Rodrigo Amado | Joe McPhee | Kent Kessler | Chris Corsano | This Is Our Language | Not Two Records

Ornette Coleman released This Is Our Music in 1960, that title an assertion of achievement in making what was in many ways a much maligned music, the almost private practice of an excluded sub-group – free jazz musicians – within the already marginalized world of jazz. Perhaps above all, it was an assertion of rights to an original voice and musical speech. Declaring “This Is Our Language,” Rodrigo Amado marks both his kinship to Coleman and the rich tradition that has developed in free jazz since then, the intense sense of a still close-knit discourse community that has somehow expanded around the world. — Stuart Broomer Continue reading

The Resonance Ensemble | Double Arc | Not Two Records

The work of composing rehearsing, and performing Double Arc took place in November, 2013. Now, more than a year and a half later, I am writing the liner notes to complete the last aspect of the project. The extended distance in time between the recording and mixing/mastering of the musi gave me a different perspective toward the material than I have for most albums. Working on now — 19 months after the performance was documented at the Manggha Culture Center in Krakow — what strikes me most is that this piece seems to be my Pierrot le Fou. No insult intende toward Jean-Luc Godard by comparing his work to mine but, as that film can be seen as a such motion of ideas and filmic strategies that he had developed up until that point, Double Arc can be heard as taking similar place within my own creative development. — Ken Vandermark Continue reading

The Cosmosamatics | Reeds & Birds | Not Two Records

This version of The great Cosmosamatics features Sonny Simmons on alto sax, English horn & vocals, Michael Marcus on tenor sax, saxello & b-flat clarinet and Clifford Barbaro on drums for all but the last track in which they use Jay Rosen on drums. Legendary west coast sax great Sonny Simmons never fails to deliver the goods and with the marvelous Cosmosamatics, which features another former west coast sax hero Michael Michael, they both continue to push each other to further flights and heights with each tour and release. This is the sixth Cosmosamatics disc in less than five years and each has been an engaging gem. — BLG Continue reading

Bartłomiej Brat Oleś | Free Drum Suite | Not Two Records

With an eerie lead in Oles goes off, sometimes so quiet you forgot he was there. Shortly after you turn the volume up, Oles is blasting through your speakers. He shows a great sense of timing here; not just playing in a certain tempo, but timing when he is going to beat his drums or when he is going to softly lay out a rhythm. You’re bound to be entranced by his songs as they go from mild to wild and explore a full palette of bells, bamboo sticks and even birds. This record puts out a great vibe, like your stereo has got a mind of its own and painted a surreal soundscape. — AllAboutJazz Continue reading

David Murray feat. Marcin Oleś & Bartłomiej Brat Oleś | Circles – Live in Cracow | Not Two Records

David Murray is of course one of the more important tenor saxophonists of his era – or make that any era. Judging by his extensive discography, he is ready to collaborate or engage in almost any musical project. Never one to rest on his many accomplishments, any recording with Murray is worth investigating. This release is no exception, although certainly it would not be the best place to begin one’s Murray research. For this collaboration, Murray connects with two brothers, bassist Marcin and drummer Bartlomiej Brat Oles, during a special concert with “Poland’s finest rhythm section”. This live show was recorded in Cracow as part of a festival and, as the liners state, Murray was throughly on board with this partnership, despite the fact that there apparently wasn’t much rehearsal time. As a result, many of the compositions present space for a blowing session of sorts, with modal vampsbeing the vehicle for the group’s interaction. Fortunately, Murray and the brothers sound like they enjoy one another’s company, with the brothers working as full partners whether out in front or in support mode. — Jay Collins Continue reading