====================================
***OUTASITE MUSICAL COLLABORATION BAND SITES
====================================
2003 TED SIROTA’s REBEL SOULS
http://www.tedsirota.com
*(as of 03/07/2003)                         

LEADER
TED SIROTA (drums)

SAXYs, etc
Kevin Kizer (tenor, alto) http://www.jazzhope.com/MusiciansSaxy_KevinKizer.htm

BONE
Jeb Bishop http://www.jazzhope.com/MusiciansBones_JebBishop.htm

GUITAR
Jeff Parker
 
RHYTHM SECTION
Josh Abrams – bass
Ted Sirota – leader, drums

Performances
FRI MAR 7 9PM-1AM @ the Green Mill (4802 N. Broadway/773-878-5552)
SAT MAR 8 8PM-12AM @ the Green Mill (4802 N. Broadway/773-878-5552)
THU MAR 13 9PM-12AM @ the Hot House (31 E. Balbo/312-362-9707)

Performance Reviews
http://www.jazzhope.com/review_2003_03_08.htm

CHICAGO READER 03/07/2003 – Critic’s Choice on

TED SIROTA'S REBEL SOULS
Friday and Saturday 3/7-8, Green Mill; Thursday 3/13, HotHouse

The Rebel Souls, led by drummer Ted Sirota, play all around Chicago all the time--just not together. The quintet is made up of several of the city's most provocative young jazzmen, including its newest addition, trombonist Jeb Bishop, and guitarist Jeff Parker, who's lent his porous tone and discrete phrasing to groups as varied as Tortoise, the New Horizons Ensemble, and the Chicago Underground Orchestra; saxist Kevin Kizer (a founding Soul) and bassist Josh Abrams complete the lineup. It speaks to Sirota's leadership that he's provided a framework flexible enough to encompass the whole bunch but strong enough to give this band its immediately recognizable sound. On their 2000 disc, Ted Sirota's Rebel Souls vs. the Forces of Evil, the group's repertoire stretched from updates on the hard-bop aesthetic to the reggae "Tubby" to tunes clearly inspired by Ornette Coleman and Stevie Wonder. Like all the best drummer-bandleaders, Sirota maintains control by setting the pace and lifting his soloists instead of grabbing the spotlight with intrusive colors or rhythms or empty improvisations; when he does take a solo, it's always well placed, standing out for its painterly musicality, not the rapidity of its flailing. Sirota pushes against musical boundaries both onstage--whether driving the early-morning shows by the Sabertooth Organ Quartet each weekend at the Green Mill or sitting in with poetry slammer Marc Smith--and offstage, where a dispute with Naim Records has led to his albums disappearing from the catalog. (They're currently available from Sirota.) Friday, March 7, 9 PM, and Saturday, March 8, 8 PM, Green Mill, 4802 North Broadway. 773-878-5552. Thursday, March 13, 9 PM, HotHouse, 31 East Balbo; 312-362-9707. --NEIL TESSER


Prior collaborations
SAXYs, etc
Kevin Kizer (tenor, clarinet)
Geof Bradfield (tenor, alto, bass clarinet
TRUMPs, etc
Rob Mazurek (cornet)
GUITAR
Jeff Parker
RHYTHM SECTION
Noel Kupersmith – bass
Ted Sirota – leader, drums

A note about drummer and leader Ted Sirota

http://www.slampapi.com/new_site/band/ted_sirota.htm
 Ted Sirota is currently in his twentieth year of playing the drums. Sirota attended Berklee College of Music in Boston, where he graduated magna cum laude with a bachelor’s degree in performance in 1991. While in Boston, Sirota spent much of his time jamming and performing with such other young musicians as Joshua Redman, Mark Turner, Antonio Hart, Roy Hargrove, Jeff Parker, Kurt Rosenwinkle, Seamus Blake, Chris Cheek, Dwayne Burno, Lalah Hathaway, and many other “young lions”. Sirota studied privately with legendary drummer / teacher Alan Dawson and Berklee teacher Joe Hunt.
     Sirota eventually relocated to Chicago in the fall of 1992 with the now defunct band, The Last Kwartet (Jeff Parker, Sara Smith, Chris Lopes), and quickly became active on the Chicago jazz scene. Since his move to Chicago Sirota has performed with many of the city’s finest musicians including Von Freeman, the late bassist Fred Hopkins, Lin Halliday, Ira Sullivan, Rob Mazurek, and many others. Sirota has also toured with saxophonist Christopher Hollyday and guitar legend Phil Upchurch.
     In the winter of 1993 Sirota began a two-year tenure with blues great Eddie Kirkland. With Eddie Kirkland’s Energy Band, Sirota traveled throughout the U.S. playing blues clubs and festivals. Ted has also performed with other fine blues musicians including pianist Pinetop Perkins, singer Johnny Adams, guitarists Little Smokey Smothers and Dave Specter, and organist Tony Z.  Ted spent the summer of 1994 abroad with the Chicago Jazz Machine performing at Somerset’s Lounge-Singapore’s premier jazz club located in the Westin Hotel.
     Sirota has also performed in a handful of professional stage productions including The Song of Singapore, …Always Patsy Cline, and currently Hello Muddah, Hello Fadduh an Allan Sherman musical.  As a member of the Sabertooth Jazz Quintet (Pat Mallinger, Cameron Pfifner, Dan Trudell), Sirota has spent late night Saturdays for the past four years performing at Chicago’s highly acclaimed jazz club, the Green Mill. 
    Sirota went on to form his own band, Ted Sirota’s Rebel Souls, in the early part of 1996. The group recorded their debut “Rebel Roots” for the British label Naim in June of ’96, and has received much critical acclaim since the CD’s release in December ‘96. The Chicago Music Awards nominated Sirota for Best Jazz Recording of 1996. Rebel Souls second recording for Naim, “Propaganda”, was released in May ’99.    (Recording reviews integrated below)
-Mark Kelly Smith

Note:  Ted Sirota’s Rebel Souls vs. the Forces of Evil was recorded in 2000 and released in 2001.
-Rebecca Hope

Recordings:
pictures from http://www.decibel.com.pl/plyty.php

Naim Audio - naimcd014

I.  Rebel Roots

MUSICIANS
SAXYs, etc
Kevin Kizer - tenor
GUITAR
Jeff Parker
RHYTHM SECTION
Jeff Hill – bass
Ted Sirota – leader, drums

SONGS
1.  Four Folks (Jeff Parker-Umjabuglafeesh Publishing/BMI) (7:57)
2.  East Broadway Rundown (Sonny Rollins, Duchess Music Corp/BMI) (6:05)
3.  Wait (Jeff Parker-Umjabuglafeesh Publishing/BMI) (7:39)
4.  Brilliant Corners (Thelonious Monk, Thelonious Monk Music Corp/BMI (6:21)
5.  Song For Mumia (Ted Sirota-Rebel Soul Publishing/BMI) (8:17)
6.  Voids (Kevin Kizer-Kevin Kizer Music/BMI) (6:39)
7.  Ornettish (Kevin Kizer-Kevin Kizer Music/BMI) (7:22)
8.  Mannerisms (Jeff Parker-Umjabuglafeesh Publishing/BMI) (6:10)
9.  WRU (Ornette Coleman, MJQ Music/ BMI) (8:01)
10.  First Song (Charlie Haden, Liberation Music Corp/BMI) (6:41)
Total Time: 71:12

RECORDING INFO
Produced by: Ted Sirota
Recording: Ken Christianson
Mastering: Julian Vereker
Recorded: at Goodspeed Hall, University of Chicago, Chicago, IL on June 24, 1996

LINER NOTES
”I’m not out to prove that we’re the most innovative thing out there and I’m on the cutting edge, or anything like that.”  Perhaps this sentiment will seem strange coming from the leader of a group calling itself Rebel Souls.  But Ted Sirota recognizes the subtle way that politics are infused into both the jazz industry and everyday life.  Sirota’s not worried whether the music he makes has “never been done before.”  And he’s not interested in conforming to a mainstream cookie-cutter mentality either.  He’s concerned with making his music fresh, making it sound like a group.  “I wanted it to be people playing from their souls, communicating,” he explains.  “There’s a lot of young musicians who play that way, but then when they make a record it sounds like the record company had some predetermined concept, and the music ends up sounding stale.”

On Rebel Roots, the 27-year –old drummer’s debut, you’ll find music steeped in the sound of early free jazz.  Harmonically unstable, melodically open, with the vitality and energy of wing, that music seems to offer limitless possible reworkings, new takes and surprising manipulations.  Especially in the light of the current conservative stronghold in jazzland, the argument over that era’s significance takes on a renewed relevance.  “There’s a period that’s been totally neglected,” suggests Sirota.  “A lot of older musicians that were around then just stopped off at hard bop.  And a lot of younger musicians, of my generation, they learn the music through CD reissues and used records.  A certain section of the music was overlooked and still needs to be re-examined.”

The Shape of Jazz to Come came out in 1959 – that’s almost 40 years ago!  Ornette Coleman’s music led to other things, which built on it.  Bit it should be a part of the repertoire, it should be part of jazz musicians’ tree, you know?  Everybody knows Blue Note records, Miles, etc.  But you go to a jam session, you can’t call any Ornette tunes unless it’s ‘When Will the Blues Leave’ or possibly ‘Lonely Woman’.  Other than that, nobody knows those tunes.”  In its own way, this philosophy is extremely rebellious, seeking as it does to pry open the clam-like jazz canon and insert the still living pearls of Ornette, Don Cherry, Ed Blackwell, Billy Higgins, et al., in their rightful spot.  “I’ve always loved that music,” Sirota exclaims glowingly.  “When I heard it, it just hit me in the gut.  Eventually, I learned how that style was different, as far as not having a pre-set form and chord changes.”

Having music that hits you in the guts is part of the Rebel Souls’ deep seated agenda, an idea that’s been building momentum since a 16-year-old Sirota (already studying drums for six years) was first inspired to play jazz after hearing Max Roach at the Jazz Showcase.  Born in Champaign, Illinois, and raised in the south suburbs of Chicago, Sirota cites the major impact of Blackwell and Higgins, as well as Roy Haynes and Pete LaRoca, “Guys who played really strong time, even if they didn’t play time all the time,” he adds.  Sirota met guitarist Jeff Parker as a student at Berklee College of Music in Boston, where he was classmates with a who’s who of the young and lionized.  While in Beantown, Parker and Sirota formed a collective ensemble called the Last Kwartet, which included trombonist Sarah Smith and bassist Chris Lopes; that group lived on as its members eventually resettled in Chicago in 1992.

A Sirota report that Last Kwartet was “like family, anything could happen and everyone would be together on that one tip,” but adds it was “too close, almost.”  After that group split, Sirota played an extended gig in Singapore, where he became fast musical friends with bassist Jeff Hill; together they played in the Sabertooth Jazz Quintet for a couple of years, though Hill has recently relocated to New York.  Through a fellow musician, the drummer heard a tape of tenor saxophonist Kevin Kizer, who was working in Champaign.  “I had heard that he was really into Lockjaw Davis, Gene Ammons”, says Sirota.  “Then I heard this tape and it reminded me of Ornette on tenor, but I could tell that he wasn’t just faking it, he was playing what he was hearing.  It was raw; he had the sound I was looking for.”  Rehearsing lesser-known Monk, Coleman and some originals, Sirota felt he had found his kindred Rebel Souls, and the final touch was, as he puts it, “plugging in” the incredibly flexible guitar of Jeff Parker.  Over the course of just tow days, with two mics, Ted Sirota’s Rebel Souls made Rebel Roots in the beautiful wooden acoustics of Goodspeed Recital Hall, at the University of Chicago, hence the warm, live feel of the recording.  Most tracks required only one take, the way it should work for a cohesive ensemble.

“I want to play music that’s ‘free’, music where people in the group can really express themselves without having boundaries set up”, details Sirota, “but I’m also thinking about not only reaching intellectuals and scholars and jazz listeners who sit there and smoke their pipes and stuff.  I’m always thinking: what if some kids from the projects walked in here, or people who didn’t listen to jazz all the time?  Would they be able to feel what was going on?  I try to find a way, even if it’s just by playing with a lot of emotion and feeling, that people can relate.”

Again, the genuinely political statement may not be revolutionary or visionary, but simply down to earth.  A brief jaunt into the Souls’ version of Sonny Rollins free-period classic “East Broadway Rundown,” replete with hip-hop grove courtesy of Sirota, should be evidence enough of the record’s cumulative listenability.  Jeff Parker’s composing talents are coming into full flower, as you can hear on “Four Folks”, “Wait”, and “Mannerisms” – chameleonic, he’s capable of the full range of moods from Bill Evans/Jim Hall impressionism to Sonny Sharrock bone-shake.  And Kizer contributes two, too:  the aptly named “Ornettish” and rolling “Voids”.  The group’s interpretation of Monk’s challenging “Brilliant Corners” was inspired by the Steve Lacy/Roswell Rudd version School Days, and they venture into Coleman’s “WRU”, a nugget from his transitional, exploratory record Ornette!

Sirota’s own piece, “Song For Mumia”, points in the direction of Don Cherry’s tune “Mopti” as well as West African and Afro-Cuban drum music the percussionist has been checking into lately.  The piece is dedicated to Mumia Abu Jamal, the journalist/activist on death row.  “I’ve been a supporter of his for about ten years-he’d be the first political prisoner executed in the U.S. since the Rosenberg’s.  It’s a really important struggle.”  The Rebel Souls also cover the “First Song” by Charlie Haden, the bassist and bandleader well known for incorporating overtly political elements into his music.  Sirota takes the opportunity to reiterate his commitment:  “Music shouldn’t just ignore the fact that art is political.  Musicians and artist need to start taking more of a stand in society.”

Sirota hints that the Rebel Souls’ next record may find them pushing a different envelope.  Rebel Roots plants the seed and sends the group’s tubers far down into the soil, establishing a solid platform from which future branches can reach for the clouds.
-John Corbett, Chicago, August 1996
(John Corbett writes for Down Beat, Pulse! and the Wire, and his book “Extended Play: Sounding Off from John Cage to Dr. Funkenstein” was published by the Duke University Press in 1994).

Acknowledgments from Ted:
I would like to thank the following people who helped make this recording possible…the two loves of my life, Janvier and Taima, for their unwavering support and love.  And my parents, Stuart and Glenda Sirota, for their unconditional support over the years.  Extra special thanks to Ken Christianson for all of his help, especially the wonderful job with the recording.  Also, thanks to radio station WHPK and the University of Chicago for helping to make this recording possible.  Big thanks also to Christine Hill, Jeff Ross, Pat Noland, Julian Vereker and everybody at Naim.  Thanks also to Chris Lopes and Sara Smith for the years of friendship and musical inspiration.  Last but not least, thanks to Mrs. Bertha Tanner without who this recording might never have happened.  Extra special thanks to Jeff, Kevin and Jeff for their time, compositions, and for inspiring me to want to keep playing jazz.  I’d like to dedicate my portion of the music on this CD to the memories of Alan Dawson, Ed Blackwell, Don Cherry and Sun Ra, all of who inspired me enormously.  Thanks also to Julia at Finesplice, Richard at Koch, Paul at Naim and Philippa at Graffix.

REVIEWS
Cadence magazine declared, “Rebel Roots is inspired, adventurous music and is strongly recommended.” 

Listener magazine says “this young man is a remarkable musician” and “frankly, there have been few jazz debuts in recent years which have shown such ability.” 

"Chcę grać muzykę, dającą poczucie "wolności", w której muzycy tworzący zespół mogliby swobodnie wyrazić to, co mają do przekazania. Ciągle zastanawiam się czy ludzie, którzy przypadkowo usłyszą to co robimy, wiedzieliby o co nam tak naprawdę chodzi. Próbuję znaleźć drogę, nawet jeśli to jest tylko granie na emocjach i uczuciach, do której słuchacze mogliby się odnieść". - Ted Sirota

You don't have to get past the second track on this debut from Chicago drummer Ted Sirota to take a guess at the age of the players: I doubt anyone but a well-schooled Generation-Xer would think to use a hip-hop beat to reprise the Sonny Rollins free-jazz theme "East Broadway Rundown." Sirota's Rebel Souls offer an especially good representation of young jazz in Chicago, identifiable by its side-by-side emphasis of both traditional forms and the city's avant-garde legacy. The quartet's tenor man, newcomer Kevin Kizer, has a wide expressive range that allows him to shriek effectively on the Rollins tune, to caress the album's two lullabies, and to hungrily chomp the chords to Thelonious Monk's "Brilliant Corners." The unassuming bassist Jeff Hill has a lovely sound that supports both the ensemble and his own firmly rooted solos. Sirota himself provides a sure and relatively spare drive; this allows you to pay full attention to his meticulous use of drum timbre and the imaginative rhythms with which he embroiders the beat (all of which comes to a head in his extended solo on his own composition, "Song For Mumia"). And the band's repertoire balances between noteworthy originals and a focused examination of the canon: in addition to Monk and Rollins, Ornette Coleman and Charlie Haden are represented.

Still, Jeff Parker threatens to quietly steal the show. The Souls' accomplished young guitarist solos with the effortless lope of Wes Montgomery but the open ears of the AACM players in whose groups he often appears. Parker's improvisations take one step back from Kizer's full-tilt energy to offer a symbiotic contrast, and his chords and colors help lift this from a smart rhythm section to an exceptional one. The entire project, released on an English label (with U.S. distribution) benefits from the garage-band tilt of the sound mix; it slightly muddies the outlines, resulting in a coherent sonic signature just the opposite of "slick." Sirota and company don't need antiseptic studio techniques to make their music jump out of the box. –NEIL TESSER JAZZTIMES

 


Naim Audio - naimcd036

II.  propaganda

MUSICIANS
SAXYs, etc
Kevin Kizer (tenor)
TRUMPs, etc
Rob Mazurek (cornet)
GUITAR
Jeff Parker
RHYTHM SECTION
Noel Kupersmith – bass
Ted Sirota – leader, drums
 
SONGS
1. Geronimo’s Free (Ted Sirota-Rebel Soul Publishing/BMI) (6:19) – dedicated to Geronimo ji Jagal
2. Ten (Rob Mazurek–Ohio/ASCAP) (9:46)
3. Carolynn’s Blues (Kevin Kizer-Kevin Kizer Music/BMI) (6:39)
4. Propaganda (Ted Sirota-Rebel Soul Publishing/BMI) (6:50)
5. Lonely People (Rob Mazurek–Ohio/ASCAP) (6:05)
6. La Danse de Janvier (Ted Sirota-Rebel Soul Publishing/BMI) (9:31)
7. Little Spots (Jeff Parker-Umjabuglafeesh Publishing/BMI) (6:59)
8. Hemiola (Jeff Parker-Umjabuglafeesh Publishing/BMI) (8:52)
Total Time: 64 min

RECORDING INFO
Produced by: Ted Sirota
Recording: Ken Christianson
Mastering: Julian Vereker
Recorded: at Union Church, Hinsdale, IL on October 12 & 13, 1998

RECORDING INFO
Produced by: Ted Sirota
Recording: Ken Christianson
Mastering: Julian Vereker
Recorded: at Union Church, Hinsdale, IL on October 12 & 13, 1998

LINER NOTES
none available

REVIEWS
http://www.allaboutjazz.com/reviews/pf_r0799_45.htm
Propaganda Ted Sirota's Rebel Souls | Naim
Personnel: Kevin Kizer-tenor saxophone; Rob Mazurek-cornet; Jeff Parker-guitar; Noel Kupersmith-bass; Ted Sirota-drums
   
I was immediately hooked by this album's first track: a loose, free-wheelin' tune called "Geronimo's Free" that laces jazz solos over a ska backbeat, recalling the best of the Skatellites. But don't expect just one sound or style from Chicago drummer Ted Sirota and his band, the Rebel Souls. Propaganda offers a little bit of everything: bebop, avant jazz, jazz-rock, even a touch of the blues - not surprising since Sirota was once a member of blues great Eddie Kirkland's band.
    But the overriding inspiration for this daring, piano-less quintet appears to be the great bands of Ornette Coleman. The title tune, for example, is a free-jazz journey propelled by Sirota's ferocious drumming. "La Danse de Janvier," another Sirota original, layers funky dance and rock grooves over African percussion. Other numbers, like cornetist Rob Mazurek's "Ten" and guitarist Jeff Parker's "Hemiola", stick closer to home, building on catchy bebop riffs, but letting the soloists venture off into uncharted territories.
   
What sets this group apart from the crowd, in addition to fine chops, is its open ears and adventurous spirit. The Rebel Souls cover a lot of ground stylistically, but it never feels forced or unnatural. Here's a smart, forward-thinking band that knows how to swing. Definitely worth a listen.
~ Joel Roberts  

Neil Tesser of the Chicago Reader recently wrote: “Chicago's jazz scene is awash in celebrity: we have a new MacArthur fellow (Ken Vandermark), a perpetual Grammy nominee (Kurt Elling), a breakthrough songwriter and performer (Patricia Barber), and a national radio host (Ramsey Lewis). But so far this year none of these stars has come up with a better album than Propaganda (Naim), by drummer Ted Sirota's Rebel Souls, whose combination of adventurous improvising and driving lyricism stuck in my head for days after I first heard it.”

Downbeat magazine states “Ted Sirota and his fine quintet, the Rebel Souls, disseminate their jazz ideas with the kind of fun-loving gusto and grit that makes for an immensely satisfying listen. It's that simple: This CD bears repeated spins, which is a rare triumph for any recording these days.” 

Music critic Peter Margasak of the Chicago Reader claims, “With the new-jazz scene's current emphasis on free improv, high-octane blowing, and bold style blending, we don't hear this kind of stuff enough.”


If the purpose of propaganda is to further one's cause, drummer Ted Sirota has made me a believer. His second album as a leader, Propaganda, is brimming with bracing ideas, from the ska jumper "Geronimo's Free," featuring Ryan Shultz's bulky bass trumpet, to the lightly Latin, '70s fusion groover "La Danse de Janvier," where both Rick Gehrenebeck's Fender Rhodes and Jeff Parker's guitar are so satin smooth that their notes blend and bend into an amorphous whole.

Parker and cornetist Rob Mazurek also play in the Chicago Underground Duo and Isotope 217 and those groups' abstract cool informs much of Propaganda. Mazurek has a lean sound, often tightened further by a mute, and favors gorgeously small melodic statements instead of long winding (or winded) tales, while the always impressive Parker plays partially clipped post-bop chords that are then abstracted through subtle rhythmic variations, as well as jittery melodic lines that don't so much dance as wiggle. "Carolyn's Blues" shares a chord sequence similar to "My Favorite Things" and a lightly swinging feel that gives way to the slightly messy, free-for-all title track. But the ballad "Lonely People" rights things with saxophonist Kevin Kizer and bassist Noel Kupersmith giving the tune its pathos-laden emotional mooring through their film noirish interplay.

Throughout the CD, Sirota plays with an effortless touch, giving the songs and the musicians plenty of space to breathe and narrate their tales. All of which makes this Propaganda very convincing.
Reviewed by Christopher Porter in the CD Reviews section of the April 2000 issue.

"Niewiele było ostatnimi laty jazzowych debiutów, które pokazałyby takie zdolności" napisał Phil Brett (The Listener) w recenzji pierwszej płyty Ted'a Sirota nagranej dla Naim Label. Jego drugi album, Propaganda, wywrze z pewnością podobne wrażenie. Ten fantastyczny krążek powstał dzięki współpracy Ted'a i jego Rebel Souls z muzykami takich formacji jak Tortoise, Isotope 217 i Chicago Underground Orquestra. Osiem świetnych utworów napisanych zostało przez Ted'a przy aktywnym udziale innych członków zespołu. z pewnością są one odzwierciedleniem ponadprzeciętnego talentu wszystkich muzyków. Gdy Ted swoim charyzmatycznym bębnieniem prowadzi zespół poprzez meandry jazzowego grania, nie można oprzeć się wrażeniu ogromnej pasji jaką muzycy mają dla instrumentów i granej muzyki.


http://search.centerstage.net/music/whoswho/TedSirota'sRebe.html
This jazz group -- which consists of Ted Sirota (drums), Jeff Parker (guitar), Rob Mazurek (cornet), Kevin Kizer (tenor sax), and Noel Kupersmith (bass) -- recently released their second release on Naim Records. Propaganda is the follow up to their debut record, Rebel Roots.

 

 

 

 

Naim Audio - naimcd051

III.  ted sirota’s rebel souls vs. the forces of evil

SAXYs, etc
Kevin Kizer (tenor, clarinet)
Geof Bradfield (tenor, alto, bass clarinet)
TRUMPs, etc
Rob Mazurek (cornet)
GUITAR
Jeff Parker
RHYTHM SECTION
Noel Kupersmith – bass
Ted Sirota – leader, drums

Tunes include “Becky’s Bash”

SONGS
1.  Grendel (Geof Bradfield-Geocentric Music/BMI) (8:43)
2.  Tight rope (Rob Mazurek-Ohio Music/ASCAP) (6:00)
3.  You know me (Jeff Parker-Umjabuglafeesh Publishing/BMI) (5:22)
4.  Tubby (Ted Sirota-Rebel Soul Publishing/BMI) (7:14)
5.  Dig to China (Noel Kupersmith-LMNO Music/BMI) (3:09)

6.  Becky’s Bash (Kevin Kizer-Kevin Kizer Music/BMI) (8:00)
7.  Impengu dek bengikeai (traditional/arr. Geof Bradfield/Geocentric Music/BMI) (5:58)
8.  Wonder (Geof Bradfield/Geocentric Music/BMI) (7:56)
Total Time: (52:42)


http://www.tedsirota.com/forces%20page.htm
From Ted’s page.

MP3's

Grendel - geof bradfield/geocentric music-bmi - 08:43
Tight Rope - rob mazurek/ohlo music - ascap - 06:00
You Know Me - jeff parker/umjabuglafeesh publishing - bmi - 05:22
Tubby - ted sirota/rebel soul publishing - bmi - 07:14
Dig To China - noel kupersmith/lmno music - bmi - 03:09
Impengu Dek Bengi Kai - traditional/arr. geof bradfield/geocentric music - bmi - 05:58
Becky's Bash - kevin kizer/kevin kizer music - bmi - 08:00
Wonder - geof bradfield/geocentric music - bmi - 07:56

RECORDING INFO
Produced by: Ted Sirota
Recording: Ken Christianson/Pro Musica, Chicago; Matt Dever, assistant

Recorded: direct to 2-track at Union Church, Hinsdale, IL on May 30, 31 + June 1, 2000
all music live, no editing
for booking information contact
Ted Sirota’s Rebel Souls

7511 North Winchester Avenue

Suite Number 1

Chicago, IL  60626
fax: 773-381-2604
email: booking@tedsirota.com
http://www.tedsirota.com


LINER NOTES
none written.
Acknowledgments from Ted:
Ted would like to thank his family: Janvier, Taima + Safiya for their loving support

REVIEWS
To trzeci album Teda i jego 'Zbuntowanych Dusz' nagrany dla The Naim Label. Ci, którzy zakochali się w dwóch poprzednich wydawnictwach powinni sięgnąć i po to. Dlaczego? Ponieważ jest absolutnie r e w e l a c y j n e !!! Do zespołu dołączył Geoff Bradfield, który oprócz wkładu kompozytorskiego (trzy utwory) wniósł także swój talent jako instrumentalista, grając na tenorowym, altowym i basowym klarnecie. Zespół Siroty ma może 'zbuntowaną duszę' ale przede wszystkim wielkie serce... – DOWNBEAT
 
http://www.newinsight.co.uk/musicreview_may.htm
The Forces of Evil was recorded live in a church in Chicago, with no editing, and as with all Naim releases, the quality is excellent. A couple of years ago we reviewed Ted Sirota's second album, Propaganda, which had a few more free-jazz moments than this recording, but overall the feel is similar. But there has been a progression in the music. The addition of an extra horn gives more depth to some of the arrangements, and the band seem more comfortable with each other, bouncing effortlessly between solos. There's also more diversity in the tunes, mostly written by the band, including a ska/reggae number. The members of the band are all highly competent musicians, and this album has a great feel, jazz at the free end of the spectrum, but with plenty of musical interest.

http://www.allaboutjazz.com/prevcdreviews.htm

IN ITALIAN
http://www.allaboutjazz.com/italy/reviews/R1201_016_it.HTM
La musica che ci arriva dalla ventosa Chicago č decisamente variegata. Dallo stesso manipolo di musicisti possono arrivare proposte decisamente diversificate che spaziano da situazioni di post-rock, come nel caso dei celebri Tortoise e di tanti altri, fra i quali ci piace ricordare i meno famosi ma decisamente interessanti The Sea and Cake [per leggere la recensione del loro recente album Oui clicca qui], a territori piů di frontiera, come nel caso degli Isotope 217 [per leggere la recensione di Who Stole the I Walkman? clicca qui] e dei Chicago Underground Duo/Trio/Quartet/Orchestra [per la recensione di Flamethrower clicca qui, per quella di Chicago Underground Quartet clicca qui].

In questo caso il batterista Ted Sirota č alla testa del suo gruppo Rebel Souls che comprende il chitarrista Jeff Parker, il cornettista Rob Mazurek [per leggere l'intervista col musicista di chicago clicca qui] e il bassista Noel Kupersmith spesso presenti nella maggior parte dei gruppi sopra citati, ai quali sia affiancano i due saxofonisti Kevin Kizer e Geof Bradfield.

Il gruppo č giŕ alla sua terza uscita discografica e continua a percorrere una strada che č piů spostata in territorio jazzistico, rispetto alle altre proposte di cui si parlava all'inizio. Non ci sono tastiere, non ci sono campionatori. Gli strumenti sono utilizzati per cosě dire nella loro componente acustica, e persino la chitarra elettrica di Parker č utilizzata piuttosto come una variante elettroacustica dello strumento, con poche indulgenze verso effetti e alterazioni brutalmente elettriche. Ci troviamo di fronte ad un gruppo che pare voler portare avanti con grande passione le situazioni musicali che siamo soliti associare ai gruppi di Art Blakey, all'Ornette Coleman del periodo Blue Note, persino al celeberrimo quintetto di Miles Davis pre-In A Silent Way. Ovviamente, il tutto riveduto e corretto alla luce delle modifiche del linguaggio jazzistico affermatesi negli ultimi decenni.

I musicisti sono particolarmente attenti a interagire con grande precisione nelle parti scritte e poi si librano in ottimi assoli che dimostrano la grande padronanza strumentale raggiunta e la capacitŕ di raccontare storie attraverso i loro strumenti. Jeff Parker č in gran spolvero e ci offre una sua personale rilettura del ruolo della chitarra elettrica nel jazz attuale, con un accompagnamento nervoso ma particolarmente efficace e ottimi assoli decisamente angolari ma del tutto originali e coerenti con la musica che gli gira attorno.

Ted Sirota si dimostra ottimo leader e sa ben coordinare il lavoro degli altri musicisti con il suo lavoro percussivo che spesso si alimenta di felici intuizioni poliritmiche, un po' alla Ed Blackwell. I due saxofonisti sono autori di ben tre brani (e Bradfield cura anche l'arrangiamento dell'unico brano tradizionale presente) e paiono ben calati nella tradizione dei grandi saxofonisti americani, pur avendo la capacitŕ di proiettarsi senza alcuna remora verso situazioni decisamente innovative, quando la musica lo richiede.

I rimanenti brani sono equamente divisi, per quanto riguarda la scrittura, fra Parker, Sirota, il bassista Kupersmith e Mazurek. Quest'ultimo offre una prova davvero convincente, dimostrando grande padronanza del linguaggio jazzistico, andando molto al di lŕ di quello che si poteva intuire dall'ascolto dei suoi dischi precedenti. I brani hanno spesso quella sorta di fierezza che caratterizzava le migliori produzioni del jazz degli anni sessanta, anche se qui ci troviamo a passare disinvoltamente dalle influenze 'reggae' che caratterizzano il bel brano "Tubby" a una sorta di hard bop del nuovo millennio che apre il successivo "Dig To China", una vera passerella per il leader Ted Sirota che approfitta delle angolari frasi dei fiati come se fossero un trampolino di lancio per dare sfogo alle sue pulsioni ritmiche.

La registrazione č avvenuta incidendo direttamente sulle due tracce finali, senza alcun intervento di editing a posteriori.

Nessun trucco quindi, per questa eccellente formazione che ancora una volta ci regala un ottimo album.