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Narada Burton Greene: Live at Kerrytown House

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Does the world need yet another solo piano album? Well if they are all as enjoyable as this then there would be no doubt as to the answer. Live At Kerrytown House captures veteran pianist Narada Burton Greene in pristine clarity on a well-tuned instrument, for an intimate set from Ann Arbor in 2010. Even though Greene came of age with the likes of saxophonists Marion Brown, Gato Barbieri and Albert Ayler in the 1960s, this set belies his avant-garde credentials in favor of a series of lyrical and rhythmic interpretations which largely retain both tempo and tonal center. As ...


Burton Greene / Perry Robinson: Two Voices In The Desert

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Pianist Burton Greene and clarinetist Perry Robinson have been close friends for a very long time. During those years, they have bonded with a common musical purpose that stems from free expression to the gentle molding of a life perspective. Working together in Greene's groups--Klezmokem and Klez-Edge--the pair has become identifiable with an open and unfettered sound, imbued with Eastern European origins. Outside of these larger groups, Greene and Robinson come together to present a unique and lively duo conversation in Two Voices In the Desert.

The record's centerpiece is “The Desert Suite," containing two movements: one, a collaboration between ...


Burton Greene and Perry Robinson at the Zeitgeist Gallery, Boston, MA

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Burton Greene and Perry Robinson Outpost 128 / Zeitgeist Gallery Boston, Massachusetts April 11, 2009

Pianist Burton Greene and clarinetist Perry Robinson have known each other for two generations' worth of years. They first played together at Greene's loft in New York in 1965 in a trio, which included Joel Friedman on cello. The two were together in Greene's quartet, Klez-Edge, a recording for Tzadik, and will play again soon in another recording called Two Voices in the Desert. As a preview of their new record, the pair convened for a special event at ...


Klez-Edge: Ancestors, Mindreles, NaGila Monsters

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John Zorn once remarked to that in the '60s, “we didn't want to hear Jewish music at our Bar Mitzvahs, we wanted to hear Hendrix." Funny how a few decades and some intermarriage with post-bop jazz can change all that. However, if back then some very hip parents convinced the best free jazzers to do a Bar Mitzvah party set, the result could very likely have been something akin to this album. The amazing thing about this release from Klez-Edge, the latest offshoot of pianist Burton Greene's two-decade excursion into Jewish music, is that it combines his ...


Klez-Edge: Ancestors, Mindreles, NaGila Monsters

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Although rewards can come from listening to a recording where mixing styles is done through patching different samples together, the music on Ancestors, Mindreles, NaGila Monsters radiates out of the mindful integration of several identifiable musical idioms within the same performance spectrum.

A child of pianist Burton Greene's 1989 band Klezmokum, the group Klez-Edge does more than blend traditional Jewish, Eastern European folk and improvised musics; it also equalizes them in terms that are spiritual, joyful, plaintive, humorous and political. The latter two characteristics are most effectively displayed in the titles of several songs and within the riotously amusing parody ...


Burton Greene and Laurence Cook Duo at Studio 234

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Burton Greene and Laurence Cook Studio 234 Cambridge, MA April 26, 2008 It was chilly for late April in New England. It had not rained for a while. And in a salon-type event, a small room filled with a motley grouping of chairs awaited an audience for a performance of two musicians, who live an ocean apart, but whose camaraderie in improvised music brought them to sit ten feet away from each other in front of their instruments. Burton Greene played the piano and Laurence Cook played drums. It ...


Burton Greene: Bloom in the Commune

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In one of the interviews that flesh out this new reissue, pianist Burton Greene states that while he doesn't often listen to a record once it's done, his first date for ESP sounds quite fresh. Bloom in the Commune (originally released simply as Quartet but now retitled via the first track of the original B side) comes from a time when the clichïs associated with free jazz had yet to put a stranglehold on creativity and wide-eyed experimentation is in evidence on every track. Greene's compositions are terse, stark and aphoristic, in the manner if not the language ...

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