All artists filed by last name under G, H and I :
Piotr Lemańczyk – leader, bass guitars, voices | Dariusz Herbasz – tenor saxophone | Sławomir Jaskułke – keyboards | Tomasz Łosowski – drums | Maciej Sikała – tenor and soprano saxophones (8, 2/solo) | Mieczysław Szcześniak – vocal (2) | Leszek Dranicki – guitar (7) | Cezary Paciorek – accordion (1, 3) Continue reading
Tomasz Gwinciński – guitar, banjo | Loco Richter – bass guitar, B-3 organ | Arkadiusz Skolik – drums, xylophone | Renata Suchodolska – cello | Tomasz Mucha – violin Continue reading
The first piece is somewhat of a swinger. For those of you who don’t like their free improvisation too jazzy, head for the bar. (And for those jazz writers who can’t seem to tell one instrument from another, despite the fact that you review dozens of records in public forums each year, I play tenor here, and alto on the other two tracks. They sound different. Dexter Gordon played tenor. Lee Konitz plays alto. Figure it out.) The second piece is a ballad of sorts, dedicated to my grandmother, Stamata Rempis, who passed away at the age of 102 three weeks before this recording was made. She was one of the strongest and kindest people I’ve ever known. As we stood onstage at the end of the first set, before starting this piece, thoughts of her flooded over me. I had been at Alchemia a few weeks earlier, on tour with Ingebrigt Hºaker Flaten’s Quintet, just after learning that she was about to pass. Zoni is the name of the small village in which she was born, just outside of Megalopóli, Greece. — Dave Rempis Continue reading
For years, free improvisers have explored the tactile aspect of performance, in which the nature of the encounter between the player and the instrument becomes the subject of the music itself. Bisio is one of the few musicians that has managed to meld this high-concept sense of physicality with the soulful charge of jazz. His fiddle-high, scraped overtones create a tangled choir that is impossible to resist; his expressiveness with the bow is unmatched. Having whirled the listener into a transportive state, he gently shows the way out… Paul DeBarros, Signal to Noise Continue reading
I couldn’t help but feel that the material presented by Massaron’s Dandelions on Fire would be at home on any of the Tom Waits’ albums from the past decade. I couldn’t find any direct correlation from Massaron to Waits through background digging, and that’s what makes this album even better. It bears the almost unmistakable variances of an extremely seasoned veteran, yet makes no apologies when it comes to claiming its individuality. This is one uniquely diverse collection that’s sure to satiate any fan of Mr. Waits or Nels Cline, but would likely also be in frequent rotation of any dedicated Carla Bozulich fan. — songfrontiers Continue reading
The subject of today’s lesson is…….. Porno Jazz!!!!!!!!! These are the first words spoken from our esteemed professor Whiskey San Martino announcing the topic of the day’s lecture, and what a subject it it! Its roots lie in the world’s oldest profession as well as the day to day thoughts and fantasies of most of us. O.K. let’s get just say it and get it out of the way. We all know what the course work is and believe me, everyone of us all wants to pass with flying colors. SEX baby and I want a PHD! Continue reading
Charles Gayle – almost 70-year-old legend of free jazz. He spent almost 20 years playing on the streets of New York City. Gayle begun his professional career in mid 80s performing in clubs (e.g. Knitting Factory) and recording albums (the most important once for Silkheart, FMP, Thirsty Ear and Clean Feed). He cooperated with free jazz giants: William Parker, Rashid Ali and Chad Taylor among others. This new album was recorded at Jazzga Club Continue reading
This band’s name, like it’s music, has many layers. Ma-do means “window” in Japanese. But “ma” also means “the silence between notes.” Fujii chose the name to show how the music opens to the outside (just like window) and that silence can have more meaning than notes. In an acoustic setting, the group’s absorbing improvisations explore subtle textures and tone colors, using silence and group interaction to build brilliant collages of sound, melody, and rhythm. They have released two CDs, Heat Wave (2008) and Desert Ship (2010) Continue reading
This was recorded live at Alchemia in Cracow in September of 2007 and has excellent sound. I had not heard of Polish drum wiz, Jacek Kochan, before we got a half dozen discs of his from Not Two & Gowi. After reviewing a few of them I was impressed with his playing, arranging and the varied personnel on each disc. This new disc also has an inspired line-up of musicians from Austria (FH), Norway (TO), Poland (JK) and the US (JF). Each player has contributed two pieces as well as three great groups improvisations. Starting with Joe Fonda’s “Song for My Mother”, the rhythm team hits their stride quickly with some twisted fretless guitar and Miles-like electric trumpet up front. What is great here is how well the guitar and electric trumpet play together and sound similar. On “Golden Angel”, the bowed bass, el. guitar and mutant trumpet seem to complete each other’s line as they swerve around one another and bend their notes close. The band swings hard on “Feed the Hamster” with Franz taking that great Electric Miles-like tone and squeezing it higher. The ever-incredible Joe Fonda sounds splendid throughout as his bass buzzes underneath all of the action, creating a tight connection with Jacek’s uplifting drums. All four of these musicians are play wonderfully throughout, exchanging ideas, tossing riffs back and forth and consistently surprising us with their tight, interconnected tapestry. Another outstanding disc from the folks at Not Two. — Bruce Lee Gallanter, Downtown Music Gallery Continue reading
Multi-instrumentalist and composer Gebhard Ullmann lays down the ground rules without ado with the slam-bang title Don’t Touch My Music. There should be no qualms about that, Ullmann’s music is made to draw rapt attention. The closer one listens, the more there is to discover. Ullmann brings in an evolving, and revolving, cast of characters to give voice to his music. Each ensemble brings certain attributes and direction to his compositions that absorb various strains to enrich them. Basement Research with Steve Swell, Julian Arguelles, John Hebert, and Gerald Cleaver has marked an indelible presence with their earlier work. And there’s no messing around with them this time either. The members of Basement Research have honed empathy to a fine skill. Surprise is the hallmark of their cross-pollination of genres. The band dons and doffs styles in seamless motion, playing in sweet consonance at one moment and taking off at tangents the next. An intimate conversation warps into disparate strain. And with the wit and sly humor they inject, thees CD’s turns out to be quite the excellent entertainer. Continue reading