tag:blogger.com,1999:blog-82451335145221960842024-03-05T08:00:45.343-06:00improvisedA blog about all things concerning jazz and improvised music.Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.comBlogger172125tag:blogger.com,1999:blog-8245133514522196084.post-20341526710197011082017-08-12T16:19:00.002-05:002017-08-12T16:19:39.196-05:00Steve Coleman’s Natal Eclipse - Morphogenesis<div class="separator" style="clear: both; text-align: center;">
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Morphogenesis<br />
<div>
Steve Coleman’s Natal Eclipse</div>
<div>
<a href="http://pirecordings.com/album/pi69" target="_blank">Pi Recordings</a></div>
<div>
<br /></div>
<div>
Steve Coleman - alto saxophone</div>
<div>
Jonathan Finlayson - trumpet</div>
<div>
Maria Grand - tenor saxophone</div>
<div>
Rane Moore - clarinet </div>
<div>
Kristin Lee - violin </div>
<div>
Jen Shyu - vocals </div>
<div>
Matt Mitchell - piano </div>
<div>
Greg Chudzik - bass </div>
<div>
Neeraj Mehta - percussion</div>
<div>
<br /></div>
<div>
Steve Coleman has been undergoing an artistic renaissance since joining Pi Recordings in 2010. His M-Base theories have been hugely influential in contemporary jazz over many years, with followers such as Jonathan Finlayson taking his concepts and providing their own interpretations. I've had reservations about the M-Base style, chiefly that the fixed rhythms on releases such as 1995's <i>Def Trance Beat (Modalities of Rhythm)</i> have tended to anchor in place soloists, including Mr. Coleman, and prevented them from taking full flight.</div>
<div>
<br /></div>
<div>
Coleman has expanded his palette over the course of four Pi releases, and the result has been the best recordings of his career. <i>Morphogenesis</i> continues that streak with what is essentially an ambitious multi-part suite spanning 60-plus minutes. What's impressive is the clarity of the vision and how well the sections hang together to create the whole.</div>
<div>
<br /></div>
<div>
Coleman creates interest by constantly shifting the focus to different instruments in a seamless fashion distinct from the traditional jazz solo. Rhythms are more supple and varied than in his earlier works. The cyclical effect of the compositions' structures bears a faint resemblance to Anthony Braxton's Ghost Trance music, although Coleman is his own person as a composer and player.</div>
<div>
<br /></div>
<div>
There were a couple of sections that I felt overstayed their welcome, but overall <i>Morphogenesis</i> is another impressive milestone in Steve Coleman's career.<br />
<br /></div>
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=635988323/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="http://stevecoleman.bandcamp.com/album/morphogenesis">Morphogenesis by Steve Coleman</a></iframe>
Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com1tag:blogger.com,1999:blog-8245133514522196084.post-69355106437875108542017-07-16T17:25:00.002-05:002017-07-16T17:27:20.999-05:00Staub Quartet - House Full of Colors<div class="separator" style="clear: both; text-align: center;">
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House Full of Colors<br />
Staub Quartet<br />
<a href="https://jaccrecords.bandcamp.com/" target="_blank">JACC Records</a><br />
<br />
Miguel Mira - cello<br />
Zingaro - violin<br />
Hernani Faustino - double bass<br />
Marcelo dos Reis - acoustic guitar, prepared guitar<br />
<br />
The musicians who make up the collective known as the Staub Quartet are part of a vital Portuguese improvised music scene and have been featured in many combinations. Hernani Faustino is part of the amazing RED Trio, while Miguel Mira is one-third of the Motion Trio with Rodrigo Amado and Gabriel Ferrandini. Marcelo dos Reis is one of the principals of <a href="http://www.cipsela-records.com/" target="_blank">Cipsela Records</a>, which has a small yet distinguished output, including a solo album from Zingaro.<br />
<br />
The six tracks comprising <i>House Full of Colors</i> are fully improvised, and I actually approached this with some initial hesitancy. There are a lot of free improv recordings getting released these days, and I find myself with less of an appetite for abstract explorations of timbre and texture, with seeming little interest in forward momentum.<br />
<br />
Given the quality of the musicians in the Staub Quartet, I should have expected that they would provide something of value, and they do. The members are adept at moving in one direction and supporting each other, so the music seems to have a composed element to it. dos Reis occasionally introduces repeating figures from his guitar, giving those tracks a unique blend of chamber music with an almost folk influence.<br />
<br />
There continues to be a lot of quality jazz and jazz-influenced music coming from Portugal, and <i>House Full of Colors</i> is a worthy addition.<br />
<br />
<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=850633989/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="http://jaccrecords.bandcamp.com/album/house-full-of-colors">House Full of Colors by STAUB Quartet</a></iframe>
Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com2tag:blogger.com,1999:blog-8245133514522196084.post-41292070727375211422017-06-25T14:29:00.000-05:002017-07-04T08:27:44.166-05:00Erik Hove Chamber Ensemble - Polygon<div class="separator" style="clear: both; text-align: center;">
<a href="https://f4.bcbits.com/img/a1753011204_10.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="800" data-original-width="798" height="200" src="https://f4.bcbits.com/img/a1753011204_10.jpg" width="199" /></a></div>
Polygon<br />
<div>
Erik Hove</div>
<div>
<a href="https://erikhove.bandcamp.com/album/polygon" target="_blank">Inner Circle Music</a></div>
<div>
<br /></div>
<div>
Erik Hove - alto sax, clarinet, flute, electronics <br />
Anna Webber - flute, alto flute <br />
Krisjana Thorsteinson - oboe <br />
Krista Martynes - clarinet, bass clarinet <br />
Andy King - trumpet <br />
Kate Bevan-Baker - violin <br />
Jean René - viola <br />
Jane Chan - cello <br />
Rémi-Jean Leblanc - bass <br />
Evan Tighe - drums </div>
<div>
<br /></div>
<div>
Polygon is the follow up to Hove’s 2014 release, <i><a href="http://improvisedblog.blogspot.com/2014/11/eric-hove-chamber-ensemble-saturated.html" target="_blank">Saturated Colour</a></i>, featuring some of the same musicians, such as fellow Canadian saxophonist Anna Webber. </div>
<div>
<br /></div>
<div>
As Hove explains: “This album builds on the sounds and concepts of … <i>Saturated Colour.</i> The goal in writing was to expand upon ideas already in play, in addition to adding a layer of electronics to many of the tracks in order to fuse the timbres and broaden the sonic palette of the ensemble.”</div>
<div>
<br /></div>
<div>
<i>Polygon</i> is aptly titled, as tracks such as <i>Tessellation</i> and <i>Tetrahedron</i> display a mathematical rigor and a decidedly serial bent. What’s nice is that Hove will break up patterns by shifting to looser rhythms and juxtaposing a solo voice versus the ensemble, albeit in a more structured way than a traditional jazz ensemble. </div>
<div>
<br /></div>
<div>
The introduction of electronic effects, particularly on <i>Tetrahedron</i>, proves effective and marks the biggest difference between <i>Polygon</i> and <i>Colour</i>. I hope Hove delves more deeply into this area on future releases.</div>
<div>
<br /></div>
<div>
Fans of Anthony Braxon’s music for mid-sized ensembles will find a lot to like here.</div>
Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com1tag:blogger.com,1999:blog-8245133514522196084.post-21068692102366271782017-04-30T20:05:00.000-05:002017-04-30T20:05:33.074-05:00Harris Eisenstadt - Recent Developments<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.allaboutjazz.com/coverart/large/harrieisenstadt_recentdevelopments_allaboutjazz_ka.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://www.allaboutjazz.com/coverart/large/harrieisenstadt_recentdevelopments_allaboutjazz_ka.jpg" width="200" /></a></div>
<div>
Harris Eisenstadt<br />
Recent Developments</div>
<div>
<a href="http://songlines.com/release/recent-developments/" target="_blank">Songlines</a><br />
<br />
Anna Webber - flute<br />
Sara Schoenbeck - bassoon<br />
Nate Wooley - trumpet<br />
Jeb Bishop - trombone<br />
Dan Peck - tuba<br />
Brandon Seabrook - banjo<br />
Hank Roberts - cello<br />
Eivind Opsvik - bass<br />
Harris Eisenstadt - drums, compositions</div>
<div>
<br /></div>
<div>
Harris Eisenstadt is one of my favorite contemporary Jazz composers. His series of Canada Day quintet albums on Songlines represent a sustained high level of composing and playing, mixing the adventurous with a sense of melody that in a just world could attract a broader audience. </div>
<div>
<br /></div>
<div>
Eisenstadt has featured larger groups as well, most recently on <i>Canada Day Octet </i>from 2012. <i>Recent Developments</i> has more of a chamber music sound, in spite of the fact the album includes a rhythm section of drums and acoustic bass. The album is a little deceptive; it has a light, even slight, feel to it at first. Listen further and more intricacies reveal themselves. The musicians on the record are a who’s who of today’s forward thinking jazz-related players. The ensemble sound takes precedence on <i>Recent Developments</i>, with the banjo of Brandon Seabrook providing an interesting and unusual textural twist.<style>
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Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-5753792854005895772017-03-30T06:44:00.002-05:002017-03-30T06:44:21.941-05:00Miles Okazaki - Trickster<div class="separator" style="clear: both; text-align: center;">
<a href="http://pirecordings.com/cms/img/thumbs/pi68_500.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="176" src="https://pirecordings.com/cms/img/thumbs/pi68_500.jpg" width="200" /></a></div>
Miles Okazaki - Trickster<br />
<div>
<a href="https://www.pirecordings.com/album/pi68" target="_blank">Pi Recordings</a></div>
<div>
<br /></div>
<div>
Miles Okazaki - guitar</div>
<div>
Craig Taborn - piano</div>
<div>
Anthony Tidd - bass</div>
<div>
Sean Rickman - drums</div>
<div>
<br /></div>
<div>
<i>Trickster</i> is an apt name, as what at first seems like a quiet, unassuming recording turns into an unexpected delight with further investigation. Okazaki has accomplished a difficult feat: Making a record that is both adventurous and accessible. </div>
<div>
<br /></div>
<div>
Okazaki and his group take Steve Coleman’s M-Base concepts and apply their own interpretation, one which encompasses complex rhythms married to compositions with attractive melodies, even hints of the blues and boogie-woogie.</div>
<div>
<br /></div>
<div>
Okazaki has a quiet style that fits the music perfectly, and Craig Taborn does his usual fantastic job of fitting into a group concept and bringing his point of view. Tidd and Rickman are less well known to me, but provide sure-handed support in support of the mood of each piece.</div>
<div>
<br /></div>
<div>
Miles Okazaki has taken a huge leap forward in his evolution as an artist with <i>Trickster</i>.</div>
Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-52087844104559987402017-03-12T20:18:00.000-05:002017-03-12T20:18:08.960-05:00Rich Halley and Carson Halley - The Wild<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.allaboutjazz.com/coverart/large/richhalley_carsonhalley_thewild_drm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://www.allaboutjazz.com/coverart/large/richhalley_carsonhalley_thewild_drm.jpg" width="200" /></a></div>
The Wild<br />
<div>
Rich Halley - tenor saxophone, wood flute</div>
<div>
Carson Halley - drums</div>
<div>
<a href="http://richhalley.com/discography.html" target="_blank">Pine Eagle Records</a></div>
<div>
<br />
<i>The Wild</i> is a new album of duets by saxophonist Rich Halley and his son Carson. I’ve seen the elder Halley’s name around, but have never heard him up to now. The album is divided into 10 tracks, ranging roughly from 4 to 8 minutes each, and the feel is free, even though there are some pre-determined melodies used as springboards to improvisation.<br />
<div>
<br /></div>
<div>
The album feels like a throwback, to a time when free improv, at least on this side of the pond, was more closely tied to the jazz tradition. The sax and drums format call to mind the classic <i>Interstellar Space</i>, and Halley is clearly influenced by Coltrane. He has enough of his own voice, though, contrasting sections of overblowing with lyrical phrasing, showing a tender side on occasion. In fact, it’s in these more reflective moments that I feel I’m more connected to his music, something I’ve observed with other artists who bring a lot of energy to their playing. Sometimes the conversation between musicians seems to be more nuanced at more relaxed moments.</div>
<div>
<br /></div>
<div>
What I like about this record is the performances unfold organically and at their own pace, with a variety of moods and tempos. Carson mixes up his approach between fixed tempos with a slight rock feel and totally free drumming. The length of the tracks means that, with a couple of exceptions, the Halley’s maintain a good level of focus and a sense of moving things forward, again linking to the jazz tradition.</div>
</div>
Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-1150667079688456392017-03-05T18:12:00.001-06:002017-03-05T18:12:26.752-06:00Satoko Fujii Orchestra Tokyo - Peace<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.allaboutjazz.com/coverart/large/satokofujiiorchestratokyo_peace_dm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://www.allaboutjazz.com/coverart/large/satokofujiiorchestratokyo_peace_dm.jpg" width="200" /></a></div>
Satoko Fujii Orchestra Tokyo<div>
Peace</div>
<div>
<a href="http://librarecords.com/index_e.html" target="_blank">Libra Records</a></div>
<div>
<br /></div>
Satoko Fujii: conductor/composer; Kunihiro Izumi: alto sax; Sachi Hayasaka: soprano sax, alto sax; Kenichi Matsumoto: tenor sax; Ryuichi Yoshida: baritone sax; Natsuki Tamura: trumpet; Yosihito Fukumoto: trumpet; Takao Watanabe: trumpet; Yusaku Shirotani: trumpet; Haguregumo Nagamatsu: trombone; Yasuyuki Takahashi: trombone; Toshihiro Koiki: trombone;Toshiki Nagata: bass; Akira Harikoshi: drums; Christian Pruvost: trumpet; Peter Orins: drums<div>
<span style="background-color: white; color: #333333; font-family: Verdana, Arial, sans-serif; font-size: 16px;"><br /></span></div>
<div>
Of Satoko Fujii’s five orchestras (Tokyo, Nagoya, Kobe, New York and Berlin), Orchestra Tokyo might display the best balance between composition and improvisation. Whereas Orchestra New York, in particular, has leaned heavily in the direction of showcasing individual talent, perhaps because of the collection of all-stars she has in her band, Orchestra Tokyo provides some compelling evidence why Ms. Fujii has been called “the Ellington of the avant-garde.”<br /><br />Knowing this, I listened to the opening of <i>2014</i>, the lengthy first track on the album, with some growing trepidation as a trumpet (Tamura I believe) led off with an exploration of extended techniques that eventually wore out its welcome. However, at about the ten-minute mark, things really got underway and from there the listener is treated to an experience that continually shifts between composed sections and improvised ones, with varying degrees of dark and light. Christian Pruvost and Peter Orins, members of her small group Kaze, are on board for this album and they integrate seamlessly.<br /><br /><i>Peace</i> is dedicated to the late Kelly Churko, the guitarist associated with the noise genre and who played on Orchestra Tokyo’s previous release, <i>Zakopane</i>. Throughout the album you hear sadness, anguish, anger and some grudging hope. Peace resolves with the closing <i>Beguine Nummer Eins</i>, which mixes majesty with folk-like simplicity, resulting in a melody that will stay with you. Not quite peace, but at least a sense of hopeful resignation.<style>
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Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-18255292642831227822017-02-19T17:08:00.000-06:002017-02-19T17:08:50.903-06:00Satoko Fujii - Invisible Hand<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.allaboutjazz.com/coverart/large/satokofujii_invisiblehand_allaboutjazz_ka.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://www.allaboutjazz.com/coverart/large/satokofujii_invisiblehand_allaboutjazz_ka.jpg" width="200" /></a></div>
<div>
Satoko Fujii</div>
<div>
Invisible Hand</div>
<div>
Cortez Sound</div>
<div>
<br /></div>
<div>
Satoko Fujii - piano</div>
<div>
<br /></div>
<i>Invisible Hand,</i> surprisingly, is Satoko Fujii’s first live solo recording, although you wouldn’t know from the pristine sound and edited applause. There’s not even a glass clink or cough to be heard. The inaugural release from clubowner Teruhiko Ito’s <a href="http://cortez.jp/" target="_blank">Cortez Sound </a>label, <i>Invisible Hand </i>is a major milestone for Ms. Fujii, who has only released three solo albums previous to this.<br /><br />The first CD of the two CD set was completely improvised, while the second features her compositions, and it’s a credit to her compositional and organizing skills that the difference is not readily apparent. Ms. Fujii covers a lot of stylistic ground, from playing inside the piano to allusions to stride to a percussive prepared piano on <i>Floating</i> that reminded me of Benoit Delbecq. You can still hear a little of Paul Bley’s influence, Ms. Fujii’s mentor, perhaps because of his passing only three months prior to this concert, although that's purely a guess.<br /><br /><i>Gen Himmel</i> (Libra), her previous solo album from 2012, was generally a restrained affair with twelve mostly shorter tracks. <i>Invisible Hand</i>, however, features longer performances, some with suite-like structures of distinct parts. There are turbulent moments on <i>Invisible Hand,</i> but overall you come away with a sense of peace. You could almost call it avant-garde meditation music.<br /><br />The composition <i>Gen Himmel</i>, featured on both albums, serves as a useful comparison. On the album of the same name, the composition is tinged with foreboding, as Ms. Fujii creates some eerie textures by playing inside the piano. Here, <i>Gen Himmel</i> is striking in its directness, its plain emotion, evoking a sense of yearning and reflection. It’s so beautiful it will break your heart, and it’s a fitting ending to a complex journey.Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-68651513752842722602016-12-01T21:02:00.001-06:002016-12-01T21:02:22.047-06:00Best of 2016I'm honored to have been invited to take part in Francis Davis' 11th Annual Jazz Critics Poll, hosted by NPR Music for the fourth consecutive year. As usual, it's hard to edit a list down to ten new releases. Here are my choices, including reissues and best debut:<br />
<br />
<b>New releases:</b><br />
<br />
Michael Formanek Ensemble Kolossus <br />
The Distance<br />
ECM<br />
<br />
Dan Weiss<br />
Sixteen: Drummer's Suite<br />
<div>
Pi Recordings <br />
<br />
Mary Halvorson Octet<br />
Away With You<br />
Firehouse 12<br />
<br />
Tim Stine Trio </div>
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Tim Stine Trio<br />
Astral Spirits <br />
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Christoph Irniger Pilgrim<br />
Big Wheel Live<br />
Intakt <br />
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Bill Charlap Trio<br />
Notes from New York<br />
Impulse<br />
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Illegal Crowns<br />
Illegal Crowns<br />
Rogue Art<br />
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Ches Smith<br />
The Bell<br />
ECM<br />
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Igor Osypov Quartet<br />
Dream Delivery <br />
For Tune <br />
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Mark Dresser <br />
Sedimental You<br />
Clean Feed<br />
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<b>Reissues:</b><br />
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Jimmy Giuffre 3<br />
Bremen and Stuttgart 1961<br />
Emanem <br />
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Anthony Braxton <br />
Quintet (Basel) 1977<br />
Hatology <br />
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Wadada Leo Smith <br />
Reflectivity<br />
Tzadik <br />
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<b>Debut:</b><br />
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Ron Stabinsky<br />
Free for One<br />
Hot Cup</div>
Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-59197093517339900642016-11-07T09:03:00.000-06:002017-02-19T17:11:27.498-06:00Mark Dresser - Sedimental You<div class="separator" style="clear: both; text-align: center;">
<a href="https://www.allaboutjazz.com/coverart/large/MarkDresser.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://www.allaboutjazz.com/coverart/large/MarkDresser.jpg" width="200" /></a></div>
Mark Dresser<br />
Sedimental You<br />
<a href="https://cleanfeed-records.com/" target="_blank">Clean Feed Records</a><br />
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Mark Dresser - bass<br />
Nicole Mitchell - flute<br />
Marty Erlich - clarinet<br />
Michael Dessen - trombone<br />
Joshua White - piano<br />
David Morales Boroff - violin<br />
Jim Black - drums<br />
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Recently I acquired an old Columbia 2-record set called <i>Outstanding Jazz Compositions of the 20th Century</i> featuring Third Stream works such as <i>Jazz Suite for Brass</i> (J.J. Johnson), <i>Three Little Feelings</i> (John Lewis) and <i>All About Rosie</i> (George Russell).<br />
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Perhaps it's because I listened to <i>Sedimental You</i> shortly after hearing those older works, but I see Mark Dresser in a continuum with the Third Stream composers of the late 50s, who were trying to fuse jazz with classical and concert band music.<br />
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In an age where there are countless Free Improv sessions of debatable long-term value being released by small aggregations, it's refreshing to see someone craft adventurous compositions with small group arrangements that skillfully bring together a mix of woodwinds and strings.<br />
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Based on the composition titles, there are political points to be made on <i>Sedimental You</i>, but the compositions hold together without that context.<br />
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This, along with Dresser's compositions on the DVD <a href="http://pfmentum.com/product/mark-dresser-nicole-mitchell-myra-melford-michael-dessen-virtual-tour-reduced-carbon-footprint-concert-series-pfmdvd094/" target="_blank">V<i>irtual Tour: A Reduced Carbon Footprint Concert Series</i></a>, provides insight into where modern Jazz-influenced composition is heading.Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-19391508658362499142016-10-01T14:41:00.000-05:002016-10-01T14:41:03.948-05:00Tyshawn Sorey - The Inner Spectrum of Variables<div class="separator" style="clear: both; text-align: center;">
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Tyshawn Sorey<br />
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The Inner Spectrum of Variables<br />
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<a href="http://pirecordings.com/album/pi65" target="_blank">Pi Recordings</a><br />
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Tyshawn Sorey - composer, conductor, drum set<br />
Christopher Tordini - contrabass<br />
Cory Smythe - piano<br />
Chern Hwei Fung - violin<br />
Kyle Armbrust - viola<br />
Rubin Kodheli - cello</div>
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I realize that I’m late to the game on this one, even though I’ve been listening to it ever since it came out earlier this year. I’ve hesitated to review it, because I feel ill-equipped to comment on a work that is so informed by the classical music tradition. </div>
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However, on its own merits <i>The Inner Spectrum of Variables</i> is an ambitious work that deftly combines strings, piano and percussion to make an assured, mature statement as a composition. Given that Sorey is one of the best jazz drummers working today, you might expect <i>Variables</i> to be heavy on percussion, but in actuality the accents are subtle. Cory Smyth is wonderful, as he was on Sorey’s trio album from 2014, <i>Alloy</i>.</div>
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Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-23396487033535038392016-09-30T07:06:00.000-05:002016-09-30T07:06:29.633-05:00Illegal Crowns - Illegal Crowns<div class="separator" style="clear: both; text-align: center;">
<a href="http://web.roguart.com/uploads/albums/f0eea4af9544487f49bbdaab3e70b84c.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://web.roguart.com/uploads/albums/f0eea4af9544487f49bbdaab3e70b84c.jpg" width="180" /></a></div>
Illegal Crowns<br />
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Illegal Crowns</div>
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<a href="http://web.roguart.com/shop/album/id/101" target="_blank">Rogue Art</a></div>
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Mary Halvorson: guitar<br />
Tomas Fujiwara: drums<br />
Benoît Delbecq: piano, prepared piano<br />
Taylor Ho Bynum: cornet, flugelhorn<br />
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One of the best albums I’ve heard this year. Illegal Crowns has great writing from all the players, and brings to mind the subtle magic and mystery of Miles’ Second Quintet, even though it’s very different in terms of its language and approach.</div>
Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-57152971567366852482016-09-25T18:50:00.000-05:002016-09-25T18:53:43.693-05:00Mary Halvorson Octet - Away With You<div class="separator" style="clear: both; text-align: center;">
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Mary Halvorson Octet</div>
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Jonathan Finlayson - trumpet <br />
Jon Irabagon - alto saxophone <br />
Ingrid Laubrock - tenor saxophone <br />
Jacob Garchik - trombone <br />
Mary Halvorson - guitar<br />
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Susan Alcorn - pedal steel guitar<br />
John Hébert - bass <br />
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Just got through listening to Mary Halvorson’s amazing new album with her Octet, <i>Away With You</i> (Because of the letterspacing on the cover, at first I thought the title was <i>A Way With You</i>, which is a nice play on words if you think about it!) This recording hit me so hard that I had to come out of my blog retirement to comment on it.<br />
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No real dominant voice, everything is very well-balanced throughout, and it’s the ensemble sound that you notice. One unique quality to the arrangements is Susan Alcorn’s pedal steel, an instrument I generally steer clear of even though I was born in the South. Here, however, it blends remarkably well with the woodwinds and brass, as well as Ms. Halvorson’s guitar.</div>
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<i>Away With You</i> builds on Ms. Halvorson’s work on her previous Firehouse 12 group recording, <i>Illusionary Sea</i>; in fact, it’s the same group with the addition of Ms. Alcorn. Listening to Away With You brought to mind Michael Formanek’s <i>The Distance</i>, not in the specific sound but in the way each offers a fresh take on arranging for larger groups of instruments.</div>
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This is brilliant stuff. It releases on October 28, but you can pre-order at <a href="https://maryhalvorson.bandcamp.com/album/away-with-you" target="_blank">Firehouse 12’s Bandcamp page</a>.<br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3990709858/size=small/bgcol=ffffff/linkcol=0687f5/transparent=true/" style="border: 0; height: 42px; width: 100%;"><a href="http://maryhalvorson.bandcamp.com/album/away-with-you">Away With You by Mary Halvorson</a></iframe>
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Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-57299596025594321862016-04-24T10:31:00.000-05:002016-04-24T10:31:29.200-05:00My favorite things, pt. 4: Balance Point Acoustics<div>
<a href="https://www.bayimproviser.com/images/artist/7/Damon_Smith.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://www.bayimproviser.com/images/artist/7/Damon_Smith.jpg" width="125" /></a>Wrapping up this series of "My favorite things" is bassist Damon Smith and his label, <a href="https://balancepointacoustics.bandcamp.com/" target="_blank">Balance Point Acoustics</a>. Smith was active on the West Coast avant-garde scene, founded the label in 2001 and then relocated to Houston, Texas in 2010. Damon is known for his adventurous playing, an insatiable thirst for listening to new music, and his culinary adventures (which he documents on Facebook). He's also known for his outspoken opinions on other players, something of a rarity among improvising musicians, at least in public. I recall his comparison of MOPDK's Kevin Shea to Jimmy Cobb generated strong reactions when the group's <i>Blue</i> album, a recreation of <i>Kind of Blue</i>, came out.</div>
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Smith has played with musicians from all over the world, and is known for long-running collaborations with guitarists Henry Kaiser and Sandy Ewen. Some of the work on <a href="https://balancepointacoustics.bandcamp.com/" target="_blank">Balance Point Acoustics</a> that I've enjoyed recently include:</div>
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Sandy Ewen/Damon Smith - Background Information</div>
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Fred Van Hove / Peter Jacquemyn / Damon Smith - Burns Longer</div>
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Peter Kowald/Damon Smith - Mirrors Broken - But No Dust</div>
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One other outstanding album on which he plays is on the <a href="http://nuscope.org/" target="_blank">Nuscope label</a>:</div>
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Magda Mayas / Damon Smith / Tony Buck - Spill Plus</div>
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Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-8678592035057355872016-04-03T20:09:00.000-05:002016-04-03T20:09:11.155-05:00My favorite things, pt. 3: Setola Di Maiale<div class="separator" style="clear: both; text-align: center;">
<a href="https://farm2.staticflickr.com/1663/24174120160_8a8ce009fc_z.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://farm2.staticflickr.com/1663/24174120160_8a8ce009fc_z.jpg" width="133" /></a></div>
I've sung the praises of drummer <a href="http://improvisedblog.blogspot.com/2013/08/new-music-from-italy.html" target="_blank">Stefano Giust's label</a> before on this blog. Founded in 1993, Setola Di Maiale continues to put out a steady stream of releases that combine some names you know with some you don't, and are always challenging and worthwhile.<br />
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These CR-Rs are well-recorded and come housed in contemporary, eye-catching graphics, most of them designed by Giust himself, who trained as a graphic designer. Setola Di Maiale illustrates how vibrant an improvised music scene there is in Italy, in the same way For Tune highlights Polish musicians.<br />
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Some recent Setola Di Maiale releases I've enjoyed are:<br />
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One Lip 5 - Apro il Silenzio (I open the silence); with Guido Mazzon, Nicola Catteneo, Franco Cortellessa, Alberto Mandarini, Stefano Giust, etc.<br />
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Sabir Mateen (sax), Gianni Lenoci (piano), Giacomo Mongelli (drums) - Testing the System<br />
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Guido Mazzon (trumpet), Marta Sacchi (clarinets), Stefano Giust (percussion) - Neu Musik Projekt<br />
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The site is down temporarily, but you can <a href="https://www.discogs.com/label/72096-Setola-Di-Maiale" target="_blank">see most of the catalog at Discogs</a>.Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-78755310496425484322016-03-20T18:37:00.000-05:002016-03-20T18:37:57.878-05:00My favorite things, pt. 2: Pi Recordings<div class="separator" style="clear: both; text-align: center;">
<a href="http://pirecordings.com/cms/img/thumbs/pi63_500.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://pirecordings.com/cms/img/thumbs/pi63_500.jpg" height="178" width="200" /></a></div>
Some labels put out a plethora of releases each year, and of course we should all be grateful that they do. Others, like Pi, issue a handful of what feel like carefully curated albums that cause you to really focus your attention. The most recent, save one, is drummer Dan Weiss’ <i><a href="http://pirecordings.com/album/pi63" target="_blank">Sixteen: Drummer’s Suite</a></i>, which pays indirect tribute to famous drummers who have influenced him in one way or another. I say indirect because the suite doesn’t mimic any past styles but makes a very comprehensive statement of its own. <div>
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I wasn’t a fan of Weiss’ previous Pi release, <i>Fourteen</i>, because it felt like a pastiche, with styles grafted onto each other. He’s taken a major step forward with <i>Sixteen</i>, displaying complete mastery in combining acoustic instruments, electronics, voice and percussion. Some themes remind me of the open, endless blue sky style of John Hollenbeck’s Large Ensemble, but Weiss is his own man, and he has birthed a masterwork. </div>
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The most recent Pi Recordings release ,which I haven’t yet heard, is Henry Threadgill’s <i><a href="http://pirecordings.com/album/pi64" target="_blank">Old Locks and Irregular Verbs</a>. </i></div>
Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-46397427628376390182016-03-06T17:22:00.000-06:002016-03-06T17:22:22.880-06:00My favorite things pt. 1: Leo Records<div class="separator" style="clear: both; text-align: center;">
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Leo Records puts out an amazingly diverse group of recordings, and has done so for an astonishing 37 years now. I always see names that are new to me, even though I follow the music closely. Not everything is to my taste, but I’m indebted to the label for their Anthony Braxton recordings alone. Leo Feigin, the founder, also has great taste in pianists: Simon Nabatov, Achim Kaufmann, and more recently, Uwe Oberg. Here are some recently releases that I’ve really enjoyed:<br /><br />Simon Nabatov / Mark Dresser / Dominik Mahnig - Equal Poise<br /><br /><br /><div class="separator" style="clear: both; text-align: center;">
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Sarah Bernstein Quartet (with Kris Davis) - Still/free<br /><br /><br /></div>
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Kaufmann, Gratkowski, de Joode - Oblengths<br /><br /><br /></div>
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Uwe Oberg / Silke Eberhardt - Turns<div class="separator" style="clear: both; text-align: center;">
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Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-35880899630979500942016-03-06T17:08:00.000-06:002016-03-06T17:08:47.857-06:00Taking a pauseIt’s time for me to say goodbye to reviews, at least for the foreseeable future. As I mentioned in a previous post, early last year I accepted a challenging new job that has left little time for listening to music, never mind writing about it. The stack of CDs that I’ve not yet heard, or heard only once, is daunting. <div>
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Before I stop down for good, I’m going to do a series of posts around the theme of “My Favorite Things”, the labels and recordings that I’ve really gravitated to over the past few months, and for whose existence I’m grateful. Hopefully this will help bring a little more attention to deserving artists and the labels which support them, and help ease my guilt about all those CDs that never got written about.</div>
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To the label owners, PR professionals, and artists, thanks for your passion, and for your friendship that has developed online as a result of this blog. You can stop sending me CDs now, but know I’ll continue to support you as I always have by purchasing your recordings and following you on social media.</div>
Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com2tag:blogger.com,1999:blog-8245133514522196084.post-13731096402312044792016-01-16T14:25:00.001-06:002016-01-16T14:26:48.550-06:00Some thoughts about Paul Bley<div class="separator" style="clear: both; text-align: center;">
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When I read that Paul Bley had passed, I realized I had some holes in my collection in regards to his output. In particular, I hadn't really kept up with him from the 90's on, apart from his infrequent collaborations with Evan Parker on ECM.<br />
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One of the recordings I acquired to correct this deficiency was <i>Play Blue</i>, his solo Oslo concert from 2008, also on ECM.</div>
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From the beginning of this CD you know you’re going on a journey. That’s what I love about jazz, the fact that the music takes you – “let the music take you” – from where you are to somewhere. Sometimes you come all the way back, and sometimes a part of you is left out there, at some point where your consciousness meets that of the artist, at some intersection of your experiences. </div>
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And wherever the journey takes you, you’re left with the memory of that journey, as real as any physical trip you’ve taken. You remember those special moments when you first listen to that album that changes your life. You can recall the experience of taking the shrink wrap off the album, smelling the vinyl and the printed sleeve, and placing it on the turntable. <i>At Beethoven Hall, New York Fall 1974, Tribute, One for One , Involution</i>, the list is forever in your memory.</div>
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Thank you to Paul Bley, and to all the artists who are willing to take us along on their journeys.</div>
Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-6197761089326005042015-11-07T10:47:00.000-06:002015-11-07T10:47:48.881-06:00Matt Mitchell - Vista Accumulation<div class="separator" style="clear: both; text-align: center;">
<a href="http://pirecordings.com/cms/img/thumbs/pi62_500.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://pirecordings.com/cms/img/thumbs/pi62_500.jpg" height="178" width="200" /></a></div>
Matt Mitchell<div>
Vista Accumulation</div>
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<a href="https://www.pirecordings.com/album/pi62" target="_blank">Pi Recordings</a></div>
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Chris Speed - Tenor Saxophone, Clarinet</div>
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Matt Mitchell - Piano</div>
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Chris Tordini - Bass</div>
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Dan Weiss - Drums<br /><div>
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I like albums that take you somewhere, a journey, maybe to somewhere inside of yourself, or perhaps bringing back flashes of memories. This is what happens when I listen to <i>Vista Accumulation</i>, pianist Matt Mitchell’s new 2 CD set on Pi.<div>
<br />I was skeptical when I first heard about this project, primarily because two CD’s worth of material is ambitious for an artist I perceived as relatively new on the scene. However, Mitchell is 40 and has been featured on Tim Berne’s three ECM albums as well as with Dave Douglas’ quintet. I was also curious, because Mitchell fits in with so many diverse situations I wasn’t sure what I’d hear.</div>
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<br /><i>Vista Accumulation</i> manages to sustain a mood and thematic unity over the course of 95 minutes, without exhausting the underlying ideas. His approach is an intriguing mix of impressionism and modern classical, and frankly there’s nothing overtly “jazzy” in his approach to his eight compositions. Lines unfold in an unhurried way, and the mostly medium tempos give the group time to explore the material, with Chris Speed’s clarinet a highlight. Chris Tordini and Dan Weiss create subtle, shifting patterns underneath, ripples spreading across the music.</div>
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<br />Perhaps it’s fitting that I’m absorbing <i>Vista</i> as the seasons change from summer to fall. I can see the flashes of dark gold and amber, mixed in with dark greens and browns. It’s a story that is yet to fully unfold, and I’m ready for the next chapter.</div>
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<br />Bonus: For an unintentionally amusing review of <i>Vista Accumulation</i>, go <a href="http://www.medieval.org/music/jazz/" target="_blank">here</a>.</div>
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Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-64543814279793339182015-10-25T10:59:00.002-05:002015-10-25T10:59:57.955-05:00Rodrigo Amado - This Is Our Language<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.allaboutjazz.com/coverart/large/rodrigoamado_thisisourlanguage_mc.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.allaboutjazz.com/coverart/large/rodrigoamado_thisisourlanguage_mc.jpg" height="200" width="200" /></a></div>
Rodrigo Amado<br />This Is Our Language<br /><a href="http://www.nottwo.com/">Not Two Records</a><br /><br />Rodrigo Amado – Tenor Saxophone<br />Joe McPhee – Pocket Trumpet, Alto Saxophone<br />Kent Kessler – Double Bass<br />Chris Corsano - Drums<br /><br /><div>
This Is Our Language is a record of an engaging conversation between Amado and McPhee, with superb interjections from bassist Kessler and drummer Corsano. Of course, with musicians of this caliber, it’s really a four-way dialog, but it’s the interplay between the horns that first gets your attention. The CD begins with a murmured conversation between tenor and alto, then things heat up on the title track as McPhee switches to pocket trumpet. Amado has a grainy, almost R&B-influenced tone, while McPhee is as nuanced as I’ve ever heard him on alto. The lack of a chordal instrument gives all four musicians space, and I like the way the pieces unfold organically. There are fiery moments, but they grow naturally out of what has come before.</div>
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As with his previous Not Two album Searching For Adam, Rodrigo Amado has aligned himself with top flight musicians and the results bear fruit.</div>
Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-87952234471576740632015-10-24T10:04:00.000-05:002015-10-24T10:09:23.361-05:00Chamber 4 - Chamber 4<div class="separator" style="clear: both; text-align: center;">
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Chamber 4<br />
Chamber 4<br />
FMR Records<br />
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Luis Vicente - trumpet<br />
Theo Ceccaldi - violin and viola<br />
Valentin Ceccaldi - cello and voice<br />
Marcelo Dos Reis - acoustic guitar, prepared guitar and voice<br />
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Chamber 4 is a very well-balanced effort from the quartet of Vicente, Dos Reis, and the Ceccaldis, all leading lights of the Portuguese free jazz scene. At first it might seem a strange assortment, trumpet with "strings" in what sounds like a freely improvised small group setting, but it works extremely well, with Vicente's trumpet engaging in dialogue, sometimes conversationally, sometimes sounding the call. All three string players create interesting arrangements and textures on the fly. You could call it chamber jazz, but it has a spark that removes it from any connotations of stuffy formalism. Another winner from Vicente and Dos Reis.<br />
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<iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3813545030/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; height: 120px; width: 100%;"><a href="http://chamber4.bandcamp.com/album/chamber-4">Chamber 4 by Chamber 4</a></iframe>Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-2292901469929869022015-10-24T09:56:00.000-05:002015-10-24T09:56:22.915-05:00Mea CulpaI owe musicians, labels, PR folks, and any readers who have might have wandered back to this blog an apology. Over the past couple of years i really hit a stride in terms of the frequency of my reviews. Then I accepted a challenging new job in April of this year, and my life completely changed. The hours I'm putting in leave little time for listening or writing, but I'm trying a new approach: shorter reviews that attempt to capture the essence of the record. I don't know how long this will last, frankly, but I'm trying to make good on my commitment to showcasing deserving new music. Thanks for your patience.Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-67857394292967455372015-04-01T17:44:00.000-05:002015-04-01T17:44:27.444-05:00Ran Blake - Ghost Tones<div class="separator" style="clear: both; text-align: center;">
<a href="http://images.cdbaby.name/r/a/ranblake.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://images.cdbaby.name/r/a/ranblake.jpg" height="200" width="200" /></a></div>
Ran Blake<br />Ghost Tones<br />a-side records<div>
Available through <a href="http://www.cdbaby.com/cd/ranblake" target="_blank">CD Baby</a><br /><br />Ran Blake - Piano, electric piano<br />Peter Kenagy - Trumpet<br />Aaron Hartley - Trombone<br />Doug Pet - Tenor saxophone<br />Eric Lane - Piano, electric piano<br />Jason Yeager - Piano<br />Ryan Dugre - Guitar<br />Dave "Knife" Fabris - Pedal steel guitar<br />Rachel Massey - Violin<br />Brad Barrett - Acoustic bass, electric bass<br />David Flaherty - Drums, tympani<br />Charles Burchell - Drums, tympani, vibraphone<br />Luke Moldof - Electronics<br /><br /><i>Ghost Tones</i> is Ran Blake’s tribute to his former colleague at the New England Conservatory of Music, the late composer and theoretician George Russell. The album was originally slated to be released on HatOLOGY, but was rescued when that label went through some tough times and has been issued on a-side records. <br /><br />The abstract cover of the CD shows a mottled, fuzzy image of Mr. Russell, and the music matches the visual perfectly. <i>Ghost Tones</i> features a mix of standards, Blake’s own songs, and radically reworked versions of Russell compositions such as <i>Stratusphunk</i>, <i>Ezz-Thetic</i> and a segment from <i>Vertical Form</i>. You’ve never heard <i>You Are My Sunshine</i> like this before, a funhouse ride through C&W, avant-garde and who knows what else. <br /><br />The words I thought of when listening to <i>Ghost Tones</i> was “fever dream”. Through various solo, duo and group performances, a languid mood is sustained, mixed with Mr. Blake’s trademark Noir sensibilities. There are some subtle electronic touches that appear, and even though there are contributions from thirteen musicians sprinkled through the CD, a consistent tone and mood carries through all seventeen tracks. <i>Ghost Tones</i> plays as one continual piece, taking the listener through a time capsule of various aspects of Mr. Russell’s music and Mr. Blake’s signature conception. <br /><br />The CD begins and ends with Ran alone, with two gorgeous versions of <i>Autumn in New York</i>, beautiful harmonies capturing the perfect fall day in the city with a touch of sentiment and regret. <br /><br />Ghost Tones will take you to a <i>Lonely Place</i>, but it’s a place you’ll want to visit with Mr. Blake as your guide.</div>
Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0tag:blogger.com,1999:blog-8245133514522196084.post-87271158829788082622015-03-21T17:09:00.000-05:002015-03-21T17:09:22.040-05:00Vicente/Marajamaki - Opacity<div class="separator" style="clear: both; text-align: center;">
<a href="http://www.jacc-records.com/media/uploads/news/VM-OPACITY-all-covers-final-3_medium.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="http://www.jacc-records.com/media/uploads/news/VM-OPACITY-all-covers-final-3_medium.png" height="200" width="200" /></a></div>
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Vicente/Marajamaki</div>
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Opacity</div>
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<a href="http://www.jacc-records.com/en/" target="_blank">JACC Records</a></div>
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Luis Vicente - Trumpet</div>
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Jari Marajamaki - Electronics</div>
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Pedro Madaleno - Guitar on track 01</div>
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Marcelo dos Reis - Guitar on track 02</div>
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Miguel Mira - Cello on track 03</div>
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Valentin Ceccaldi - Cello on tracks 04, 06, 07</div>
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<i>Opacity </i>represents a change of pace from what I’ve heard of Portuguese trumpeter Luis Vicente, who has emerged over the past couple of years as a strong player, with <i>Clocks and Clouds</i> from 2014 one example that has garnered very positive reviews, including <a href="http://improvisedblog.blogspot.com/2014/07/luis-vicenterodrigo-pinheirohernani.html" target="_blank">one from this blog</a>. For this record Vicente teams up for the second time with Finland-born electronics artist Jari Marjamaki, the two having collaborated previously on <i>Alternate Translations </i>(<a href="http://www.clubotaku.org/mimi/uk/label.php" target="_blank">Mimi Records</a>, 2013). Contributions from either guitar or cello are also featured on six of the seven tracks.<div>
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The combination of trumpet with electronic textures immediately brings to mind those who have explored this area before, particularly Jon Hassell and Nils Petter Molvaer. Parts of <i>Opacity</i> have that Hassell/Molvaer/Ambient vibe you’d expect, but overall Vicente and Marjamaki do a good job subverting the genre by adding grit via the electronics and especially Vicente’s trumpet. It’s a tribute to the strength of Vicente’s conception that he for the most part avoids the two ditches that line this road: sounding bland and generic on the one hand, or like a straight-up Miles clone on the other.</div>
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Both musicians throw in enough variations in texture, tempo and rhythm to keep things interesting. Overall, <i>Opacity</i> conjures up frozen, forbidding landscapes, perfect for listening on a day in which winter will not yet give up its grip to spring.</div>
Anonymoushttp://www.blogger.com/profile/06202593018766467919noreply@blogger.com0