Jazz

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Tomek Sowiński and the Collective Improvisation Group | Illustration | Not Two Records

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Irek Wojtczak – tenor & soprano saxes, clarinet, flute, voice | Darek Herbasz – tenor & baritone saxes, flute, voice | Piotr Mania – piano (#5,8), flute, voice (#2) | Tomek Sowiński – percussion, flute, voice | Adam Żuchowski – bass, flute, voice | Marcin Gawdzis – trumpet, voice | Jacek Namysłowski – trombone | Dominik Bukowski – marimba | Sławek Jaskułke – piano (#1,4,6,7). Recorded: night 18, 19 July 2005 at a loft in New Port in Gdansk and night 8, 9 February 2006 and night 14, 15 June 2006 at the Philharmonic Chamber Hall Olowianka, Gdansk. Sound engineered and mastered by Piotr Taraszkiewicz. Graphic design by Jacek Staniszewski alias dr.Jahill. Producer: Tomek Sowinski. Executive producer: Marek Winiarski. Continue reading →

Vandermark 5 | Four Sides To The Story | Not Two Records

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NotTwo Records extremely limited, outstandingly lavish 2- LP’s box-set, further pushes limits not only musical boundaries of improvised music but also the whole concept of conceptual package, as recently re-defined by its own issue of “Alchemia” by Vandermark 5. This exquisitely realized set includes 2 separate LP, housed together in a one-of-its-kind unique box with absolutely astonishing covert art. Comprehensive booklet with many personal insights from Ken Vandermark himself, rare pictures, interviews and essays from acclaimed critics, compliment the whole set. Continue reading →

Satoko Fujii | Natsuki Tamura | In Krakow, In November | Not Two Records

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Recorded in Poland in November 2005 it is perhaps most notable for Tamura’s dominance. While the trumpeter is often in the shadows of his pianist wife, here five of the eight pieces are his, three of those — including the title track — also recorded by his excellent group Gato Libre. Fujii and Tamura play beautifully together and the Krakow studio session is a lovely, somber affair. They open with the title track from Gato Libre’s first album, 2005’s Strange Village. It’s rare for the pair to revisit compositions — they seem to have too much forward momentum for that — but here it’s great to hear new arrangements of familiar tunes. With the Gato Libre project, Tamura has from his quirky, sometimes noisy work of just a few years ago and has been writing unabashedly beautiful, Spanish-inflected melodies for his new group. Here, without guitar or rhythm section, Fujii’s romantic playing sets them at a different angle. Without space between the tracks, the album comes off as a suite and 22 minutes in, when Fujii’s first piece begins, it’s immediately apparent how different they still are. If Tamura has dropped some of the humor and abstraction of his earlier work, Fujii is still the jazzier of the two. With Ninepin’s the tempo picks up, the melodies come out of hiding and Tamura meets her with bright, boppy playing. — Kurt Gottschalk, All About Jazz Continue reading →

Gebhard Ullmann | Basement Research | Live in Münster | Not Two Records

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Thefour players get off to a sparring start as they weave rings around each other in the quiet introspection on “Blaues Lied”, before they find the blues. The pace continues to be sombre: Ullmann takes the tune out on the tenor saxophone, laying the melody open and bringing in dramatic turns and twists. He forges new ideas on the go as he changes pitch and direction. When Malaby comes in, the atmosphere opens up and the two horns shoot some tensile lines, which evaporate as Malaby traverses new territory with a cogent solo on the melody. Ideas continue to germinate as the recording proceeds. Ullmann moves to the bass clarinet on “Kreuzberg Park East”. Shifts of time herald this tune, where Ullmann and Malaby engage in spirited exchanges that heat up as they go along. There is never a dull moment as the tension of the horns is leavened by the space created by bassist Drew Gress and drummer Phil Haynes, flexing the rhythm with light accents. “New No Ness” is a happy romp with Ullmann on the soprano, unfurling light and airy spirals. Malaby comes out and swings before he goes into an open-ended improvisatory run and cues in Ullmann and Gress, who cast intrigue with their turn of pace and direction. It is here that the Ullmann flips the tune into calmer waters; he churns the mix with darting lines before the group gets back together and rollicks off into the night.– Jerry D’Souza, All About Jazz) Continue reading →

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 →

Oluyemi Thomas | Kenn Thomas | Eugene Wilson IV | Howard Byrdsong | Nigeria | Not Two Records

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Encouraged by the recent strong releases on the Polish Not Two label, I took a deeper look in their catalogue and came across this album, led by Oluyemi Thomas on bass clarinet and musette, with Kenn Thomas on piano and synthesizer, Eugene Wilson IV on fretless electric bass and Howard Byrdsong on drums. And this record is unusual, if only because it’s rare to find free jazz albums with both synthesizer and fretless bass. OK, David S. Ware has done experiments with synth and so did Joe McPhee, but the use here is more sparse, more functional, less intrusive. The album is a kind of suite, without pauses between the tracks, reinforcing the very strong musical unity, and an incredible raw poetic power.–Stef 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 →

Marco Eneidi | Peter Kowald | Damon Smith | Spirit | Ghetto Calypso | Not Two Records

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Posthumous Peter Kowald releases keep coming down the pike and this one looks very promising on paper. The first three surnames on the roll call require no introduction to regular Bags readers. The identity and credentials of Spirit are probably another matter. Patterning a sparse style that draws on both New Thing and European Improv customs, his light pattering touch sometimes feels a bit flimsy and transparent, particularly during the ensemble’s higher density moments. Fortunately, in a group like this one with two strong-willed bassists vying and colluding, it’s a strategy that complements rather than hinders. His brief solo drum foray “Obo” suggests time spent shedding to the sounds of Don Moye and Denis Charles, and like both he’s prone to gruff vocal commentary in conjunction with his stick play. Pale shades of John Stevens also arise in the pointillist side of Spirit’s approach, though I’m not completely sold on his cachet as a contender. — Derek Taylor Continue reading →

Anthony Braxton | Chris Dahlgren | ABCD | Not Two Records

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PENUMBREA for Woodwind(s) and Bass(es) is a series of 26 blocks of material to be played or faceted, forwards or backwards. The piece was composed for this duo, comprising Anthony Braxton on woodwind(s) and myself on bass(es). Along with my other Penumbrea-system compositions, PENUMBREA for Woodwind(s) and Bass(es) may be viewed as building blocks to be uniquely reconfigured for every different performance/realization. In the case of the four individual Penumbras on this recording, Anthony and I each drew from a deck of playing cards, corresponding to blocks (26×2) of the composition, which determined the actual recorded material at Wesleyan. Later, living in Berlin, I used indeterminate methods as well as some personal preferences to construct the Penumbras into their present form. Thank you, AB, for inspiration, support and your incredible music (billions and billions…). RCD/ Berlin, Nov. ’05 …Anthony Braxton … and I each drew from a deck of playing cards, corresponding blocks (26×2) of the composition, which determined the actual recorded material…Chris Dahlgren Continue reading →