All artists filed by last name under J, K and L :
A never earlier released duo recording that was played back in 1987 at Kassiopeia, Wuppertal brings these two great musicians and composers together for this unique and unforgettable session. Continue reading
The experience of playing completely improvised music can completely run the gamut. When the performance isn’t working Ifor reasons that are only somewhat predictable), there are few situations that are more uncomfortable and less enjoyable. But when the music really IS working, ifs a feeling of privilege and of pleasure that can otherwise be hard to come by. Particularly in New York, musical collaborations come and go all the time, and often their longevity or the frequency with which they showcase their work don’t necessarily correspond to how compelling the music might be. The group heard on this recording had only performed a handful of times (and only in front of a handful of people) when this concert was documented. But the fact that I felt moved to have this gig recorded is testament to the special nature of this lineup of musicians. It is truly rare to stumble upon a group where each of us can be so comfortable being both active and re-active, primary and complementary. This is a function of the respect that each of us has for one another as creative agents, sponges for sonic information, and partners in crime. I hope the music is as enjoyable to listen to as it was to create. — Pete Robbins Continue reading
Some of the musicians that were associated with Kris Wanders over the years he has been active, playing free form jazz and improvised music, include the following: Charles Hurdak (tp Hungary) Willem Breuker (reeds NL) Peter Brötzmann (reeds Germany) Claude Deron (tp Belgium) Alexander von Schlippenbach (pi Germany Globe Unity Orchestra in 1966/1967.) Fred van Hove (pi Belgium) Kees Hazevoet (pi NL) Arjen Gorter (Bass Nl) Louis Moholo (Drums, South Africa) Willem Van Manen (tb NL), Peter Kowald (bass Germany) Stu Martin (drums USA) Han Bennink (Drums NL). Nicole vanden Plas (piano Belgium) Jan vanden Plas (cello Belgium) Radu Malfatti (Tb Austria), Gunther Hampel (vib Germany), Irene Schweitzer (pi Swiss), Paul Lovens(drums Germany), Michel Pilz(bscl Luxembourg), Edgar Bateman (drums USA) Mani Neumeier (Drums Swiss), Maartin Van Duynhoven (drums NL), Mongezi Feza (tp (South Africa) Calyer Duncan (drums USA) Joost Buis (tb NL) Felicity Provan (tp NL) Nico Schauble (drums Germany) Gerd Dudek (ts Germany) Manfred Schoof (tp Germany), Albert Mangelsdorff (tb Germany), Buschi Niebergall (bass Germany), Sven-Åke Johansson (drums Sweden) Johannes Bauer (tb Germany) & more. Continue reading
This reading was part of the 2010 Duende Reading Series Recorded in Placitas, NM September 12, 2010. Edited by Bruce Holsapple. Photos by James Gay jr. Cover by Joanna Young. Copyright 2010 Suzanne Lummis, Margaret Randall and Vox Audio P.O. Box S94 Magdalena, NM 87825 Continue reading
This 2-CD’s set documents an expanded Vandermark 5 at Chicago’s Green Mill club in June of 2009. The quintet is assisted by Scandinavian stalwarts Magnus Broo (trumpet) and Håvard Wiik (piano), both members of Atomic who previously worked with several members of the Chicago outfit. The album once again proves that the Vandermark catalogue for this band is an awe-inspiring work-in-progress. Using several songs from ‘Annular Gift’ (Not Two, 2009) as a foundation, leader Ken Vandermark augmented his compositions, rewriting passages and rethinking their structures to fit this seven-piece Special Edition. The result is a striking balance of tight interplay, free excursions and anything in between. The album includes recent compositions, returns to ‘A Discontinuous Line’ and ‘Beat Reader’ (with a marvellous version of “Friction”), contains one new composition (“Nameless”) and two pieces composed by the guests: Broo’s “New Weather” and Wiik’s “Green Mill Tilter”. ‘The Horse Jumps And The Ship Is Gone’ is another strong V5-release, that not only confirms Vandermark’s reputation as one of the hardest working men in the business, but also the band’s telepathic interplay and adventurous spirit. — Instantjazz Blog Continue reading
Natural Disorder What a great name for an album of improvised music, especially one like this where the elements of apparent chance and seeming inevitability are in such perfect balance. It might also reflect my own dealings with Rob Brown and Daniel Levin: if I were a believer in any form of fate, then I could well feel that this is an association written in the stars. I first encountered them at a gig in New York, where I’d expected to hear Rob’s quartet with Steve Swell, Joe Morris and Luther Gray, but an unseasonal snowfall trapped Joe and Luther out of town, and Daniel – whose work I hadn’t previously heard – came in as a last minute replacement. Clearly this changed the dynamics of the group, yet the way in which Daniel immediately established a relationship of equality with the two horns made a huge impression on me. But, after an exchange of email addresses all round, I headed back to my home in the North of England, and we had no further contact for almost two years. — Paul Bream Newcastle-upon-Tyne 15th July 2010 Continue reading
Saxophonist Sabir Mateen is one of those musicians who have been playing free jazz since the seventies, playing with all the icons of the genre such as Cecil Taylor, William Parker, Daniel Carter, Steve Swell and Frode Gjerstad, to name just a few. With the latter two he recorded a new album on Not Two, and a solo album on RogueArt. He is a frequent player in the free jazz mini big bands, like the Little Huey Orchestra, Gjerstad’s Circulasione Totale, and Earth People. On this album Sabir Mateen is co-leader with Norwegian saxophonist Frode Gjerstad, and with Steve Swell on trombone, Clif Jackson on bass and David Gould on drums. On the long first track, Swell’s trombone is one of the strongest voice, both in volume and presence, wailing in all emotional registers, from distress to sadness, with the two saxes adding appropriate background support, but the piece becomes strongest when the saxes do their solo-thing. Otherwise there are lots of dialogues and trialogues, and as the title of the album indicates, this is more about sound that about lyricism. That changes with the second piece, when Mateen picks up his flute for a hesitant, almost fragile slowly moving forward tune. With the third piece we’re back in high intensity territory, a kind of jubilant blowing fest. You get the gist: wild interaction reigns, lots of dense interplay, but in my opinion a little lacking in focus and real musical vision.–Stef Continue reading
Slammin’ IV – 5.000 Poems The title for this fourth installment of Slammin’ The Infinite takes its name from an essay by Walt Whitman. His theme in this essay, briefly summarized, is that in all art, and life too for that matter, being prolific, hardworking and productive in all you do, including trying those things whose outcome may not be exactly perfect in one’s mind, will eventually lead to that one good idea or work of art. Farmers after all plant many seeds, not just one, in the hope that some of those seeds will yield a nourishing crop. So it is with how I view my own work as an improvising musician and composer. Only by constantly creating can there be any hope that some of that creating will yield something worthwhile. Something that will mean something to someone, making that connection to even that one listener that might be moved and nourished by this most human of endeavors. I am fortunate to have a band that is still working together planting those seeds as a band and as individuals throughout the world always in the hope of creating that one crop of abundance that might fill the listener with strenght and hope and life. Also, there would be no ground to plant these musical seeds if it weren’t for the likes of Marek Winiarski, the wonderful people of Alchemia in Krakow and that most gentle and wisest of gardeners, Barbara Backer Manes. Thanking them all here does not even scratch the surface of their commitment to this music and to me personally. To all of them and the amazing musicians on this recording that I have been fortunate to work with, I am humbly grateful. —Steve Swell Continue reading
I’m Ken Silverman a NYC-based Guitarist/Composer, who also plays Oud, Charango, Bass Guitar and hand percussion. My interest as an Improvisor is in taking everything I’ve been exposed to and using it to try to create something distinctive and creative. For me that means using what I’ve learned from blues, jazz, rock, ethnic and to some extent classical and concert music in an improvised or “free” setting, or within the realm of “Composition.” My goal is to create my own brew of sound and to keep forever expanding, both through playing with others and through working on my sound and playing as an individual. I have been active concertizing in NYC with a variety of musicians, including Daniel Carter and Roy Campbell. June, 2010 saw the release of the Quartet CD “Macroscopia” on the Metier label. Continue reading
Kihnoua is a classical Greek word which might have meant “the difference” or “the difference-makers” Continue reading