Passionate new works on piano, with added fire of astounding reed players Kidd Jordan, L. Mixashawn Rozie and J.D. Parran.
-----please scroll down to read 3 new Rave Reviews of PIANO RAPTURE: FLYING NOTE Records proudly announces the release of PIANO RAPTURE (FNCD 9016) featuring Kali's new works on piano. Recorded during 2012-13, the music is deep and sensual, enveloping you with a passionate embrace. Kali's imagination, sonic power and wide emotional range flow beautifully, both solo and combined with the profound musicality and sensitivity of the highly esteemed reed masters Kidd Jordan, L. Mixashawn Rozie, J.D. Parran, and percussionist Ron McBee. During the first two decades of Kali's professional career, she traveled constantly on four continents, performing and absorbing the musics of Asia and Africa, focusing on woodwinds (soprano saxophone, nai, kaval & shakuhachi flutes, mizmar), strings (cello, tanbur), voice and other portable instruments. Recently, her more settled life has offered the opportunity to return to the orchestral resonance of the piano, her first instrument. Kali's piano teacher for 8 years of childhood was Olga Heifetz (sister of violinist Yasha Heifetz). Kali's aunt was a concert pianist, opera singer, composer and conductor at Carnegie Hall, her grandfather was a symphony cellist, and her father said the Gershwin brothers regularly attended loud weekly jam sessions at the family house. In a sense, Kali channels that legacy as well as her multi-instrumental and World Jazz experience on this recording. Available on CD and FLAC high quality downloads. 12 other CDs by Kali. Z. on Flying Note Records (also available through CDBaby): AN ALTERNATE UNIVERSE, ANIMAL GRACE, LIVE at the KERAVA JAZZ FESTIVAL: Finland, PEOPLE of the NINTH, MAKING WAVES, ONENESS, VIVID, COMRADERIE, SENSUAL HEARING, PROPHECY, MEMOIRS of a DREAM, and WORLDS BEYOND WORDS.
Rave review of PIANO RAPTURE, my new CD, by Gapplegate Music Reviews Wednesday, July 2, 2014 Kali. Z. Fasteau, Piano Rapture, New Works on Piano http://gapplegatemusicreview.blogspot.com/2014/07/kali-z-fasteau-piano-rapture-new-works.html "Kali. Z. Fasteau, a real, totalized phenomenon in avant jazz circles. . . .She's played with all kinds of seminal avantists, beginning pretty long ago with Donald Rafael Garrett and on from there with a host of heavies. She has more than endured those years, she has flourished as a multi-instrumentalist and leader who coaxes the best from her collaborators and then contributes her own very effectively distinctive playing to boot, whether it's from an array of reeds, vocals, piano, you name it. "She's produced twenty-something albums independently, and regular readers should recognize that I've covered many of them on these pages (type her name in the search box above for that). She never backs down, she always comes through. And her latest, Piano Rapture (Flying Note FNCD 9016), happens to be one of her very best. It as the title suggests features Kali's piano playing, in solo and duet (and one trio) with some notable improvisors--Kidd Jordan on tenor; L. Mixashawn Rozie on soprano, tenor, flute and djembe; J. D. Parran on alto flute and alto clarinet; and Ron McBee on percussion. "These are free pieces, spontaneously composed by the artists on the spot. Kali's piano playing never sounded better. She cascades, drones, splashes multi-note bursts of sound on the keyboard like paint onto a canvas, and otherwise creatively sounds out very moving and appropriate sound-poems whether in the company of her considerably talented collaborators or by herself. "One of the most moving pieces on the album is "Roy's Wake", a live expression of grief, sorrow and spiritual transcendence on the tragic death of trumpet master Roy Campbell. His sudden passing shocked and deeply saddened the New York jazz community when it came early this year and she movingly expresses that on vocals, electric organ and electric piano while Mixashawn ably seconds the emotion on flute and soprano. "But all of it goes together in one absorbing flow. The relatively short length of each piece and the constantly shifting configurations make listening closely both easy and very rewarding. If it's right to speak of masterpieces only a few days after they have come out, this is surely one of Kali's--a masterpiece in the open-form free-jazz she was been such a vibrant force in and such an important part of for so long. With Kali, technique has always been thoroughly harnessed to the directional momentum of free expression. Never more movingly so than here. Hear." Labels: free improvisations for solo piano and piano and reeds, kali z fasteau piano rapture gapplegate music review, modern free jazz today, new york avant jazz now
Here's another great review of PIANO RAPTURE, this one by S. Victor Aaron in Something Else Reviews.com, July 12, 2014. The writer even added, "Thanks for sending this, I've enjoyed it. You are a true renaissance woman." Kali. Z. Fasteau: PIANO RAPTURE "Kali. Z. Fasteau’s latest album is called Piano Rapture, probably out of necessity. You see, Fasteau can play soprano and alto saxophone, nai, kaval & shakuhachi flutes, voice, drums, cello, sanza, viola, synthesizer, mizmar, bindir and moursin, too. She’s has lived in twenty-one different countries, recorded nineteen albums. And, while still in her 20s, she published a theory on her highly developed ‘spontaneous composition’ method (The Tao of Music, 1974) for creating music on the spot. "Piano Rapture, therefore, is another synthesis of the wide-ranging influences she’s picked up over her culturally enriched life, whereby she’s not only absorbed the music of the countries she’s resided in all over the world, but also Bartok and Bach, Gregorian chants and Debussy and jazz and blues that caught her attention from forays into the American South during the 60s. Only now, these influences come pouring out over eighty-eight keys. "One thing’s clear from Rapture, if piano is a secondary instrument to Fasteau, you’d never know it. When she goes solo, as on the opening “Another Southpaw” or the John Tchicai tribute “Hai Tchicai,” she uses the full range of the instrument as a tool to implement her intuitive creative process that goes down paths picked on the spot and always finds its way to the other side. Swirling, sometimes menacing, always human. "For most of the tracks, though, she pairs up with a woodwind, coming from Kidd Jordan (tenor sax), L. Mixashawn Rozie (soprano sax, tenor sax, flute, shakere) or J.D. Parran (alto flute, alto clarinet). Fasteau doesn’t really change her style for them, but nonetheless blends in well with her partner; she and Jordan connect and flow together in perfect sync during “Faun Listening” and Mixashawn’s elongated, quivering notes differentiate his tenor sax from Jordan’s but Fasteau can sense even subtle shifts in his mood. “Roy’s Wake” is something completely different, using organ and electric piano to make not melodies but celestial moods, and Fasteau’s own voice run through some electronic effects amidst Mixashawn’s swirling flute throws off some ghoulish, nifty vibe. Her voice returns (briefly) for “Taliswoman,” a song that’s performed on piano with the help of Parran and percussionist Ron McBee, the only trio setting of the album (although an unconventional one). "Kali Z. Fasteau’s spontaneous composition theory might be forty years old, but it’s quite alive and well in practice today, no matter what she chooses to play in carrying it out. On piano, it’s a downright rapturous."
PIANO RAPTURE: more rave reviews, this one by Matt Cole September 8, 2014 at 3:07pm CD Review: Kali Z. Fasteau’s “Piano Rapture”…new works on piano Artist: Kali Z. Fasteau Title: Piano Rapture Label: Flying Note Rec Genre: jazz/improv CD Review by Matt Cole
Kali Z. Fasteau is an accomplished composer and multi-instrumentalist, having traveled all over the world learning and playing various woodwind and string instruments and absorbing the music of the many places she has lived and created. On Piano Rapture, she returns to her first instrument, presenting nearly an hour of spontaneous compositions for both solo piano and small ensemble. Her collaborators on this project include reed players Kidd Jordan, L. Mixashawn Rozie, and J.D. Parran; and percussionist Ron McBee.
The album starts with “Another Southpaw,” a solo piano piece that begins with stormy motion, up and down the entire keyboard, and then morphs into ominous and dramatic out chords. Right away, Kali Z shows here ability to use the full range of the keyboard, pitch, dynamics, and mood, generating turmoil in the low notes and adding tension up high. Later in the program, another solo piece entitled “Attuned” brings back memories of “Southpaw,” albeit with important differences in the details. “Attuned” creates a feeling of waves, stormy waves, with often complicated and ever-shifting rhythms interspersed with stop-and-start bursts of notes. The third solo piece, “Hai Tchicai,” at times brings to mind late romantic and Impressionistic music, alternating with what can best be described as a fuzzy rhythmic section, perhaps the aural equivalent of a photograph that has been deliberately made slightly out of focus, to good effect. Each time Kali Z switches from one feel to the other, it’s slightly different, as if the part being played has absorbed a little bit of the other, and at one point, I was reminded of Coltrane’s “Alabama.”
The small ensemble pieces on Piano Rapture show a group of musicians who complement each other very well. On “Faun Listening,” Kidd Jordan‘s tenor comes in after an almost Twilight Zone-esque piano introduction, complementing Kali Z with a second stream of relevant information, getting very active while Fasteau’s low piano move everything along quite energetically. Mixashawn Rozie joins Kali Z on tenor for “Mix Flies,” a composition with a mid-’60s Coltrane feel, free conscious, inspired, and soulful, outside but not too far. Fasteau’s piano excellently complements and supports Rozie, responding to tenor calls with complex yet not too obtrusive lines. “Mix Flies” is an excellent example of the near-telepathic speed of the communication between the musicians on this album, and their motion as a unit, a neat trick when spontaneously composing.
That mid-’60s Coltrane vibe can also be heard on “Body Wisdom,” which features Rozie on soprano. The piece begins with simple long tones, goes into a stop-and-start riff with spare sax lines above (Rozie has a noticeably good strong tone, and here is one of the best examples). This builds into a very rhythmic section, but with some interesting quirks, and then Rozie takes a solo alternating between long, lyrical, out lines, and rapid-fire bursts of notes. A free duo section follows, with excellent communication between the two musicians. “Roy’s Wake,” a duo with Kali Z on organ and Rozie on flute and soprano, has a weird, spacey, almost Sun Ra meets 2001: A Space Odyssey feel, with some eerie vocals and slow motion long note interplay between the various sounds. At one point, I was reminded of some of Frank Zappa’s Varese-inspired classical compositions. The modern/20th Century classical influence continues on “Etherea,” sounding at times Impressionistic, and at other times like a ’60s loft concert, with Rozie’s flute and Kali Z’s piano intertwining on busy runs, with the flute almost butterfly – or hummingbird-like in its motion.
Piano Rapture succeeds at the neat trick of being technically interesting, spontaneous, and emotionally gripping all at once. Kali Z’s many influences show, but especially those from the free, spiritual Coltrane-influenced music of the mid-’60s, and from the early 20th Century’s forward-thinking classical composers. With a fine set of supporting musicians, Piano Rapture will likely be highly enjoyable to fans of high-level, spontaneously composed music