Howard Riley | 10.11.12 | No Business Records

John Howard Riley (born 16 February 1943) is an English jazz pianist and composer. Riley was born in Huddersfield. He began learning the piano at the age of six, and began playing jazz as early as the age of 13. He studied at the University of Wales (1961–66), Indiana University in America under Dave Baker (1966–67), and then at York University (1967–70). Alongside his studies he played jazz professionally, with Evan Parker (1966) and then with his own trio (1967–76), with Barry Guy on bass and Alan Jackson, Jon Hiseman, and Tony Oxley for periods on drums. Additionally he worked with John McLaughlin (1968), the London Jazz Composers Orchestra (1970-1980s), and with Oxley’s ensemble (1972–81). He and Guy worked in a trio with Phil Wachsmann from 1976 well into the 1980s, and played solo piano throughout North America and Europe. From 1978 to 1981 he played in a quartet with Guy, Trevor Watts, and John Stevens; in the early 1980s he did duo work with Keith Tippett, with Jaki Byard, and with Elton Dean. From 1985 he worked in a trio setting with Jeff Clyne and Tony Levin. Riley has taught at the Guildhall School of Music and Drama and currently teaches at Goldsmiths, University of London, where he has taught continuously since the 1970s. Continue reading

Hubert Bergmann | Grund | Mudoks Record

All this music was played in real time without any interruptions, just the few seconds between the takes and played in the sequence of this recording. It is an attempt to develop the unique situation of each live performance in respect of a maximum on variety of a musical approach. The old game with time, space and memory. — Hubert Bergmann, October 2014 Continue reading

Thollem McDonas | Poor Stop Killing Poor | Live in Detroit at the Bohemian National Home | Edgetone Records

This live album delivers more pearls of wisdom by that magnificent lone wolf specimen named Thollem Mcdonas. This man’s ardent playing seems to be modeled after centuries of musical knowledge; helped by the peculiar resonance of Detroit’s Bohemian National Home, Thollem wanders helplessly in search of lost recollections, which he finally finds only to immediately neglect them to turn his attention towards the end of another rainbow. Mcdonas has a gift, the same that ancient bluesmen and griots had: he carries the past within himself, even the events that he didn’t live, and lets us feel them through chordal successions that fuse Stravinsky, silent movie soundtracks and what Zappa called “bionic ragtime” referring to Conlon Nancarrow; we can find Charlie Chaplin, Friedrich Murnau, our grandma’s photo and an ectoplasmic Charlemagne Palestine in the space of a single track. – Massimo Ricci Continue reading