| | Lily Maase Aftermath CD Lily Maase Discography of CDs
About Lily:Guitarist, composer and mixed media artist Lily Maase splits her creative life between Brooklyn and Montreal. When in Brooklyn, she writes for and performs with her acclaimed quintet, theSuiteUnraveling, recently dubbed “seriously remarkable new music” by the Weekly Alibi; collaborates with some of New York’s top-call improvisers (Walter Thompson, Cadmium Lace, Brooklyn Soundpainting Orchestra, ZAHA); tours nationally with all-girl jazz sensations the Lascivious Biddes; and dreams up large-scale mixed media projects for video, double quintet, laptop and beyond (hall.of.mirrors, CAVE 2006; re:Disconnect, Roulette 2006). When in Montreal, she writes for and performs with art-rock experimentors Life Without Robots and plays regularly with percussionist Ivan Bamford. Lily is a graduate of the University of North Texas’s esteemed jazz studies program, a founding member of the Addtract Consortium, and is endorsed by Godin guitars.Press:"Aftermath is a superior effort by a very talented composer."-Budd Kopman, allaboutjazz.com."Free-form jazz that [builds] groove and texture without getting cheesy. Maase's guitarwork...[strikes] an impressive balance between improv and restraint."Sam Machkovech, the Dallas Observer "If you have seen her live, or heard her recordings, I hope you have realized what a treasure Lily is."-David West, the Denton Record ChronicleAbout the music:Aftermath is the product of a full year of writing, rehearsing, and recording two musical series for jazz quintet and electronics. The four pieces in the first series are unified by an electronic loop, and it is the difference in harmonic and improvisational interactions with this loop that paint a picture of the journey we must all make through the process of self-discovery. The second series, "Lullabye for the electric shepherd: sounds for Philip K. Dick," is an exploration of some of the conceptual material from the classic movie Blade Runner. Within this suite, we explore the relationship between man and machine, going so far as to use graphic notation to "program" the band to respond to melodic and harmonic material in different ways.Thanks for listening,Lily and the LM5 Aftermath Music | Category | Jazz Albums, Jazz Instrument CDs, Fusion | | Label | LM5 | | Orig Year | 2005 | | CD Universe Part number | 7165048 | | Catalog number | 59157 | | Discs | 1 | | Release Date | Mar 08, 2005 | | Studio/Live | Studio | | Mono/Stereo | Stereo | | Recording Time | 72 minutes |
Lily Maase Aftermath Songs | 1. | My Five Wives |
| 2. | Even Ash Will Linger |
| 3. | ...In Threes... |
| 4. | Body in Motion..., A (Self Portrait) |
| 5. | How Much For the Electric Ostrich? |
| 6. | Nexus 6 |
| 7. | Baty's Last Stand |
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Aftermath Review
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| | Dave Nugent Gates Of Tolerance CD (2004)
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Dave Nugent's Gates of Tolerance recording is a hard-swinging jazz saxophone entrenched album. All tunes on the recording are written by Dave Nugent or his saxophone compatriots. Here's what Dave had to say about the project. Back in 2003, Jud Sherwood asked me to assemble a group to perform a concert for the Jazz Project Art of Jazz Series. I knew right away that this wasn't going to be just another gig. This would be an opportunity to write and showcase original compositions and hire inspirational players. In order to print the schedule for the 2004 Jazz Project season Jud needed to know who I wanted for the show. I had seen Blake Angelos, Larry Holloway and Milo Peterson play together and really liked their sound. Blake has always been my favorite piano player and you'll notice his solos shine through on all the tunes. Larry Holloway's playing is always powerful and inspires the whole band. And I've known Milo since 1980 when he taught jazz guitar at WWU. I've always found his drumming extremely innovative. Given the freedom to assemble my own group, I also knew that I wanted guest saxophonists on the date. I narrowed it down to Ray Downey and Paul Sorensen--long time friends who guided me when I was first starting out. I've always loved the sound of 3 saxes, so that was another motivation for having Ray and Paul play. The tunes we play on together are a nice addition to this CD. The full ensemble rehearsed one week before the concert and played live two nights previous to the show.With Halloween 2004 set firmly in place for the concert debut, I tried to write at least one tune per month that would apply to this project. But most of my time was spent on an electronica album. It wasn't until mid-May that the looming deadline struck me and I began to switch gears. Ray Downey's input was invaluable to the charts I had written, for the ones in progress, and for the tunes I needed to write. Come On In was originally written as an electronica piece. It's the one tune that I actually composed a bass line for and provided specific direction to Blake for the piano part. It's kind of my tribute to an ECM sound. It's All A Dream is a nice happy tune with a straight ahead jazz feel. About his tune Steak-out Paul Sorensen says: I basically wanted to have an image for this tune that implied fun, food, party outdoors, and was tasty! Instead of a "Police" image with "stake-out" I changed the spelling to reflect the former image. Play-on words, if you will. To have a little interplay between the horns in the melody line was in keeping with the fun idea, then the coming together at the end of the line signified being with good friends. I play alto, Paul is on tenor and Ray on baritone. O.K. Here We Go is a tune based on major ...
| | Rick Faulkner Waiting For The Rain CD (2001)
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When a trombone talks, people listen.Waiting for the Rain, Rick Faulkner's new release on the Laughing Buddha Label, reaches out and grabs the listener in a hearty, musical bear hug.It is earthy music, full and strong, like the sound of the trombone.Rick's compositions, his musicianship, and the top notch band he assembled for this recording, reveal music of breadth and scope, engaging the listener ...
| | Bill Risby Looking Up CD (2005)
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NEW REVIEW: Sydney Morning Herald, October 2005"Few listeners will not succumb to the spell cast by the fragile beauty of Bill Risby's 'Seek And You Will Find'. Risby weights each note with the assurance of an expert concert pianist performing a Satie Gymnopedie, yet loads them with such a tangible sense of vulnerability that the emotional power stops you dead.We hear too little of Risby in such contexts. it was worth the 11 year wait since his lovely debut, STORIES, for this one, which, after that solo opening, is a collaboration with bassist Gary Holgate and drummer ...
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