 |
Calendar |
 |
 |
| « February 2012 » | | | | | | | | | | 1 | 2 | 3 | 4 | 5 | | 6 | 7 | 8 | 9 | 10 | 11 | 12 | | 13 | 14 | 15 | 16 | 17 | 18 | 19 | | 20 | 21 | 22 | 23 | 24 | 25 | 26 | | 27 | 28 | 29 | |
|
 |
 |
 |
 |
|
Friends |
|
|
jasapaal
 Into the Rhythm
|
|
|
|
|
|
 |
 |
2001: Dominic Duval Quintet - Cries and Whispers |
Freejazz, Avantgarde |
 |
|
 Artist: Dominic Duval Quintet Album: Cries and Whispers Label: Candance Jazz Records Year: 1999; release: 2001 Format, bitrate: mp3, 320 Size: 146 mb AMG Rating:  This high-fidelity live concert recording captures bassist Dominic Duval's quintet at the height of its powers. Each of the fully improvised tracks is simply entitled "Cries & Whispers," and numbered chronologically. To be sure, three strings and two reeds are unusual instrumentation, and in lesser hands the results might have been less focused. What is so exciting about this album is the stellar beauty of the chamber-like soft sections (whispers?) and the occasional ecstatic shouts of the saxes (cries?), but the kind of nuanced blowing found throughout encompasses a multitude of emotions with innumerable permutations. The highly compatible members of the group fit like a glove, with Joe McPhee's mournful trumpet and glorious sax a key though not necessarily dominant part. The other horn player, Mark Whitecage, is a superb foil for McPhee, applying a hard bop intensity that meshes with the birdlike chirps of the strings. Longtime companions Jason Hwang, Tomas Ulrich, and Duval seem to enjoy stirring up the pot with devilish, inebriated gusts of energy. Even when the sounds swirl with mesmerizing cacophony there is a surprising quietude, a cosmological orderliness that reminds the listener of John Coltrane's late spiritual works. With its consummate musicianship, range of emotion, and melodiousness, this is one of the finest examples of free jazz at the turn of the century as you are likely to find, performed by five respected practitioners of the genre.~ Steve Loewy, All Music Guide |
|
|
2007: Paul Brody's Sadawi - For the Moment |
Fusion, Modern Jazz, Avantgarde |
|
|
 Artist: Paul Brody's Sadawi Album: For the Moment Label: Tzadik Records Year: 2007 Format, bitrate: mp3, 320 Size: 117 mb AMG Rating:   Composer and ace trumpeter Paul Brody and his fine group Sadawi have established their wonderfully eclectic trademark sound with two previous outings on Tzadik -- 2002's Kabbalah Dream and 2004's Beyond Babylon. In the interim he's released a pair of wild avant klezmer platters (South Klezmer Suite and Klezmer Stories) on Laika and one (Sadawi, Minsker, Kapelye) on Ferment. The last three were all issued in 2006! This new set is even more adventurous than anything the band has issued previously. While using klezmer as a base, Brody is strident in his aims to create a new place for klezmer in the pantheon of music, both popular and otherwise. Previously employing everything from digital and analog dub to Appalachian mountain music in his approaches to reestablish the music's integral harmonic, lyric, and improvisational palette, Brody digs deeper into jazz, classical, and rock this time out. Beginning with the mournful intro to "Warsaw," which passes for a Yiddish folk tune, he and guitarist Brandon Seabrook waste no time getting to the call-and-response notions of klezmer. Here, Yiddish party music and heavy metal guitar are arranged inside a Sephardic theme, with breakbeats by Eric Rosenthal, who adds a slightly funky edge to his pulse. The solo by Brody is strictly on the composition's theme, but Seabrook goes off into Slayer territory. Meanwhile, bassist Martin Lillich and clarinetist Christian Dawid blend the stew -- in the latter case in the twinned front-line melody with Brody, and in the former holding the drummer and guitarist in check. The bassline keeps a reggae touch throughout "Too Low," but there are skittering double breaks by Rosenthal -- and the gorgeous contrapuntal harmonic theme is straight from the tradition, as the three front-line players assert themselves immediately. There are some dubby sound effects as Seabrook engages Lillich, but they never hold sway over the composition's unique, mournful call-and-response playing between brass and woodwind -- even when the feedback and electronic sounds threaten to overcome the mix. Killer!
"Bartoki" begins as -- you guessed it -- an exercise in counterpoint between brass and woodwind, gradually swung out from the drum kit to charge full-on into a jazzed-out reading of a couple of familiar Bartók themes dressed in power chords and riffs from Seabrook, distorted basslines, and Brody getting near the edge of free jazz in the chorus (and even some Don Ellis in the bridge). This is how it goes throughout: back and forth, integrating klezmer (itself over 100 years old) with popular musics -- and not so popular ones -- past and present, firmly planted in the future while extending the tradition and not only keeping it lively, but alive and growing. "Serendipity" begins with a gorgeous clarinet solo but eventually becomes, as the band enters (with Seabrook on banjo), the root thematic ground for the dubbed-up sound shards and electric guitar-striated rockist jam "Sit Down." Here, jazz from the early '30s, klez, and modal swing are interpolated and communicated back and forth. The lines Brody writes are gorgeous. His sense of harmony and time and the tight dimensions he employs actually result in pushing his compositions out into the world so they can be appreciated by virtually anyone. There are some guest appearances on this set: label boss John Zorn and his alto make the scene on the title cut, as does new klezmer kingpin Frank London. It's a boiler and a finger-popper, done to a double-timed drumbeat and breaking out into a wild celebration of klez that Dave Tarras and his teacher Naftule Brandwein would celebrate -- especially those rhythms, which are jaunty, tough, and in your face. Zorn solos to the outside eventually, but never entirely leaves the melodic framework of the tune. The force and harmonic ferocity of this music rein him in. This cut is the orgiastic celebration on the album -- though all of it is fun while being wonderfully complex music compositionally. Ultimately, as an album, For the Moment takes you for a wild and adventurous ride, always bringing you back to the root of the historical origin while enveloping you in its trans-modern integration not only of styles, but of sounds, nuances, colors, and textures.~ Thom Jurek, All Music Guide |
|
|
2004: Paul Brody's Sadawi - Beyond Babylon |
Fusion, Modern Jazz, Avantgarde |
|
|
 Artist: Paul Brody's Sadawi Album: Beyond Babylon Label: Tzadik Records Year: 2004 Format, bitrate: mp3, 320 Time: 54:34 Size: 123 mb AMG Rating: On his second album fronting his band Sadawi, trumpeter and composer Paul Brody continues his work in the avant-klezmer trenches, helping to drag that hundred-year-old music kicking and screaming into the 21st century. On Beyond Babylon he shows his unwillingness to be constrained by any ghetto boundaries, opening the album with an extended deconstruction of the Shaker hymn "Simple Gifts" (which features a hair-raisingly skronky banjo solo by Brandon Seabrook), and making use of elements of both dub (on the contemplative and lovely "Timepeace"), and rock (note the guitar parts on "Fragment of Kafka's Friend") as well as lots and lots of modern jazz. Most of the album is thrilling; Brody's take on the David Krakauer composition "Klezmer à la Bechet" is a joyful romp in five/four meter, "Glass Dance" is a masterful chamber jazz excursion featuring guest Alan Bern on melodica; Brody's own "An Eye for a You" struts out like a brazen shtetl girl daring someone to dance with her. Only the scattershot and static "Masks and Faces" fails to impress. Highly recommended overall.~ Rick Anderson, All Music Guide Paul Brody's Beyond Babylon (Tzadik), the follow-up to 2002's Kabbalah Dream, features the same sparse and effective lineup known as Sadawi: the leader on trumpet, Jan Hermerschmidt on clarinets, Brandon Seabrook on banjo and guitar, Martin Lillich on bass and Eric Rosenthal on drums. Based in Berlin, Brody has an alt-klezmer worldview not unlike Frank London's or David Krakauer's, so it's not surprising to find smart adaptations of London's "Golem Khosidl" and Krakauer's "Klezmer a la Bechet" on this album. Ben Goldberg's "Masks and Faces," done in a snaky 5/4, features Alan Bern on accordion. "A Fragment of Kafka's Friend," loosely based on a piece by Naftule's Dream, showcases the group at its most abstract. The remaining originals are animated by a Krakauer-esque melding of shtetl music, hard rock and electro-tweaking. Some of the writing is too kitschy, but the banjo is a fun and unusual touch.~ David R. Adler, Jazztimes |
|
|
2002: Paul Brody's Sadawi - Kabbalah Dream |
Fusion, Modern Jazz, Avantgarde |
|
|
 Artist: Paul Brody's Sadawi Album: Kabbalah Dream Label: Tzadik Records Year: 2002 Format, bitrate: mp3, 320 Time: 49:30 Size: 118 mb The title track and opening song "Kabalah Dreams" opens with a harsh funk, that periodically devolves into a frantic klezmer-derived progression, then opens out into a Miles Davis-style space before returning to its klezmer roots. The piece nicely showcases trumpeter Paul Brody's latest ensemble as a delightful, hard-edged fusion of klezmer and jazz. Later, on the composer's reworking of the traditional "Sadawi" the band shows an entirely different side to intensity, but never losing its tightness or edge or drive.
The inventiveness and scope of the opening number foreshadow the fun yet to come. This is a very exciting jazz album that incorporates a wide variety of Ashkenazic Jewish elements. As I wrote elsewhere, recently, this is a rare Tzadik album that actually seems to have something to propose in terms of fusing Jewish and Jazz and coming up with something new, something approaching the edges of what we know musically. It's also impossible not to enjoy an album with song titles as delightful as "Holy Man's Hum" or "Buber's Big Boat." The latter especially seems to embody the spaciousness and even I-Thou connectedness of such a name. Other lighter moments include "Sleeping on a Rock" which gives room for everyone in the band short solos before Brody's own lyric trumpet returns to tie things together.
This is also the sort of album that breaks a bit away from the Tzadik sound. There is the usual clarity, but the music feels far more original than most. If it resemble's anyone's work it is that of the other band that doesn't fit Tzadik's categories well, Naftule's Dream. That may come as much as having Eric Rosenthal, that band's long-time drummer, along with Boston regular (and I believe, new Naftule's Dream member) Brandon Seabrook on banjo, guitar, and electronics. The relaxed energy and nice integration with the rest of Berlin-based Brody's ensemble is wonderful.
I have to say, as I did on the first album, how much I enjoy what Brody is doing, and how inventive I feel his music is. From that opening funk klezmer, to the closer bells of "(Born) Smaller than a Banana," this album is worth listening to, and a pleasure to listen to. Brody has fused a variety of Jewish musics with jazz in a way that is both approachable (albeit, not excessively so) and yet retains edginess and progressive elements. It's a pleasure.~ Ari Davidow, Klezmer Shack |
|
|
2007: The Nu Band - The Dope and The Ghost: Live in Vienna |
Post-bop, Freejazz, Avantgarde |
|
|
 Artist: The Nu Band Album: The Dope and The Ghost: Live in Vienna Label: Not Two Records Year: 2005; release: 2007 Format, bitrate: mp3, 320 Size: 166 mb "Not easily pigeonholed, the music of The Nu Band negotiates the boundaries of free-bop, improvisation, chamber, and traditional jazz with bias toward none" - Mark Corroto, All About Jazz The Nu Band is something special. Free free bop with a political message. On their last album they ended with it, on this one they start with it : a long blues-based romp called "Bushwacked", with Roy Campbell "reciting" a newspaper article on President Bush's administration and doubtful policies, and even if this kind of message tends to be tedious in musical settings, this one works well, because the four musicians change this blues into a high energy free jazz piece. The four are Roy Campbell on trumpet, Mark Whitecage on alto sax and clarinet, Joe Fonda on bass, Lou Grassi on drums. Marco Eneidi joins on alto on one - twenty minute long - track. And what can I say? These guys ARE free jazz. Each of them has played a major role in shaping what the genre is today, in showing new ways of expressing emotions and of jointly creating a superb listening experience by ... well by listening to the other band members in the first place and then adding to it, enhancing it, pushing it further, creating new dialogues and phrases. This is music that is adventurous, emotional, but at times so tight, so interlocked, so on the same level, that it's getting uncanny. But the greatest thing : it's real fun too. The intensity! The interplay! The melodies! The emotions! The music! And indeed, something which can only work in front of a live audience. ( 4,5 stars out of 5) ~ Stef Gijssels, Free Jazz Blog |
|
|
2011: The Jeff Gauthier Goatette - Open Source |
Post-bop, Jazz-Rock, Modern Jazz, Avantgarde |
|
|
 Artist: The Jeff Gauthier Goatette Album: Open Source Label: Cryptogramophone Year: 2011 Format, bitrate: mp3, 320 Time: 58:48 Size: 134 mb Jazzreview Rating:  Donbeat Rating: When two-thirds of a group has "effects" in their instrumental credits, it's a safe bet this ain't your granddaddy's jazz. When it's violinist Jeff Gauthier's Goatette, punctuating the quirky theme in the first moments of "40 Lashes (With Mascara)" with thundering drums and high-octane power chords, it's clear that Open Source is going to make plenty of demands—and not just on the musicians who play it.
Any group featuring the intrepid Cline twins—guitarist Nels Cline and drummer Alex Cline—is going to be, at the very least, an eclectic one, so it's also no surprise that Open Source travels effortlessly from rock-informed sophistication ("40 Lashes"), a combination of near-Oregonesque elegance and potent post-modality ("From a Rainy Night"), and acid-tinged circus nightmare ("Seashells and Balloons"), to unrelenting aggro ("Prelude to a Bite") and tone poem-turned-anthem ("Open Source")...even a bit of free-wheeling swing (Ornette Coleman's "Joy of a Toy").
Gauthier's 12 year-old quintet—Alex Cline, bassist Joel Hamilton and keyboardist David Witham actually predating the Goatette—is fleshed out, for the first time, to a sextet, with the inclusion of trumpeter John Fumo. It's not just the added voice that makes Open Source Gauthier's best and most far-reaching album yet—closing the gap since House of Return (Cryptogramophone, 2008)—but it sure doesn't hurt. Fumo's discography weighs heavily on work with artists including Neil Young, Brian Setzer, Chaka Khan and Debbie Gibson; but even if his work with G.E. Stinson, Vinny Golia and Steuart Leibig represent a far smaller footprint in a professional career that's successfully balanced the challenge of following your muse with paying the rent, Open Source leaves no doubt about this fearless improviser's street cred.
The Clines' relationship with Gauthier goes back to the 1980s and the all-acoustic Quartet Music, but it was when Nels joined the nascent Goatette for Mask (Cryptogramophone, 2001) that the violinist finally landed the perfect band to handle his far-reaching interests. A member of alt-country group Wilco since 2004, and whose decade-old Nels Cline Singers group last explored its particularly raucous nexus of form and freedom on Initiate (Cryptogramophone, 2010), the chameleon-like guitarist is, if not exactly restrained, certainly a little closer to center with Gauthier's inherent melodism. Alex—whose Continuation (Cryptogramophone, 2009) was the hardest-hitting album of his career—marries potent timekeeping with textural detail, across four Gauthier originals, one from Witham, the Coleman cover and a Goatette signature—an Eric von Essen tune (the gently lyrical "Things Past"), always included to remember the significance and influence of this too-soon-gone bassist.
Despite the seemingly inherent ceiling of the word "perfect," Gauthier's expanded Goatette manages to be even more perfect. As a writer, Gauthier works from a broad palette; as a violinist, from an equally unfettered stylistic purview combining improvisational abandon with the good taste to know when to go there—or not. Proving eclecticism needn't be synonymous with lack of stylistic focus, Open Source is, quite simply, one of the best of 2011, and certainly the high point of Gauthier's career to date.~ John Kelman, All About Jazz |
|
|
2007: Nels Cline/Andrea Parkins/Tom Rainey - Downpour |
Freejazz, Avantgarde |
|
|
 Artist: Nels Cline/Andrea Parkins/Tom Rainey Album: Downpour Label: Victo Year: 2006; release: 2007 Format, bitrate: mp3, 320 Size: 134 mb Almost four years after recording their volume of the Out Trios series (Ash and Tabula: Out Trios, Vol. 3), Nels Cline, Andrea Parkins, and Tom Rainey reconvened at the annual Victoriaville festival for another set in 2006. As expected with these players (and the festival), this live set is not merely a rehashing of the album; it's another improvised journey whose long form allows for more ebb and flow than the previous album. Things start slowly, building up from some looped drones, but the track starts to gain momentum about four minutes in, with Cline adopting a nice ray-gun tone for a while and Parkins offering a bit of accordion. Later, Cline switches to bass (or is that some effect?) while Parkins moves to piano before the track winds down and devolves into a slow jackhammer effect. Rainey is amazingly supportive, knowing when to push and when to lay back, and you can hear how each player moves the music into new directions while the trio acts as a cooperative unit. The second track begins with Cline beginning in a jazzier mode before it kicks into high gear about five minutes in, with Rainey in a surprisingly rock mood and Cline switching to a great snarling guitar tone. The set ends with on a more playful note with the relatively brief "Moss, Bed." Much like the festival itself, the Victo label has a reputation for exciting free improvisation, and Downpour doesn't disappoint.~ Sean Westergaard, All Music Guide Some years after their first album "Ash And Tabula", this avant-garde trio consisting of Nels Cline (guitar), Andrea Parkins (electronics, accordion, piano) and Tom Rainey (drums) brings a new exploration of hard sonic universes. The record requires some effort at first, but the more you've listened to it, the more astonishing it sounds. Andrea Parkins is responsible for the major part of the sonic explorations, with Nels Cline reacting to it and Tom Rainey accentuating and chasing the whole thing forward. This music is impossible to classify. This is no jazz, no rock, no free improv, but a new style which integrates the three genres. You may be able to find sound samples of this album on the internet, but 30 second pieces cannot possibly give an inkling of how this music evolves over these two long and one short track. The music pulls you into a place you've never been before, where sometimes, but very rarely, you can hear sounds that are familiar (some guitar strumming, drums, even a few undistorted piano notes, ...) but more often you will be surprised by sonic openings into a new spacial environment, with new tonal combinations, intense, electrifying, scary, gloomy, dark, menacing. The three musicians are incredibly strong, creating this musical universe as free improv with an incredible coherence and variation. Tom Rainey is without a doubt one of the best modern jazz drummers of the moment, and every album he contributed to in the last few years is excellent (Torn, Malaby, Berne, Helias, Shepik, O'Leary, Feldman), and that is no coincidence, because his drumming is so determining for the whole sound. And although Andrea Parkins is not so prominent on the foreground here, her sonic explorations are extremely functional and set the mood for the whole record. Nels Cline is again a master in harsh creativity, developing new sounds, sometimes guitar-like, yet more often totally unfamiliar sounds, and his playing is creative and subtle throughout both the calmer and the harder moments. He is someone like Robert Fripp who can create new music just due to his unbelievable mastery of his instrument. This record is a real adventure, full of power, energy and subtlety. Don't miss it. ( 4 stars out of 5) ~ Stef Gijssels, Free Jazz Blog |
|
|
2002: Roscoe Mitchell & The Note Factory - Song for My Sister |
Music » Jazz » Modern Jazz » Avantgarde |
|
|
 Artist: Roscoe Mitchell & The Note Factory Album: Song for My Sister Label: Pi Recordings Year: 2002 Format, bitrate: mp3, 320 Size: 141 mb AMG Rating: The Wire (9/02, p.56) - "...Mitchell is an original and compelling composer...Superbly recorded, on SONG FOR MY SISTER Roscoe Mitchell transcends the exclusive club of jazz composers..." Surprise! Song for My Sister opens with the very Blue Note-ish head of the title track, definitely an unexpected move by a saxophonist noted for experimentalism. And while Corey Wilkes' trumpet solo and Vijay Iyer's piano solo take things into a little more of the abstract, it never really loses that straight-head thread, which is really a band feature, a platform for individual solos and a tenor tone from Roscoe Mitchell far more mellifluous than his acerbic norm.
"Sagitta" returns to more typical Mitchell terrain: piano swirls, tart-tone soprano flurries, and cymbal crashes. The nine-man Note Factory includes double piano, bass, and drums, but they know how to stay out of each other's way and a radically compressed sound is actually an advantage here, helping to create the collective improv swirl background to Mitchell's circular breathing soprano lines on "The Inside of a Star." Ultimately, the material seems geared as much toward creating different settings as full-blown compositions per se. "When the Whistle Blows" features ruminative guitar fills and piano while the leader's soprano flurries builds in intensity; "The Megaplexian" is pure abstraction built on piano clusters and the metallic tones of a percussion instrument Mitchell invented for a gamelan-related composition. "Wind Change" is based on cards and addresses common problems of the inexperienced improviser -- it's a very chamber-ish exercise in melodic textures with four extra musicians in the ensemble and full of unexpected shifts and variations. Marimbas and percussion give an African tinge to open "This" before a muted trumpet and piano rhythm/melody that recalls Iyer's work as a composer leads into an exercise in atmosphere and texture with Mitchell on flute. It's even more intriguing for foreshadowing "Step One, Two, Three," which strongly suggests that Mitchell had spent time listening to '70s Ethiopian pop music. The piano riff and martial drums grind the piece in a lurching, shifting foundation while Mitchell and Wilkes intertwine their lines and roam freely. It's very easy to visualize as a track from the Ethiopiques series filtered through the Mitchell muse. "Count-Off" closes with a bit more of that lurching groove and it's nice to have a more physical element as a counterbalance to Mitchell's sometimes austere texture and atmosphere forays. Song for My Sister is a strong album that takes in a wide variety of musical settings -- short pieces, long pieces, excursions into tradition, textures, and abstraction -- without losing cohesiveness. It's an always interesting journey.~ Don Snowden, All Music Guide |
|
|
1995: Gerry Hemingway Quintet - Slamadam |
Post-bop, Modern Jazz, Avantgarde |
|
|
 Artist: Gerry Hemingway Quintet Album: Slamadam Label: Random Acoustics Year: 1994; release: 1995 Format, bitrate: mp3, 320 Size: 145 mb AMG Rating: It's rare that an actual jazz date makes an appearance on the Random Acoustics label, so when one does rise up from the noisy improv ether, listeners are sure to pay attention. The Gerry Hemingway Quintet was an under-recorded unit chock-full of masterful players: Mark Dresser bass; Ernst Reijseger, cello; Michael Moore, saxophones and clarinet; Wolter Wierbos, trombone; and of course Hemingway, the man behind the kit. This disc is culled from a trio of performances from 1991 to 1993. While excerpts from concerts are usually unsatisfying for lack of continuity, this batch is different largely because it features live recordings of material that appeared on studio records before this compilation. For example, the version here of the title track is one that almost picks up in the middle of the version that appeared on the HatART disc Demon Chaser. The splattering tension that revs itself into a frenzy and threatens to go off its nut was only hinted at in the studio piece, which is therefore completed in this rendering. "Threnody/Taffia 2" is a live medley of "Threnody for Charles Mingus," which appeared on Outerbridge Crossing on the Sound Aspects label, and there is also a cruelly intense second half of "Taffia" from the HatART disc Special Detail. The Wierbos solo is meltdown fine and Hemingway's creation of a counterpoint with the dual bassing notions of Dresser and Reijseger swings for the fences of blues harmony. Also notable is the quintet version of "If You Like," which pits Dresser and Reijseger against one another in a duel to the death of harmonic invention and scalar intrigue, all the while swinging within a hard bop/blues framework with Hemingway triple-time soloing all around them, creating a an almost impossible contrapuntal situation as Wierbos and Moore hold down the swing in lyrical elegance. This is just an awesome disc. Period.~ Thom Jurek, All Music Guide |
|
|
2011: Jason Stein Quartet - The Story This Time |
Post-bop, Avantgarde |
|
|
 Artist: Jason Stein Quartet Album: The Story This Time Label: Delmark Records Year: 2011 Format, bitrate: mp3, 320 Time: 66:20 Size: 139 mb Chicago Tribune "Best of 2011" Brilliant work from Jason Stein – a Chicago player who's been making some mighty waves on the avant scene of late, and who really comes into his own with this album! Stein's part of the new generation of avant Chicagoans – players who have a strong knowledge of free jazz, but also opt for a bit more structure and swing too – the kind of modernism that emerged best at the cusp of the 60s, in the generation of Mingus, Dolphy, and Ornette! Stein plays bass clarinet here, and there's definitely a Dolphy vibe to the music – great long solo lines, stretched out and searching, but also still swinging too – thanks to these nicely-blocked rhythms from Josh Abrams on bass and Frank Rosaly on drums. Keefe Jackson also plays some mean tenor – and titles include "Laced Case", "Background Music", "Little Big Horse", "Hatoolie", "Gallop's Gallop", "Work", "Lennie Bird", and "Badlands". Another great one from the new generation of Delmark! © 1996-2012, Dusty Groove America, Inc. Bass clarinetist Jason Stein moved to Chicago about six years ago, and he wasted no time in taking advantage of the city’s range of musical opportunities, despite—or maybe because of—his comparatively unorthodox choice of instrument. He’s worked in saxophonist Ken Vandermark’s Bridge 61 and with oboist Kyle Bruckmann’s rock-meets-chamber-music Wrack ensemble. Stein’s debut as a jazz group leader is filled with the energy and resourcefulness that he’s picked up from these different experiences. His interwoven lines with saxophonist/contrabass clarinetist Keefe Jackson on “Laced Case” (a Stein original) and on Lee Konitz’s “Palo Alto” convey an inventive trajectory, taken at quick tempos. Stein’s rich and limber tone becomes the focus. Meanwhile, the rhythm section of bassist Joshua Abrams and drummer Frank Rosaly provides consistent surprises that can turn quickly from silence to complete shifts in direction. Along with Stein’s own songs, the group tackles a few Thelonious Monk compositions, along with their affinity for the Lennie Tristano-Konitz-Warne Marsh songbooks. Those early free-meets-cool pieces were once acknowledged as heady, sometimes abstract stuff, but in this quartet’s hands, they become a source of fun.~ Aaron Cohen, Downbeat |
|
|
2003: Josh Abrams - Cipher |
Freejazz, Avantgarde |
|
|
 Artist: Josh Abrams Album: Cipher Label: Delmark Records Year: 2003 Format, bitrate: mp3, 320 Size: 151 mb AMG Rating: The Wire (1/04, p.74) - "It's hard to think of an Improv release that covers more stylistic ground - or more thoughtfully and beautifully - than Josh Abram's latest." If ever there were a more accurately titled jazz record, one would be hard-pressed to find it. Bassist Josh Abrams (formerly of Roots and currently of Town and Country) has enlisted the help of Chicago guitar boss Jeff Parker, Italian reed maestro Guillermo Gregorio, and European brass journeyman Axel Dörner in order to completely blur the lines between free improvisation, free jazz and "free composition." Here is a field of play, sketched out over ten selections ranging from four-and-one-half minutes to just over nine minutes in length that strip music of its barest essentials for performing in a group setting, and then sets about to perform these works as a group. Elements of silence, tonality, texture, dynamic, and pure spatial relationship serve to uninvent preconceived notions of all of the preceding terms. Certainly jazz, free jazz, free improv, and composition come into the body of this music, but these entrances are disembodied within the larger context of exploration and curiosity. And yet, the sounds here are far from academic. They are living and breathing encounters with what lies just beyond the solo or group interaction. Interplay enters into language, and that language into silence. Strange, mysterious, and stunningly beautiful, Cipher is a modern enigma.~ Thom Jurek, All Music Guide |
|
|
2011: The Spanish Donkey - XYX |
Music » Jazz » Modern Jazz » Avantgarde |
|
|
 Artist: The Spanish Donkey Album: XYX Label: Northern Spy Records Year: 2011 Format, bitrate: mp3, 320 Time: 59:53 Size: 132 mb Downbeat Rating: Sometimes, it is just easier to let the mind go and be “one” with music rather trying to analyze it. Such is the case with The Spanish Donkey’s XYX. There is so much sound on this recording that finding a resting place is occasional, if simply rare.
Jamie Saft wallows in the electronics that render the sonic configuration complexly integrated. He works with the MiniMoog, Roland Jupiter 6 and SH-09, Korg Lambda and CX3, Yamaha CS-01 and finally the bass guitar. Joe Morris is clearly heard on his electric guitar. And Mike Pride, of course, distinguishes his contributions on drums, percussion and, once, on the nose whistle.
The first track “Mid-Evil” is itself close to thirty-eight minutes long. The music’s patternless linearity opens the doorway to total innovation, where brazen unpredictability decides surprising directions. It is a remarkable phenomenon that musicians on such a large booming scale can keep it together so long that to make music is patently the goal, not just to grow a tone monster which eats time. Rather it is time that is the music’s colleague because development can only happen within it. Sure the drums and cymbals crash in contrast to the bass guitar rumbling so forcefully that Morris’ guitar work sensibly provides breaks before reinvigorating other extended bouts of electronics and drum shapes, reverb, riffing and all. But it is the demanding nature of the sound that communicates its self-reflective, supposedly torturous, message.
The second, “XYX,” boasts enormous bass-ness. It is next to impossible to use conventional language to untangle its purpose. Perhaps the music’s profusion of paradoxically unfettered vitality is the main event, despite the fact that electronic devices predominate as instruments. Saft still drives them, Morris still plucks at his guitar strings and Pride explodes the drumset in acoustic grandeur.~ Lyn Horton, Jazztimes Featuring Jamie Saft on electric keyboards & bass guitar, Joe Morris on electric guitar and Mike Pride on drums. Jeez, this is something else! Joe Morris warned me about this record and he was right. It is not what I would’ve expected from him, yet it is pretty f*cking amazing! This music harks back to the early days of free/jazz/rock. It is an hour long with just two long tracks. When we played this in the store recently, someone remarked that this music was ugly & evil. Hmmmm. I am not so sure about that, but it is a certainly pretty scary. Joe Morris has a particularly distinctive and effective tone which reaches through this music like a hot blade through a slab of butter. I don’t think that I’ve heard drummer Mike Pride sound any more brutal or powerful as he whips up a storm on his drums. One of John Zorn’s closest collaborators and quite a dynamic composer / keyboardist / producer himself, Jamie Saft also goes for the gusto by adding some throbbing electric bass and/or ancient mutant synthesizers. If you are patient with this disc, you will see/hear how well it all fits together and evolves from section to section. Without a doubt, this is one this year’s most awesome and overwhelming offerings. Are you brave enough to dig in?!?~ Bruce Lee Gallanter, Downtown Music Gallery |
|
|
1999: Tricolor - Mirth + Feckless |
Jazz-Rock, Contemporary Jazz, Modern Jazz, Avantgarde |
|
|
 Artist: Tricolor Album: Mirth + Feckless Label: Atavistic Records Year: 1999 Format, bitrate: mp3, 320 Size: 105 mb Jazzreview Rating: AMG Rating: Tricolor are a trio out of Chicago whose members are all over the map musically: guitarist Jeff Parker, an AACM grad, plays with the bands Tortoise (indie rock) and Isotope 217 (Miles-ian jazz/dub/funk fusion); acoustic bassist Tatsu Aoki is active in the Windy City's "free" scene, and recently did a duet album with Malachi Favors; David Pavkovic (drums) plays in various indie rock bands like TOE 2000. The results are fascinating improvs, not easy to "categorize." Parker's style encompasses pre-Mahavishnu John McLaughlin, John Abercrombie and the AACM school of free improvisation. Aoki and Pavkovic play less like a "rhythm section" and more impressionistically (that AACM influence again), splashing dabs of (dark) color on Parker's canvas. If you a "free" jazz fan that sometimes wishes that Derek Bailey would play more "inside" (or if Jim Hall would play "out") or a very adventurous rock fan (i.e., Faust, Can, Dead C, etc.), Mirth + Feckless is worth your time.~ Mark Keresman, Jazzreview In the early '90s, the short-lived instrumental group the Coctails created an intriguing blend of easy listening pop and avant-rock. The Chicago trio, Tricolor, are undoubtedly familiar with the Coctails' work -- guitarist Jeff Parker, a member of both AACM and Tortoise, is part of the same general school of musicians that has infiltrated every level of the Chicago post-rock scene -- and although they don't sound that much like the Coctails, a similar aesthetic seems to be at play. Parker, drummer David Pavkovic, and bassist Tatsu Aoki have a similarly playful feel to their music, and a clear fondness for the likes of Creed Taylor's late-'60s work (the bossa nova-tinged "Seven," sounds like a tribute to Taylor's late-period albums with Wes Montgomery), and the occasionally twee moments of the West Coast cool school. Not at all a visionary or exploratory record -- and anyone looking for the wilder free improv side of Atavistic had best look elsewhere -- Mirth + Feckless is coolly entertaining, effortlessly melodic pop-jazz, with just enough spikiness to stay out of the easy listening bins.~ Stewart Mason, All Music Guide |
|
|
2011: Samuel Blaser - Consort in Motion |
Music » Jazz » Modern Jazz » Avantgarde |
|
|
 Artist: Samuel Blaser Album: Consort in Motion Label: Kind of Blue Records Year: 2010; release: 2011 Format, bitrate: mp3, 320 Time: 58:13 Size: 122 mb Downbeat Rating: AMG Rating: Voted best album of the year by Downbeat, New York City Jazz Record, Philadelphia City Paper, JazzTokyo, Jazz Station and BRF online "A quantum leap beyond so much trite jazz-classical fusion, Swiss trombonist Blaser, ably abetted by undersung keyboard wizard Russ Lossing, bassist Thomas Morgan and late drum legend Paul Motian, vividly transforms the music of Monteverdi and other Italian composers of the Baroque and Renaissance into airy, cerebral beauty." - Shaun Brady, Philadelphia Citypaper There have been numerous interpretations of classical music by jazz musicians, but trombonist Samuel Blaser opted to explore less common ground by arranging music by Renaissance and Baroque composers, assisted by drummer Paul Motian, pianist Russ Lossing, and bassist Thomas Morgan. Most of his focus is on the works of Claudio Monteverdi, starting with a loping, shimmering setting of Lamento della Nifa that features Motian providing a constant background for the leader's poignant trombone, with Lossing and Moran darting in and out of the picture at times. Riotornello is a free-spirited, loose interpretation, while Blaser utilizes the vocal/trombone technique popularized by Tricky Sam Nanton in Duke Ellington's band in Si Dolce e I'Tormento in a powerful duet with Motian, though his sound is closer to what a modernist like Steve Turre uses. Il Ritorno d'Ulisse in Patria -Atto Quatro, Scene II is transformed into a tense, somewhat abstract arrangement that could easily be used as a film soundtrack. Also valuable are his unique perspectives in approaching the music of Biago Marini and Girolamo Frescobaldi. This provocative CD should entice other jazz musicians to look for hidden gems in the vast world of classical music.~ Ken Dryden, All Music Guide |
|
|
1979: Fred Anderson Quartet - Dark Day + Live in Verona |
Music » Jazz » Modern Jazz » Avantgarde |
|
|
 Artist: Fred Anderson Quartet Album: Dark Day + Live in Verona Label: Unheard Music Series/Atavistic Year: 1979 Format, bitrate: mp3, 320 Size: (131 mb/162 mb) Downbeat Rating: AMG Rating: John Corbett's Unheard Music Series of out jazz and improv classics, which is being released and distributed by Chicago's Atavistic label, has provided listeners a second opportunity to hear music that slipped through the cracks either because the label it originally appeared on was too small or because it was ignored due to its power and danger. In the case of saxophonist Fred Anderson, the package is a double treat because it pairs a very rare 1979 live date in his hometown of Chicago with members of the AACM (issued in an edition of only a few hundred on Message Records) with a completely unreleased master recorded four days later in Verona, Italy. The band is comprised of Anderson on tenor, longtime associate Billy Brimfield on trumpet, bassist Steven Palmore, and a very young Hamid Drake, then known as Hank, on drums. Musically, both sessions repeat two tunes, "Three on Two" and "Dark Day." The mournful "Dark Day" is an Anderson signature piece, with its long modal beginning twinning Anderson and Brimfield in elegantly moaning lines that engage the rhythm section at the periphery. On disc one, this is followed by the relatively straight post-bop blues of "Saxoon," in which both front-line players trade solos along an augmented blues figure by Palmore and a skittering skein of double- and triple-time dancing by Drake. With "Three on Two," both performances begin in Eastern tonal modes, syncopated by choppy lines and odd meters and durations of melodic particulars. On the earlier date, the band cuts loose sooner, moving through the Eastern modes and inserting a Latin-tinged blues into the center of the cut-time figure. On the latter, the band moves to Anderson's solo and shifts to the margin and outside of the Latin harmony toward some synthesis of rhythm and extended microtonality. The other two selections on these discs, Drake's "The Prayer," from Chicago, and Anderson's classic "The Bull," are both energetic -- even hyperkinetic -- ensemble pieces where solos and improvisational explorations take place from the ground up. Obviously in the case of "The Prayer," it's rhythm first and then the explosion of trumpet and saxophone interweaving that encounters it, moves through it, and then attempts to transform the concept of rhythm into one of elongated harmonics that go beyond scalar considerations and into the roots of scales themselves. On "The Bull," it's harmony and the way it functions against polytonality and an unfixed sense of rhythmic push and pull, where rhythm doesn't stand so much in opposition to the intricate melodic considerations -- Brimfield truly shines here -- but instead as a counterpoint to harmonic invention and an intervallic foil for Anderson to take microharmonic statements and build them in gargantuan language structures. Anyway you listen to it, these two dates on a pair of very reasonably prices CDs -- with great sound -- are gifts rescued from the islands of obscurity, and should be listened to with the awe and wonder they inspire.~ Thom Jurek, All Music Guide |
|
|
2007: Alipio C Neto Quartet - The Perfume Comes Before The Flower |
Music » Jazz » Modern Jazz » Avantgarde |
|
|
 Artist: Alipio C Neto Quartet Album: The Perfume Comes Before The Flower Label: Clean Feed Records Year: 2007 Format, bitrate: mp3, 320 Size: 111 mb Jazzreview Rating: Here's another stunning free jazz album. Trumpeter Herb Robertson and bass player Ken Filiano are obviously well-known names, saxophonist Alipio C Neto is probably less known, although he's one of the driving forces behind the IMI Kollektief and Wishful Thinking. Neto is a Brazilian who moved to Portugal to have a doctorate in literature, yet who stayed in the country and started seriously engaging himself in music. The quartet is completed by Michael T.A. Thompson on drums, and Ben Stap joins on tuba on three of the five tracks.
Apparently Neto's credo is that "music must always be transcendental", and that's clear from the very first sounds of the record. High tempo drumming introduces very slow sax tones and arco bass, with absolutely frantic trumpet soloing by Robertson, creating a feeling of wide expanses and deep emotional contrasts, and then suddenly all sounds converge into a totally unexpected unisono melody that shifts a few seconds later into Filiano's well-known incredibly precise and adventurous bowing, with an hesitant, yet strong sax solo by Neto, and he is absolutely excellent in his playing: raw yet soft and warm-toned at the same time. Then the sax becomes the frantic voice, while Robertson takes over the slow background on trumpet. It's clever, it's fun, it's ingenious. "The Will - Nasarana" starts with a long bass solo, and when you think it's high time to turn up the volume, the three other musicians start playing a joyful abstract melody, which shifts into free bop of the best kind, with both horn players demonstrating their best skills. And I must say that on many records Robertson goes beyond what I find bearable, but not here : his playing is more accessible than we've heard in many years, and it is truly great. The most beautiful track however is "The Flower - Aboio", which is a slow, minor key, bluesy composition, starting with layers of similar sounds by all musicians, evolving into a tear-drenched, funeral-march-like mood, with all instruments wailing and weeping, incredibly intense, incredibly sad, incredibly beautiful. Bengt Berger's "Bitter Funeral Beer" comes to mind when listening to this song, and that's a great compliment. Stap's inclusion on this track is a stroke of genius, because the dark tones, even when playing in the upper register add an intensity and coloring which moves the song to even greater heights. The fourth track is a structured free jazz work-out where all musicians let loose the tension and go for it, and the last one continues in the same vein, but adding a lightly dancing joy to the music. Again, a great record, because of the great musicianship, but also because of the great balance between compositions and improvization. Get it! ( 4 stars out of 5) ~ Stef Gijssels, Free Jazz Blog |
|
|
2009: Led Bib - Sensible Shoes |
Jazz-Rock, Modern Jazz, Avantgarde |
|
|
 Artist: Led Bib Album: Sensible Shoes Label: Cuneiform Records Year: 2008; release: 2009 Format, bitrate: mp3, 320 Size: 123 mb AMG Rating: Led Bib are explosive enough to blow up your speakers -- after they've done a number on their own speakers, that is. The British quintet plays hot-wired electric jazz-rock with two alto saxes wailing over (usually) electric keys and bass plus no-nonsense drums -- and, incidentally, drummer Mark Holub composes nearly all the band's material. Those saxes, belonging to Chris Williams and Pete Grogan and nicely positioned in the stereo field, are practically mirror images, matched in tone and intensity as they pair up in harmony, echo each other in counterpoint, or democratically divide up the soloing space. There's a '90s New York downtown feel to their tone, phrasing, and interplay, recalling in particular the two altos of Ned Rothenberg and Thomas Chapin in Rothenberg's funked-up Double Band releases on the Moers label. Yet Liran Donin's fuzzy rattling bass and Toby McLaren's burning Fender Rhodes truly differentiate this group from the pack -- it sometimes seems like Donin in particular has decided that nothing could possibly elevate the proceedings more than playing through a demolished speaker, and McLaren makes the overdriven sound of Miles Davis' fusion-era electric keyboardists seem like George Winston. The opening moments of "Yes, Again" waltz darkly, offering few clues of what's around the corner: the brief assault of an angular theme followed by a squeaky buzzing and pounding blast of ear-shredding keyboard and bass driven by rock-solid rhythms underpinning those siren-wailing saxes. Tempos shift, constrict, and loosen as the band uncoils, only to tighten back into the theme and stop on a dime just as your neighbors shout at you to turn the stereo down. The playful two-note sax blurt beginning "Squirrel Carnage" is joined by the rest of the band's clipped phrases and fractured rhythms, suddenly overtaken by that thick fuzz bass and Rhodes as the energy builds and McLaren unleashes a frantic solo followed by squalling saxophone and an abrupt tumble onto a free-form plateau. Led Bib are not afraid to abandon the rhythm, as they do for a short spell here, but they also relish bringing everything back together, assembling compositional puzzle pieces and ratcheting the energy level up, slamming into a tightly focused finale.
In contrast, the comparatively gentle opening to "Early Morning" could soundtrack the first stirrings of wakefulness after the sun has arisen; there is space enough to slowly gather one's bearings. The sax harmonies are lovely over understated accompaniment before the keys' downward progression and rolling drums bring unsettling portents, and the saxophone burns increasingly hotter over a spacious slow vamp to the point of explosion -- there is calm again at the conclusion, but this particular morning has ultimately entailed more than a relaxed breakfast in bed with a croissant and juice. The squelchy keyboard voicings accenting "Sweet Chilli" nearly mimic the sound of a squeegee on a car window, while "2.4:1 (Still Equals None)" slows to a crawl and then stealthily tiptoes through episodic stops and starts with fittingly spooky and spacy electronics in homage to BBC Radiophonic Workshop explorer Delia Derbyshire, while the album's most accessibly tuneful and uptempo moment arrives with Grogan and Williams' tight harmonies on the theme to "Call Centre Labyrinth." Led Bib let their pent-up energies loose with particular drama on album highlight "Water Shortage," which achieves nearly cinematic proportions as McLaren spins through cleanly articulated keyboard runs -- with acoustic piano voicings this time around. And the nine-plus-minute "Zone 4," written by Williams, is an ambitious closer, with its nearly martial rhythm and angular themes ultimately building through the customary explosiveness to a stirring finale with heartfelt playing by the saxophonists, aiming for the heavens as the drums roll and bass and keys swell beneath them. Yes, Led Bib can certainly bring the skronk, but on "Zone 4" they also bring heart and soul.~ Dave Lynch, All Music Guide |
|
|
2009: Dennis Gonzalez Yells at Eels featuring Rodrigo Amado - The Great Bydgoszcz Concert |
Post-bop, Avantgarde |
|
|
 Artist: Dennis Gonzalez Yells at Eels featuring Rodrigo Amado Album: The Great Bydgoszcz Concert Label: Ayler Records Year: 2008; release: 2009 Format, bitrate: mp3, 320 Size: 165 mb Dallas-based trumpet-player Dennis Gonzalez will always be one of my favorites for this warm and solid tone, his openness of mind and the emotional power of his music. With the exception of "Paura", his music is always very rooted in bop, but then of the free-er and sometimes the harder kind, while remaining open to more rock-influenced adventures, the latter possibly under the influence of his two musical sons with whom he forms the trio "Yells At Eels".
This year Gonzalez seems to be very productive, releasing in quick succession his third, fourth and fifth album of the year. Dennis Gonzalez has the incredible knack of making his albums, even the more free ones, accessible, recognizable too, yet while keeping a fresh approach, re-inventing himself, remaining open to the rest of the world. And you get the impression that the trumpeter gets as much pleasure from listening to his fellow musicians, giving them the floor and enjoying their music, as much as playing himself. A true musician. No wonder he has played with so many of today's top musicians.
On this album the aforementioned trio (Dennis González on trumpet, Aaron Gonzalez on bass, and Stefan Gonzalez on drums) becomes a quartet with Portuguese Rodrigo Amado on tenor, a musician who we've reviewed before and with whom Gonzalez already played in Amado's Lisbon Improvisation Players. The music here shows the wide variety of the band, together with their respect for the masters: Ornette Coleman's joyful "Happy House" gets a fine rendition, and so does Krzystof Komeda's sad "Litania", at the same time offering a great illustration of the musical span of this album, varying between the cinematic, the melancholy, the boppish and the free, but always with that modern infusion added by the Gonzalez sons. Stefan Gonzalez' long opening track "Crow Soul" has the kind of hypnotic rock rhythm that reminds a little of Terje Rypdal's Odissey. A great album. ( 4 stars out of 5) ~ Stef Gijssels, Free Jazz Blog |
|
|
2011: Ellery Eskelin - Trio New York |
Post-bop, Avantgarde |
|
|
 Artist: Ellery Eskelin Album: Trio New York Label: Prime Source Recordings Year: 2011 Format, bitrate: mp3, 320 Size: 135 mb "Trio New York is good, intelligent fun, relaxed but engaged and very hip. It may be avant-garde, but it’s still organ combo jazz." - Ed Hazell, Point of Departure The lineup—Ellery Eskelin on tenor sax, Gary Versace on Hammond B3, Gerald Cleaver on drums—may lead you to think this is a groove-jazz organ trio. Not so. This band has more in common with an acoustic bebop trio than anything Jimmy Smith or Jack McDuff ever did.
On its face, Trio New York certainly looks like a groove outing. Five standards averaging 15 minutes apiece—the ingredients are there. But the organ often behaves more like a piano or even a second horn than the instrument that too often comes with a license to resort to clichés and gimmicks. You won’t find Versace playing the same lick for 16 bars, holding sustains until your ears hurt, or pulling the drawbars in and out and in and out. What you will find is a good deal of high-minded musical conversation and intent listening to one another.
Versace accents and underscores Eskelin’s soft, supple introductory phrases on “Memories of You,” and as the tune gets going the group gets in the pocket, with Cleaver’s skittering attack evolving into a breezy swing rhythm. Neither here nor on tunes like “Witchcraft” or Thelonious Monk’s “Off Minor” (where the organ sounds like telephone buttons) does Eskelin state the melody entirely at the outset; he more or less improvises off the theme while offering just enough of a taste of it to give the listener (and the sidemen) a frame of reference. When Eskelin finally does state a melody strongly—as he does several minutes into “Lover Come Back to Me”—it has a powerful effect, sending the trio into high gear, as if they’re saying, “Ah, yes, that’s it!” The closing number, a tender version of “How Deep Is the Ocean,” is so beautiful you don’t want it to end, not even after 14 minutes.~ Steve Greenlee, Jazztimes |
|
|
2010: Undivided - The Passion |
Music » Jazz » Modern Jazz » Avantgarde |
|
|
 Artist: Undivided Album: The Passion Label: Multikulti Project Year: 2009; release: 2010 Format, bitrate: mp3, 320 Size: 151 mb I am a week too late with this "Easter album", on which Polish clarinetist Waclaw Zimpel evocates the story of pain, as crystalised in the passion of the gospel. In order to do so, he looked back on the great composers in history, up to the middle ages, who handled the same subject, and integrated them in his compositions, adding the power of improvisation to make the experience and expressivity even more direct and real. He is joined by Bobby Few on piano, Mark Tokar on bass, and Klaus Kugel on drums. Zimpel himself switches to bass clarinet and tarogato too.
The sequence of the album follows the chronology of the gospel : The Night, Getsemani, Judas Treason, Ridiculed King / The denial of St. Peter, Way of The Cross / Cruxifixion / Death, Despair, Resurrection. No surprise that the album sounds like a suite, with pieces moving seamlessly one into the other. It starts with the sound of a mechanical clock being charged, then percussion and piano join. The clarinet introduces the theme, full of introvert sorrow and sadness, evolving into post-boppish piano piece in the middle, becoming more abstract towards the end, erupting into full cries and shouts of all four instruments.
Zimpel did not want to make a religious record, but it is one about pain, and its musical expression. And his compositions do that with success, from the sad wailing to the agonizing outbursts, from serene almost classical sounds to bluesy and fierce avant-garde moments.
When I first heard the album, I thought this was an overambitious project, trying to do too many things at once, maybe trying too much to deliver something substantial, you know, like having the intention of delivering a masterpiece.
Now, my opinion has changed. This album is absolutely beautiful. It has more pretense than you would expect from free jazz, too controlled and constructed, but the end result is at moments phenomenal. ( 5 stars out of 5) ~ Stef Gijssels, Free Jazz Blog |
|
|
English
Ðóññêèé
Set Home Page
Add to Favorite
Rss 2.0 news
