Ken Vandermark – reeds | Håvard Skarpnes Wiik – piano | Chad Taylor – drums. Recorded in concert at Jazz Festival Ljubljana by Luis Delgado on July 3 & 4, 2013. Mixed by Bob Weston and Ken Vandermark at Chicago Mastering Service. Photo by Petra Cvelbar. Album design by George Staicu. Continue reading
An all-inclusive portraiture of the group’s seamless melding of worldly percussion, horns, and stringed instruments into a free-flowing modus operandi.” – Glenn Astarita, All Music Guide Continue reading
What is amazing to me is that Henry is able to layer these strange and unique sounds into something solid that speaks to us like the long lost or buried voices of ghosts.” – Bruce Lee Gallanter, Downtown Music Gallery Continue reading
The album’s title is reflective of that experience and was suggested by a relief above a doorway of the palace at Palenque, Chiapis. To the Mayans, cross eyes were considered a mark of great beauty. — Henry Kuntz Continue reading
Jesus said: “I am the Light that is above them all, I am the All, and the All came from me and the All attained to me. Cleave a piece of wood and I am there; lift up the stone and you will find me there.” — The Gospel According to Thomas Continue reading
Color Network is conceived as a tribute to one of the leading characters in the international music scene: Ornette Coleman. What sets Col-(or Net)-work apart from the others that share the same intention is the choice to focus exclusively on one album, 1957’s “The Shape of Jazz to Come”, which is regarded as one of the texan saxophonist’s seminal works. Coleman’s compositions frame a musical environment that serves sometimes as point of departure and sometimes as landing place for reckless improvisations which explore unfamiliar acoustic regions. The sound resulting in the unusual combination of two baritone saxophones and electronics turns out to be surprisingly effective and constitutes the distintive feature of the music. The band that takes risks and assumes the task of merging some of the forms of free jazz and the search for atypical, contemporary sonorities into a fresh, colourful and autonomous musical statement. Continue reading
Luciano Caruso has been the leader of several projects, and the younger, but already celebrated as a new talent, Luigi Vitale have been playing live several times. For their first recording they met on the frontier land of improvised music. Continue reading
Les titres des pieces sont evocafeurs: sur un fond de matiere grise, un sherif possede arrive d’un train fantome, va pres d’un ruisseau, commence un mouvement: en haut en bas, c’est le moment de danser, belle echappee! Le trio 2° etage, compose de Jean- Luc Cappozzo, Gerry Hemingway et Christine Wodrascka improvise sa musique comme des conteurs, des peintres, des poetes. Ces trois musiciens sont des magiciens de la spontaneite, inventant dans I’instant un decor, une histoire, un monde imaginaire avec leurs sons nes de tuyaux, coquillages, peaux, ca-houtchou, bois, cloches, billes, scotch, pinces a linge… Us jouent ensemble comme des enfants, avec generosite et authenticite, pour vivre une aventure musicale et humaine, en osmose dans I’instant present.
The titles of the pieces are evocative: on the bottom of grey matter, a possessed sheriff arrives from a ghost train, goes near a rivulet, begins a movement, up down, its time to dance, beautiful escape! The trio 2° etage, comprised of Jean-Luc Cappozzo, Gerry Hemingway and Christine Wodrascka, improvise their music as storytellers, painters, poets. These three musi-cans are magicians of the spontaneous, instantly creating a setting, a story and an imaginary world with their sounds born from pipes, shells, skins, rubber, wood, bells, balls, adhesive tape, clothespins…. They piay together as children play together, with generosity and authenticity, living a human and musical adventure, through osmosis in present time. Continue reading
ERRATIC MILESTONES. Although we (MADAME Leandre & me) have carefully listened to each other and regularly played together since 30 years or so, we have rarely documented on records our musical meetings. After all, regarding improvisation, to disappear in the air is the rule, almost the law. The sand castle everytime erased, we must build a brand NEW one at every concert. Four notable EXCEPTIONS : « Enfances », excerpts from a unique concert at the legendary club 28 rue Dunois (Paris) in January 1984, a trio with wonderful George Lewis (issued as side D in the 2LP album « sweet zee »for Hat Art). « Paris Quartet»: Joe’He Leandre, pianist Irene Schweizer, trombonist Yves Robert and myself, from two brilliant concerts (issued in 1989 on swiss label Intakt). « Madly you », recorded at festival Banlieues Bleues in 2001 : a sublime quartet-with violonist Carlos « Zingaro » and drummer Paul Lovens (issued on label Potlatch, 2002). Then Christine Baudillon realized a film on Joelle : « Basse continue » (issued on DVD, hors-ceil editions, 2008), including among lots of other sequences (with Barre Phillips or Mr Braxton) an excerpt of our duo snooted at club « 7 Lezards » (Paris) in november 2006. Fortunately, on December 2011, Catherine Luro invited the duo to play in HAS-PARREN (Pays Basque) and our dear Jean-Marc Foussat was there, with good mikes and his exceptional ears. Of course, the music was beautiful. This is our milestone #5… — Daunik Lazro Continue reading
There are few left playing to whom the term “master” can be applied without reservation. Kidd Jordan and Alvin Fielder are two such musicians. Peter Kowald, who was taken from us far too soon, was another. Fielder and Jordan have been communing through deep listening and resultant improvisation since the 1970s, when the Improvisational Arts aggregate was conceived, and these three sessions afford the chance to compare their interactions at pivotal moments of a ten-year period. Though this trio performance with the internationally recognized German bassist is the only documentation of that group, he is clearly a kindred spirit, geographic concerns thrown to the winds as three veterans compose in, for and beyond each moment. The live trio set, ushered in by Kowald’s resonant pizzicato and an invocation from Fielder’s high hat, bristles with sublimated and titanic energy, roaring and surging with oceanic force only to be pulled back, the ebbs showing no diminution of spirit but thriving on subtlety. Listen, during his solo, to the supple but nearly silent descending polyrhythmic spirals and timbral thrusts Kowald floats over Fielder’s delicate brush work. Jordan’s reentrance, after Kowald builds his solo to an inter-register frenzy, is one of the concert’s highlights, saxophone and bass darting and weaving, overlapping, diving headlong into a spicy blend of neo -Schoenbergian pan tonality and “new thing” cries of freedom that will set the coldest heart ablaze, Fielder’s percussion adding layers of transcultural resonance. — Marc Medwin Continue reading