This incredible trio rip it apart deconstructing grooves, rhythms and sounds in a powerful mix of interwining sax, twinger & diddly bow (bass) and drums.
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Label: Hopscotch Records
Catalog ID: HOP 33
Squidco Product Code: 5446
Packaging: Cardstock Gatefold Sleeve
Recorded, mastered and produced by Assif Tsahar in September 2005.
Assif Tsahar-tenor sax, bass clarinet
Cooper-Moore-ashimba, twanger, diddley-bow
Hamid Drake-drum set, tables, frame drums
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1. Breaking The Water 8:14
2. A Falling Leaf 4:19
3. Departure 4:30
4. Dugong The Sea Cow 9:32
5. Seeking The Punto Fijo 6:19
6. Confessions 8:19
7. The Coming Ship 6:33
8. The Sheperd 6:15
9. Goin' Home 7:25
Related Categories of Interest:
NY Downtown & Jazz/Improv
sample the album:
"These 3 rip it apart deconstructing grooves, rhythms and sounds. It is a powerful mix. Intertwined are 5 tracks of sax, twinger & diddly bow (bass) and drums - where they 3 shared the groove apart, like only they can. With 4 tracks featuring bass clarinet, ashimba (a balaphone of sort), tablas, frame drum. Where the 3 take world music on a trip outside our planet."-Hopscotch
"As its name implies, Lost Brother is about familiarity and musical intimacy. The first collaboration between Israeli reed man Assif Tsahar and Chicago drummer Hamid Drake was named Soul Bodies (Vol. 1, Ayler, 2001), and the musical bond between Tsahar and Cooper-Moore began when Tsahar guested in William Parker's In Order to Survive, where Cooper-Moore played the piano. The relationship continued when Tsahar released several of Cooper-Moore's recordings on his Hopscotch label, culminating with two enchanting duets (America, 2003; Tells Untold, 2005).
Cooper-Moore only plays his invented instruments, which spice the nine compositions with exotic colors. On the opening track, "Breaking the Water," and the subsequent "Departure," he uses his twanger and didley-bow to spread heavy, funky fretless bass-like vamps, much to delight of Drake, who enjoys dancing around these lines. On "A Falling Leaf," the magnificent "Dugong the Sea Cow," "Confessions" and "The Shepherd," his ashimba adds a West African groove to Drake's relaxed Middle-Eastern and Indian-tinged frame drum or tabla playing. Meanwhile Tsahar gently binds the two complementing rhythms with restrained and meditative bass clarinet playing, quite often quoting one of the rhythms. Tsahar's efforts on these tracks reflects the distant scenery that Cooper-Moore and Drake sketch.
The kinship between Tsahar, Cooper-Morre and Drake turns even free-blowing tracks such as "Seeking the Punto Fijo," "The Coming of the Ship" and the closing track, "Goin' Home," into a very tight excursions based on forceful funky grooves. Cooper-Moore and Drake instantly lock into a groove that provides solid ground for Tsahar's assured flights. With such musical kinship and joyful playing, they cannot miss.
The funny artwork by Lebanese trumpet player and comic artist Mazen Kerbaj, hopefully a sign of a much-desired Middle Eastern artistic collaboration, adds to the enjoyment of this beautiful gem. Warmly recommended."-Eyal Hareuveni, All About Jazz
Get additional information at All About Jazz
• Show Bio for Cooper-Moore
"As a composer, performer, instrument builder/designer, storyteller, teacher, mentor, and organizer, Cooper-Moore [b. August 31, 1946] has been a major, if somewhat behind-the-scenes, catalyst in the world of creative music for over 40 years. As a child prodigy Cooper-Moore played piano in churches near his birthplace in the Piedmont region of the Blue Ridge Mountains of Virginia. His performance roots in the realm of avant jazz music date to the NYC Loft Jazz era in the early/mid-70s. His first fully committed jazz group was formed in 1970 - the collective trio Apogee with David S. Ware and drummer Marc Edwards. Sonny Rollins asked them to open for him at the Village Vanguard in 1973, and they did so with aplomb. A studio recording of this group was made in 1977, and issued as Birth of a Being on hatHut under Ware's name in 1979 (re-mixed and re-issued in expanded form on AUM Fidelity in 2015!). Following an evidently rather trying European tour with Ware, Beaver Harris, and Brian Smith in 1981, Cooper-Moore returned home and completely destroyed his piano, with sledgehammer and fire, in his backyard. He didn't play piano again until some years after, instead focusing his energies from 1981-1985 on developing and implementing curriculum to teach children through music via the Head Start program. Returning to New York in 1985, he spent a great part of his creative time working and performing with theatre and dance productions, largely utilizing his hand-crafted instruments. It was not until the early 90s, when William Parker asked him to join his group In Order To Survive, that Cooper-Moore's pianistic gifts were again regularly featured in the jazz context. In the early 'aughts the group Triptych Myth was his own first regular working jazz group in decades and together they blazed some trails and released two albums: one rich formative, and one exquisite. A destined creative re-union with David S. Ware in the Planetary Unknown quartet, the Digital Primitives trio with Assif Tsahar & Chad Taylor, and continued work with William Parker followed. Cooper-Moore's creative life continues well-strong and unabated into the present day. He will be/was the Lifetime Achievement Honoree at the 22nd iteration of Vision Festval, NYC on May 29, 2017."-Aum Fidelity (http://www.aumfidelity.com/cooper-moore.html)
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• Show Bio for Hamid Drake
"Hamid Drake (born August 3, 1955) is an American jazz drummer and percussionist. He lives in Chicago, IL but spends a great deal of time touring worldwide. By the close of the 1990s, Hamid Drake was widely regarded as one of the best percussionists in jazz and avant improvised music. Incorporating Afro-Cuban, Indian, and African percussion instruments and influence, in addition to using the standard trap set, Drake has collaborated extensively with top free-jazz improvisers. Drake also has performed world music; by the late 70s, he was a member of Foday Musa Suso's Mandingo Griot Society and has played reggae throughout his career.
Drake has worked with trumpeter Don Cherry, pianist Herbie Hancock, saxophonists Pharoah Sanders, Fred Anderson, Archie Shepp and David Murray and bassists Reggie Workman and William Parker (in a large number of lineups)
He studied drums extensively, including eastern and Caribbean styles. He frequently plays without sticks; using his hands to develop subtle commanding undertones. His tabla playing is notable for his subtlety and flair. Drake's questing nature and his interest in Caribbean percussion led to a deep involvement with reggae."-Wikipedia (https://en.wikipedia.org/wiki/Hamid_Drake)
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