AMH Trio | Alan Lechusza | Mark Weaver | Harris Eisenstadt | Live at Field & Frame | Plutonium Records

Releases like “live at the Field & Frame” serve notice that free improvisation and outside jazz (…or whatever you want to call it) are alive and well outside of NYC, Chicago and San Francisco. Tuba-ist Mark Weaver encountered San Diego-based multi-woodwind player Alan Lechusza while playing in Portland Oregon, in groups led by trumpeter Rob Blakeslee and trombonist Michael Vlatkovich. To quote Weaver’s own liner note, he and Lechusza “immediately felt an affinity” for each others’ playing, and planned their own project. — Dave Wayne Continue reading

Oleś | Mahall | Tiberian | Oleś | Contemporary Quartet | Not Two Records

We give you a CD that is a product of our thoughts, fascinations, and several months’ hard work. The material included on it is a selection of compositions by Polish 20th-century contemporary composers, from the early post-war years up to the present hence the names Grazyna Bacewicz, Stefan Kisieleswski, Marzena Komsta, Witold Lutoslawski, and Krzysztof Penderecki show up here, as do pieces from various periods of their creativity. The choice of these, as opposed to other compositions was influenced in equal measure by our tastes/our bent towards chamber, music, as well as prosaic factors such as availabilifty of scores. All compositions on the CD used what is known as classical notation, which was our choice. We applied available contemporary compositional techniques, however, in the construction, or definition, of the form of improvisation. Despite the fact that our primary inspiration was that of the themes of the original compositions, it was in the forms of the respective pieces that we sought variation, while maintaining an affinity with 20th-century contemporary music. Thanks to the fact that it was possible to invite such outstanding improvisers as Rudi Mahall and Mircea Tiberian to participate, we were largely successful in achieving this. — Marcin & Bartlomiej “Brat” Oles Continue reading

Jessica Jones Quartet | Word | NA 1045

Her Jessica Jones Quartet has been featured in the What Is Jazz? Festival at New York’s Knitting Factory and also at the Eddie Moore Jazz Festival at Yoshi’s in Oakland, in addition to performing at many Bay Area and East coast clubs, colleges and radio stations. Jessica also performs in a duet setting with her husband Tony. Word is her fourth recording as a leader and follows 2005’s Nod (New Artists Records), 2002’s Shakeup (independent release) and 1997’s Family (Nine Winds). She also performed as part of Joseph Jarman’s Lifetime Visions Orchestra on 2006’s Lifetime Visions for the Magnificent Humans. Continue reading

Jessica Jones Quartet | Nod | NA1039

Thereis a small, specialized subgenre of jazz that occurs when out-cats decide to come in from the cold and play it (relatively) straight for a tune or two. (Think Eric Dolphy exhausting “You Don’t Know What Love Is”on Last Date, or Alber Ayler croaking“Nobody Knows the Trouble I’ve Seen.” The fun comes from the tension created by turmoil under voluntary temporary restraint. Nod has some of that tension (and fun). Jessica Jones and her husband, Tony Jones, are perhaps the only avant-garde, tenor-sax playing man-and-wife tandem in jazz. Their 15-year track record revolves around experimental composition, freer forms and collective improvisation. But the Joneses planned Nod as “a tribute to the jazz guys (and gals) in the lineage.” The result is an approachable, intriguing album, full of surprise and positive energy. Continue reading

Richard Tabnik Quartet | Life at the Core | NA1016

The songs on this album are not tunes which you are likely to start singing in the shower. More likely you will be stuck contemplating what it is about these songs that is so engaging. The elements presented could easily be a standard jazz recording session, but as soon as the first notes well-up you are immediately informed that you are in for a wild ride. The strumming and linear stylings of guitarist Andy Fite combined with the driving rhythm provided by bassist Calvin Hill and drummer-extraordinaire Roger Mancuso provide the perfect background for Tabnik’s lightening-fast improvisations. Tabnik reaches into this foundation to pull interesting and tasty pieces out which he uses to shape and create his solos out of. This is especially apparent in the two takes of Tabnik’s tune “Timescapes” (cuts 6 and 7). Listen for the interplay between Fite and Tabnik as they wind through the changes. Richard Tabnik is someone that you should definately check out. This is an artist who is not afraid to be himself. — Review (c)1996 Jason DuMars Continue reading

Connie Crothers | Lenny Popkin Quartet | In Motion | NA1013

A memorable concert at “The Cave” (Belgium, Nov. ’91) alternating standard forms and free forms — the music joining wild flights of the tenor around the harmonies, sinuousity and diabolical precision, compact rhythms stretching tradition, and at the center the pianist lighting the powder keg with flurries of single notes, unexpected accents and expansive chord clusters. They appeared astonished at the enthusiasm of the public that was still in shock but enraptured. This is their latest album. — Gerard Rouy Continue reading

Connie Crothers | Lenny Popkin Quartet | Jazz Spring | NA1017

The influence of Lennie Tristano’s teachings survives into the ’90s with the Connie Crothers/Lenny Popkin Quartet a principal exponent. “Jazz Spring” melds contrasting approaches, with mixed results. Crothers can be a forceful, percussive pianist, prone to dark, minor chords delivered with a stabbing attack. Popkin favors the tenor saxophone’s upper register, and plays smoothly in a style somewhat suggestive of Lee Konitz. As an accompanist, Crothers maintains tension, but sounds stern and hard-edged, almost at odds with the group’s bright, upbeat approach. As a soloist, Crothers adopts a more expansive, introspective persona. On the CD’s best tracks, “Jazz Spring” and “Beyond a Dream,” she exhibits a lighter touch, unraveling elaborate melodic lines. in this mode, she interacts effectively with Popkin’s tenor. — Down Beat, August 1994 Continue reading

Connie Crothers Quartet | CCQT | Ontology | NA1035

“The most striking aspect of the music they create is their ability to communicate their individuality while blending into a functioning, cohesive ensemble. This requires a considered approach to the question of “…the nature aand relations of being…” in a democratic group context — thus ontology. Maintaining an individual identity while coalescing into such a satisfying ensemble, and simultaneously creating such a high level of musical quality and surprise, is the true challenge of jazz. The degree to which these four musicians succeed on “Ontology” is refreshing and rare.” — Art Lange, June 19999 (from liner notes) Continue reading