Thomas Heberer | Joachim Badenhorst | Pascal Niggenkemper | Klippe | Thomas Heberer | One | No Business Records

Thomas Heberer is called “a European master” and “new trumpet genius”. The music in his new double LP brings a fresh approach to blending improvisation and composition, which allows for the highest amount of freedom on the musicians’ side while incorporating significant structural tools on the composer’s side as well. His solo recording applies a vast variety of conventional and extended techniques, among which the most distinctive component is the exclusive use of circular breathing. Continue reading

Sirone | Sirone’s Concord | Not Two Records

Unless I’m mistaken the last time bassist Sirone released an album under his own name before Concord was 1980, and one wonders why on earth we didn’t hear more of him in the intervening years. Concord is a quartet featuring Ben Abarbanel-Wolff on tenor saxophone, Ulli Bartel on violin and Maurice de Martin on drums, and their playing on these five Sirone originals is solid and convincing without being flashy. Bartel’s rich double stops support the arching melody of the opening “Aisha’s Serenade”, tapping into a rich vein of European folk fiddle. On “You are not alone but we are few” Sirone reaches for the bow and engages Bartel and Abarbanel-Wolff in sensitive dialogue, while de Martin adds deft touches of percussion colour. On “For all we don’t know” violin and saxophone stretch out on a simple modal melody in two-part harmony, while Sirone and Martin roll along underneath in fast triple time. It all flows effortlessly, and manages to be constantly engaging, even passionate, without ever going overboard. A boisterous drum solo leads without a break into the superb freebop “Swingin’ on a string of things / For Albert”, the Albert in question presumably being Ayler, as acknowledged by the gospel inflections of Abarbanel-Wolff’s splendidly gutsy solo, and Bartel plays Michel Sampson to perfection. The reprise of “You are not alone but we are few” is a fine touch, rounding off the album with another superb bass solo from the leader. European concert promoters who fall over themselves to book acts from New York (I’m thinking particularly of French festivals such as Banlieues Bleues and Sons d’Hiver) should turn their gaze to the east and sign these boys up fast. —Paristransatlantic Continue reading

Joe McPhee | Peter Brötzmann | Kent Kessler | Michael Zerang | The Damage Is Done | Not Two Records

This live date features legendary free jazz pioneers Peter Brötzmann and Joe McPhee, and Chicago’s leading rhythm section, bassist Kent Kessler and drummer Michael Zerang. The four also make up 4/10 of Brötzmann’s Chicago Tentet, maybe the most successful large new music jazz ensemble ever assembled. As they have in the past while touring with the Tentet, they step away and perform in this more intimate lineup. This quartet has released two previous recordings, Tales Out Of Time (hatOLOGY, 2004) and Guts (Okka, 2007), with The Damage Is Done’s two discs recorded live at Alchemia in Krakow, Poland in March of 2008. While the players can (and do) perform volatile energy jazz here, their preference is for music that’s dissectible enough for the players to be distinguished in parts and direction. — Mark Corroto – All About Jazz Continue reading

The Shipwreck Bag Show | KC | Long Song Records

Only one year has passed since the previous album, and the two survivors Xabier Iriondo / Roberto Bertacchini are already ready with a new collection of songs, thanks to their fresh creativity. The duo in this third album moves away from the ‘avant-rock experimental miniCD debut, pumping the vein of early blues and bundle it into eleven tracks in the form of song. “KC” is an album consisting of songs, because Iriondo first acts as a guitarist with a lot of riffs and distortion, and Bertacchini straighten a bit the rhythm of his drumming letting the voice to be the element of their a-rhythmic and drunk sound. To seal the magnificent proof there are his lyrics, visionaries and grotesque. Continue reading

Janusz Zdunek 4 Syfon | Baterie | Not Two Records

Janusz Zdunek the trumpeter and composer. Leader of projects Syfon (CDs: Jestem w kinie, To Prawda, Baterie, New Tango) and Marienburg (Pop Dom, Miasto Nic). Soundtrack composer to movies: Być, Trębacz, Pokonać siebie, Flesh And The Devil, Autonaprawa, Mocny człowiek/A Strong Man; co-composer music for: Bellissima, Dwie stówy z montażem. Janusz has been cooperating with Kazik Staszewski (albums: Melassa, Melodie Kurta Weilla, Piosenki Toma Waitsa, Czterdziesty pierwszy, Los się musi odmienić), Kazik’s cult band Kult (Ostateczny krach systemu korporacji, Salon Recreativo, Poligono Industrial, Hurra!, MTV Unplugged) and project Buldog (Singiel, Płyta, Chrystus miasta). Continue reading

Daniele Cavallanti | Electric Unit | with Nels Cline | Smoke Inside | Long Song Records

As a sideman, Cline is no less adventurous. His guitar snakes through the opening silence of Daniele Cavallanti’s Smoke Inside, before the leader’s smoky tenor gives chase. “Cline’s Line” is a fusion anthem, complete with spacey Rhodes, electric bass and pulsing rock beat. After the band enters, Cline cuts a jagged course, sparring briefly with Cavallanti before taking the lead all the way to the finish. Smoke Inside “is electric jazz: pre-fusion… pre-crappy,” says Cline of Cavallanti’s “Electric Unit”. The vibe is old school, but the playing is distinctly modern. Cavallanti positively burns on “Moods for Dewey”, driven by Cline and the relentless groove of drummer Pacho. The intensity rarely wanes through the album’s six tracks and Cavallanti’s “Electric Unit” shows the potential of jazz-rock in capable hands. —All About Jazz Continue reading

Tongs | Jazz With The Megaphone? | Long Song Records

This album has been lying around here, not knowing what to do with it. Does it fit the profile of this blog or doesn’t it? Is is sufficiently jazz? Is it sufficiently adventurous? Well, in a way it is. The music is hard to pigeonhole. If you like The Happy Apple or Lucien Dubuis Trio, you must give this one a try too. Carlo Garof plays drums, percussion, objects, sinori, megaphone, live electronics; Antonio Bertoni plays double bass, electric bass, effects and sampler, Luca Serrapiglio plays baritone and tenor, bass clarinet and lo-fi electronics. The music has a definite rock attack and approach, with the studio being the fourth musician of the band. There is lots of fun on this album, lots of unexpected and interesting new subtleties added to the genre (and not only the megaphone). It rocks, it funks, it pumps, it swings, but on top you get colorful delivery of new sounds, ground-shaking drumming, gut-wrenching arco, hair-blowing horns, hair-raising electronics, feet-raising rhythms. Lively stuff! A little more unity would have made this a better album. Sometimes a little too sweet (like in the first track), sometimes hesitating between just plain fun and real artistic ambitions, but it sounds very promising. — Stef Continue reading

The Shipwreck Bag Show | Il Tempo … Tra Le Nostre Mani, Scoppia | Long Song Records

Xabier Iriondo and Roberto Bertacchini are together again to continue the work started with the mini-cd of the same name which closed the wallaceMailSeries. Two years to forge a sound that has become much more than the sum of two styles, whose personality has become trademark. Shipwreck The Bag Show is a group, a band playing live and this album offers twelve tracks that are real songs. Without forgetting the sound research carried out over the years, the duo is dedicated to singing and playing blues songs obviously drunk and crooked, obviously cripple blues, dirty, primitive and evocative. God (or who for him) makes them … Continue reading

Hasidic New Wave | Live In Cracow | Not Two Records

As part of the Jewish Culture Festival Cracow hosted an exceptional group from the US – The Hasidic NewWave. The concert of the quintet, which fuses jazz and funk with elements of Jewish and Arabic music, was truly a special event.Co-leaders trumpeter Frank London and saxophonist Greg Wall, guitarist David ,,Fuze” Fiuczynski, bassist Fima Ephron, and drummer Aaron Alexander displayed not only inventiveness, finesse, and unbelievable technique, but created what could only be called a musical spectacle. They were able to draw the audience into the music as virtually active participants, creating a sort of collective celebration of it in spite of the fact that what they played is by no means ..accessible” music. With their Cracow appearance, The Hasidic New Wave fully confirmed the qualities displayed on their CD ,,The Jews and the Abstract Truth”. Wall played incredibly; his improvisations, though rather far out, were well–constructed and convincing. His playing bore not a trace of calculated-ness, just honest, expressive, and highly personal creativity. London displayed equal sound-sculpting prowess, invention and enthusiasm while also connecting with the audience well. The rhythm section also deserves high praise: Fiuczynski amazed listeners with his Frank Zappa-esque guitar stylings, showing great musicality, sound, and feel; Ephron not only accompanied well, but tastefully integrated a variety of electronic effects into the music; Alexander played in a relaxed but at the same time extremely precise manner, with a perfect command of dynamics. His drums had a unique, soft, subtle, and warm sound. The audience had a great time, the atmosphere in the room more reminiscent of that at a regular dance-band gig that an avant-garde jazz concert. Lack of space was the only reason people didn’t start to dance. — Robert Buczek (Jazz Forum) translated by Kami White Continue reading