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3'Ain track BZ-189 navigates new route

Introducing 3'Ain and their very open middle-eastern sound with smeary, bluesy, achey trumpet and a great bass solo as a feature amid the absorption of a Levantine dance rhythm, the accordion as anchor hints at faraway sounds. On 'BZ-189' it's …

Published: 5 May 2021. Updated: 50 days.

Introducing 3'Ain and their very open middle-eastern sound with smeary, bluesy, achey trumpet and a great bass solo as a feature amid the absorption of a Levantine dance rhythm, the accordion as anchor hints at faraway sounds.

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On 'BZ-189' it's the bass that quietens things down and then acts as a staging post for the next section of the piece. Part of the Choux de Bruxelles artist collective 3'Ain comprise Ostend-based Yamen Martini (on trumpet) who moved to Belgium from Syria 6 years ago, and who in the band is joined by Otto Kint (double bass) and Piet Maris (accordion). Their name is based on ''ﻉ‎,'' the 18th letter of the Arabic alphabet, according to the band's Bandcamp page. On YouTube the band got off to a good start since putting the video (top) up, since yesterday clocking-up more than 1,200 views. The title of the piece refers to the number on a boat seen in the port of Ostend. The full 3'Ain EP (linked to here) is released on 15 May. Piet Maris (above left), Otto Kint, Yamen Martini. Photo: Bandcamp

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Dopolarians, The Bond ****

If this were on TV it would be a drama not a soap or if a novel would be an epic, not a celebrity memoir. In its drama it does not take any short cuts or rely on cameo roles. In its script it has an intensity to it and characterisation certainly …

Published: 5 May 2021. Updated: 50 days.

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If this were on TV it would be a drama not a soap or if a novel would be an epic, not a celebrity memoir. In its drama it does not take any short cuts or rely on cameo roles. In its script it has an intensity to it and characterisation certainly provided by all and significantly at times the wailing alto saxophone of Chad Fowler. The key interest however fundamentally within the collective ethos is Brian Blade's presence given his ability to lift any musical situation whatever the style and inject both power and a sort of poetry of his own. The Bond goes free several minutes into the long title track and yet when trumpeter Marc Franklin takes up the running it step changes again, Blade instead presents his own freeness via cascading passages propped by the detonating piano part of Christopher Parker. You don't really expect vocals when you begin to listen, Kelley Hurt's have a fracturing operatic quality and that works especially given the bass lines William Parker delivers beneath her exploratory, simmering trajectory. 'The Emergence' is even longer led off by blistering saxophone and it's even more direct. Scrabbling and very abstract Blade again is interesting. He sounds very different here to the way he plays for instance with Wayne Shorter but yet his open panoramic vision is always a factor within. There's quite a lot of anarchy in the sax and trumpet-playing sections underlaid by piano and that latter relative serenity makes the drama of the contrasts piquant. A stillness is again a factor from the piano in a solo section at the beginning of 'The Release' but we are left guessing where it eventually will go. And that is only part of the deep appeal of a group whose music you have to hear right now. SG. Out on Mahakala Music. Dopolarians, photo: Bandcamp