Wednesday, September 28, 2016
My expressive self has been a happy recipient of this music for several weeks now. Each number shows off the sizable amassed forces, say for example vocals, violin, cello, double bass, flute. clarinet, bassoon, horn, clarinet, oud, percussion, nay and shofar for "Si Veriash a la Rana."
Each number reflects the varied backgrounds of all concerned with traditional songs arranged deftly or new compositions reflecting and combining the collective heritage of all.
It takes a bit of adjustment and a release of your everyday expectations. Once that happens you will revel in a sophisticated and musically keen world amalgam that is a joy to hear.
Heartily and happily recommended!
Monday, September 26, 2016
It is a continuous barrage of lively sonic collage we hear for some forty minutes, nimbly bounding from sound-event-station to sound-event-station, ever in development, ever pursuing an open destination.
The album was captured live at Cafe Oto and nicely expresses the creatively spontaneous inspiration of shining in the moment.
There is a beautifully open rapport between Lee and Marclay that involves an acute awareness of the sonoric possibilities of color-timbre discourses in real time. The noise element contrasts with notefull textures dramatically throughout the set.
This is a vibrant contemporary example of the exceptional flowering of new music improv that has taken place in this century thus far. As talented individuals encompass a greater and greater spectrum of sound poetics we begin to see a dramatic increase in spontaneous expressivities and at times a great distance between the language of such performances and earlier "free" vocabularies.
A brave new sort of world confronts us on the best of such event gatherings. Amalgam reminds us how far we have come, how Lee and Marclay are exemplifying and pointing towards new sonic frontiers.
Thursday, September 22, 2016
And so as a timely reminder we have a newly released, all-alto-solo Joe McPhee album Flowers (Cipsela 005), which was recorded live at the 2009 Jazz ao Centro Festival in Coimbra, Portugal.
It is a thematically unified affair--with a series of dedications (for Ornette, John Tchicai, Anthony Braxton, etc.) which serve as catalysts for some state-of-the-art improvisations.
Joe is in great form, seemingly inspired by the appreciative audience. And you find yourself caught up after a few listens in the logic-soul of the spontaneous moment.
It is an excellent set, a great one to have. Long live Joe McPhee!
Wednesday, September 21, 2016
This is music that wakes you up to new possibilities that lay out well and pointilistically drive forward with a contrapuntal kind of avant swing that starts with Nick's all-over fullness of tone and gets handed forward with the complex string work and sax soulfulness. It is a furtherance of the Too Many Continents album Nick and Tony did a while ago with Kris Davis. Clutton and Downing give the music a different spin but it's all on the road to the very new.
It is both very original and very successful in its free-structured juxtapositions.
One of the more startling avant jazz albums this year to date. Bravo Nick and Quartet! Get this one!
Monday, September 19, 2016
Nine spontaneous numbers fill out the CD with nicely turned improvs, Rudi unleashing his arsenal of clarinets in his special way and Kasper Tom playing consistently brilliant and inventive free drums.
Clearly, the two are in top form and engage in high-level dialogues throughout. Once again we have some elevations of the spirit that bear repeated listening, marking the Euro scene as a hotspot for the new jazz. Kasper Tom and Rudi Mahall make for essential listening.
I do recommend you get this one!
Friday, September 16, 2016
Each has of course developed his own sound and this duet is free flowing yet structured with some excellent compositional ideas from the two. That makes considerable difference in giving us a stand-out album.
And that's one of the hallmarks of new Chicago--they challenge themselves to pull a little bit more forward with every project via good ideas and excellent execution.
You listen to these two together and how they have devised worthy motifs to improvise around, fulcrum points as it were, and you get a program that speaks freshly of the continuing evolution of the avant improviser.
This session has it all going on--concept, motifs, beautifully thematic improvisations and an adventurous dynamic.
Another great example of how Chicago continues to remain vital!
Thursday, September 15, 2016
The additional players color the music nicely and set up the compositional thrust of Lefteris in ways that stand out.
The music rocks and swings genuinely and makes the composed and improvised material especially vivid.
It is a music so thoroughly woven together with the strands of Kordis' background and very contemporary jazz that there is no pulling apart at any time.
It is an outstanding vision of real fusion today, as valuable for Lefteris' piano as it is for the compositions and arrangements. Kudos for this! Get it.