Liz Gorrill | Solo Piano | For the Beauty of the Earth | NA1030

After a stark, brooding deconstruction of Irving Berlin’s “How Deep Is The Ocean,” Liz Gorrill goes on to createa startling solo piano record that explores territoryhovering somewhere between Paul Bley and Ran Blake. Certainly there’s a classical touch and strong feel offormal rigor about her playing that ranges from the Satie-like repetitions of “Secrets Start Singing” to thefugue-like romp of “Two Hands Made Of Sun,” a startling performance that made me smile as it conjuredup a further point of reference: Lennie Tristano. From impressionist miniatures like “Shaken Out In Thunder”and “The Stormy Wind” to sustained meditations like“Gardens Dying, Blossoming,” Gorrill explores anadventurous program that is simply exquisite. — David Lewis, Cadence, January 1999 Continue reading

Liz Gorrill | Dreamflight | NA1010

The final “Dream Sequence” begins with a piece entitled “Blues From A Subterranean Galaxy,” which, without a hint of Sun Ra’s leavening humour, should give a sense of what’s going on here: just imagine space converted to mass. What is remarkable, however, is what Gorrill achieves by the end of the sequence. The final “Deep Awakening,” along with numerous other moments in the performance, has such kinetic energy that it levetates not only itself but the burdens of history, particularly piano history, that Gorrill so willingly assumes elsewhere. — Stuart Broomer, Coda, May/June 1993 Continue reading

Liz Gorrill | Charley Krachy | A Jazz Duet | NA1007

The two instrumental voices merge satisfyingly on “317 East 32nd Street” where Gorrill offers not only a bass line, but also apt commentary for the saxophonist in cleverly obscured “Out Of Nowhere” territory. Most of the structures are familiar, but they merely serve as secure foundations for daring improvisation. Dynamics are important in such intimate music, and Liz Gorrill’s variety of touch becomes an essentialingredient in ensuring that the performances move through many layers and engender subtle shifts of mood. With all its complexity, the music maintains a momenturm and inner logic that is a tribute to the participants. “How High The Moon,” that perennial jazz racer, has its character reversed by a slow, reflective treatment in which no pet licks are used to escape hatches. A most stimulating set, at its best, perhaps, when the duo swings unselfconciously and with considerable exhilaration on “My Melancholy Baby.” — Jazz Journal, July 1991, Mark Gardner Continue reading

Notes from New York | a New Artists Record Sampler | NA1034

“NOTES FROM NEW YORK” is a sampler of the New Artists’ catalog, not so much a “greatest hits” collection, as an overview that features virtually all the talented musicians that have recorded for the label. Each of the performances rewards repeated listenings… This independent label’s future looks quite bright as it continues to infuse jazz with feeling, creativity, and fresh ideas.” — Scott Yanow, Editor, All Music Guide To Jazz. Continue reading