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

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

Max Johnson Quartet | The Prisoner | No Business Records

Bassist Max Johnson has been building up quite an impressive resume as both a leader and a sideman for a variety of labels. His second release of this year is a collaborative effort with Ingrid Laubrock on tenor saxophone, Mat Maneri on viola and Tomas Fujiwara on drums. You might think that this unit could blow up quite a storm, and indeed they do on a few sections of the recording, but most of the music is given over to slow and atmospheric improvisations. The group shows quite a bit of cohesion and self control in the building of their music, and Maneri’s subtle and patient bowing meshes very well with Ingrid Laubrock who is quite comfortable at low volume and long narrow bands of sound. This is an interesting album, definitely worth picking up if you are interested in patient and slowly developing music that envelops you in a sense of unease. It is all the more powerful when the band really lets loose on more feverish improvisational sections, coming as a shock and keeping the listener on their toes throughout the album, developing the sound of surprise and not knowing what might be around the next corner. — Tim Niland Continue reading