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If any artist deserves the moniker "world music" it's Kali Z. Fasteau, who embraces a wide set of instruments with both seriousness and wonder, performing here on drum set, nai flute, viola, mizmar, aquasonic, and voice, alongside Kidd Jordan (sax) and L. Mixashawn Rozie (winds).
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Label: Flying Note
Catalog ID: FNCD 9017
Squidco Product Code: 22137
Packaging: Jewel Case
Recorded in New York and New Jersey in 2012 and 2013 by Kali Z. Fasteau.
Kali Z Fasteau-drum set, nai flute, viola, mizmar, aquasonic, voice
L. Mixashawn Rozie-tenor saxophone, flute, Djembe
Kidd Jordan-tenor saxophone
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• Show Bio for Kidd Jordan
"Edward "Kidd" Jordan (born May 5, 1935) is an American jazz saxophonist and music educator from New Orleans, Louisiana.
After completing a music degree at Southern University in Baton Rouge, he relocated to New Orleans. He taught at Southern University at New Orleans from 1974 to 2006.
Jordan was born in Crowley, Louisiana, and was raised during the time when rice farming was the predominant economic activity in the area. Jordan has noted that the music in southwestern Louisiana was "strictly Zydeco and Blues from way around, and that's what I came up listening to." Zydeco musician Clifton Chenier hailed from the same area, as did tenor saxophonist Illinois Jacquet (whose music teacher also instructed Jordan).
Jordan's first instruments were C-melody and alto saxophones. While in high school, Jordan began performing "stock arrangements for three or four saxophones" with some older musicians, and immersed himself in the music of Charlie Parker. Jordan read transcribed solos in Down Beat magazine but also learned Parker's music by ear. He credits Illinois Jacquet with first giving him the idea of playing free improvisation, but was more profoundly affected by the free jazz of Ornette Coleman (who had previously performed in the area with blues bands).
Jordan majored in music education at Southern University, attending the school at the same time as Alvin Batiste (his brother-in-law). He originally planned to become a classical alto saxophonist. He moved to New Orleans in 1955, and began playing frequent R&B gigs with musicians such as Guitar Slim, Ray Charles, Big Maybelle, Big Joe Turner, Chuck Willis (with George Adams on baritone) and Choker Campbell. Jordan has described these gigs as being "satisfying for me, because there was a feeling that you'd get from dealing with that. I've played with some of the great female vocalists, from Gladys Knight to Aretha Franklin, or Big Maybelle, Little Esther, Lena Horne, and there's an aesthetic in dealing with those people that a whole lot of people don't get to. And the aesthetic from the Blues is a part of the thing that I want to have in my playing. I don't care how out it gets."
Jordan performs on tenor, baritone, soprano, alto, C-melody and sopranino saxophones, as well as contrabass and bass clarinets. He has indicated a preference for playing "outside" music (for example, free improvisation) on tenor, because he closely associates the alto with his earlier study of classical repertoire, tone, and technique. Jordan has performed and recorded with a wide selection of musicians in styles ranging from R&B to avant-garde jazz, including Ray Charles, Stevie Wonder, R.E.M., William Parker, Alvin Fielder, Archie Shepp, Fred Anderson, Ornette Coleman, Ellis Marsalis, Cannonball Adderley, Ed Blackwell, and Cecil Taylor. In 2008 he was awarded a lifetime recognition honor by the Vision Festival.
In his performances and recordings his music is entirely improvised: "Everything you hear on my albums is improvised." he explains. "It's collective improvisation, but there are no tunes. I tried writing down ideas a long time ago but I don't do that anymore.".
The French Ministry of Culture recognized Jordan as a Knight (Chevalier) of the Ordre des Arts et des Lettres in 1985. The French government bestowed him with their highest artistic award for his impetus as a visionary educator and performer.
Jordan taught Donald Harrison and Branford Marsalis while the two were teenagers, and was an instructor at New Orleans Center for Creative Arts (NOCCA). As an instructor of jazz studies at Southern University at New Orleans, Jordan encouraged his students to pursue new approaches to traditional musical forms. One of Jordan's students was trombonist Charles Joseph, who would go on to co-found the Dirty Dozen Brass Band. Jordan composed "Kidd Jordan's Second Line" for the Dirty Dozen Brass Band prior to their first European appearance in 1982, and has also performed with the band.
In 2006, Jordan lost his home and most of his possessions during the aftermath of Hurricane Katrina. A few weeks after the hurricane, he recorded the album Palm of Soul in Brooklyn with William Parker and Hamid Drake. Jordan has since returned to New Orleans. In 2011, the television series Treme featured a track from Palm of Soul, "Last of the Chicken Wings." Jordan later made a brief appearance in Treme."-Wikipedia (https://en.wikipedia.org/wiki/Kidd_Jordan)
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1. Spring In Your Step 4:08
2. Subliminal Song 3:35
3. Outlands 4:54
4. Lineage 8:00
5. Air Reeds 3:02
6. Moonlight Swim 2:30
7. Winged Horses 4:47
8. Celestial Trolleycar 3:37
9. Soothe Sayer 2:52
10. Tweets 5:15
11. Steering Joy 8:08
sample the album:
"Intuit features some of Kali's microtonal instruments. "Companion album" to her highly acclaimed Piano Rapture, it was recorded at the same live and studio performances. Here, Kali trades melodic and rhythmic roles with her excellent colleagues, creating vivid sonic colors and shaping the flow of spontaneous inventions."-Flying Note
"As a composer and multi-instrumentalist, Kali. Z. Fasteau is a musical freethinker who has released twenty albums as leader, mostly on her own Flying Note label. On this album she plays drums, flute, viola and more in the company of fellow multi-instrumentalist L.M. Rozie and tenor saxophonist Kidd Jordan.
"Spring in Your Step" opens the album with a cool rhythm and a delightfully raw saxophone sound. The percussion is rolling freely and carefully and strikes a fine mark with the very natural sounding saxophone. There is a creepy feel to the air of "Subliminal Song," with the music having a forlorn quality that is broken by shaken percussion and flute that takes the music on a journey into the outer reaches of the senses that are more shamanistic and ritualistic. "Outlands" is an unadorned improvised segment, sounding much like something from the Sun Ra Arkestra if he gave a saxophonist and drummer an opportunity to stretch out. The music is fast and exciting with rolling drums and roaring saxophone making for a very intense duet.
Dark saxophone and sawed bowing viola meet on "Lineage" and the bowed instrument makes an excellent and haunting drone while the saxophone buzzes and circles around developing a lengthy and fresh improvisation. "Winged Horses" is one of the highlights of the album, with pummeling drumming and loud and deeply felt expressions of saxophone making for a cacophonous and thrilling musical meeting. The peals of air and the punishing rhythm never overwhelm, but carry the music on a powerful wave of emotion through to its conclusion.
An interesting duet of flute and saxophone is at the core of "Tweets" in which the instruments are flying about one another in open space. Flute and saxophone spar and manipulate themselves into seeing all of the different sounds that can be discovered from themselves. The album ends in a very exciting manner with "Steering Joy" which is a full out free jazz blowout with saxophone and drum pugilism at a very high level. Scalding over the top saxophone with wailing drums take the music out on an ecstatic and memorable note.
The music works quite well as a whole, and since so many instruments are in play it makes the trio seem like a larger unit. The musicians fully engage with each other and share a mindspace that allows creative exciting music to flow forth unimpeded."-Tim Niland, Jazz and Blues Blogspot
NY Downtown & Jazz/Improv
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