Four Serious Allegations

Erik Fratzke's Fake Accent

Buy it here: https://erikfratzke.bandcamp.com/album/four-serious-allegations

Twin Cities based multi-instrumentalist and composer Erik Fratzke is best known as the bassist of the lauded group Happy Apple, alongside drummer Dave King and saxophonist Mike Lewis. But for his debut as a leader, Four Serious Allegations, Fratzke’s band Fake Accent charts novel terrain with a focus on small group improvisational dynamics and obsolete consumer electronics, which is influenced by a large swath of disparate 20th century work – composer Iannis Xenakis, musique concrete, early hip-hop, doom metal, Conlon Nancarrow, harmolodic funk, “slow cinema,” and “therapeutic architecture.” Fake Accent astounds in their ability to harness these myriad streams and direct them in a deeply compelling and seamless way.

released May 14, 2021

Cooper Doten: Bass Erik Fratzke: Guitar, Keyboards & Electronics Nathan Hanson: Tenor Saxophone & Clarinet Cory Healey: Drums & Percussion, Guitar, Bass

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Live at Icehouse 9/25/17

Nathan Hanson, Noah Ophoven-Baldwin, Chris Bates, Tatsuya Nakatani

Buy it here: https://chrisbates.bandcamp.com/album/live-at-icehouse-9-25-17

A magical quartet materialized on this evening. Full of the spirit of adventure, every musician tuned in, listening deeply to one another. No wasted energy or ego-driven forays with this set. Nakatani and Bates have played together in multiple settings for the past 15 years but have never released anything. Here they interface ably with Hanson and Ophoven-Baldwin in two rich segments of textural improvisations. credits released September 21, 2021

Recorded live at Icehouse in Minneapolis, MN on 9/25/2017. Tatsuya Nakatani - percussion Chris Bates - bass Nathan Hanson - saxophone Noah Ophoven Baldwin - cornet

Recorded by Jon Davis Mixed and mastered by David Bates 1100fps.com Cover photo by Chris Bates Cover design by Karla Colahan - The Inspired Foundry license

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Ce sont nos parentheses

La Compagnie des possibles

Buy it here: https://lacompagniedespossibles.bandcamp.com/album/ce-sont-nos-parenth-ses

The music you will find here has been recorded in 34 different ways, and in as many places and times, over a short period from March to May 2020. The future will tell whether we will keep this strange parenthesis in mind, but it is certain that the present of each of us has been marked by this episode of forced isolation.

Some fear loneliness, others seek it. Tim chose to tame him. From his accordion came out bits of themes, fragments of melodies. Curious to know more, he hastened to continue, and unearthed a dozen compositions that until now had remained carefully hidden in a corner of his creativity. While humans were banned from circulating, music broke all laws, allowing ten writers to seize it, recounting their visions of this spring. When you start a trip, the urge to share it comes quickly. This is how 37 poets from all walks of life were invited to participate, each in their own way, in this common work.

In turn, the singers and musicians have contributed to the building, a voice, an atmosphere, a chorus, a breath, etc ... without anyone having the slightest idea of the final score. This recipe was able to work thanks to the necessary, touching and reassuring confidence, to the generosity and talent of each artist. There followed a colossal and masterful work of mixing and mastering so that the whole comes into harmony. The result obtained goes beyond our expectations, as if angels had contributed their part.

Music is so magical that you hear it differently depending on the state you are in while listening to it. We dare to believe that this feeling is found tenfold in the case of this album. There are as many souls, moods, places of life, fears, silences, hopes that shape this patchwork as there are ways to apprehend it, to appropriate it, to identify with it.

La musique que vous trouverez ici a été enregistrée de 34 manières différentes, et en autant de lieux et de moments, sur une courte période allant de mars à mai 2020. L’avenir nous dira si l’on gardera en mémoire cette étrange parenthèse, mais il est certain que le présent de chacun d’entre nous a été marqué par cet épisode d’isolement contraint.

Certains redoutent la solitude, d’autres la recherchent. Tim, lui, a choisi de l’apprivoiser. De son accordéon sont sortis des bouts de thèmes, des fragments de mélodies. Curieux d’en savoir plus, il s’est empressé de continuer, et a mis au jour une dizaine de compositions qui jusqu’ici étaient restées soigneusement cachées dans un coin de sa créativité. Si les humains avaient l’interdiction de circuler, la musique, elle, s’affranchit de toute loi, ce qui a permis à dix auteurs de s’en emparer, racontant leurs visions de ce printemps. Quand on commence un voyage, l’envie de le partager vient vite. C’est ainsi que 37 artisan.e.s poètes de tous bords ont été invité.e.s à participer, chacun.e à sa manière, à cette œuvre commune.

À tour de rôle, les chanteur.euse.s et musicien.ne.s ont apporté leur pierre à l’édifice, une voix, une ambiance, un chorus, un souffle, etc... sans que quiconque ait la moindre idée de la partition finale. Cette recette a pu fonctionner grâce à la confiance nécessaire, touchante et rassurante, à la générosité et au talent de chaque artiste. S’en est suivi un colossal et magistral travail de mixage et de mastering afin que l’ensemble entre en harmonie. Le résultat obtenu va au-delà de nos espérances, comme si des anges y avaient apporté leur part.

La musique a ceci de magique qu’on l’entend différemment selon l’état dans lequel on se trouve en l’écoutant. Nous osons croire que cette sensation se retrouve décuplée dans le cas de cet album. Il y a autant d'âmes, d'humeurs, de lieux de vie, de peurs, de silences, d'espoirs qui façonnent ce patchwork que de manières de l'appréhender, de se l'approprier, de s'y reconnaître.

La Compagnie des Possibles credits released February 18, 2021

Textes : Eric Planchot (1), Louise Robard (2), Samuel Covel (3), Barbara Letoqueux (4), Desdamona (6), Joël Bosc (7), Jeff Alluin (8), Parveen Sabrina Khan (9), Sylvain GirO (10), Gaël Steindl (11)

Compositions : Tim Le Net (1, 2, 3, 4, 6, 7, 8, 9, 10) Youenn Rohaut & Martin Goodwin (11) Traditionnel malgache (5)

Interprètes (dans l’ordre d’apparition) : Mael Lhopiteau : harpe électrique (1) Timothée Le Net : accordéon (1, 2, 3, 6, 8, 9) Nathan Hanson : saxophone (1, 5) Janick Martin : accordéon, effets (1) Elsa Birgé : voix (1) Grégoire Chomel : tubas, serpents (1, 4) Jeff Alluin : piano (2) Louise Robard : voix (2) Martin Goodwin : sound design (2, 6, 8, 9, 10, 11) Ilyas Raphaël Khan : tabla (3) Mathieu Le Rouzic : guitare (3, 5) Yann Le Bozec : contrebasse (3, 6) Youenn Rohaut : violon, effets (3,11) Samuel Covel : voix (3) Armel Goupil : marimba (4) Barbara Letoqueux : voix (4) Martin Chapron : guitare (4, 7) Meriadeg Lorho-Pasco : clarinette (4, 7) Antoine Péran : flûte traversière (4, 10) Marcellin Djaonarana : voix (5) Pauline Willerval : gadulka (6) Sylvain Barou : duduk, bansuri (6, 9) Desdamona : voix (6) Hélène Troffigué : voix (7) Dylan Gully : clarinette (8) Gabriel Faure : violon (8) Agathe Bosch : voix (8) Ghislain Lemaire : voix (8) Antoine Lahay : guitare (9) Parveen Sabrina Khan : voix (9) Maël Morel : saxophone (10) Pierre Droual : violon, effets (10) Sylvain GirO : voix (10) Baltazar Montanaro : violon, violon baryton (10) Youenn Lange : voix (11)

Mixage : Aurélien Claranbaux - Studio La Claranbox

Mastering : Martin Goodwin - MGS Mastering

Graphisme : Marine Cariou

Photographie : Eric Courtet

Edition : éditions musicales nato

Production : La Compagnie des Possibles

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a sound/simulacra

Cody McKinney & John C.S. Keston with Aby Wolf, Kaleena Miller and Nathan Hanson

Buy it here: https://codymckinney.bandcamp.com/album/a-sound-simulacra

The lineup on this particular evening features McKinney and Keston in our roles as bass/vocal/electronics and Keyboard/synth/electronics. Our special guests were Aby Wolf on voice and electronics, Kaleena Miller on tap (being manipulated at times by Keston) and Nathan Hanson on saxophones. Hanson, Miller, and Wolf are three of the most singular and creative voices anywhere in the world, but we are lucky to have them enrich the scene in the Twin Cities. To visually represent what you are hearing, we asked sculpture artist Kate Casanova if we could use a photograph of her piece [germophile] because it reads visually, so beautifully, to what we aim to achieve sonically.

As a final note, this music contains many things. We do not wish for any singular experience to be had. I listen back, knowing this was a final show before the world changed, and physical life became more distant and reliant on technology to stay connected. I hear these beautiful musicians, using their life long study of the technical, come into focus by relying on the instinctual. I hear a reaching out toward one another as well as a great amount of space, as if to say, "I want to understand you." I also hear empathy, I hear joy, I hear discovery, and I hear tradition. Most of all I hear love.

_Cody McKinney

PS_Release of this record comes months after the horrible murder of George Floyd at the hands of members of the Minneapolis Police Department. A terrible and horrific reminder that Black Lives Matter. All purchases will redirect to various orgs within the back community to help aid in healing and social justice. credits released November 20, 2020

Recorded live at The Icehouse in Minneapolis, MN. November 2019

Cody McKinney: electric bass, voice, electronics John CS Keston: Rhodes, synth, electronics Aby Wolf: voice, electronics Kaleena Miller: tap dancing Nathan Hanson: saxophones

Album Cover Artwork: " Kate Casanova Live Sound Engineer - Ryan Mach Mixed & Mastered: John CS Keston Produced by Cody McKinney and John CS Keston

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Vol pour Sidney (Retour)

Various

Buy it here: https://www.lesallumesdujazz.com/produit-vol-pour-sidney-retour,2914.html#player1?catid=0&trackid=0

More info: http://www.natomusic.fr/catalogue/musique-jazz/cd/nato-disque.php?id=313

It should be remembered that Sidney Bechet was an immensely popular artist, but also an innovator, a researcher, a traveler curious about other cultures, a profound bluesman and one of the most innovative soprano saxophonists. In addition to the beauty of the themes, it is its different approaches that inspired the passengers of Flight for Sidney (return) as they had inspired those of Flight for Sidney (to go) struck as much by invention, modernity, humor. , the melodic sense of one of the greatest creators of jazz (it's Duke Ellington who says so).

Some veterans come on board, but also musicians from younger generations for whom Sidney Bechet is an extraordinary example of music that crosses the entire spectrum of his language, from the most innovative invention to the highest. esteem for popular music, music which knows the emotion of grief and laughter and which never forgets dance and the founding blues.

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slipping, slinking, sparkling, sinking

Nathan Hanson

Buy it here: https://nathanhanson.bandcamp.com/album/slipping-slinking-sparkling-sinking

Solo soprano saxophone. Extemporaneous compositions recorded without edits at Gildersound in Forest Lake, MN on 17 January 2020.

Nathan Hanson, soprano saxophone

Recorded, mixed, mastered by Randy Gildersleeve of Gildersound

All compositions by Nathan Hanson, Hansonic Publishing, ASCAP ©2020, all rights reserved

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Thollot In Extenso

Various

Buy it here: https://www.lesallumesdujazz.com/produit-thollot-in-extenso,1600.html#player1?catid=0&trackid=0

More info: http://www.natomusic.fr/catalogue/musique-jazz/cd/nato-disque.php?id=307

The meeting between Jacques Thollot and Jean Rochard took place in 1976. A friendly relationship followed in which photography had its place. This meeting will largely stimulate the beginning of musical activities in Chantenay-Villedieu in 1978 and the creation of nato records in 1980.

With nato, after Tenga Niña in 1996 (but also the trio of A Winter's Tale with Tony Hymas and Jean-François Jenny-Clark, "L'Atalante" on Les films de ma ville with Hymas and Tchamitchian and Configuration by Sam Rivers), Jacques wanted, in this second decade of the 21st century, to make a sixth album. A new orchestra was then formed in 2011 with Nathan Hanson, Tony Hymas and Claude Tchamitchian. And then Jacques left us three years later carrying his intense experience of mystery, his mad quest for beauty.

The relevance of his music was taking a new turn.

Listening to a few pieces recorded with this new quartet in 2011 at the Sunset, listening to the moving performance of François Jeanneau, Sophia Domancich, Jean-Paul Celea and Simon Goubert during the tribute to Jacques Thollot organized by Gérard Terronès in La Java on January 4, 2015, the persistence of heady melodies, the voice of Marie her daughter and so much other evidence confirmed not to complete this sixth album, but to create another, to imagine a relay where Jacques would still be and where his music would also be interpreted by a few relatives.

Thollot in extenso is therefore a passer-by album where we hear the music of Thollot played by himself with his last quartet (Nathan Hanson, Tony Hymas, Claude Tchamitchian), then in a new dimension through his maturity, his perseverance, his exegesis itself, its permanent entry, this music played by a few companions: Karl Berger, friend of the 60s during the adventures with Don Cherry, here with Kirk Knuffke, Marie Thollot with a string quartet (Régis Huby, Clément Janinet, Marion Martineau, Guillaume Roy), the Java quartet François Jeanneau, Sophia Domancich, Jean-Paul Céléa and Simon Goubert, Nathan Hanson last saxophonist of Thollot's groups, here with Noël Akchoté solo, Tony Hymas with Catherine Delaunay for a duet piano clarinet, territory hoped for by the drummer.

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One Everything

Nathan Hanson & Doan Roessler

Buy it here: https://nhbr.bandcamp.com/album/one-everything

Composed by Doan Roessler and Nathan Hanson; Mixed by Alex Oana, John Kronlokken and Greg Schutte; Recorded by John Kronlokken, Matthew Zimmerman and Doan Roessler; Mastered by Bruce Templeton

Nathan Hanson saxophones; Doan Roessler bass, electric guitar, synth programming; Shane Akers lap steel guitar; Claire Belisle violin; Eliza Block trumpet; Ryan Christianson trombone; Laura Harada violin; Johnny Hermanson voice; Daniel Hickox-Young trombone; Erik Jacobson tuba; Christopher McGuire drum set; Graham O'Brien drums, percussion, samplers; Noah Ophoven-Baldwin cornet; Pratik Singh tablas; credits released July 14, 2017

©2017 all rights reserved

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Equidistant

Wiwex Quartet

Buy it here: https://www.amazon.com/Equidistant-Wiwex-Quartet/dp/B00QJARM6U/

Here's a quartet that is resolutely outside the box. They offer a poetic and wild music that takes you far and wide. Do not miss their concerts because they are rare, the four band members separated by the Atlantic Ocean. Hence the name of their beautiful record, Equidistant (Socadisc, 2012). The rhythm is the heart of this music in which we find two percussionists. Pablo Cueco is a Zarb specialist, the more delicate drum, a magical instrument capable of evoking the rumble of thunder, the delicate lines of the wind in the leaves, and also ghostly footsteps. Mirtha Pozzi plays the congas, and a whole arsenal of percussion returned from her travels in Latin America, as she distributes spice. The percussion duo interacts with the subtle saxophone (tenor or soprano) of Nathan Hanson. As for Doan Roessler, bass, he is not only the link and binder of all these musicians, he contributes to the intensity of the music. This tightrope music leaves room for improvisation. It's passionate, violent, fragile, poetic. In short, superb.

~ JF Mondot, journalist for Jazz Magazine (France)

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