C

All artists filed by last name under C :

Dario Palermo | Difference Engines | Amirani Records

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The way Dario Palermo deals with formal structures and different expressive grounds, complexity and a peculiar taste for a refined primitive touch is really remarkable. All three compositions here have been conceived as a multi-perspective field of artistic investigation: Dario Palermo RO-Premiére danse de la Lune, featuring a superb interpretation by percussionist Milo Tamez, is an astounding journey through the hybridization process of single percussive voices with electroacoustic treatments, emphasized frequencies, polyrhythmic mazes, generating a sonic organism in which ancestral and future sounds dance a beautiful interaction. Performed by the world-wide prized Arditti String Quartet and by brilliant mezzo-soprano Catherine Carter, the composition Difference Engine delivers a single movement in which several areas fluidly melt in a complex process of metamorphosis. Tasty subtleness, extremely accurate attention to detail, together with a skilled overall compositional vision, build up a macro-object that clearly reveal Palermo’s attitude to complexity and generative compositional method. A great piece. In TRANCE, biological and physical vocal characteristics, and pure singing vocal aspects, are subject-objects (material) of the work, paired in a constant fluctuant correspondence, which structure the shape and form of the work . The central role is played here by vocalist Jean-Michel Van Schouwburg whose journey in phonemes, polysyllables and physical vocal flexibilities find a perfect partner in real time electronic treatment. Continue reading →

Tonino Miano | Mirio Cosottini | The Inner Life Of Residue | Impressus Records

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Some improv music makes you say ‘yeah, yeah, yeah’ and some improv music makes you say ‘YEAH!’. This set falls in the latter camp. A face off between piano and trumpet, this duo is one of those pairs that makes it all sound so simple that any one can do it. Then many try and fail. Some have the special sauce and some don’t. Certainly a well rounded dose of sitting down jazz, you don’t have to be an egghead or arts council hanger on to dig it. Almost like performance art without the pretension, this has that special something that you want to hear when you just want to be entranced by some well played music.– Midwest Record Continue reading →

Daniel Carter | Shanir Ezra Blumenkrantz | Kevin Zubek | Chinatown | Not Two Records

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This recording by Chinatown an unusual trio made up of downtown’s wildly diverse music scene, finds the venerable free player Daniel Carter still doing his thing, this time with a young, unique rhythm section. Bassist Shanir Ezra Blumenkranz’s playing is muscular and gutteral, and his bowing is turgidly pleasing. On this outing he also shows off his prowess on the oud. Drummer Kevin Zubek, mostly self-taught, has an unconventional drumming style—spacious and asymmetrical, largely eschewing standard jazz or even free jazz rhythms. He sits oddly high at the kit and attacks with what seems an impossibly awkward comportment to some, but produces percussive music that transcends technique. This trio toured Poland last year, where they developed a strong rapport from the sound of it, and landed a recording deal with the Polish label Not Two. — All About Jazz Continue reading →

Juan Pablo Carletti | Tony Malaby | Christopher Hoffman | NIÑO / BRUJO | No Business Records

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Tenorist Tony Malaby makes some really wonderful sounds here – but the album’s actually the brainchild of percussionist Juan Pablo Carletti – who composed all the tracks on the set! Malaby continues his wonderful sense of tone and texture here – blowing slow notes sometimes, which unfold like dark sonic flowers – mixed with lighter, tuneful passages that almost have a classic modern tenor quality – a space that seems to range from Rollins to Brotzmann, depending on the needs of the moment. Carletti plays drums, glockenspiel, and melodica – and Christopher Hoffman adds some especially great cello – which is often played at the lower, darker range of its spectrum, as a key component of the trio. Titles include “Lateral Thinking”, “El Brujo”, “Miranda”, “Ballerina”, and “Jose”. — Dusty Groove Continue reading →

Ted Daniel’s Energy Module | Innerconnection | No Business Records

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Trumpeter Ted Daniel’s Energy Module was a short-lived band. They played exactly two gigs in the course of one week in the fall of 1975—and never played again. They gelled quickly as a quintet, however, in large part because everyone knew each other from working in Daniel’s big band, Energy. However, the Energy Module was a less formal affair than the large ensemble, in which they played Daniel’s original compositions and arrangements. “We had a couple of rehearsals and played through the tunes, but our main focus was on collective and individual improvisation,” Daniel says. “We were getting ready to take care of business.” — Ed Hazell Continue reading →

EX-P | Ancora Saigon | fratto 9

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Improvisation and an estranged kind of sound are still the main features, searched inside the huge territories of rock. We’re aware of being a little late, we often look to a musical world and way of making music that’s run beside the times. The two electric basses can explore deeply the heaviness and versatility of the only true contemporary musical instrument, so technologic on the surface and neo-tribal at the core. Drums can distract from rhythms, sometimes becoming an acoustic colour and environmental noise generator. Continue reading →

EX-P | Carpaccio Esistenziale | fratto 9

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Entity formed by musicians strongly professing their psychedelic faith sons of post-modern breaking-up, incapable of choosing between jazz noise and Italian tunes of Japanese manga, ill at ease in paying our respects both to Pink Floyd and to the most tremendous metal. After ten years, conflagration leaves room to the need of building up a more constant and meditative way, creating EX-P. Continue reading →

Joe Holiday | Somebody Else’s Nightmare | Strength and Kindness

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As the bandleader my job is to develop a musical style, compose in that style and guide the interpretation of the compositions. The goal for this project was to perform music that was both written in “parts” and also meant for improvisation. “Parts” music is played by reading notes on a page; this can sometimes be complex and can require much concentration. It is found in many types of music including classical, pop, musical theater, big band and more. The challenge is to make the music sound alive and fresh every performance even though the musician has performed it the say way hundreds of times. With Somebody Else’s Nightmare, some of the “parts” change from performance to performance – for example, some compositions demand that the musicians improvise their own melody. To do this, they must listen closely to what the others are doing, and adjust. During performance, chord patterns might change. Also, I might cue in new sections while the piece is evolving, much like an audible called from the quarterback in football. In my mind, this is musical fun for both player and listener. — Joe Holiday Continue reading →