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▒ █▓▓█▀ ██▓░ ▓ PROUDLY PRESENTS: ░ ▒ ░ █▓▓▓▒█ ▒
▓ ▀█▒█▄ █ ▓ ██▓▒█▀ ▓
▓█ █▓░█ ▒ The Sahib Shihab Quintet - Seeds █░▒█ █▓
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▀█▄▄ ▀ ARTiST..[ The Sahib Shihab Quintet ▀ ▄▄█▀
░ █ ▀█ TiTLE...[ Seeds █▀ █ ░
▒ █ ▀█ GENRE...[ Jazz GRABBER.[ EAC █▀ █ ▒
▓ █▄ █ LABEL...[ Schema Rearward ENCODER.[ Lame 3.97 █ ▄█ ▓
█▄ █▄ █ YEAR....[ 2008 QUALiTY.[ avg. 196kbps █ ▄█ ▄█
█▄ █▄█ SOURCE..[ CDDA MODE....[ Joint-Stereo █▄█ ▄█
█ ▀█ PLAYTiME[ 36:09 min REL.DATE[ 01.12.2009 █▀ █
██▄ TRACKS..[ 10 RiPPER..[ TEAM OMA ▄██
░ █▓█▄ SiZE....[ 50,8 MB SUPPLiER[ TEAM OMA ▄█▓█ ░
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░ █ ▀█ █▀ █ ░
▒ █▄ ▀█ NR. TRACK. TiME. █▀ ▄█ ▒
▓▄ █ █ ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ █ █ ▄▓
█ █░ █ 01 Seeds 04:14 █ ░█ █
█ █░ █ 02 Peter's Waltz 05:08 █ ░█ █
█ █░ █ 03 Set Up 03:01 █ ░█ █
█ █░ █ 04 Who'll Buy My Dream 03:58 █ ░█ █
█ █░ █ 05 Jay Jay 02:56 █ ░█ █
█ █░ █ 06 Another Samba 03:08 █ ░█ █
█ █░ █ 07 My Kind'a World 03:51 █ ░█ █
█ █░ █ 08 Uma Fita De Tres Cores 03:08 █ ░█ █
█ █░ █ 09 Mauve 03:06 █ ░█ █
█ █░ █ 10 The Wild Man 03:39 █ ░█ █
█ █░ █ █ ░█ █
█ ▀█▄█ ∙∙∙∙∙∙∙∙∙∙∙ ░ █▄█▀ █
▀█ ▀█ ▒ TOTAL: 36:09 ▒ █▀ █▀
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▓█ █▓░█ █░▓█ █▓
█ █▓░█ Finally available on CD! According to search results █░▓█ █
█ █▓░█ the original LP got released somewhen between 1968 and █░▓█ █
█ █▓░█ 1970. Not quite clear, thats why I tagged the CD as of █░▓█ █
█ █▓░█ 2008 whereas MK2 tagged their vinyl rip as 1970. █░▓█ █
█ █▓░█ No bonus tracks for the reissue edition though. █░▓█ █
█ █▓░█ █░▓█ █
█ █▓░█ Some friends think that Shihab the man owes the █░▓█ █
█ █▓░█ balance of his soul to his beautiful Danish wife. █░▓█ █
█ █▓░█ They may be right; for Eros is the very essence of █░▓█ █
█ █▓░█ what Shihab plays.Yet Eros is a god with many a face. █░▓█ █
█ █▓░█ A tale of tender mournings ShihabÆs flute is telling █░▓█ █
█ █▓░█ in MAUVE - a piece that translates its title into █░▓█ █
█ █▓░█ delicately changing colors of sound. In UMA FITA DE █░▓█ █
█ █▓░█ TRES CORES he has his instrument wooing with the █░▓█ █
█ █▓░█ proud self-reliance of Latin grandezza. Calmly, █░▓█ █
█ █▓░█ softly, almost blandishly Shihab blows the solo flute █░▓█ █
█ █▓░█ in the Jimmy Woode composition MY KINDA WORLD. Serene █░▓█ █
█ █▓░█ and somewhat playful his own title ANOTHER SAMBA █░▓█ █
█ █▓░█ comes along - a most uncommon composition by the way: █░▓█ █
█ █▓░█ lasting for sixty bars as if growing independent out █░▓█ █
█ █▓░█ of itself, with solos that appear to be additional █░▓█ █
█ █▓░█ spinnings rather than improvised choruses; and yet; a █░▓█ █
█ █▓░█ perfect, self sustaining melody no element of which █░▓█ █
█ █▓░█ is superfluous. In the last of the pieces for flute, █░▓█ █
█ █▓░█ in Klook ClarkeÆs THE WILD MAN, which is based on a █░▓█ █
█ █▓░█ flourish of trumpets, Shihab for the first time █░▓█ █
█ █▓░█ reminds of the sombre, the demon-like face of God █░▓█ █
█ █▓░█ Eros. He contrasts flawlessly intoned passages with █░▓█ █
█ █▓░█ challenging phrases, phrases raucously sung into the █░▓█ █
█ █▓░█ flute - really, he is a ôwild manö who is playing █░▓█ █
█ █▓░█ like that. This raucous challenging sound prevails █░▓█ █
█ █▓░█ throughout the four baritone-titles (ôShihab never █░▓█ █
█ █▓░█ withholds long to caressö, Campi says). Shihab blows █░▓█ █
█ █▓░█ the instrument the same way he speaks: without any █░▓█ █
█ █▓░█ delay, directly coming to the point. And he treats it █░▓█ █
█ █▓░█ like a voice, not aiming at an artificially █░▓█ █
█ █▓░█ homogeneous sound in all the registers, but at their █░▓█ █
█ █▓░█ different modes of expression. In the high pitches █░▓█ █
█ █▓░█ the horn gains a brilliant tenor-like quality - for █░▓█ █
█ █▓░█ instance in PETERÆS WALTZ, dedicated to ShihabÆs son █░▓█ █
█ █▓░█ Peter, and in Kenny ClarkeÆs simple drum fills █░▓█ █
█ █▓░█ comprising theme JAY-JAY. In the deep register Shihab █░▓█ █
█ █▓░█ produces snotty sounds filling ladyÆs ears with █░▓█ █
█ █▓░█ horrors like Pan - thus in JAY-JAY and in the boppy █░▓█ █
█ █▓░█ blues SET UP . ShihabÆs sense of a scurrilous humor █░▓█ █
█ █▓░█ breaks through in SEEDS (which reminds of the █░▓█ █
█ █▓░█ West-African heritage of jazz with its multiple █░▓█ █
█ █▓░█ rhythms and its renunciation of harmonious █░▓█ █
█ █▓░█ development - only the eight bars of the bridge base █░▓█ █
█ █▓░█ on a progression of chords): not only does he omit █░▓█ █
█ █▓░█ the notorious bombastic chord by the ensemble after █░▓█ █
█ █▓░█ his own final cadenza, he even ends with a minor █░▓█ █
█ █▓░█ second above the keynote. Seems as if Shihab now █░▓█ █
█ █▓░█ unrestrictedly conveys to his music all the █░▓█ █
█ █▓░█ experiences and emotions he formerly did not deal █░▓█ █
█ █▓░█ with in a musical way. Shihab the man need not be █░▓█ █
█ █▓░█ disturbed so that Shihab the musician may improvise █░▓█ █
█ █▓░█ passionate choruses. It would be unjust, however, to █░▓█ █
█ █▓░█ forget the choruses of the four other musicians for █░▓█ █
█ █▓░█ those by the ôborn leaderö. Francy Boland, taciturn █░▓█ █
█ █▓░█ and always introverted: he plays an extrovert, a █░▓█ █
█ █▓░█ masculine piano. Even with spare single note lines he █░▓█ █
█ █▓░█ produces a piercing and ringing sound that hitherto █░▓█ █
█ █▓░█ nobody except him has discovered, a bluesy sound █░▓█ █
█ █▓░█ bespeaking the very element of frustration that lies █░▓█ █
█ █▓░█ within the title of the trio number WHOÆLL BUY MY █░▓█ █
█ █▓░█ DREAM. The unfailing feeling for rhythm the musicians █░▓█ █
█ █▓░█ of the CBBB praise with the arranger Boland, becomes █░▓█ █
█ █▓░█ manifest in the piano solo on SET UP. FrancyÆs █░▓█ █
█ █▓░█ improvisation is rhythmically styled in a Monk-like █░▓█ █
█ █▓░█ manner, and yet no accent could be set differently. █░▓█ █
█ █▓░█ Maybe this is the secret of the Shihab-Combo. ôRhythm █░▓█ █
█ █▓░█ is our businessö, this credo of Jimmy Lunceford could █░▓█ █
█ █▓░█ be the one of the five musicians as well. Sadi hits █░▓█ █
█ █▓░█ his vibes as dryly as if wanting to bring its █░▓█ █
█ █▓░█ ancestors to memory, the wooden chimes of West █░▓█ █
█ █▓░█ AfricaÆs coastal tribes. To reach the fullest █░▓█ █
█ █▓░█ poignancy possible, he intentionally calms down even █░▓█ █
█ █▓░█ the resonance in MY KINDA WORLD. In UMA FITA DE TRES █░▓█ █
█ █▓░█ CORES Jimmy Woode bears out the crispy jazz beat █░▓█ █
█ █▓░█ against SadiÆs Bongos and KlookÆs Latin-American █░▓█ █
█ █▓░█ percussion all by himself. Moreover - and that, too, █░▓█ █
█ █▓░█ is connected with the school of the Duke who was the █░▓█ █
█ █▓░█ first in the history of jazz to discover the █░▓█ █
█ █▓░█ instrumentÆs potential as a melody instrument - Woode █░▓█ █
█ █▓░█ rips a marvelous counterpoint to the inventions of █░▓█ █
█ █▓░█ the other melody instruments, take for example █░▓█ █
█ █▓░█ PETERÆS WALTZ. And then there is Kenny Clarke. Klook. █░▓█ █
█ █▓░█ On the entire record he only uses his brushes. Means █░▓█ █
█ █▓░█ by which different drummers only know to bring █░▓█ █
█ █▓░█ forward impressionistically blending noises: He drums █░▓█ █
█ █▓░█ a vigorous beat with them, fanciful fills, a solo, █░▓█ █
█ █▓░█ melodious and at once skillfully playing with cross █░▓█ █
█ █▓░█ rhythms in JAY-JAY. The ôborn leaderö, the █░▓█ █
█ █▓░█ ôoutstanding baritone saxophonist of modern jazzö █░▓█ █
█ █▓░█ (Joachim-Ernst Berendt), he could not wish himself █░▓█ █
█ █▓░█ different sidemen for this record overdue since some █░▓█ █
█ █▓░█ years. █░▓█ █
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██▄ All the siteops that host us... ▄██
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█▄ █▄ █ ░ iRC: #euhmnope? ░ █ ▄█ ▄█
█▄ █▄█ MAiL: oma@hushmail.com █▄█ ▄█
█ ▀█ ░ WEB: http://www.never-ever.com ░ █▀ █
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░ █▓█▄ ▓▓░ We're always looking for skilled rippers! ░▓▓ ▄█▓█ ░
▒ █▓▓█ ██▓░ Use one of the contact methods above to apply ;) ░▓██ █▓▓█ ▒
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▀▀█▄▄▄ ▓░░█████▄▄ AyLieN ▄▄█████░░▓ ▄▄▄█▀▀
▀▀▀ ▀▀▀ ▀▀▀ updated by ▀▀▀ ▀▀▀▄ ▀▀▀
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