M – N – O – P

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

Steve Swell | Remember Now | Not Two Records

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Remember Now is the second release of trombonist’s Steve Swell Slammin’ The Infinite band, and they now sound more like a unit. Rather than two front line soloists with a rhythm section, on this release they seem like a group of four equals. The rhythm section of Matthew Heyner (who is amazing on this disc) and Klaus Kugel (ditto) has really developed into a team that is just as able to step out in front and lead the band as to drive it along from behind. And the material Swell has written takes full advantage of this. The opening track “Antlers” is a good example. Those who think this group as merely an energy blowing band may be surprised by this track. The horns play written material throughout, a series of off kilter phrases that form a springboard for the rhythm section and a feature for Heyner. His arco bass work on this track shows that he’s the heir apparent to Alan Silva, with careening lines flowing effortlessly off his bow. Elsewhere Swell scores out fiery phrases for the horns. MB-1 (for Marion Brown) has the horns stating the theme, jabbing out staccato phrases.– Robert Iannapollo, All About Jazz) Continue reading →

Trio Tarana | Five Nights | Not Two Records

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If cutting-edge music presages the course that society will takethen this release from Trio Tarana indicates that at some point we will be heading down the right path. Percussionist Ravish Momin leads a trio of musicians with diverse ethnic backgrounds with the stated purpose “of sharing their unique Asian-American musical concept and identity with different audiences, worldwide.” With Five Nights, recorded live at Washington DC’s beautiful Freer Gallery of Art amidst their excellent Asian collections, the band has exceeded its aim by producing a session that can serve as an example of cultural harmony to all people. The instrumentation is string-based but has Momin’s startling North Indian percussion at its heart. The combination of Jason Kao Hwang’s violin with Shanir Ezra Blumenkranz’s bass and oud exudes a wide sound palette that conveys lovely understatement and graceful lines, along with blistering solos. — Elliot Simon Continue reading →

Mike Pride | Scrambler | Not Two Records

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Mike Pride’s Scrambler starts off with a bang. On the first track, “A Cry For Unity” , the drummer-leader starts the trip with a barricade of beats. Soon enough his “Cry For Unity” is answered by a tremendous trio of sounds, William Parker booming his bass in with Charlie Looker’s subtle yet key guitar, allowing Tony Malaby to fly out of the boundaries of his sax. Looker steps front stage in “Sometimes It Just Goes To Show” with a refreshing tone. Clean and fast, with the occasional handmade effect, Looker delivers. At the drop of a hi-hat, this band of four can go off in their own dimensions, as they weave in and out of each other to create a smooth and ‘scrambling’ sound. The beauty is that as much as these guys go out riffing, they tighten up just as quickly with a flawless transition. A master collaboration of musicians.– allaboutjazz Continue reading →

The Cosmosamatics | Zetrons | Not Two Records

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Zetrons The newest recording by the Cosmosamatics that you are now listening to, represents our story in the new millennium of American Jazz/Improvised Music. Among the musical tales you will experience, Dance of the Zetrons (title cut) represents a dance that is universal throughout the universe. Road Doggs is about the struggle and the strength of a band traveling on the iron horses (trains) in Europe. We also pay tribute here to the great Eric Dolphy and do a rendition of his classical composition, Serene. And of course, the beauty of Sonny’s tribute to Mingus with his suite: Mingus Mangus. We are a “band” – which is rare in Jazz these days. Sonny and I have been collaborating for years to keep the tradtion alive of being a bind (like these great groups: “Modern Jazz Quartet” – “Art Ensemble of Chicago” – “World Saxophone Quartet”, etc.) We are a group of improvisers, bringing a message of peace and healing love for all, trhough sound & sould. — Michael Marcus Continue reading →

Andrzej Przybielski | Marcin Oleś | Bartłomiej Oleś | Abstract | Not Two Records

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The album you are holding was recorded in 2003 and its origins go back to a couple of days in July we spent together recording the soundtrack for the TV Theater show (Parasite, directed by Marcin Wrona). As long-time devoted fans of Andrzej Przybielski’s music, after having collaborated with him for a number of years, we remain constantly impressed by his working methods and the way he views life through the prism of improvisation. At the same time, we believe his music has never been fully presented. That is why we dared produce this disk and be his accompanying musicians during the recording sessions. Most of the music recorded here has been made with no previous rehearsals, preparations or agreements, which reflects Andrzej’s working methodology as well as his firm conviction that real music does not require declarations and if it is to come into being, it wilt do so without them – hence the comments made ad hoc in the studio right before recording a given track. In order to underline the rawness of this music we decided to record it using only three microphones, so that each instrument could fill the same portion of space and therefore be equally important as the other two. — Marcin & Bartlomiej Brat Oles Continue reading →

Return Of The New Thing | Crescendo | Not Two Records

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What binds these four individuals together is complex and testifies to a glorious openness and pleasure. Even if the music on this disc gives the (miraculous?) impression of being “composed” and interpreted by a group of long standing, you ought to know that Guionnet and Warburton were playing together here for only the second time, and that, with the exception of “Hic et nunc, in limine” (a Perraud composition), all the pieces were freely improvised. If the spectre of Ornette seems to hover above, this is – beyond the presence of alto sax and violin – due to the white heat and special tension of the composer/instrumentalist dichotomy. “Somehow, anyhow” (title from Malcolm Lowry) evokes a sweaty, disturbing jungle shot through with discontinuous, acidic saxophone lines and piano clusters, reinforced by drums and bowed bass. “Hic et nunc, in limine” (“Here and now, on the threshold”), the album’s only “composition”, crosses more tranquil (apparently) landscapes with pointillistic dabs of colour, while long, lyrical saxophone lines unfold (sounding like a high tenor) and a groove establishes itself, a groove directly in the lineage of black free music. “Y2K” (computer jargon for “the year 2000”) sets violin/bass and sax/drums duos against each other before the appearance of a superbly swinging quartet, alto saxophone riding high over McCoy Tyner-esque piano. The oriental rhythmic inflexions that open “Truth and Reconciliation”, over a background of sax and prepared piano clattering, are followed by funky evocations of of great tenormen (Shepp, Rivers, Ware..), but also of Abdullah Ibrahim and Bobby Few. The French scene of creative improvised music has been in full bloom for several years now, and this generous, burning album is the proof. Return of the New Thing? — Gérard Rouy Continue reading →

Thomas Pernes | Andy Mandorff | Perndorff | Not Two Records

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All compositions by Thomas Pernes and Andy Manndorff. Recorded at Pernes Private Studio – Vienna, September 5, 2003. Mastered at Red Yard Studio, Vienna. Sound Engineer: Karl Petermichl. Photographers: Herbert Ellinger (Andy’s photo), Didi Stattmann (Thomas’ photo), Thomas Pernes and Andy Manndorff (landscape photo). Designer: Bartosz Winiarski. Andy Manndorff plays strings made by Thomastik-Infeld exclusively. Supported by SKE-Fonds, austro mechana. Copyright 2004 by Thomas Pernes and Andy Manndorff, AKM. Continue reading →

Marcin Oleś | Ornette On Bass | Not Two Records

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Oles’ 12-track CD is a tribute to Ornette Coleman, creating versions of the alto saxophonist’s combo compositions using only his bass. Oles may be the first bassist to record a whole solo CD of Coleman themes. But considering many of the heads harken back to the country blues string band tradition, a bull fiddle would seem to be ideal for the task. You’ll certainly believe that once you’re heard the Krakow-based bassist traverse the tunes. For instance on “Humpty Dumpty”, he speeds up the tempo a bit, yet here and throughout the disc he allows the basic song-like quality of Coleman’s themes to come out. At times as well, his vibrations are such that plucks and the echoing malleable harmonic tones almost sound like two basses. — Ken Waxman Continue reading →

Marcin Oleś | Theo Jörgensmann | Bartloliej Brat Oleś | Miniatures | Not Two Records

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Robust circulating spirits guide the interaction of the trio of M.Oles, B.Oles and Jorgensmann on Miniatures. After an ethereal opening, strong, responsive bass lines by M.Oles carve a trail through uncharted territory while B.Oles clears all the underbrush with his power-laden drumming. Jorgensmann leaps into the clearing breathing fire through his basset clarinet (a slightly longer version of today’s instrument with extended range in the lower register), resulting in the group taking full charge with simulating improvised music. Although titled Miniatures, the CD’s selections evolve as fully developed, open statements on the creative art form. Tonally, the music dips to the deepest end of the sonic pool through M.Oles’ probing resonance and to its apex, where Jorgensmann creates a maelstrom with his fiery blowing. — Frank Rubolino Continue reading →