The lesson learned from listening to saxophonist Matt Bauder's second Day In Pictures release Nightshades is that you would never want to take a blindfold listening test with him. He'd steal your records. The quintet from his 2010 self-titled release on Clean Feed remains intact, with the exception that Angelica Sanchez was replaced by pianist Kris Davis. Otherwise, the musicians: Nate Wooley (trumpet), Jason Ajemian (bass) and Tomas Fujiwara (drums) nourish Bauder's vision that innovation in jazz in not inconsistent with the jazz orthodoxy. That is, jazz Tradition with a capitol T." The quintet works within ...read more
Saxophonist Matt Bauder was mentored by celebrated avant-garde jazz saxophonist and composer Anthony Braxton and has been a busy and quite productive artist on numerous jazz fronts. As a topnotch session man and leader, Bauder's resume intimates fruitful affiliations with musicians who are at the forefront of the progressive jazz and avant-garde sectors. Fueled by an all-star lineup, Nightshades is the saxophonist's second solo effort for Portugal-based Clean Feed Records, and is a program that shifts between mainstream jazz and ultramodern propositions. Bauder kicks off the agenda with a Horace Silver style bump and grind oeuvre Octavia Minor," ...read more
Day In Pictures is Matt Bauder's first traditional jazz recording as the leader of a stellar acoustic quintet. Far from a debut, the young Brooklyn-based multi-instrumentalist already has a number of eclectic releases to his name, but none delve as far into the nuances of jazz tradition as this refined platter. His previous albums expand on his work as a sideman to adventurous peers like Taylor Ho Bynum, Harris Eisenstadt and Rob Mazurek, including his electro-acoustic debut, Weary Already Of The Way (482 Music, 2003), and the improvised chamber music project, Paper Gardens (Porter, 2010), in addition to a trilogy ...read more
The album title, Paper Gardens, parallels saxophonist Matt Bauder's work for an architecture firm, concerning the design of a new garden for an elementary school. Upon his initial visit, he observed construction paper models of the proposed garden, which served as the basis for this curiously interesting, avant-garde, chamber-jazz foray. Here, Bauder forges a homogenous program, touching upon minimalism and sound-sculpting motifs to complement the improvisational opuses interspersed at key intervals. Partly constructed on horn- and string-based extended notes, coinciding with intermittent detours, the ensemble propagates a series of systematized pastiches, augmented with contrasting dialogues, generating dips and ...read more
Having the opportunity to watch woodwind multi-instrumentalist/composer Anthony Braxton perform one of his compositions in concert provides a distinct insight into just how directed his pieces--which sometimes give more of an impression of random activity when experienced on record--really are. Looking at one of them on paper can be even more revealing. While standard notation may be a component of the score, one is equally likely to find odd graphics which clearly have significance to the performers, but seem completely unfathomable to the uninformed observer.
Braxton is one of the past forty years' great radical musical thinkers, someone who can ...read more
The third installment in Locust Music’s Object series, recordings inspired by selected objects, finds saxophonist Matt Bauder and bassist Jason Ajemian contemplating what looks like some sort of computer disc drive. But does it really matter? Prior efforts were focused on bowling balls and brillo pads. Not quite stuff found in Emily Dickinson's house.
The single 31-minute track was made in down state Illinois on a summer’s night. The pair play a continuous dirge over the sounds of crickets in the yard. Tenor, bowed bass, and a bit of overdubbed mix make for a contemplative session that ...read more
The “Document Chicago” music scene presents yet another direction that music can go through. For this recording Matt Bauder composed the pieces and then asked the musicians to play with the idea that their sounds were being electronically manipulated. The music was recorded in segments and very little of it was live with all the musicians together. For the most part, no musician heard what the others had played. And then Bauder went to work on their music.
Bauder manipulates the music with a stimulating insight. On the first tune, which clocks in at just over twenty minutes, ...read more
Join our growing community ofwriters, musicians, visual artists and advocates.