M – N – O – P

All artists filed by last name under M, N, O and P :

William Hooker | LIGHT | The Early Years 1975-1989 | No Business Records

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Light Box: Conception of William Hooker Don’t tell him he plays loud. He learned about music and his instrument playing within a tradition that straddles R&B and jazz. That tradition congeals in the smoothly accessible, yet sonically forceful music of the organ trios of the mid-sixties and it demanded amplitude. “An organ is powerful— a Hammond B3 with a Leslie tone cabinet. That’s a six foot cabinet. It’s got that swirly thing inside and you have to play with a certain amount of power,” — Thomas Stanley Continue reading →

Albrecht Maurer | Lucian Ban | Mat Maneri | Fantasm | Nemu Records

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Fantasm, the title-piece has been created by an amazing deep listener, eminent New York musician, drummer Paul Motian (1931-2011). He was a master of encrypting his deep listening dynamically into imperishable gestalt. Fantasm, a paradigmatic piece here, is fed by heterogeneous sources but unified by composer and composition carrying and keeping its secrets. Mat Maneri used to play in Motian’s bands a lot, nourished and nourishing. On this album nothing sounds like ordinary strings. It has dark moods not fading into ordinary melancholia, contains limping dances into lightness, wondrous fusing dissolving in finale of quiet grandeur, uncatchable creep up shadows, splintering bop and bright solitariness per exemplum. Concentrated. Enjoyably disturbing. — Henning Bolte, Amsterdam, October 2014 Continue reading →

Rodrigo Amado | Joe McPhee | Kent Kessler | Chris Corsano | This Is Our Language | Not Two Records

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Ornette Coleman released This Is Our Music in 1960, that title an assertion of achievement in making what was in many ways a much maligned music, the almost private practice of an excluded sub-group – free jazz musicians – within the already marginalized world of jazz. Perhaps above all, it was an assertion of rights to an original voice and musical speech. Declaring “This Is Our Language,” Rodrigo Amado marks both his kinship to Coleman and the rich tradition that has developed in free jazz since then, the intense sense of a still close-knit discourse community that has somehow expanded around the world. — Stuart Broomer Continue reading →