“…plays crisply and leaves the harmonic spectrum wide open, comping only on the more tonal pieces, where its necessary. Listeners will also remember Gamble for his creative arsenal of sounds: the accelerating loop effects and the post-Hendrix sound-washes in particular.” — David Adler, All About Jazz – New York Continue reading
Brio is a band from Zagreb, Croatia. This duo was formed somewhere in 1999 and played its first show in 2001. Since its formation, and with members coming from Zagreb punk-rock, noise-rock scene, Brio has devoted itself to practicing and performing free-improvised music. Continue reading
This record is about memory. A train ran through my backyard in Cucamonga where I grew up. Songs like “Que Sera Sera,” “Pistol Packin Mama,” “Born To Lose,” “On Top of Old Smokey,” are some of the earliest songs I ever heard, as a baby, my grandfather romping around with his guitar. Continue reading
“First, it is a great thing to have Dillinger reborn again being read this time you hear his voice in poem Dillinger and Todd Moore is reading his poem of American hero. His voice (Moore’s) and poem enhances J. A. Deane’s music and the music fits like a knife in the rare cooked steak of Dillinger served up by Moore.” — Michael Basinski, The Hold, March 2002 Continue reading
First solo album of Simple Acoustic Trio. This is a tribute to music of Krzysztof Komeda – an extraordinary talented self-taught composer and pianist whose after his tragic, untimely death, became a legend and a cult hero of Polish jazz. All tracks on this CD were composed by Komeda. Continue reading
Piano solo dedicated to Eric Satie, Domenico Scarlatti, Igor Strawinsky, Thelonios Monk, Miles Davis, Paul Bley, John Coltrane. Reminiszenzen… Erinnerung… Anklang… by Hubert Bergmann Continue reading
Emerging Field marks the sixth release of Faruq Z. Bey with the Northwoods Improvisers on the Entropy Stereo label. This release finds the group exploring rhythm and space in a broader sense than previous offerings. Faruq Z. Bey, Mike Carey, and Skeeter Shelton create thoughtful space and intricate conversations in their horn lines evoking a relaxed and passionate response with a solid blues focus. Mike Johnston and Nick Ashton root the group with their sound rhythmic foundation. The track Mokondi brings out the strength of this rhythm section. Mike Gilmore floats in and out of the music with vibes and marimba reminding one of some of the fantastic work of the late Walt Dickerson. Among the highlights are Carey’s arrangement of Ornette Coleman’s Beauty is a Rare Thing, and Mike Johnston’s Tenere’. Continue reading
fifth in the series “salon für klang und kunst” is localized talks| 26.02.2010 | all music by udo schindler (GEMA) and sebastiano tramontana (GEMA). liverecording: udo schindler. www.arch-musik.de Continue reading
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
Why should an album as good as this one is be so obscure? Well, there are many reasons. There are all the ugly assumptions in the music world that poor black people can’t make serious art, the assumptions that George Lewis lays bare to such devastating effect in his history of the AACM, A Power Stronger than itself. There’s the economic corollary to that assumption: that if it’s not art, then it must be subject to the marketplace pressures of pop music, which European, or “real,” art music doesn’t have to contend with. Since avant-garde improvised music isn’t popular music, the economics always work against it. And so this album, and countless others, fade away due to social and economic neglect to become the quarry of avid record hounds. The reasons albums like this one sink out of sight are not entirely due to impersonal social and economic forces, however. It’s not as if these conditions were mysterious or unknown to musicians. Indeed, they have always been a source of anger and frustration. By the early ’70s, this anger and frustration boiled up into the do-it-yourself, countercultural, and black separatist spirit of the loft movement. Rejecting the system that in effect rejected them, the musicians who lived and worked in the lofts established their own performance venues and sometimes their own record labels. — Ed Hazell Continue reading