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P R E S E N T S .···. ▓ │▀▀▀█▓▄▄ █████ ██████▓▀ ▀ ▀ ▀▓██████ █████▀ Web Web x Max Herre - WEB MAX ▀█████ ████▀ ▀████ ███▀ ▀███ █▓▓▓▓ ARTiST..[ Web Web x Max Herre ▓▓▓▓█ █▓▓▓▓ TiTLE...[ WEB MAX ▓▓▓▓█ ████ GENRE...[ Jazz CAT#....[ CPT584-3 ████ ████ LABEL...[ Compost Records ENCODER.[ Lame 3.99.5 ████ ████ YEAR....[ 2021 QUALiTY.[ 320kbps ████ ████ SOURCE..[ WEB MODE....[ Joint Stereo ████ ████ PLAYTIME[ 35:17 REL.DATE[ 08.26.2021 ████ ████ TRACKS..[ 10 RiPPER..[ TEAM OMA ████ ████ SiZE....[ 80,92 MB SUPPLiER[ TEAM OMA ████ ████ ████ ████ ████ ████ ▄▀▀███▓▄ ▄▓███▀▀▄ ████ ████ ■ ███▓█ .···. T R A C K L i S T .···. █▓███ ■ ████ ████ · ▄▓███▓ ▓███▓▄ · ████ █████ ▄▄▓█▀▀▀│ ▓ ▓ │▀▀▀█▓▄▄ █████ ██████▓▀ ▀ ▀ ▀▓██████ █████▀ ▀█████ ████▀ ▀████ ███▀ NR. TRACK. TiME. ▀███ █▓▓▓▓ ∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙∙ ▓▓▓▓█ █▓▓▓▓ ▓▓▓▓█ ████ 01 The Prequel 01:32 ████ ████ 02 Satori Ways feat. Brandee Younger 05:42 ████ ████ 03 Akinuba / The Heart feat. Yusef Lateef 04:49 ████ ████ 04 Meskel Flowers feat. Mulatu Astatke 02:45 ████ ████ 05 Intersections feat. Brandee Younger & Charles 04:43 ████ ████ Tolliver ████ ████ 06 Turquoise 01:39 ████ ████ 07 Liberation March 02:25 ████ ████ 08 Thesa-Mbawula 03:03 ████ ████ 09 Whirlin' 03:22 ████ ████ 10 The Sequel 05:17 ████ ████ ∙∙∙∙∙∙∙∙∙∙∙∙ ████ ████ TOTAL: 35:17 ████ ████ ████ ████ ████ ████ ▄▀▀███▓▄ ▄▓███▀▀▄ ████ ████ ■ ███▓█ .···. R E L E A S E N O T E S .···. █▓███ ■ ████ ████ · ▄▓███▓ ▓███▓▄ · ████ █████ ▄▄▓█▀▀▀│ ▓ ▓ │▀▀▀█▓▄▄ █████ ██████▓▀ ▀ ▀ ▀▓██████ █████▀ ▀█████ ████▀ ▀████ ███▀ ▀███ █▓▓▓▓ ▓▓▓▓█ █▓▓▓▓ ▓▓▓▓█ ████ https://www.amazon.co.jp/dp/B097C4MGHS ████ ████ ████ ████ The fourth album by Web Web ôWEB MAXö is a ████ ████ great spiritual jazz work - sometimes floating, ████ ████ sometimes soulful, always intense, and a ████ ████ wonderful homage to early 70s Jazz. Web Web ████ ████ mastermind Roberto Di Gioia is accompanied for ████ ████ the first time by Max Herre as a composer, ████ ████ musician, and producer. Both came together with ████ ████ guest musicians such as Mulatu Astatke, Brandee ████ ████ Younger, Charles Tolliver (Strata East), and ████ ████ others to deliver a virtuoso masterpiece. ████ ████ ████ ████ WEB MAX ████ ████ In the winter of 2014, German rapper/producer ████ ████ Max Herre and Italian-German pianist Roberto Di ████ ████ Gioia played a tremendous show together. The ████ ████ two had been guest musicians at a few gigs for ████ ████ Gregory Porter, who in turn kindly accepted ████ ████ their invitation to perform at HerreÆs MTV ████ ████ Unplugged session (produced by Herre alongside ████ ████ Di Gioia and Samon Kawamura as production team ████ ████ KAHEDI). PorterÆs approach to the jazz quartet ████ ████ inspired Max to reflect how a rap artist could ████ ████ work in a more freely-flowingmusical ████ ████ environment. Di GioiaÆs inspiration was a bit ████ ████ more straightforward: in the 80s, Di Gioia had ████ ████ played with jazz legends like Woody Shaw, ████ ████ Johnny Griffin, and James Moody, but heÆd ████ ████ largely left the jazz stages of his early years ████ ████ behind ù just one random jam session with ████ ████ PorterÆs musicians during soundcheck relit his ████ ████ passion immensely. A short time later, Herre ████ ████ called Di Gioia saying ôLetÆs get a spiritual ████ ████ jazz session going.ö ████ ████ ████ ████ Now, six years later, the album WEB MAX is the ████ ████ amazing result from the spur of that moment. It ████ ████ is a wonderful homage to the cosmic open- ████ ████ mindedness of early 70s jazz, to the ████ ████ transcendent sublimity of spiritual sound. ████ ████ WEB MAX is the fourth album in four years by ████ ████ the highly acclaimed Web Web quartet, ████ ████ consisting of keyboardist/pianist Roberto Di ████ ████ Gioia, saxophonist Tony Lakatos, bassist ████ ████ Christian von Kaphengst, and drummer Peter ████ ████ Gall, all of them longtime performers of the ████ ████ highest virtuosity, signed to Michael ████ ████ ReinbothÆs Compost Records. ████ ████ ████ ████ The one and a half minute intro is called ôThe ████ ████ Prequel,ö introducing the journey with feverish ████ ████ drums, ████ ████ nervous bass, hoarse saxophone, and splintering ████ ████ piano. It kicks and feels like a lost recording ████ ████ from a jazz cellar of the late 60s. ôBut it was ████ ████ actually created in the KAHEDI apartment studio ████ ████ in Berlin,Kreuzberg,ö says Di Gioia with a ████ ████ grin. On one hand, the song is unusual, because ████ ████ the rest of WEB MAX was recorded during ████ ████ completely analog sessions that the band and ████ ████ Herre recorded between 2018 and 2020 in the ████ ████ legendary Munich Mastermix-Studio. At the same ████ ████ time, it nicely illustrates the threshold on ████ ████ which the project moves. As impressively as WEB ████ ████ MAX evokes a bygone era, it moves confidently ████ ████ into the here-and-now. The slightly distorted ████ ████ sound, for example, comes from a four-track ████ ████ recorder that Di Gioia transferred the ████ ████ recordings to, and then bounced them from. Not ████ ████ a replica, but an emulation. Or like Roberto Di ████ ████ Gioia states: ôThe very own derivative of the ████ ████ absorbed.ö ████ ████ ████ ████ A good example is Turquoise,ö inspired by the ████ ████ famous Lebanese singer Fairuz (Arabic for ████ ████ turquoise) and her brother-in-law, the composer ████ ████ Elias Rhabani. The wide, flattering melodic arc ████ ████ plays with all sorts of African and Eastern ████ ████ influences, like it was recorded for a Middle- ████ ████ Eastern Quentin Tarantino movie. The ballad ████ ████ ôThesa-Mbawulaö û with its flowery, musing ████ ████ melody û is reminiscent of the South African ████ ████ pianist Abdullah Ibrahim. Furthermore, it is a ████ ████ nod to HerreÆs father-in-law (the father of ████ ████ HerreÆs wife, soul singer Joy Denalane) û the ████ ████ title means ôEmbers,ô which was his nickname as ████ ████ a soccer player during his youth in ████ ████ Johannesburg. ████ ████ ████ ████ And emphatically, WEB MAX creates a direct ████ ████ connection into history. The song ████ ████ ôIntersectionsö features the 79 year old ████ ████ trumpeter Charles Tolliver, whose label Strata ████ ████ East was perhaps the most important center of ████ ████ spiritual soul jazz in the early 70s. Jazz ████ ████ history also runs through the biography of Di ████ ████ Gioia, who played with deep jazz legends like ████ ████ Clifford Jordan and Buster Williams from Munich ████ ████ to Detroit in the mid-80s. ████ ████ ████ ████ ôMeskel Flowerö features Mulatu Astatke, the ████ ████ father of Ethio-jazz. That collaboration came ████ ████ about thanks to Ben Abarbanel-Wolff (heard ████ ████ playing saxophone on ôThe Prequelö), who played ████ ████ with AstatkeÆs backing band The Heliocentrics. ████ ████ ôBen introduced us to Astatke after a concert ████ ████ in Berlin, and the next day we were together in ████ ████ the studio,ö recalls Herre. With his ████ ████ vibraphone, Astatke conjures up the pentatonic ████ ████ scale emblematic of Ethio-jazz, which itself ████ ████ was the result of a cultural exchange ù in the ████ ████ early 60s, Astatke was the first African to ████ ████ study at the prestigious Berklee College in ████ ████ Boston, and he brought jazz back to his ████ ████ homeland in the early 70s. ████ ████ ████ ████ On ôSatori Ways,ö New York-based Brandee ████ ████ Younger brings a touch of atmospheric depth ████ ████ with her harp, evoking the spirit of pioneers ████ ████ like Dorothy Ashby and Alice Coltrane. Tony ████ ████ Lakatosæs dark-hued alto flute illuminates the ████ ████ unusual timbres and arrangement of this piece. ████ ████ ████ ████ The only words on the album belong to Yusef ████ ████ Lateef, the great saxophonist and flutist who ████ ████ passed away in 2013. On ôAkinuba / The Heart,ö ████ ████ in the form of a poem Lateef talks about ôThe ████ ████ Heartö along a repetitive bass line. ôI was ████ ████ particularly impressed by his musical lyrics. ████ ████ And how close his music melts with the topics ████ ████ he is talking about; says Herre. The poem ends ████ ████ with the words: the heart is born pure.ö ████ ████ ████ ████ HerreÆs voice, on the other hand, can only be ████ ████ heard as an occasional whispering falsetto in ████ ████ cosmic spheres. His electronic ôrustleö (as he ████ ████ calls it) and the groovy, minimalist thrusts of ████ ████ his Wurlitzer may seem modest at first amid the ████ ████ other virtuoso instrumentalists. However, it is ████ ████ precisely this simplicity that proves to be an ████ ████ integral piece. ôSimplicity is sometimes the ████ ████ most sophisticated effortö, explains Di Gioia. ████ ████ ôAnd he has something special there that I ████ ████ donÆt have. Max plays like an indie guitarist ████ ████ who just hits that one note that makes people ████ ████ freak out.ô And Herre replies with a laugh: ôI ████ ████ am a rhythm pianist. I actually just play a few ████ ████ repeating chords at a time, almost like a hip- ████ ████ hop sample.ô ████ ████ ████ ████ HerreÆs love for jazz goes back to his teenage ████ ████ years in Stuttgart, way back before his hip-hop ████ ████ career. ████ ████ And that too began around 1990, when jazz ████ ████ became a go-to for hip-hop groups like A Tribe ████ ████ Called Quest or Gang Starr. This influence ████ ████ carries from Herreæs former group ████ ████ Freundeskreis, to his solo albums produced with ████ ████ Di Gioia, and finally all the way to WEB MAX. ████ ████ ôI benefit from my experience with hip-hop, ████ ████ because there is an importance of continuing on ████ ████ the loop.ô says Herre. Of course, it also ████ ████ brings something to bear in the production ████ ████ process, in the subtleties or niceness of its ████ ████ texture. And last but not least, Herre says it ████ ████ was Kendrick Lamar who played an important role ████ ████ in the renewed interest in spiritual jazz by ████ ████ the masses ù LamarÆs work with musicians like ████ ████ Kamasi Washington has resulted in a new ████ ████ interest in jazz artists. ôBut in the end, this ████ ████ genre is also about communication, unity, and ████ ████ being deeply moved,ö says Herre in the Zoom ████ ████ call. ôJust as with instrumentalists, any ████ ████ virtuosity is internalized. Same as I am coming ████ ████ from the story, I have to conduct the story.ö ████ ████ While Di Gioia adds: ôItÆs very emotional ████ ████ what weÆre playing here, it is not ████ ████ interchangeable. It all comes with love from ████ ████ the heart, with all the energy and spirit we ████ ████ have.ös ████ ████ ████ ████ ████ ████ ████ ████ ████ ████ ████ ████ ▄▀▀███▓▄ ▄▓███▀▀▄ ████ ████ ■ ███▓█ .···. G R O U P .···. █▓███ ■ ████ ████ · ▄▓███▓ ▓███▓▄ · ████ █████ ▄▄▓█▀▀▀│ ▓ MAiL: [email protected] ▓ │▀▀▀█▓▄▄ █████ █▀ ▀██▓▀ ▀ ▀ ▀▓██▀ ▀█ ██▄██▀ ▀██▄██ ████▀ The only thing that really matters is music!!! ▀████ ▀██▓ ▓██▀ ▀██▓▄ ▄▓██▀ .▀ │ ▀▀██▄▓▄ .···. G R E E T S .···. ▄▓▄██▀▀ │ ▀ . ▄▓▓▄ │ ▀▀▀█▄▄ ▄▄█▀▀▀ │ ▄▓▓▄ . ▀▀ ▀▀▄ FRiENDS / SiTEOPS / NUKENET ▄▀▀ ▀▀ ▀ . ▄ ▄▓▓▄ ▀▄ RIP kHz ▄▀ ▄▓▓▄ ▄ . ▀ ▀ ▀▓▀ ▀▀ ▀ . ▄.···. !kb^faa 08.MARCH 2009 .···.▄ . ▀ ▀▀ ▀▓▀ ▀ .