#vicente archer

[dustedmagazine]

Dust Volume Nine, Number Eight

Spiral Joy Band

The music plays on through the end of the most disastrous summer in living memory, with Maui on fire and Arizona broiled beneath a heat dome and Vermont swept away in a 100- maybe 500-year flood.  And here’s the kicker: next year will likely be worse.  Still by force of habit, we continue on with the daily grind, cooking and mowing lawns and going to shows and listening to records.  This month’s haul includes avant-black metal, turntablism, bass-forward jazz, jolting punk and music made in collaboration with our robot overlords.  Contributors this time include Jonathan Shaw, Bill Meyer, Jim Marks, Jennifer Kelly, Tim Clarke and Bryon Hayes.

夢遊病者 — Skopophoboexoskelett (Sentient Ruin Laboratories)

In past thinking and writing about this tri-continental, avant-garde, jazz and black metal project (whose name translates to Sleepwalker), your faithful reviewer has made concerted efforts to set aside any references to John Zorn’s Naked City ensemble. This time around, for the project’s Skopophoboexoskelett, such efforts face real challenge holding Naked City tracks like “Saigon Pickup,” “Punk China Doll” or “Razorwire” at any sort of distance. The atmospherics on Sleepwalker’s new LP explode with unpredictable noise, then emanate a patina of Noir-ish style and sleaze, especially the excellent final track “The Bad Luck That Saved You from Worse Luck.” It’s murky like a thick cloud of cigarette smoke, sexy like a stiletto heel dotted with droplets of blood, compelling like those cinematic moments at which Humphrey Bogart (as Philip Marlowe or Glenn Griffin) would grin his mean and tight grin, presaging antic, joyful violence. In spite of that violence, Skopophoboexoskelett may be Sleepwalker’s most listenable record. That could be a good or a bad thing, depending on how much you enjoyed being subsumed in the volatile chaos of their earlier records.

Jonathan Shaw

Agnel / Lanz / Vatcher — Animals (Klanggalerie)

Animals by AGNEL LANZ VATCHER

While the ability of great improvisers to make music out immediate company, available space, and their own personal resources might amaze a listener, after a while, that might become a bit routine. Perhaps that is why French pianist Sophie Agnel and American-born, Netherlands-based drummer Michael Vatcher have sought out the company of turntablist Joke Lanz, AKA Sudden Infant. Lanz’s aesthetics have grown out of punk, noise and actionism. But, being a man of a certain age, he’s been doing what he does for a long time, too, so his onslaught of well-timed body noises, electronic squiggles and good old-fashioned scratching further confounds by evading being confounding. Construction, destruction, mutual disregard and scrupulous attunement all come into play across this album’s 13 short-for-improv episodes of absurd grace. Never mind breaking this stuff down, the players are already doing that even as they make it up.

Bill Meyer

Vicente Archer Trio — Short Stories (Cellar Music Group)

Short Stories by Vicente Archer

Reviewing a release by the Bruce Barth Trio last year, I mentioned wanting to hear more of double bassist Vicente Archer, and my wishes have been answered. Short Stories, with Gerald Clayton on piano and Bill Stewart on drums, demonstrates Archer’s strengths as a musician and composer. The tunes are generally mid-tempo, mid-length, and with a kind of timeless post-bop feel. Three were written by Archer (“Bye Nashville” deserves to become a standard), two by Stewart, and one each by Clayton, Jeremy Pelt, Nicholas Payton and Pat Metheny.

An advantage of bassist-led piano trios is that the piano is usually not allowed to dominate the sound, and Clayton plays his role just right here, taking the occasional solo, as on the bluesy “Round Comes Round,” but giving the others plenty of space. The set includes a brooding solo piece for bass, “Lighthouse,” a playful duo featuring just Archer and Stewart, “It Takes Two to Know One,” and Stewart sitting out while Clayton and Archer recreate “Message to a Friend” by Metheny and Charlie Haden. Short Stories makes clear why Archer has appeared on 50 or more recordings over the past 25 years and makes the case for him as a band leader.

Jim Marks

BEEF — BEEF (Feel It)

BEEF by BEEF

BEEF jolts hard on the four-four, their songs a continuous up-and-down battery of guitar slashes, bass thunks and relentless, manic drums. There is nothing fancy or florid or even fluid about these songs. They rain down like punches, though there’s undeniable glee in the violence. Maybe it’s because the drummer, Takoda Hortenberry, is the main singer and songwriter that the songs take on such a percussive air. He’s not in it by himself, though. His wife Ally pounds the keyboards with equal force, while guitarist Sam Richardson (who also runs Feel It Records) keeps the riffs super short and super explosive. Whatever the secret, this is punk rock that slaps hard and makes you like it.  “I know you want it! BEEF coming,” shouts Hortenberry in the closer, “I Want BEEF,” and the thing is, you do.

Jennifer Kelly

Jaap Blonk / Damon Smith / Ra Kalam Bob Moses — Rune Kitchen (Balance Point Acoustics)

Rune Kitchen by Jaap Blonk / Damon Smith / Ra Kalam Bob Moses

Titles can tell you things, and in this case, the words on the front clue you to the lack of words in the music. Texts have their place in Jaap Blonk’s concrete poetry, but this session is improvisation most pure. It went down in a town near St. Louis during a transitional moment; bassist Damon Smith was ending one short tour with Blonk, and about to begin another with (now Memphis-based) veteran drummer Ra Kalam Bob Moses. Perhaps inspired by anticipation, Smith and Moses lock right in, playing briskly evolving sound configurations that bristle with forthright gesture and woody texture and even confronting the vocalist with swinging, time-keeping grooves near the end. Derek Bailey once opined that there are players, and then there are artists, and Blonk’s extension of century-deep Dada actions has often seemed to put him in the latter camp. But he also has a skilled improviser’s ability to detect prevailing winds and respond with strategic counter-huffs; in the company of two men playing their asses off, he follows suit. Unburdened by pages, he digs deep into the rudiments, growling like a fever dream of throat singing, muttering strings of phonemes, and uttering proclamations that sound so important, he had to invent a new language to convey them.

Bill Meyer

Cloudland Canyon — S-T (Medical)

Cloudland Canyon (MR-091) by Cloudland Canyon

Cloudland Canyon’s Kip Uhlhorn has long favored the non-organic end of the psychedelic experience, with long, wigged out experiments in synth tone like 2008’s “Krautwerk” from Lie in Light or the squiggly fogs of “pinklight/version” from 2011’s Fin Eaves.  For this self-titled album, number four in the Cloudland discography, he engages even more deeply with the machine by tapping AI as a collaborator. The result is blippy, buoyant, denatured dance anthems, like “Internet Dreams” and “Circuit City,” which sound like the mathematical average of 100 other synth popiscles. Still even robots hit the mark occasionally, and “Future Perfect (Bad Decision)” is a woozy, blurred rainbow of psych pop longing, not unlike the work of another recent Uhlhorn collaborator, Sonic Boom.

Jennifer Kelly

Annie Hart — Weight of a Wave (Uninhabitable Mansions)

The Weight of a Wave by Annie Hart

Annie Hart has made four solo albums since her days in Au Revoir Simone, an all-female Brooklyn synth pop trio beloved of David Lynch, but she hasn’t moved too far away. Weight of a Wave floats flickery synth tones over rackety drums, splitting the difference between bedroom pop and strobe lit dance. “Boy You Got Me Good” does the classic girl-group trick of lacing sweet cooing melodies with the bitter taste of arsenic. “Crowded Cloud” rides synthesizer overload like a Pat Benatar anthem, then cuts back to the antsy minimum of drum machine and whispered chants. Yet though the soft-focus, gentle bop sonics haven’t changed much from Hart’s Au Revoir Simone days, time does its work on the mood. “Nothing Makes Me Happy Anymore” layers shadowy doubled vocals over a wheedling Casio riff, as Hart enumerates the people she’s loved in various ways whose phone calls no longer suffice to cheer her up

Jennifer Kelly

Holy Wave — Five of Cups (Suicide Squeeze)

Five of Cups by HOLY WAVE

Austin, Texas quartet Holy Wave have been at it for over a decade now and Five of Cups is their sixth full-length. The band mines a similar seam to Work and Non-Work-eraBroadcast: droning organs, motorik drums heavy on the ride cymbal, spaced-out vocals, jangly guitars. Though there’s nothing inherently off-putting about this 42-minute record, the songs feel listless compared to previous efforts such as Freaks of Nurture. The performances are tight, the production is three-dimensional and the arrangements are woozy and trippy, but it sounds like the last couple of years have knocked the wind out of Holy Wave’s sails. There are some bright moments in the track list, such as the dubby grooves and female vocals of “The Darkest Timeline,” plus late highlight “Nothing in the Dark,” which is a dead ringer for early Tame Impala.

Tim Clarke

Koeosaeme — Beige (Orange Milk)

Beige by koeosaeme

With Beige, sound artist Ryu Yoshizawa throttles down his usual breakneck blipscapes in favor of expressive phrasing and varied tempos. The serial Orange Milk resident allows his compositions to breathe, to hang back and to interject when necessary. His palette remains obviously synthetic: the strings are a touch too sweet, the reeds slightly nasally. Yoshizawa coalesces these inhuman tones into lush dreamscapes, embedded with only the subtlest hint of crackling glitch. He leverages the dynamics of modern classical and musique concrète to achieve a sense of movement and surprise. Coughs, harrumphs and whispers interject at random, but Yoshizawa uses these human elements sparingly. Instead, he relies on the lushness of his (synthetic) instrumentation to set the mood. At times he lets things get a little corny, such as when a Kenny G-like sax periodically slithers into focus, but for the most part Yoshizawa’s futuristic fusion is beguiling. Unlike its neutrally hued namesake, Beige is far from boring.  

Bryon Hayes

Molly Ringworm — Despicable (Self-released)

This Molly Ringworm comes from Austin, TX, and seeks to do for hardcore what Jane Pain has done for black metal (careful with this link). Yikes. Despicable’ssongs land somewhere between energizing provocation and snotty gross-out, with the occasional nods to street punk and sludge. There’s another punky Molly Ringworm — an indie-twee outfit from Jersey whose music is more compatible with the 1980s cinema of John Hughes, with which actress Molly Ringwald will forever be associated. I prefer this band, with their snarling, trashy anti-aesthetic and their nasty sonic sensibility (which may put you in the mind of Ringwald’s work in Cindy Sherman’s Office Killer). So goes culture. I had a high school girlfriend in the mid-1980s who looked a lot like the actress, and she (the girlfriend) would spit with all the imperiousness and venom that only a 17 year old can summon, “Oh great, another movie with Molly Ring-worm.” Sorry, folks — doesn’t matter to me if you’re filthy, fractious Texas guttersnipes or ironical white kids from New Jersey. Susie E. from Berks County, PA, gets dibs on the name “Molly Ringworm,” now and forever.

Jonathan Shaw

Matt Robidoux — Music For Aluminum Corn (Crash Symbols)

music for aluminum corn by matt robidoux

Mills College may be shuttered, but its students carry on.  Matt Robidoux combines symbolic and social action with accessible invention on Music For Aluminum Corn. The title derives from an instrument that the Mills graduate devised in homage to an early Buchla synthesizer that was kept at Mills. Essentially, they wired up an aluminum casting of two corn cobs to make a touch and movement-activated electronic instrument, and then called upon their fellow graduates to help him take it for a drive. A string quartet, a reed ensemble and the other instruments in Robidoux’s studio round out the sound palette, which is applied to a series of themes which, depending on their arrangement, sound like 1970s TV show themes, syndrum exotica and texture-oriented investigations. Robidoux’s electronic instrument proves more versatile than its novelty packaging might success, and the assembled crew play with a commitment to the endeavor that signals this heartening piece of news; while Mills College isn’t around anymore, the artistic community it fostered caries on.

Bill Meyer 

Spiral Joy Band — Elvehjem (Feeding Tube)

Elvehjem by Spiral Joy Band

Without Saturn, you got no rings, right? It’s easy to see Spiral Joy Band as a similarly orbital entity, forever existing in relation to its parent band, Pelt. But, just as all those hunks of space rock would feel equally substantial if your rocket ship hit them whilst circling a planet or floating on their own through the galaxy, Spiral Joy Band has demonstrated on the recent archival recordings culled from its Wisconsin sojourn in the early 2010s, it has been its own thing, and that thing is pretty solid. Elvehjem is another album-length excerpt from Patrick Best, Mikel Dimmick and Troy Schafer’s trove of basement jams, and on this one, they assert an identity separate from Pelt. Sure, there’s plenty of long bell and gong tones, but there’s also some guitar and amp activity that’ll singe your whiskers with sheer crackle action.

Bill Meyer

Heleen Van Haegenborgh — Squaring The Circle (El Negocito)

Squaring the Circle by Heleen Van Haegenborgh

Sometimes, awareness of an artist’s inspiration will help you grasp their work. With Squaring The Circle, that’ll only get you so far. Squaring The Circle is Belgian composer Heleen Van Haegenborgh’s response to Johan De Widle’s Pi — Fugue pour les survivants, a graphic piece representing the number pi which is extended each year by its maker. While the mathematic foundation of this CD-length piece’s contents are hard to discern, their sounds just might give you a glimpse into the infinite. Performed by the composer and GAME, a percussion quartet, it combines the reverberant tones of drums, vibraphones, bells and other strikable metal objects with close-up, voltage-derived zaps. Even coming out of a home hi-fi, it creates a sense of ever-expanding space.

Bill Meyer

#dusted magazine #dust #夢遊病者 #jonathan shaw #Sophie Agnel #Michael Vatcher #bill meyer #vicente archer #jim marks #BEEF #jennifer kelly #jaap blonk #damon smith #ra kalam bob moses #cloudland canyon #annie hart #holy wave #tim clarke #koeosaeme #bryon hayes #molly ringworm #matt robidoux #spiral joy band #heleen van haegenborgh #Youtube

[padovajazzclub]

#Jeremy Pelt #Victor Gould #Vicente Archer #Allan Mednard #Chie Chien Lu #Padova Jazz Club #Cockney London Pub

[graphicpolicy]

Valiant reveals a much different future for the publisher

Valiant reveals a much different future for the publisher #comics #comicbooks

A recent press release from Valiant hyping the upcoming Bloodshot Unleashed wasn’t exciting for what it said, it raised eyebrows for what it didn’t and what it hinted at. The publisher is currently going through some rocky times though specifics seem scarce and it looks like those issues are impacting the publisher’s release schedule. In recent months releases have been scarce, far less than the…

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#archer & armstrong forever #becky cloonan #book of shadows #comic books #Comics #cullen bunn #deniz camp #eternal warrior: scorched earth #featured #jon davis-hunt #liam sharp #michael w. conrad #steve foxe #valiant #valiant entertainment #vicente cifuentes #x-o manowar unconquered

[bridgeportacademyhq]

HONESTY HOUR & MEME DAY PARTICIPANT LIST the following characters will be participating in this event:

antonio martinez

archer duval

avery abrams

benji corcoran

cameron pillsbury

dave karofsky

ellis karofsky

emmy hayward

finn hudson

fletcher meeks

frannie fabray

gabbi lopez

guillermo vicente

henry barnes

hunter clarington

jasper cohen-chang

jenna sterling

judith meeks

kurt hummel

kyler anderson

lissa cohen-chang

lucas clarington

maisie puckerman

marcus jones

mercedes jones

roderick meeks

sam evans

santana lopez

sebastian smythe

serena lopez

theo sterling

trevor adams

tristain smythe

vic sterling

zoie beiste

#ba.event #update05

[pistakkiomusic]

Cambridge Place By Danny Grissett, Vicente Archer, Kendrick Scott From the album Promise Added to Discover Weekly playlist by Unknown User on January 8, 2024 at 12:00AM Listen on Spotify https://ift.tt/fmPqEGL

#Spotify #jazz #jazzmusic #jazzthing #jizzjazz #youareamadcat #jazzmonsters

[theloniousbach]

LIVESTREAM (almost): ALAN BROADBENT with Harvie S and Billy Mintz, SMALL’S JAZZ CLUB, 25 DECEMBER 2023, 7:30 pm set

I approached this set by old dear favorites with a moment’s hesitation, only because of the day. Bruce Barth/Vicente Archer had closed their 12/22 set with Santa Claus is Coming to Town which is what Jihee Heo had opened her 12/20 set which I started on Sunday night. I aborted the set when she followed with a carol. Even Jazz Spectrum was totally devoted to such music.

ALAN BROADBENT and his estimable trio just did a set of proper jazz—Charlie Parker to open, Lil Armstrong’s Struttin’ With Some Barbecue from the Hot Fives session, Full Moon and Empty Arms which was introduced from its Rachmaninoff Piano Concerto #2 source, Someday My Prince Will Come, and a nicely abstracted What Is This Thing Called Love to close. The Parker, Armstrong, and the closer were familiar from previous sets, but the Rachmaninoff, Prince, and Vernon Duke’s deeper cut What Is There To Say were rarer if not new.

Perhaps they are shuffling the book adding to a familiar repertoire of three or four sets. I make a point of catching them, so, while I’ve not grown tired, I guess I can predict their sets. But what I count on primarily is how their disparate gifts mesh so well. Harvie S and Billy Mintz are rather opposite in approach with Mintz so spare and Harvie S just a bigger player. Mintz and Broadbent erudite conversations benefit from Harvie S’s swagger. All that was on display—and on Smoke’s bigger stage—even with the new toys.

Perhaps they unwrapped them earlier in the day making them a different, better kind of Christmas music.

#concert review #jazz #small’s live #2023 #small’s jazz club #livestream almost

[donospl]

Co w jazzie piszczy [sezon 1 odcinek 16]

premierowa emisja 16 sierpnia 2023 – 18:00 Graliśmy: Teis Semey “Østen Stiger Solen Op” z albumu “Midnight Mess vol. 1” – Loumi Records   Vicente Archer “Mirai” z albumu “Short Stories” – Cellar Music Group fractus “Harbour” z albumu “fractus” Lowcountry “Come By Here” z albumu “Lowcountry” – Ropeadope  The Rodriguez Brothers “Gitmo’s Groove” z albumu “Reunited: Live at Dizzy’s Club” –…

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#577 Records #Animal Music #Anthony Wilson #Aske Records #Aymee Nuviola #Cellar Music Group #Co w jazzie piszczy #Colorfield Records #Daniel Carter #Dave Liebman #fractus #Francisco Mela #Gonzalo Rubalcaba #Joe Melnicove #Leo Genovese #Leonor Falcon #Loumi Records #Lowcountry #Mike Rodriguez #Rob Rodriguez #RodBros Music #Sam Newsome #Sammy Figueroa #Sana Nagano #Teis Semey #The Rodriguez Brothers #Tomas Sykora #Vicente Archer #William Parker

[jamieroxxartist]

Today, July 24, our #Catholic & #Christian Friends are celebrating the Feast Day of Saint #ChristinaofBolsena (Patron of #pyschiatrists, #archers, #mariners, and #millers)

(www.catholic.org/saints/saint.php?saint_id=148)

Painting: The Martyrdom of St. Christina, 1895 by Vicente Palmaroli y González (Spanish, 1834–1896)

[khonhac]

1 Glue- Bicep 2 Alive (Anyma Remix)- RUFUS DU SOL 3 Can't Stop Me- B-Wine 4 Know me- GEMINI 5 Another Day- Fiji Blue 6 Illusion- F.A.R 7 andata (Electric Youth remix)- Ryuichi Sakamoto 8 Meli (I)- Bicep 9 All For Us- Labrinth Zendaya 10 Healing Forest- Tinlicker 11 Before It's Time to Say Goodbye- Kenny Garrett 12 You Go To My Head- Art Pepper 13 Two Sleepy People- Marcus Gilmore, Danny Grissett, Vicente Archer 14 Black Orpheus- Gary Smith

#denonprimego

#SoundCloud

[dustedmagazine]

Bruce Barth Trio — Dedication (Origin)

Jazz pianist Bruce Barth has an impeccable pedigree, having played with some of the greats of previous generations, including Stanley Turrentine, as well as leading his own groups over the past 30 or more years. His latest, a trio offering with longtime collaborators bassist Vicente Archer and drummer Montez Coleman, delivers exactly what one would expect given that pedigree in the form of eight compelling originals, most dedicated, as the title indicates, to figures ranging from McCoy Tyner to George Floyd.

The opener, dedicated to another George, George Perry (perhaps the swing-era sax player), is driven by a driving riff and Coleman’s cymbal work. There’s swagger in the bold chords as the track builds up a head of steam and a nice moment when the three lock back into the main theme one last time at the end. Similarly propulsive is “Let’s Go,” the McCoy Tyner dedication, with bouncing chords and intricate runs suggestive of what seems to be one of Barth’s obvious influences. Archer contributes a sweet solo here that, like his solo on “Golden Glow,” is likely to leave listeners wishing he were a little more up front in the mix generally. 

“Golden Glow” and the other slower tunes demonstrate the trio’s knack for ballads as well as up-tempo numbers. Another of the more leisurely tracks, the one dedicated to George Floyd, is likewise a lovely, meditative piece with sparkling washes of piano that glides along on Archer’s slow plucks and Coleman’s tasteful percussion. Coleman is also in fine form on “Courage-for all of us” (which bears a passing resemblance to Baden-Powell’s “Canto de Xangô”), playing with the 3/4 time signature so that the tune sounds nothing like a waltz. 

The set as a whole serves as a kind of dedication to Coleman, who, sadly, passed away earlier this year just a few months after this recording was made. Refined, tuneful, and hopeful despite its framing as a set of requia, Dedication also serves as a reminder of the incredible depth of the New York jazz scene in addition to being a perfect Sunday afternoon record. 

Jim Marks

#bruce barth trio #dedication #origin #jim marks #albumreview #dusted magazine #jazz #piano #Vicente Archer #Montez Coleman

[jf4yghhs9twy5]

Daddy wants to fuck and old vintage amateur first time Sleepy man comendo a enteada novinha gostosa porno com legenda Army boys kissing and sucking Be Mine FTM Luke from JockPussy is barbacked by RawFuckBoys Jake Archer Gozando na siririca para o pintor do meu ap Vicente Newly married indian couple shuhagrat fucking Full video Black girl massages dude till he cums Niece drugged on zolpidem deflorated cautiously Homemade Blowjob And Sex Bigass ebony tranny stroking her black cock

#newsgirl #episcopise #buzzword's #1080 #chaseable #obscure #alembics #lovejoy #uppish #bdsmplay #hypothetize #aubade #Hunnish #posadaship #corollaries #ruttishness #gallinuline #Erbaa #dindled #hydrostatics

[tvrundownusa]

tvrundown USA 2022.09.14

Wednesday, September 14th:

(exclusive): The Lørenskog Disappearance (netflix, Norwegian limited series, all 5 eps), Heartbreak High (netflix, Australian reboot of teen drama series, all 8 eps), "El Rey, Vicente Fernández" (netflix, life of Mexican musician, all 36 eps), Sins of Our Mother (netflix, true-crime docu-series, all 3 parts)

(movies, etc.): "Hell of a Cruise" (Peacock, documentary), "Broad Peak" (netflix, Polish mountain-climbing drama, ~100mins), "The Catholic School" (netflix, Italian teen crime drama, 90mins), Short Circuit (dsn+, experimental films from Walt Disney Animation Studios)

(streaming weekly): The Handmaid's Tale (hulu, season 5 opener, first 2 eps), Tell Me Lies (hulu), Reservation Dogs (hulu), "The Zone: Survival Mission" (hulu, Korean "competition" new timeslot), Ink Master (Para+), 101 Scariest Horror Movie Moments of All Time (Shudder), "High School Musical: The Musical: The Series" (dsn+, season 3 "Frozen" finale), Once Upon a Small Town (netflix), Uncle From Another World (netflix), The NFL Pile On (amazon, comedic football recap series premiere, primetime)

(also new): Soul of a Nation: "Mi Gente – Groundbreakers and Changemakers" (ABC)

(earlier - hour 0): NFL Slimetime (NICK, season 2 opener), The NFL Pile On (amazon, comedic football recap series premiere, streaming)

(hour 1): DC's Stargirl (theCW), MasterChef (FOX, season 12 finale), Password (NBC, special night, season 1 finale), Big Brother (CBS)

(hour 2): Haus of Vicious (BET), Monarch (FOX, reair of series premiere), America's Got Talent (NBC, special time, 2hrs), "The Challenge: USA" (CBS, 2hrs), Guy's Ultimate Game Night (FOOD)

(hour 3): grown-ish (Freeform, midseason finale), Archer (FXX), Resident Alien (SyFy), America's Got Talent (NBC, contd, season 17 finale), "The Challenge: USA" (CBS, contd, season 1 finale), No-Recipe Road Trip (FOOD), "Welcome to Wrexham" (FX, ~75mins), Sacrifice (BET, 2hrs)

(hour 4 - latenight): Sacrifice (BET, contd, season 1 finale)

#NFLPileOn #Slimetime #HandmaidsTale #VicenteFernandez #television

[mostlymonk]

Ugly Beauty

Peter Bernstein/Steve Cardenas Quartet

Peter Bernstein – guitar Steve Cardenas – guitar Vincente Archer – bass Bill Stewart – drums

#Ugly Beauty #Peter Bernstein #Steve Cardenas #Vicente Archer #Bill Stewart #Thelonious Monk #Youtube

[padovajazzclub]

Martedì ,8 marzo 2022 

Cockney London Pub/Padova Jazz Club 

Jeremy Spelt quintet

Jeremy Pelt-tromba Victor Gould-piano Chien Chien Lu - vibrafono Vicente Archer-contrabbasso Allan Mednard-batteria Informazioni sul concerto jazz : Amerigo Agostini 348-2451700

#Jeremy Spelt #Victor Gould #Chien Chien Lu #Vicente Archer #allan mednard

[theloniousbach]

LIVESTREAM: BRUCE BARTH/VICENTE ARCHER, MEZZROW’S, 22 DECEMBER 2023, 9 pm set

That first year of Jazz St Louis, I opted, properly I think, for Bill Charlap and Vijay Iyer and left BRUCE BARTH for later. He hasn’t been back and he shows up only occasionally on these streams. But he’s a fine, tasteful player and, here with VICENTE ARCHER they evoked the Bradley’s model of piano/bass duos that Mezzrow’s continues, albeit more often than not with drummers too.

But here it was just the two of them weaving conversationally around one another. Since they were Barth’s tunes, he set the agenda, but the always reliable Archer was a full partner. He always has something to say and is heard in bigger ensembles; here he had even more space as much due to Barth’s reflective tunes as because it was just the two of them. The material was appealing but quiet, nicely polished. Better Days elaborated on a riff but in a relaxed way; Almost Blues applied all the expected elements to a 16 bar structure; Lonesome Train started starkly but warmed up; and Yes I Hope had a quiet tension that resolved in Barth’s solo. Through it all, Archer was active and sympathetic.

Emma Larson joined them capably for I Thought About You which also gave a reference point for what they do with standards. So did the closer Santa Claus Is Coming To Town which sounded just fine to my bah humbug ears as soon as it got away from the familiars—and even snuck in a Monk tease. But it was the 22nd of December, so such things are to be expected.

I will see Barth when he comes to town, but Charlap remains can’t miss and I’d like to see Iyer again too.

#concert review #jazz #small’s live #mezzrow’s #2023 #livestream

[riffsstrides]

JEREMY PELT 5tet 

Bilbaina Jazz Club 2016 

17-Nov-2016

Jeremy Pelt, trompeta

Victor Gould, piano

Vicente Archer, contrabajo

Jonathan Barber, batería

Jacqueline Acevedo, percusión

#Bilbaina Jazz Club #Jeremy Pelt #Victor Gould #Vicente Archer #Jonathan Barber #Jacqueline Acevedo #videos #youtube