| ARTIST | KIP HANRAHAN |
| TITLE | BEAUTIFUL SCARS |
| TYPE | STUDIO RECORDING |
| RELEASED | 2007 |
| RECORDED |
AUGUST 2004 - MARCH 2007 |
| FORMAT | 1 CD |
| LABEL | AMERICAN CLAVE |
| CATALOG # | AMCL 1060 |
| TRACK | TITLE | WRITTEN BY |
| A01 | Busses From Heaven | HANRAHAN Kip HERNANDEZ Horacio El Negro SWALLOW Steve |
| A02 | Real Time And Beautiful Scars | HANRAHAN Kip NOCENTELLI Leo ROSS brandon |
| A03 | The Girl Who Won't Resolve | HANRAHAN Kip |
| A04 | Caravaggio / A Quick Balance | HANRAHAN Kip SWALLOW Steve |
| A05 | Night Cumbia | HANRAHAN Kip SWALLOW Steve |
| A06 | One Summer Afternoon (For Gil Evans) | HANRAHAN Kip ROSS brandon SWALLOW Steve |
| A07 | Xiomara Wears The Heat Beautifully | HANRAHAN Kip SWALLOW Steve |
| A08 | Paris Through Tears | HANRAHAN Kip SWALLOW Steve |
| A09 | Montana | CARDONA Milton HANRAHAN Kip JACKSON DD |
| A10 | Leijia Heads To Brooklyn | HANRAHAN Kip |
| A11 | Milton Cardona | HANRAHAN Kip |
| A12 | Salt In The Mozambique Night (Glasgow For Jack Bruce) | HANRAHAN Kip PIETRO Dafnis |
| A13 | Rumba Of Cities | HANRAHAN Kip MARTINEZ Pedro |
| A14 | The Accountant Of Morning | HANRAHAN Kip SWALLOW Steve |
| A15 | Winterscape With IMF | HANRAHAN Kip |
| A16 | City Of Gold (Palestine Blues) | BRUCE Jack HANRAHAN Kip |
| MUSICAL CREDITS |
| AMEEN Robby : percussion / trap drums ARENAS Lysandro : piano BANG Billy : violin BEASLEY John : piano BLAKE Ron : tenor saxophone CAIN Mike : piano CARDONA Milton : percussion CARROTT Bryan : vibraphone COX Anthony : bass FLORES Richie : conga HANRAHAN Kip : chorus voice / lead voice / musical director / percussion HANRAHAN Leijia : lead voice HART Alvin Youngblood : lead voice HERNANDEZ Horacio El Negro : chorus voice / percussion / trap drums JACKSON DD : piano LAUGART Xiomara : lead voice MARCUS Lindsay : lead voice MARTINEZ Pedro : chorus voice / congas / percussion NOCENTELLI Leo : guitar PRIETO Dafnis : chorus voice / percussion / trap drums RIVERA Mario : baritone saxophone ROSS Brandon : lead voice SAUNDERS Fernando : bass / chorus voice / lead voice SWALLOW Steve : bass TERRY Yosvany Cabrera : alto saxophone / checkere / chorus voice TRIFF Alfredo : violin |
| TECHNICAL CREDITS |
| CALBI Greg : mastering engineer CAPOEIRA GRAPHICS : cover design FABRI Zach : photographer HANRAHAN Kip : liner notes / producer HIBI Yuichi : photographer KILGORE John : recording engineer KONDAS Dick : mixing engineer / photographer / producer / recording engineer MORISAKI Yukio : executive producer RODRIGUEZ Ritchard : photographer TAKAMI Kazuki : photographer WATLINGTON Chloe : photographer |
| JAZZMAN REVIEW WRITTEN BY JONATHAN DUCLOS ARKILOVITCH |
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| BBC REVIEW WRITTEN BY PAUL BENNUM |
| Hanrahan's latest exercise in Rumba-flavoured jazz excellence leaves our writer... You can't write about this astonishing record without writing from within its world. Great music demands that, even if the task is impossible. Milton Cordona - one of the world's best percussionists - is on this record. So above, so below: just as with Cardona, when you think you understand this music you quickly find that you don't. The more you listen the more simple songs become complex, and vice versa. So it’s the classic creeper. It starts out compelling; demanding repeated listening but frankly difficult. No… not-easy. Before you know it it's joined the canon of your favourite unkillable music. I'd have the implant. So how does it, you know, sound? The art department of New York, Cuba and New Orleans, via Glasgow, Essouira and Palestine. Somewhere hot, that still understands the Northern winter. If you like jazz you'll understand the idiom - and if you like the best electronic music you'll also understand the idiom even though there's no obvious electronics. Rumba, not as a tourist attraction, but as a way of communicating with your city-bound brothers and sisters and your millennia-dead ancestors. Beautiful Scars is also a very, very sexy record. To engage Kip-speak, what I mean is: it's not bedroom music or an aide de seduction... Actually one can't - on the BBC website - describe the specific tastes, pressure, use of tongues and the subsequent intrinsic angers, joys, regrets and delusions derived, which this record cannot help but embody. This is exactly what the record is about.That, and politics. The politics of global capital and exploitation. Not in your face, but because that's what the world itself is about and only a miniscule amount of musicians take it on. I mean, really take it on. Aficionados of Hanrahan's music will recognise this; even they will be surprised at how good this music is. You ask: how can this be so fresh? How can it make you see the world as if through the jangled, elated-but-weepy psyche of a world-class hangover, or PMT on the perfect summer's day? As the record says, a day when everything is in its perfect place but bosses still screw their subordinates and lovers go home unfulfilled? Tangled. Difficult. Exquisitely beautiful. |
| LES INROCKS REVIEW BY ROMAIN GROSMAN |
| Le
nouvel assemblage magique d’un grand illusionniste de la musique
d’aujourd’hui. A la manière d’un directeur d’acteurs, Kip Hanrahan
réunit et coalise les talents de musiciens d’horizons très divers.
Lorsqu’il emmenait avec lui les protagonistes de ses albums en tournée,
Kip Hanrahan se postait sur le côté de la scène, donnait ses
instructions dans une geste théâtrale qui ne semblait pas trop troubler
les musiciens, mais intriguait le public. Kip Hanrahan est un homme de
casting qui fait se rencontrer plusieurs Amériques. On a vu par le
passé Jimmy Scott (alors oublié) se fondre sur scène dans ses
collectifs protéiformes. Le soulman Bobby Womack, Allen Toussaint, le
bluesman Taj Mahal, les jazzmen Don Pullen, David Murray et de nombreux
musiciens dans le style afro-cubain ont tour à tour porté leur touche
et leur identité à ses projets. Ces derniers sont majoritaires dans ce
nouvel opus : Milton Cardona, Horacio El Negro Hernandez, Robby Ameen
côtoient les guitaristes Brandon Ross (Cassandra Wilson), Leo
Nocentelli (The Meters), le bassiste Steve Swallow, le barde Alvin
Youngblood Hart ou le saxophoniste Ron Blake. Des voix sont aussi
sollicitées. L’addition de ces histoires, de ces expressions, pourrait
accoucher d’un maëlstrom musical improbable, mais prend sens sous la
houlette de ce personnage ouvert et ambitieux. Mélodie chantée sur des
lignes de piano désaxées, percussions qui tanguent sous des mélopées et
tangos doux-amers : les thèmes balancent entre mélancolie et engagement
sur une toile musicale où domine malgré tout un certain
désenchantement. Sorte d’atelier éphémère qui rend possible les
expériences inédites où la liberté des uns embrasse celle des autres,
le collectif drivé par Kip Hanrahan (sur son label American Clavé)
privilégie ici une douceur diaphane, saisit des petits bouts
d’éclaircies fugaces. Tantôt experte, tantôt simple et charnelle,
l’œuvre de ces artistes est un petit miracle encouragé depuis
vingt-cinq ans par ce natif du Bronx (trois rééditions de projets
majeurs du même auteur sont à nouveau publiées – ndlr). |