Coin Coin part 3, "River run thee":
http://www.theguardian.com/music/2015/jan/19/matana-roberts-coin-coin-chapter-three-river-run-thee-exclusive-album-stream

Read a review or two that suggested the sound was really different (see: http://thequietus.com/articles/17094-complete-communion-jazz-reviews-3). I heard chapter 2 late and was just blown away (and I already loved chapter 1) ... can't wait to hear this, but can't decide whether to stream or wait for a hard copy...

-thebigfunk

~ i could still snort you under the table ~

About to give it a quick skim but probably won't have time for a full listen until later tonight... anyone check it out yet?


-thebigfunk

~ i could still snort you under the table ~

Got it years ago, listened once and was blown away, but it was kind of overwhelming and I've never revisited it.

I'd recommend revisiting it, though, and checking out ch. 2 while you're at it... can't describe why, but ch. 2 is a bit less heavy as far as the music itself goes

-thebigfunk

~ i could still snort you under the table ~

definitely sounds different as there's no band on this one. even more to my ears it's produced rather than played. it still has her visceral feeling, but knowing that she's doing everything makes it impossible to believe it's all happening at the same time and it slightly cuts into the edge of it. but... that's just a comparison thing. on its own it's sounding great.

█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." � Miles

"When the music stops he falls back in the abyss."

>definitely sounds different as there's no band on this one.
>even more to my ears it's produced rather than played. it
>still has her visceral feeling, but knowing that she's doing
>everything makes it impossible to believe it's all happening
>at the same time and it slightly cuts into the edge of it.
>but... that's just a comparison thing. on its own it's
>sounding great.

Yeah, that's the biggest shift --- feels more like musical collage composition, and much more vocal-centric. Love the rhythmic layering of vocals. Thought I heard a few references to bits from the earlier records, eager to give a closer listen and track those down. Easily the most abstract of the lot so far.

Read she's doing twelve of these records --- unbelievable.

-thebigfunk

~ i could still snort you under the table ~

>Read she's doing twelve of these records --- unbelievable.

started as a live thing and there are more than a few early takes here:
https://archive.org/search.php?query=creator%3A%22Matana+Roberts%22

it's evolved through these releases though, so it'll be interesting to see where the all end up.

█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." � Miles

"When the music stops he falls back in the abyss."

>started as a live thing and there are more than a few early
>takes here:
>https://archive.org/search.php?query=creator%3A%22Matana+Roberts%22
>
>it's evolved through these releases though, so it'll be
>interesting to see where the all end up.

Did not know about those early sets - will check out asap, thanks for the heads up.

-thebigfunk

~ i could still snort you under the table ~

I actually find this review to be rather thoughtful:
http://pitchfork.com/reviews/albums/20025-matana-roberts-coin-coin-chapter-three-river-run-thee/

Also, the review links to a tumblr Roberts is keeping while living in a houseboat for a while:
http://boatafloatbrooklyn.tumblr.com/

Looks like some good stuff there for those interested in the Coin Coin project.

I find it interesting that several jazz-ish/instrumental artists have been flirting with ultra-long-form epics that specifically tackle aspects of black history. The Coin Coin project reminds me in some ways of Wadada Leo Smith's Ten Freedom Summers. Although they are very different in compositional approaches, both take up black history/histories as their inspiration and subjects.

Nothing new, of course --- this is terrain first tread by Ellington, Mingus, Roach, numerous others. It's part of the tapestry of jazz history. (One finds it, too, in the often overlooked work of black "classical" composers such as William Grant Still.) It's not the historical anchor that is interesting to me, but the long-form it inspires... and in Roberts and Smith we see that taken to an extreme.

I don't know if there's anything significant there or not, just some thoughts.


-thebigfunk

~ i could still snort you under the table ~

Haven't heard this one yet, will check it out as soon as possible. Was surprised to see a thread on this in the Lesson BTW...

>Was surprised to see a thread on this in the Lesson
>BTW...

pretty sure i posted about the previous two.

█▆▇▅▇█▇▆▄▁▃
Big PEMFin H & z's
"I ain't no entertainer, and ain't trying to be one. I am 1 thing, a musician." � Miles

"When the music stops he falls back in the abyss."

LOL!

>>Was surprised to see a thread on this in the Lesson
>>BTW...
>
>pretty sure i posted about the previous two.

Yup, I am pretty sure that's how I got put on, after you posted about the first one. (Don't think I saw your post about the second.)

-thebigfunk

~ i could still snort you under the table ~

However, I got on the train quite early and I find it quite unlikely since I actually follow the contemporary free-improvw scene. Whastwver4, I did a sear4ch and apparently she has ebeenb mentioned even if nothing implies theres been a thread, more likely based on the threads I've come up with, her name is more likely to be mentioned for socio-po0litical reasons when that isn't necessary; (actually, it is but it is sad state of affairs when the very *core* definition of a black fm musician is one that dance synchronied in a major label video; IO guess my sheer yuruppean whiteness kind of prtetends it's not necessary),

I just wonder why the hell. Eitherway, I guess this says more about me and the lack of my ability to take OKP recommendations seriously or just ignoring them all together because, honestly, that's never why I was here. I never really cared about the "recommendational" aspect of this place because I had my own channels for that (where I found out abhout Matana too of course),I don't know, maybe I should take this place more serously as not a writ44e44r 4bg44u44t a *reader* as well but that's kind of difficult since the ver4y frirst thing that appealed to me about this place was the *reader* aspect; unless you count my first two user-names, I've been here since I was attracted to the *reading*, it never had anything to do with me writing, most of my writing is just automatic anyway, just drivewl...

Anyway, sorry if I missed out on OKP recommendations on her but I was quite early on anyway due to r4eading the wire and following the contemporary imrpov scene at large...

All that matters is the music and I'm looking forward to hearing the new one...

>Haven't heard this one yet, will check it out as soon as
>possible. Was surprised to see a thread on this in the Lesson
>BTW...

Would like to hear you thoughts on it at some point, and on her past projects, too.

-thebigfunk

~ i could still snort you under the table ~

,

I will spend my time with this new album as I did with her two previous; I *expect* good music and I'm pretty sure I will be met with nothing less...

As dis DUDE, I don't dare saying to muc 'esides "Play de SAX"...LESS POETRY, less pantering to *dem* (=OKP!!!!)...

Anyway, good record-PEEP IT!!!

...are strictly CUNTS!!!. I WANT YALL To ate dis shitE and as a DRUNKEN bonus, eat dick:https://www.youtube.com/watch?v=SAsHFSrh0i8

cunts!!! hOES!!!i'M GONE-FINALLY!!!

TALENT=YNGWIE-E AS IT!!!!

Still a nice guy-STILL REVOLUTIOM so don't ya'll fUcking dare again...

EDIT:USA, lulz--- IQ, rainz, ANYDING,,, sad site and I dig it even more I spell it "wrong"

EDIT GOAT nonsense; I don't understand a word... Enslavements is OK apparently...

Still a dude wo drunk wid dem..

...dis plejs, Lolz/lulz/(insert appropriate assolism)