All artists filed by last name under G, H and I :
Fujii’s compositions are all interesting. Her wildness is often mistakenly related to “free” music, but the world she creates is the result of the natural fermentation of her imagination. She doesn’t just follow the conventional manner. People should realize the importance of her attitude… ― Kazutomi Aoki, Jazz Life Continue reading
This album is f***ing wild. Part free jazz a la Zorn, part experimental rock, Satoko’s improvisatory collection is wonderfully chaotic, percussive and dissonant. That is, when she isn’t laying down dark and delicate harmonies, like in the opening to “collage – in the night,” a composition that streams off her kinetic piano melodies and builds with flowing, Maria Schneider-esque grandeur. Whether she’s furiously smacking the piano around or gently caressing harmonies out of it, Satoko uses the full tonal and dynamic range of the instrument, and it’s an exhilarating thing to hear. Named for the ancient goddess of secrecy, Angelona indeed feels mythical, as well as raw, transcendent, and wonderful. ― Michael Gallant, Keyboard Magazine Continue reading
There are several outstanding qualities that emerge in pianist Satoko Fujii’s big band writing. She has an extraordinary sense of color that plays upon the moist exquisiteness of muted shades, as well as recognizing and utilizing the vivid ends of her palette of colors. She also combines ingenious use of the timbre of various elements of a big band – brass, reeds nad woodwinds, strings that replicate the rhythmic nature of the piano and those in the lowest register, and brilliant use of percussion coloring. She combines all of this like a visual artist working on a gigantic canvas, infusing it with unique color and ensuring that it remains wet so that it appears to change shape and hue every time it presents its arresting sight to the inner eye… The result is a dish so wild and flaming that it burns with the fever of artistic fission. ― Raul d’Gama Rose, All About Jazz Continue reading
The alternating Fujii/Tamura pieces are complex frameworks from which she is able to invoke dynamic sound ranges. Fujii opens the gates to permit a considerable amount of collective improvisation while still maintaining control of the reins by injecting stellar ensemble statements on top. ― Frank Rubolino, Cadence Continue reading
Szilard Mezei– viola | Peter Bede – tenor sax | Adam Meggyes – trumpet, cornet | Erno Hock – double bass | Hunor G. Szabo – drums. Recorded 25 May 2010 by Laszlo Valik, L.V. Hang Studio, Budapest, Hungary. Mixed and mastered by Szilard Mezei. Cover graphic by Erzsébet Mezei. Continue reading
This collaborative quartet was formed in the winter of 2008, when Rempis took advantage of one of his regular trips home to visit family in Boston to start a musical relationship with some of his favorite musicians in that city. Having known Pandelis Karayorgis for almost a decade through fellow musicians Nate McBride and Ken Vandermark, the two decided to round out a quartet with the wide-ranging capabilities of Forbes Graham on trumpet, and the old-school driving swing of Luther Gray on drums. Since that time, the group has normally played once or twice a year in Boston, working on a set of compositions brought in by all its members. The band recorded in December of 2009, a recording which is came out on the Polish label Not Two Records in 2012 as “Instruments of Change.” — Stu Vandermark, Boston Jazz Scene Dec 2010 Continue reading
Even if this is free jazz, the music “dances”. It is quite physical, an emanation of happiness, and definitely a joy to listen to. And for those who want to know what the title means, the answer is unsurprisingly “You Shall Sing …” Singing and playing and dancing …. only to be enjoyed! Stef Continue reading
The quartet we are about to hear presents us with the most unusual of outfits — unusual not so much in its aim to link poetry with jazz music (or vice-versa, if you wish), hardly anything new, as for the peculiar path it takes in reaching such goal: namely, a gradual and thoughtful testing process of the project through different «live» situations. Give credit for it to the friendship and mutual regard among the artists. Haslam and Waterman go back a long time, same as Pastor and Dagnino; plus, this was not the first time Haslam and Pastor, Dagnino and Haslam have worked together. Credit is also due to a shared interest in «music and poetry», following a tradition of long standing in both Italy and Great Britain. — Gennaro Fucile Continue reading
Cristiano Calcagnile – drums & percussions | Xabier Iriondo – mahai metak, taisho koto, live electronics | Gianni Mimmo – soprano saxophone Recording _ 21th March 2010. Sound Engineers _ … Continue reading
Sound image permutations talented skills and generous playing are the amazing features of this album taken live during the successful italian tour and finely mastered by renowed The Norman Conquest, Oakland, CA. Along with the return on Amirani Rec. of prolific Thollem McDonas, an assertive pianist and perpetually touring artist with concerts all over the planet and excellent collaborations, this Polishing The Mirror features the volcanic, sincere, screaming, climbing and soulful playing by Edoardo Marraffa, aboslutely one of the most original saxophone voice of the italian avant-scene, and the oblique, multi perspective, far from conventional drumming by Stefano Giust, an harsh and exquisite touch servicing music with restless energy and faith. Amirani is pretty proud to host here Stefano Giust, SETOLA DI MAIALE president, the most prolific european avant-garde label, heroic presence and unmistakable reference for improvisation, experimental and advancend, talented projects from all over the world. Continue reading