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Matthew Wuethrich
Born:
Growing up in suburban Chicago I never thought I'd end up living in Prague, Jerusalam and Central Finland. 3 1/2 years at the University of Illinois was enough time for me to run a Fine Arts journal and earn a B.A. in Rhetoric, as well as convince me that there was a lot I was missing in the Midwest. The by-now obligatory European Rite of Passage landed me in Prague for two years as an English teacher. From there the Middle East seemed the next logical step, where I was just in time to witness the start of the second Intifada. Love beckoned northwards to Finland, where I've been ever since, still teaching English, taking the dog for walks, listening to as much music as possible and writing about it for AAJ and The Wire.
Warp!: One Note Stories
by Matthew Wuethrich
More than most other instruments, the jazz vocal tradition has resisted change. Some vocalists, like Kurt Elling, Cassandra Wilson, Phil Minton, and Irene Abei with Steve Lacy, have expanded the technique and repertory of the voice, but they are a minority. The songbook for vocalists, comprised mostly of popular standards, and vocal technique, like scat solos ...
Mark Solborg 4: Smash the Tomatoes
by Matthew Wuethrich
Peruse the links on Mark Solborg's website and you will begin to understand how the Danish guitarist finally mixes his ideas. Björk, Waits, Frith, Mingus, Bowie, György Ligeti--all have gathered into their sound scraps and fragments of different musics. It is to Solborg's credit that his music sounds nothing like any of the above artists. Maybe ...
Trumpeter Jarkko Hakala
by Matthew Wuethrich
Jarkko Hakala speaks like he plays trumpet. Concise, sometimes witty phrases spring forth fully formed from thoughtful silence. The phrases’depth then further impregnates the inevitable pauses with more meaning. These long pauses in conversation show Hakala to be very much from Finland, a country where silence is welcomed, and one does not speak unless one has ...
Moller/Balke/Lund: Trialogue
by Matthew Wuethrich
Jon Balke has risen to attention with his large ensemble albums for ECM. His Magnetic North Orchestra and Oslo 13 bristle with a provocative mix of percussion, punchy brass sections, electronic textures and placid piano interludes. This trio date, with Danish tenor saxophonist Lars Moller and drummer Morten Lund, distills those large ensembles into a stripped ...
Bob Brookmeyer: Stay Out of the Sun
by Matthew Wuethrich
In valve trombonist Bob Brookmeyer's biography, one can trace the map of jazz's history, both musical and personal. Brookmeyer has spent time in many of jazz's major ensembles, including Basie, Thornhill, Ellington and Lewis, and small groups, playing with Mulligan, Getz, Giuffre and Mingus. Along the way he has taken part in and contributed to the ...
Bevort: My Shop
by Matthew Wuethrich
Pernille Bevort’s fifth album as a leader, My Shop, demonstrates the tenor saxophonist’s range of talents. She not only takes all the saxophone solos, but has composed, arranged and written the lyrics. Bevort writes the kind of accessible art songs Kurt Weill did so well, except she updates them for a modern audience with dirty guitars ...
Bentzon Brotherhood: Godzilla des Groove
by Matthew Wuethrich
The Bentzon Brotherhood hearkens back to the heyday of '70s jazz rock. The group's live recording Godzilla des Groove is soaked in the trappings of the period: ringing Fender Rhodes, ornate yet still funky electric bass lines, mechanically precise drumming, spiraling horn solos and blissed out bridges. Culled from concerts in its native Denmark, the double ...
Harri Ihanus: Eye Opener
by Matthew Wuethrich
Swedish-Finnish guitarist Harri Ihanus took the backward route of discovery that many guitar players have. Sparked by rock and blues, he soon fell under the grandiose spell of McLaughlin, Metheny and Coryell, then naturally turned to Pass, Burrell, and horn players like Parker and Coltrane—the roots. And that's where he has stayed. His Imogena debut, Eye ...
Robert Nordmark: In Motion
by Matthew Wuethrich
At the heart of the jazz listening experience lies a paradox. Jazz is a music built on the live interplay of musicians, material and self, but we experience the music mostly through the record, or as Andre Millard calls it, in his book America on Record, ”the primary experience.” Millard also extends this notion to the ...
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