch of Friedman originals, there are four covers, including Monk’s “‘Round Midnight” and Michael Legrand’s “The Windmills of Your Mind.” Just a real intimate, patient set of tunes that gives the listener the sense that they are there in the room as Friedman works through his ideas.
Some notable tracks: “Turn Left” has the dreamy, uneasy stillness of the darkness just before sunrise. At the other end of the spectrum, “Ona” is all bright eyes and optimism, cheerily rattling of sunny statements. In like fashion, he takes “Almost Blue” for a spin with a pop music enthusiasm and hammers home the song’s catchy melody with an infectious exuberance. And though he references a classic-turned-prog-rock band on “No (Changes) – With Compliments to the Band ‘Yes’,” the mesmerizing rhythmic attack is more akin to the Krautrock school of ambient music, ala Cluster.
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