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Joel Grip

For a number of years now, energetic double bassist, filmmaker and producer Grip has played an important role for the new scenes of improvised music in Europe. As founder of Umlaut Records, he opened up for creative forms of organizing collectives of musicians and promoting their music internationally. Since 2003 he has been one of the main organizers of Hagenfesten in Dala-Floda, Sweden, a stand-alone festival, and quite frankly possibly the most pleasant venue for free improvised music not only in Sweden but in the whole of Europe. Few other places offer quite the same endearing combination of sophisticated musical risk-taking, and up-beat, social get-together. Grip’s musicianship is informed by a similar knack for welding musical sophistication with social communication, often with an analog film camera at hand. With a handful of short films Joel Grip met mexican filmmaker Mauricio Hernández and shortly the film production company Umlicht was established. They are right now working on their second feature film together.

www.joelgrip.com / www.umlicht.com

Featured releases

One of the best records of 2017 for sure. Four of the most idiosyncratic and creative voices at the margins of jazz, imagine their way into and around the music and philosophy of Ahmed Abdul-Malik. This is music to listen, dance and think to. A new jazz record, from a new jazz band. [Ahmed] make music about the music of Ahmed Abdul-Malik. They excavate, re-inhabit and use a-new the now overlooked documents, and fragmentary plans, of his mid-20th century synthetic vision to produce a new jazz imagination for the 21st century. Ahmed-Malik (1927-1993) was a NYC bassist, oudist, composer, educator and philosopher. A potent(ial) influence on Coltrane and Monk (we imagine), he was also a significant composer in his own right. (Ignored into creative obscurity, he spent his final decades teaching, and performing seldom). His albums Jazz Sahara (1958) and East Meets West (1960) fuse aspects of Arabic and East African musics and thought, his committed long-term relationship with Sufi Islam, and then-modern jazz and thinking – in revolutionary and vital ways. The product is exciting, radical, raw, and beautiful. But, as well as honouring these traditions, Abdul-Malik invented and imagined a lot*. Abdul- Malik’s straddling, synthetic and inclusive vision is one of the great projects of the imagination in jazz. He mixed sounds and ethics, meanings and beliefs in open, experimental ways without dogma. And so do [Ahmed]. They visit and (re)think his compositions and the process potential in them. They play the notes, but use them, and the ideas in and about them, as vehicles for their unique imaginations, instrumental approaches and ideas. Through his compositions they re-imagine and re-synthesize, moving from what they know into newly creative space. They imagine themselves into the future, free of the dogma, clichés and cloy neo-classicisms of current ‘improvised music’ and ‘free jazz’. ** Kelley, R.D.G. (2012) ‘Ahmed Abdul-Malik’s Islamic Experimentalism’ in Africa Speaks, America Answers: Modern Jazz in Revolutionary Times. Cambridge: Harvard University Press: 91-119 talks about this in his brief but fascinating study. --- Joel Grip / bass Antonin Gerbal / drums Pat Thomas / piano Seymour Wright / saxophone --- Recorded live at Hagenfesten in Dala-Floda, Sweden, August 6, 2016 by Arve Birkeland. Mixed at Studio206.de by Patrick Petzold Photography and design by Sven-Åke Johansson. Produced by Joel Grip and Seymour Wright. Sleeve notes by Robert Levin. 

أحمد Ahmed – New Jazz Imagination

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