Ken Vandermark | Marcin Oles | Bartlomiej Brat Oles | Ideas | Not Two Records

Our first contact with Ken Vandermark was just a handshake – at one of the concerts in Poland of the DKV formation. Marek Winiarski, the boss of NotTwo Records, introduced us to each other. Some time passed until we had the chance to play together for the first time. When the Vandermark Five gave a concert, at the Cracow music club Alchemia,we got together after and jammed. The idea of recording an album together was with us before the evening had ended. We had prepared original compositions for the recording session, but we talked before going into the studio, and after Ken Vandermark’s suggest we decided for the recording to be one of the free improvisation. We normally work in different musical fields and despite that, or maybe just because of that, every meeting like this brings about a new experience, even a kind of journey into the unknown… Marcin & Bartlomiej Brat Oles (album’s original linear notes) Continue reading

Ivo Perelman | Rosie Hertlein | Dominic Duval | Near to the Wild Heart | Not Two Records

For nearly two decades Brazilian-born and Brooklyn-based saxist Ivo Perelman has been evolving his own path of improvised jazz, playing solo, in duos, trios & quartets with a number of downtown’s best musicians. One of Ivo’s most constant companions is contrabassist Dom Duval who has recorded on perhaps a dozen of Ivo’s previous duo & trio CD’s. Violinist Rosie Hertlein has also recorded and performed with Ivo on occasion and is yet another local talent who has knocked me out whenever I’ve heard her play although she remains beneath the radar screen of recognition. Over the past decade, Ivo has also developed as a painter, helping him to establish himself in a different art scene. His wonderful and evocative works have adorned a number of his recent discs, this one has an especially appropriate cover. Tenor sax, violin and contrabass. An interesting combination which works so well here. The trio continually weave their wares around one another magically, swirling bowed notes with vocal-like sax sounds, ever distinctive, pure and often intense. Rosie has a way of matching Ivo’s middle register just right while Dominic holds the low end down and adds his own depth, warmth and richness. This is a most exciting dialogue that keeps developing, shifting, bending, twisting and coming together time after time. There is a sense of calm at the center of the storm, there is also an aura of mysterious ghosts floating throughout like those Ayler-with-strings moments. There are also those occasional eruptions and well-selected screams which are perfectly shadowed by the strings as they navigate the rapids washing over all three members of this grand trio with one voice. The further out this trio goes, the more they remain in the same orbit circling around one another in balanced, elliptical threads. Beauty is a rare thing and this discs is a rare treat.– Bruce Lee Gallanter, Downtown Music Gallery Continue reading

Gianni Mimmo | Harri Sjöström | Live at Bauchhund Berlin 2010 | Amirani Records

The soprano saxophone is an unsafe place. Here two musicians devoted to the “fish horn” in an intriguing sound mirror play. Transparence and flexibility of this rare formula rapresent the first nucleus of a reciprocal discover, a distance suddenly dialogic and without hiding possibility. It’s a dance, ovelapping different and close identities, where the inner voices catch themselves, giving room to a new narration, easy and complex at the same time, and to an expressive push. Deeply explored here, the soprano sax shows still a surprising modernity, a plastic psossibility, a great elegance and a more phisycal, direct sometimes violent side. Both pupils of the modern soprano sax master Steve Lacy, but with different derivations, Harri Sjöström and Gianni Mimmo are considered among the most interesting sound declinations of the soprano saxophone. Lyrical, ispired, harsh and warm at the same time they are performers with a personal style, great skills and sensitive feelings. Continue reading

Sabir Mateen | Frode Gjerstad feat. Steve Swell | Sound Gathering | Not Two Records

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

Matthew Shipp | Sabir Mateen | Sama | Not Two Records

Pianist Matthew Shipp and multi-instrumentalist Sabir Mateen make for fascinating duet partners on this album, which is an eight part suite of completely improvised music recorded at the Roulette Studio in New York City. While Mateen plays a battery of instruments from saxohpone to flute, it appears that he sticks to clarinet throughout this recording. The high woody sound of the clarinet makes from a fascinating contrast with Shipp’s often low and probing keyboard playing. Shipp’s piano playing is clearly articulated and patient whether his is laying down a foundation for Mateen to improvise over, or engaging him in a head-to-head duet. Shipp lays down beautifully stark and dark toned chords and notes, and Mateen swirls and probes them in a natural and organic way. There is nothing forced about the music, the two work together seamlessly with a common goal and strategy in mind. The suite builds logically through a series of dynamic moods and textures, from fast paced free improvisation to long and low abstractions of melody and form. Both musicians are patient and sympathetic duet partners and they make music that has an open ended muse and graceful poise.– “Music And More”, Friday, April 23, 2010 Continue reading

Steve Swell’s Slammin’ The Infinite | 5000 Poems | Not Two Records

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

Ken Silverman

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

Vijay Anderson | Hardboiled Wonderland | Not Two Records

Vijay Anderson is a freelance drummer, bandleader, and teacher who lives and works in Oakland, California. He has been performing professionally in the Bay Area since 1997. He holds a MFA in music performance from Mills College, where he studied with Roscoe Mitchell, William Winant, David Bernstein, and Fred Frith. He earned his BA in music performance from S.F. State, studying under Eddie Marshall, Francis Wong, Hafez Modirzadeh, and Wayne Wallace. Anderson has performed and recorded with such diverse, outstanding musicians as Los Angeles-based multi-instrumentalists Lynn Johnston and Vinny Golia, Bay Area composers/performers Ben Goldberg, Sheldon Brown, John Schott, Graham Connah, Darren Johnston, Smith Dobson V, Lisa Mezzacappa, Aaron Bennett and Ava Mendoza, and Austria-based saxophonist/composer Marco Eneidi. He also has worked extensively with Brooklyn based bass player/composer Adam Lane as part of Lane’s Full Throttle Orchestra, the Adam Lane Trio featuring Vinny Golia, and Adam Lane’s Blue Spirit Band featuring Avram Fefer and Roy Campbell.
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Rosa Luxembourg New Quintet | Night Asylum | Not Two Records

Rosa Luxembourg New Quintet consists of five talented musicians who respect no boundaries when it comes to creating music. The five musicians in this group all exhibit good talent for free jazz improvisation. Heddy Brubaker’s sound hovers between the academics of Anthony Braxton and the more primordial sounds of a Marion Brown or Julius Hemphill. Piero Pepin’s trumpet growls and moans Lester Bowie style as it plays off the rest of the ensemble. Marc Perrenoud provides bass and electric guitar in a manner that adds rhythm and color rather than tonal assistance. Fabien Duscombs expertly uses a wide range of percussion instruments. Lastly, Françoise Guerlin’s voice is an improvisational instrument in its own right. — freethemusic – olatunji.blogspot Continue reading

Sei Miguel | Pedro Gomes | Turbina Anthem | No Business Records

Turbina Anthem delves into the throes of assertive, sometimes chaotic experimentalism. A pungent trumpet opener pierced with mutated guitar plucks is standard fare across much of the track list, to most astringent effect on “Spoon” and “Jura”. Gomes aurally transforms his guitar into a metal sheet-washboard hybrid on the former, providing a percussive foundation for Miguel’s flaring trumpet. Beneath the grating overlap of the two strong-willed sounds, however, there does lay an appealing sense of discord and darkness – an ‘antiharmony’ of sorts. This quality reaches its height in “Jura”; Miguel plays with more apparent momentum, immediately searing the air when met with Gomes’ guitar gunshots. Turbina Anthem’s recurring piece – “The Pale Star”, recorded in five parts – offers some much-needed palate-cleansing. These tracks open with bare plucks of guitar or extended trumpet notes, proceeding serenely with few adornments. Gomes and Miguel still stretch the bounds of their instruments but on a more controlled scale, showcasing their versatility past caustic composition. —Sharon Mizrahi Continue reading