Lonnie Leibowitz | Terra’s Ascension | NA1040

A student of Connie Crothers, his style also has traces of the linear, knotted approach of Lennie Tristano. All told, it’s an interesting, stylistic synthesis of measure and exuburance, form and freedom, light and shade. What unites the various approaches-from the relative barrage of “Terra’s Ascension” to the fragile lyricism of “Pleiadian Soundscape” -is Leibowitz’s intensity and focus…this is a pretty rich program of music.”– Jason Bivins, Cadence Magazine Continue reading

Jessica Jones Quartet | Nod | NA1039

Thereis a small, specialized subgenre of jazz that occurs when out-cats decide to come in from the cold and play it (relatively) straight for a tune or two. (Think Eric Dolphy exhausting “You Don’t Know What Love Is”on Last Date, or Alber Ayler croaking“Nobody Knows the Trouble I’ve Seen.” The fun comes from the tension created by turmoil under voluntary temporary restraint. Nod has some of that tension (and fun). Jessica Jones and her husband, Tony Jones, are perhaps the only avant-garde, tenor-sax playing man-and-wife tandem in jazz. Their 15-year track record revolves around experimental composition, freer forms and collective improvisation. But the Joneses planned Nod as “a tribute to the jazz guys (and gals) in the lineage.” The result is an approachable, intriguing album, full of surprise and positive energy. Continue reading

Virg Dzurinko | Solo Piano | Fun City | NA1033

Basedon the brevity of information available on this disc from its packaging, it’s difficult to gain a handle on Dzurinko’s background. Fortunately, her style at the piano is far less enigmatic than her origins and usually favors a light lyrical touch and diplomatic approach to the politics of melody and rhythm. Spreading her lithe fingers over an intimate gathering of standards and originals, Dzurinko sounds very much at home in the company of one. Most of the pieces are limited in length, but opulent in ideas. Her original compositions are possessed of a stark and natural beauty that often overshadows her warmer, more accessible readings of the standards. “Dinosaurs Rising” and “Seven Eight” are two such pieces that move across the breadth of emotions within the space of only a few minutes. Other pieces, such as“Traffic and Weather Together,” manifest darker moods through taut tone clusters and the careful use of dissonance. Maintaining a high level of rapport with one’s instrument while remaining cognizant of an audience for the music can be a burden for any musician in a solo setting. From the music presented here, it’s apprarent that Dzurinko is more than up to the challenge presented by such sparse surroundings. — Derek Taylor Continue reading

Carol Liebowitz | Bob Field | Waves Of Blue Intensities | NA1021

Liebowitz and Field mix freely improvised tracks with very loose versions of standards like “Melancholy Baby” and “Out of Nowhere.” Field’s free playing (especially on the standards) is very coherent and eminently lyrical, using the tune’s melodic contours as a guide, while straying somewhat afield of the traditional harmonies. Liebowitz as much as ignores the changes completely. I imagine that she’s playing off the melody as interpreted by Field, probably keeping the harmonic rhythm in mind to a degree, but relying mostly on her musical instincts, which are usually fine. The totally improvised cuts (especially the title track) are an unqualified success, though I wish they’d stretched them out a little more. The tunes are rathertoo familiar in their original form to stand up to this kind of treatment; the weight of historical expectation lies heavy on every note, which can be a distraction. I suppose had one never heard “All of Me,” however, he orshe could easily accept Liebowitz and Field’s rendering as definitive. Quite an unusual album, and one worth hearing. — Chris Kelsy, Jazz Now (on line jazz magazine, New Sounds page, Oct. 1995) Continue reading

Dori Levine | Ed Littmann | click | NA1042

However this is a great example of musicians ridding the music of all pretenses favor of creative interplay and living in the moment. On the closer, “Over The Rainbow”, Levine’s lazy reading of the melody is supported hand-in-glove by Littman’s guitar. Click is a testament to approaching music with a sense of humor and fearlessness, and duo has achieved some fine results. — Joe Knipes,Jazz Improv Magazine November 2006 Continue reading