Jazz

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William Hooker Quintet | featuring Adam Lane | Channels of Consciousness | No Business Records

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William Hooker (born 1946) is an American jazz drummer and composer. Early in his career, he played with the Isley Brothers and Dionne Warwick, among others. In college, Hooker began broadening his musical vision: He wrote a paper on Alban Berg, and befriended some members of Funkadelic. A move to New York City in the mid-1970s led Hooker to the so-called “loft scene” of adventurous free jazz performers. While Hooker was active in music throughout the 1980s, he was little recorded until the 1990s. While most of Hooker’s output is rooted in free jazz, critic Neil Strauss has written, “William Hooker is a man determined to get his music ‘out there’, and he’ll cross any genre to do it.” His work has also crossed over into noise rock and free improvisation. He has worked with Glenn Spearman, Christian Marclay, Tomaas Proitsis, DJ Olive, William Parker, Sabir Mateen, Dave Soldier, and Sonic Youth founders Thurston Moore, and Lee Ranaldo. Continue reading →

Szilard Mezei Tubass Quintet | Canons – 2nd Hoisting | No Business Records

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I’ll say it straight-off. Szilard Mezei is one of the most interesting jazz composer-instrumentalist-bandleaders active in Europe today. If you don’t know of him much, it’s because his releases do not shout out their existence, exactly. They are mostly small quantity albums on important but hardly mass-marketed avant jazz boutique labels, which I often favor–as of course regular readers know. A near-perfect example of the sort of release I speak of is his new one on No Business, a fine label out of Lithuania. This one is an LP pressed in only 300 copies, Szilard Mezei Tubass Quartet’s Canons – Second Hosting (No Business NBLP 56). This one may not jump out at you right away. That’s probably in part due to the very unusual instrumentation: Szilard and three others on contrabass and a tuba player!

The sound is dark and burnished. The improvisation out front, the compositional motives typical Mezei in that they bear his autographic stamp–the way of irregular phrasing, repositioning tonal commonplaces so that they become unusual. This may not be one to start with if you want to know about his music. My blogs cover a good number of those so search here and on the Gapplegate Guitar blog and you’ll find others. But there nonetheless is the characteristic daring presence on this one that makes Szilard an artist to listen to closely. —Grego Applegate Edwards Continue reading →

Thomas Borgmann | Wilber Morris | Reggie Nicholson | Nasty & Sweet | No Business Records

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From the first few notes, it’s apparent that something special is happening on Nasty & Sweet. Perhaps it’s the way bassist Wilber Morris and drummer Reggie Nicholson sound so assured in their placement of the merest splashes of color. Completely unafraid to take their time, creating a powerful tension which isn’t released even when German reedman Thomas Borgmann joins with his breathily majestic tenor saxophone smears. There is a story here. — John Sharpe Continue reading →

Hamid Drake | Kent Kessler | Ken Vandermark | DKV Trio | Past Present | Not Two Records

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You can wonder whether seven albums are really worth it, and what it offers more than their existing catalogue. The answer is simple, it’s as good as the “Live At Wells & Chicago” album, their best album in my opinon, with similar drive and raw lyricism, and with a great sound quality, much better than “Baraka”, “Live” and “Trigonometry”. So, get your copy while they are available! — Stef Continue reading →

Yehudit | Valentine | Edgetone Records

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This album is a valentine… Each of these classic songs is a valentine – a celebration of the joy and gift of love. I imagine that you might play them while you sit down to a quiet dinner with your sweetie, with flowers and candlelight. In recording these songs, I manifest my profound love for the great American traditions of jazz and songwriting, I am always astonished and delighted to be a small tributary to this great river of music. The album itself is a labor of love on the part of the musicians, engineers, and artists who contributed their skill, creativity, and heart to make it what it is. And finally, this album is a valentine from me to you, the listener. May your life be filled with love and music. Continue reading →

Yehudit | YL 101 | Edgetone Records

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Violinist Yehudit (pronounced “yeah who DEET”) is making a place for herself in the forefront of the jazz mainstream, demonstrating that the electric violin, in her hands, is a convincing and innovative jazz instrument. A classically trained player with a solid grounding in the jazz idiom, her extensive professional experience encompasses ensembles as diverse as the San Francisco Ballet Orchestra and the jazz/blues band John Handy with Class. Performing on electric and acoustic five-string violins, she produces a varied sonic palette, ranging from boppish licks and wails to warm, singing melody. Her music is firmly rooted in straight-ahead jazz, spiced with blues, free improvisation, and a dash of funk. Continue reading →

Rent Romus | The Lords of Outland | You can sleep when you’re dead | Edgetone Records

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The Lords of Outland present their latest black metal deth jazz sequel to Culture of Pain. In this day, this dawn, when privacy rapidly begins to dwindle…where the difference between inside and outside of one’s head or one’s house or one’s inbox are growing more blurred….we find ourselves in new territory, a no man’s land where everyone has fifteen hours of fame, whether they know it or not. There is no choice anymore in what is open to the electronic voyeur. The eyes of the world are upon us and we are all stripped naked on the internet, over the phone, in our email and in our very thoughts. Nothing is hidden from the watchful eyes of the ‘gods’. We are on display for their amusement. However, as the watcher watches so too do we watch him. So too do we indulge in voyeuristic fashion, in the analysis of his behavior. He is the wolf to our sheep, but we are the hunter to his wolf, and as the spiral turns so to the watcher and the watched become one in a dance, the pull eternal, between fascism and freedom. Continue reading →