T – U – V

All artists filed by last name under T, U and V :

Richard Tabnik Trio | Symphony for Jazz Trio | NA1053

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Thanks to Roberta Romeo, the genius who keeps my saxophone singing; thank you jushi (June Siegel) for believing in me when so few people did; thank you Sonny Dallas for all the wisdom that you imparted to me; thank you Lee Konitz for being the reason that I play the alto saxophone; thanks to John Zorn for The Stone; thank you Connie Crothers, for inviting me to do that trio gig at The Stone: you will always be my inspiration, teacher, and favorite musician; and above all, Thank You, Prem Rawat, for showing me Beauty beyond everything else. Thank you etc……Richard Tabnik Continue reading →

Roscoe Mitchell | Corey Wilkes | Craig Taborn | Jaribu Shahid | Tani Tabbal | Roscoe Mitchell Quintet | Turn | RogueArt Jazz

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It’s been many years since the multi-facetted art of Roscoe Mitchell overwhelm us whether with the Art Ensemble of Chicago, or his Note Factory, or his solo performances or so many projects with so many giants. However, we know that Roscoe Mitchell still has much to say. Incredible as it may seems, this here quintet generously offers yet another dimension of his music. The first striking thing in “Turn” is how Mitchell perfectly controls such an elaborate speech while, rich as may be the written parts, they never hamper the freedom to ad lib. And that’s why each new listening at “Turn”, each of Turn’s turns (and there are many), bring new emotions and wonderful surprises. Roscoe Mitchell unquestionably is the architect of this refined musical building called “Turn”; however, without such great musicians as Corey Wilkes, Craig Taborn, Jaribu Shahid and Tani Tabal, the other members of the quintet, we wouldn’t have entered it so easily. For all these reasons, we dare say “Turn” is a masterpiece. And we do mean masterpiece! Continue reading →

Vincent Davis | Malachi Favors | Hanah Jon Taylor | Maghostut Trio | Live At Last | RogueArt Jazz

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Notwithstanding a fruitful career the great, late bass player Malachi Favors was quite a discreet musician even though no one has forgotten his role as the central mainstay of the Art Ensemble of Chicago until his death in January 2004. Apart from this, he only made one splendid solo album but no group recording as a leader was heard until this Maghostut Trio. Consequently, the present beautiful, original, intense and cohesive record is also a rare musical moment to enjoy. A few months before his death, Malachi Favors gave birth to this trio featuring the powerful lyricism of Hanah Jon Taylor and the precise ear of Vincent Davis; both of them complementary of Malachi Favors’ unique and too rarely heard playing. Listening to this record, we realize how any musician willing to be original has to perfectly know the pastime masters. And that’s why, through freedom, freshness and power of speech, we are confronted here with centuries of History. Live at Last Single CD Malachi Favors Maghostut: double bass Hanah Jon Taylor: soprano & tenor saxophones, flute and keyboards Vincent Davis: drums Recorded live in October 2003 at Madison University (Wi, USA) and the Velvet Lounge in Chicago (Il, USA) Continue reading →

Alexandre Pierrepont | Mike Ladd | Maison Hantee | RogueArt Jazz

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On one level, both music and poetry are very much the same, that being sound – at least the spoken word would be. Here in “Haunted House” is a sound design or shape being put forth with multiple meanings psychoacoustically, linguistically, musically that I can only say very little about in terms of meaning, since ultimately it’s meaning will be with each individual who experiences this work. This rhythmic engagement between these two art forms create a third reality of sound gestures and events that collide and integrate. Yet knowing these facts it still does not allow me to analyze or describe exactly what “Haunted House” is. Hopefully this experience will be a catalyst at some level for good. — Henri Threadgill, excerpts from the liner notes Continue reading →

Kassap | Lavant | Lopez | Medioni | Tchamitchian | Ascension, Tombeau de John Coltrane | RogueArt Jazz

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…Questions: none of Coltrane’s albums bears this title. And somehow all of his albums do. All are clearly subjected to the ramified, plural, moving, exuberant, augmentative interrogation, that they left us, as if panicked or distraught. Such trust. A unique manner, always beyond and ahead of itself. A haunted, questioning manner. Inheriting a question is, in many ways, convenient; it’s called mysticism, and in the end, there’s something in it for everybody. To see oneself or live as the guardian of a range of questions certainly can’t be read on the same stave. It creates different obligations. Requires, in more ways than one, writing – taking part. As, here, Franck Médioni and Lavant’s voice, or Sylvain Kassap and Ramon Lopez, and Claude Tchamitchian… — Chrisitan Tarting, excerpt from the liner notes Continue reading →

Larry Ochs Sax & Drumming Core | Stone Shift | RogueArt Jazz

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For me form precedes function. If I can’t see the big picture, that universe of sound within which a given piece will come to life, it is hard to organize the internal details. The great thing about the Sax & Drumming Core experience is that I have four special forms developed for this band. So I actually get to write pieces similar to other ones I’ve already penned, just like a jazz band-leader who works with “the changes.”! It’s cool, and it really helps to get to the center of the music and probe and evolve. — Larry Ochs, quotation from the liner notes Continue reading →

Nicole Mitchell’s Sonic Projections | Emerald Hills | RogueArt Jazz

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…The writing, or rather the musical cards drawn up by Nicole Mitchell for Sonic Projections carefully and continuously handle many openings and many transitions. …It is fascinating to hear each musician circulating freely in the space of each piece, following the internal logic of the proposed forms and spacing them out, bringing in other forms inside and round about – stretching and projecting the meaning, as if to respect the opulence of things with their doubles. Each musician is himself a space and a passing place. Such is David Boykin on Wishes, leaning against the other three and giving out one of his enigmatic rewound solos; such is the transformational duo between Craig Taborn and Chad Taylor on the second half of Emerald Hills, passing completely as the interventions or non-interventions of the saxophonist and the flutist go by. …And if a volcano can project, on demand, lava, sulfur, cinders or scoria, this music projects vision and nourishment. « That’s what I love about music – the unlimited possibilities – and always restless to try something else. » — Alexandre Pierrepont, excerpt from the liner notes Continue reading →

Craig Taborn | Rob Brown | Nasheet Waits | Rob Brown Trio | Unknown Skies | RogueArt Jazz

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…Every trio without a piano or without a drums, or as in this case without a double bass, gains in incline what it loses in “balance”. It only takes a little sometimes. Everyone plays at ease across. Everyone can split themselves. There are no more solos as solos but phases, circles of influence and predominance which do not last. The duos bind and unbind more clearly, the contrasts stand out better. The theme is no longer material to develop but, as in Unknown Skies, a lyrical and volatile substance which evaporates between the communicating vessels of two duos within the trio, from the sweet wanderings of Brown and Taborn to the moats where Taborn and Waits dance. Here and there. In the middle of Bounce Back, the theme is a branching, and only a branching, connecting the spiral discussion between the saxophonist and the drummer and the take off of the pianist. Here and there. On The Upshot, the theme does not unfold, it coils and rewinds more and more rapidly, up to the clearing. Bobbin-clearing. When it is still exposed in due form, and comes back at the end, as on A Final Line, the theme seems almost unable to bear the pressure of what will follow, of what has gone before. — Alexandre Pierrepont, excerpt from the liner notes Continue reading →

Joe McPhee | Steve Dalachinsky | Evan Parker | Jean-Jacques Avenel | Joëlle Léandre | Sylvain Kassap | Ramon Lopez | Jean-Luc Cappozzo | Simon Goubert | Raphaël Imbert | Urs Leimgruber | Didier Levallet | Barre Phillips | Michel Portal | Lucia Recio | Christian Rollet | John Tchicai | 13 Miniatures for Albert Ayler | RogueArt Jazz

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As for the penultimate phases of this polyphonic hirsutism, fortified by explosions, whirlwinds, chants, howls, bubblings and very high pitched sounds, everything happens as if the last cry recalled, as in a trance, a certain aylerien spirit – did not Robert Schumann write “Music is what permits us to speak with the heavens”. — Philippe Carles, excerpt from the liner notes Continue reading →

William Parker | Centering | Unreleased Early Recordings 1976 – 1987 | 6 CD Box Set | No Business Records

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This box of music is dedicated to my wife, Patricia. I would also like to thank the producer Danas Mikailionis for his conviction to the project and Ed Hazell for guiding us through these musical memories. I give sincere thanks to all the musicians who made a commitment to the music; those who have passed on to the next life – Billy Bang, Malik Baraka, Denis Charles, Raphe Malik, Jay Oliver, Charles Tyler, Arthur Williams – and those who continue to play and create beautiful music of their own today – Ramsey Ameen, Brenda Bakr, Roy Campbell Jr., Daniel Carter, Ellen Christi, Charles Downs, Charles Gayle, John Hagen, Masahiko Kono, Rozanne Levine, Alex Lodico, Zen Matsuura, John Mingione, Jemeel Moondoc, Lisa Sokolov, Ricardo Strobert, and David S. Ware. — William Parker Continue reading →