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  <title>All About Jazz CD Reviews</title>
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  <dc:date>2012-02-03T00:05:14-07:00</dc:date>

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# <title>Pete Robbins Transatlantic Quartet: Live In Basel</title>
# <url>http://www.allaboutjazz.com/coverart/2010/PeteRobbins_liveinbasil_mc.jpg</url>
# <link>http://www.allaboutjazz.com/php/article.php?id=41365</link>
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<title>Pete Robbins Transatlantic Quartet: Live In Basel</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41365</link>
<description><![CDATA[Like most modern jazz players, alto saxophonist Pete Robbins works in multiple bands, playing varying styles and disciplines of this thing called jazz. Sounds reasonable, yes? But, thirty years ago this wasn't possible. Musicians, listeners, and jazz critics (let's not leave them out) had to take sides, choose categories and labels to classify and compartmentalize their music. You were either a traditionalist, a fusion advocate, or an avant-garde specialist. Neither the twain shall meet. Sound like politics in America today...]]></description>
<dc:subject></dc:subject>
<dc:creator>Mark Corroto</dc:creator>
<dc:date>2012-02-03T00:05:14-07:00</dc:date>
</item>


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# <title>Giovanna Pessi / Susanna Wallumrod: If Grief Could Wait</title>
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# <link>http://www.allaboutjazz.com/php/article.php?id=41364</link>
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<title>Giovanna Pessi / Susanna Wallumrod: If Grief Could Wait</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41364</link>
<description><![CDATA[There was a time when hard lines existed between genres, but they seem long gone when tenor John Potter and electronic composer <a href=http://www.allaboutjazz.com/php/musician.php?id=21213>m: Ambrose Field</a> can create a very 21st century take on 15th century musical frameworks with Being Dufay (2009), while Norwegian keyboardist <a href=http://www.allaboutjazz.com/php/musician.php?id=3594>m: Jon Balke</a> conjoins baroque string ensemble and Fourth World progenitor, trumpeter <a href=http://www.allaboutjazz.com/php/musician.php?id=7491>m: Jon Hassell</a> into a century and culture-spanning Siwan (2009). It's no coincidence that both recordings are on ECM; with If Grief Could Wait, the German label continues its defiance of categorization with a collection of spiritual and secular songs crossing 400 years...]]></description>
<dc:subject></dc:subject>
<dc:creator>John Kelman</dc:creator>
<dc:date>2012-02-03T00:05:10-07:00</dc:date>
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# <title>Tim Berne: Snakeoil</title>
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<title>Tim Berne: Snakeoil</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41305</link>
<description><![CDATA[Tim Berne's previous contributions on the ECM label--guitarist <a href=http://www.allaboutjazz.com/php/musician.php?id=10853>m: David Torn</a>'s Prezens (ECM, 2005) and bassist <a href=http://www.allaboutjazz.com/php/musician.php?id=6775>m: Michael Formanek</a>'s The Rub and Spare Change (ECM, 2009)--represent some of his best work as a sideman. The alto saxophonist's first ECM release as a leader, Snakeoil, not only represents Berne at his best, but also at his most accessible. Berne's quartet consists of outstanding players from the New York jazz scene, all of whom are attuned to Berne's complex free improvisational style of composing...]]></description>
<dc:subject></dc:subject>
<dc:creator>Karl Ackermann</dc:creator>
<dc:date>2012-02-03T00:05:06-07:00</dc:date>
</item>


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# <title>Sunna Gunnlaugs: Long Pair Bond</title>
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# <link>http://www.allaboutjazz.com/php/article.php?id=41265</link>
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<title>Sunna Gunnlaugs: Long Pair Bond</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41265</link>
<description><![CDATA[Several songs on Icelandic pianist Sunna Gunnlaugs' Long Pair Bond, including the ballad "Elsabella," are lilting and beautiful enough to have an almost hypnotic effect. The interplay between Gunnlaugs and bassist AzorgrA-mur JA^3nsson is clearly borne out of a great deal of time spent working together. Along with drummer <a href=http://www.allaboutjazz.com/php/musician.php?id=19415>m: Scott McLemore</a>, who contributed three compositions to this session, the group plays with an empathy for which jazz ensembles strive, especially important in trios such as this...]]></description>
<dc:subject></dc:subject>
<dc:creator>William Carey</dc:creator>
<dc:date>2012-02-03T00:05:03-07:00</dc:date>
</item>


# insert cd cover art
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# <title>Sunna Gunnlaugs: Long Pair Bond</title>
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<title>Sunna Gunnlaugs: Long Pair Bond</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41349</link>
<description><![CDATA[With Long Pair Bond, Sunna Gunnlaugs returns to the piano trio format last heard on Far Far Away. Since that 1997 self-titled debut--the only album to use her tongue-twisting full name, GunnlaugsdA^3ttir--the Icelandic pianist has, in addition to contracting her name to the eminently more memorable Gunnlaugs, recorded almost exclusively with quartets, largely populated with American (or, at least, American-resident) musicians met after moving to the United States in 1993 to study at William Paterson College. Long Pair Bond's return to trio format is, however, just one of a number of significant changes afoot since Gunnlaugs released The Dream (Self Produced) in 2010...]]></description>
<dc:subject></dc:subject>
<dc:creator>John Kelman</dc:creator>
<dc:date>2012-02-02T00:05:15-07:00</dc:date>
</item>


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# <title>Tom Arthurs and Richard Fairhurst: Postcards From Pushkin</title>
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<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=41348">
<title>Tom Arthurs and Richard Fairhurst: Postcards From Pushkin</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41348</link>
<description><![CDATA[Trumpeter <a href=http://www.allaboutjazz.com/php/musician.php?id=15216>m: Tom Arthurs</a> wrote the music for Postcards From Pushkin in 2009, according to his liner notes, "in a moment of particular calm and reflection" when he was a BBC New Generation Artist. Inspired by the works of the Russian poet and author Alexandr Pushkin (1799-1837), Arthurs and his musical collaborator, pianist Richard Fairhurst (of The Hungry Ants and Triptych), recorded the album later that year. Arthur's warm, rich, flugelhorn sound and Fairhurst's delicate, understated, piano combine to create music that is both restrained and affecting. It reflects the romance of Pushkin's poems but also the underlying pathos and occasional darkness...]]></description>
<dc:subject></dc:subject>
<dc:creator>Bruce Lindsay</dc:creator>
<dc:date>2012-02-02T00:05:10-07:00</dc:date>
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# <title>Jo-Yu Chen Trio: Incomplete Soul</title>
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# <link>http://www.allaboutjazz.com/php/article.php?id=41334</link>
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<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=41334">
<title>Jo-Yu Chen Trio: Incomplete Soul</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41334</link>
<description><![CDATA[Taiwanese-born pianist Jo-Yu Chen is going somewhere. The cover photo of her Incomplete Soul shows the artist in the back seat of a car, gazing at an indeterminate distance, with a look of quiet, unyielding determination on her face. Her journey with this recording is one of a melding of her classical influences with the improvisational aspect of jazz, and to an extent an East/West blend of sound. She begins with her original, "The Wandering Songstress," opening with the eerily voice-like cry of the Chinese ehru, a two-string violin. The wandering strings give way to the piano trio, and the sedate intro mutates to a prickly and audacious momentum that leans out over the edge before a closing shift into a drifting piano reverie...]]></description>
<dc:subject></dc:subject>
<dc:creator>Dan McClenaghan</dc:creator>
<dc:date>2012-02-02T00:05:06-07:00</dc:date>
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# <title>The Bad Plus: Never Stop</title>
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<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=41346">
<title>The Bad Plus: Never Stop</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41346</link>
<description><![CDATA[For the past decade, The Bad Plus has received both praise and criticism for its idiosyncratic approach to jazz-rock. Liberal jazz fans and those who are inclined towards the mainstream but want to dabble in jazz have enthusiastically received the band's modern piano trio reworking of rock standards such as Nirvana's "Smells Like Teen Spirit" and Rush's "Tom Sawyer." Conversely, jazz purists tend to shy away from The Bad Plus and its backbeat-intensive and sometimes bombastic playing...]]></description>
<dc:subject></dc:subject>
<dc:creator>Thomas Carroll</dc:creator>
<dc:date>2012-02-02T00:05:03-07:00</dc:date>
</item>


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# <title>Benny Lackner Trio: Cachuma</title>
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# </image>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=41292">
<title>Benny Lackner Trio: Cachuma</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41292</link>
<description><![CDATA[Pianist Benny Lackner can do whatever he wants, and says as much with "I Can Do Whatever I Want," the opener on his forward-leaning Cachuma. This piano trio outing suggests he wants to nudge the trio setting into a modern groove while giving voice to his own artistic vision.

Modernization of the tried and true piano trio format is an ongoing process. e.s.t., led by the late Swedish pianist <a href=http://www.allaboutjazz.com/php/musician.php?id=4744>m: EsbjA rn Svensson</a>, incorporated electronics with great success, while <a href=http://www.allaboutjazz.com/php/musician.php?id=22168>m: John Medeski</a> continues to employ a wide range of electric keyboards with Medeski Martin and Wood. <a href=http://www.allaboutjazz.com/php/musician.php?id=14901>m: Sam Yahel</a>-- better known earlier in his career as an organist--offered up an excellent brew of piano trio tinted with Hammond B3 organ on From Sun to Sun (Origin Records, 2011)...]]></description>
<dc:subject></dc:subject>
<dc:creator>Dan McClenaghan</dc:creator>
<dc:date>2012-02-01T00:05:13-07:00</dc:date>
</item>


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# <title>Pablo Bobrowicky: Southern Blue</title>
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# <link>http://www.allaboutjazz.com/php/article.php?id=41325</link>
# </image>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=41325">
<title>Pablo Bobrowicky: Southern Blue</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41325</link>
<description><![CDATA[Argentinian guitarist Pablo Bobrowicky has a beautifully unadorned and organic tone, as naked as an electrified guitar can be. He makes it a point not to hide behind reverb, sustain, or overdrive, producing a plectrum sound halfway between electric and acoustic. On Southern Blue, his fourth Red Records recording as a leader, Bobrowicky returns to the trio format he so successfully led on 2001's Where We Are (Red Records), spinning out an excellent collection of standards and originals, rendered like a fine, aged wine...]]></description>
<dc:subject></dc:subject>
<dc:creator>C. Michael Bailey</dc:creator>
<dc:date>2012-02-01T00:05:09-07:00</dc:date>
</item>


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# <title>Alex Diaz: Beyond 145th Street</title>
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# <link>http://www.allaboutjazz.com/php/article.php?id=41331</link>
# </image>

<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=41331">
<title>Alex Diaz: Beyond 145th Street</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41331</link>
<description><![CDATA[Merengue, the national music of the Dominican Republic ferociously driven by percussive provincial rhythms such as pambiche, perico ripiao, el maco, guinchao and palo, is the natural choice for conga master Alex Diaz to blend his native roots with jazz improvisation in Beyond 145th Street . 

 Diaz and featured saxophonist <a href=http://www.allaboutjazz.com/php/musician.php?id=2142>m: Ivan Renta</a> continue their musical innovations and tribute to the late saxophonist <a href=http://www.allaboutjazz.com/php/musician.php?id=15443>m: Mario Rivera</a>, who was associated with <a href=http://www.allaboutjazz.com/php/musician.php?id=10460>m: Tito Puente</a>, which began with the release of Merengue Jazz King (Self Produced, 2010+). There is a time-honored lineage of merengue saxophonists hailing back to the legendary Tavito Vasquez, who influenced Rivera, popularized the instrument within this genre, and was fundamental in literally picking up the pace of the rhythms. Rivera disciple Renta, who composed "El Comandante" in honor of his mentor, is beneficiary of this hierarchy with his virtuoso contributions throughout this recording...]]></description>
<dc:subject></dc:subject>
<dc:creator>James Nadal</dc:creator>
<dc:date>2012-02-01T00:05:07-07:00</dc:date>
</item>


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# <title>Larry Brown Jr.: There Can Only Be One</title>
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<title>Larry Brown Jr.: There Can Only Be One</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41330</link>
<description><![CDATA[A native of the small town of Venice, Illinois, guitarist Larry Brown Jr. is a deeply religious man with a big vision and plans for the future. Not only is Brown a musician and educator, but as founder of the Black Church Music Piano camp and the Music for the Heart non-profit organization, he is also a bit of a philanthropist. However, it's not his philanthropy that may bring him well-deserved attention, but rather the response to his dynamic debut, There Can Only Be One. A man with a mission to "effectuate change through the power of music," this first effort is a truly powerful musical statement from a young man determined to forge himself a place in jazz...]]></description>
<dc:subject></dc:subject>
<dc:creator>Edward Blanco</dc:creator>
<dc:date>2012-02-01T00:05:04-07:00</dc:date>
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# <title>Tania Maria: Tempo</title>
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<title>Tania Maria: Tempo</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41323</link>
<description><![CDATA[Estate Sei calda come i baci che ho perduto Sei piena di un amore che A  passato Che il cuore mio vorrebbe cancellare. 

 Brazilian pianist/singer Tania Maria is the product of warm and humid climes. Born in Sao Luis in the northwestern part of the country, she emerged into the musical intersection where the bossa of Brazil rubs up against the salsa of the Caribbean. All influences are in evidence on Maria's opening performance of the Martino/Brighetti standard, "Estate." Musically active since the 1970s, Maria's career can be easily sampled with any simple YouTube search. What the intrepid researcher will discover is a force of nature, untethered by any conventional musical wisdom. Maria is that talent whistling past lesser talents...]]></description>
<dc:subject></dc:subject>
<dc:creator>C. Michael Bailey</dc:creator>
<dc:date>2012-01-31T00:05:14-07:00</dc:date>
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# <title>Side A: A New Margin</title>
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<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=41322">
<title>Side A: A New Margin</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41322</link>
<description><![CDATA[It is quite rare to hear multi-reedist Ken Vandermark record or perform with a pianist, the reason being that, back in the day (the early 1990s), his brand of new Chicago jazz was presented much like the hardcore punk scene of the previous decade--out of the back of a van. Like Henry Rollins and Black Flag, Vandermark's life was one of constant travel, setting up and breaking down, only to move on to the next show...]]></description>
<dc:subject></dc:subject>
<dc:creator>Mark Corroto</dc:creator>
<dc:date>2012-01-31T00:05:11-07:00</dc:date>
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# <title>Hillmen: The Whiskey Mountain Sessions</title>
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<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=41315">
<title>Hillmen: The Whiskey Mountain Sessions</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41315</link>
<description><![CDATA[The group name and album title might imply semblances of a bluegrass jam-session, but Hillmen's The Whiskey Mountain Sessions is, in fact, an improvised jazz-rock set tinted with psychedelics, featuring keyboardist Gayle Ellett and guitarist Mike Murray, of the fabled Southern California progressive rock band Djam Karet. It's an electro-organic schematic sans instrumental overlays or audio compression that effectively captures the live studio performance aesthetic...]]></description>
<dc:subject></dc:subject>
<dc:creator>Glenn Astarita</dc:creator>
<dc:date>2012-01-31T00:05:07-07:00</dc:date>
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# <title>Jim Ketch: A Distant View</title>
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<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=41317">
<title>Jim Ketch: A Distant View</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41317</link>
<description><![CDATA[A Distant View delivers intelligent music performed by highly involved players across a dozen diverse selections ranging from straight-ahead hard bop, calypso, an obligatory standard and a <a href=http://www.allaboutjazz.com/php/musician.php?id=9031>m: Chuck Mangione</a>-esque soft rock tidbit thrown in for dessert. Incorporating a classic <a href=http://www.allaboutjazz.com/php/musician.php?id=5069>m: Art Blakey and the Jazz Messengers</a> quintet formula, these outstanding players share a common interest here in the total effort and each others' offerings, and it pays off in dividends...]]></description>
<dc:subject></dc:subject>
<dc:creator>Nicholas F. Mondello</dc:creator>
<dc:date>2012-01-31T00:05:04-07:00</dc:date>
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# <title>Heddy Boubaker / Hernani Faustino: Domino Doubles</title>
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<title>Heddy Boubaker / Hernani Faustino: Domino Doubles</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41311</link>
<description><![CDATA[Saxophonist Heddy Boubaker and bassist Hernani Faustino have more in common than their love for improvised music. Both began their musical journeys playing in rock bands, before harkening to the call of free music.

Boubaker was born in Marseilles in 1963 and began what he calls experimenting with music in 1977. First came rock and then punk, before he put his guitar aside and picked up alto and bass saxophones. His muse, now improvised music, is a perfect fit for his manifestations, with an uncanny ability to fathom the unknown and find the unseen cord. His sense of timing and invention, and his ability to probe musical depths make for an eloquent aesthetic...]]></description>
<dc:subject></dc:subject>
<dc:creator>Jerry D'Souza</dc:creator>
<dc:date>2012-01-30T00:05:16-07:00</dc:date>
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# <title>Joanna Weinberg: The Piano Diaries</title>
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<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=41313">
<title>Joanna Weinberg: The Piano Diaries</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41313</link>
<description><![CDATA[Australian vocalist Joanna Weinberg is a difficult artist to pigeonhole in one genre. A testament to her versatility, The Piano Diaries is a very personal debut stemming from her restarting piano lessons after a three-decade hiatus, and represents a musical distillation of her eponymous autobiographical one-woman show...]]></description>
<dc:subject></dc:subject>
<dc:creator>Hrayr Attarian</dc:creator>
<dc:date>2012-01-30T00:05:12-07:00</dc:date>
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# <title>Hristo Vitchev / Weber Iago: Heartmony</title>
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# <link>http://www.allaboutjazz.com/php/article.php?id=41300</link>
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<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=41300">
<title>Hristo Vitchev / Weber Iago: Heartmony</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41300</link>
<description><![CDATA[The choice between widening ones circle of musical partners or deepening relationships that already exist is often something with which musicians wrestle. While finding new collaborators can help in the networking department and open up new avenues of possibility in sound and style, continual exploration with a kindred spirit may help both parties in their pursuit of musical enlightenment, ultimately leading to a better artistic payoff in the end. Hristo Vitchev, a Bulgarian-born and Bay Area-based guitarist, knows a thing or two about this line of reasoning, to which he has subscribed from the beginning...]]></description>
<dc:subject></dc:subject>
<dc:creator>Dan Bilawsky</dc:creator>
<dc:date>2012-01-30T00:05:06-07:00</dc:date>
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# <title>Dead Cat Bounce: Chance Episodes</title>
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<item rdf:about="http://www.allaboutjazz.com/php/article.php?id=41310">
<title>Dead Cat Bounce: Chance Episodes</title>
<link>http://www.allaboutjazz.com/php/article.php?id=41310</link>
<description><![CDATA[Saxophonist <a href=http://www.allaboutjazz.com/php/musician.php?id=22497>m: Matt Steckler</a> is a man of many parts. As a musician he has led his own bands including the imaginatively titled Dead Cat Bounce and has played with some of the finest including saxophonists <a href=http://www.allaboutjazz.com/php/musician.php?id=5267>m: Anthony Braxton</a> and <a href=http://www.allaboutjazz.com/php/musician.php?id=8463>m: Lee Konitz</a>, and percussionist <a href=http://www.allaboutjazz.com/php/musician.php?id=15300>m: Bobby Sanabria</a>. His varied associations and wide comfort zone are manifested in the array of styles infused into his compositions. He is well-served by his band, an unusual combination of four saxophones, bass and drums. Dead Cat Bounce filters his music with perception, bringing in a strong harmonic presence and imaginative run of the score...]]></description>
<dc:subject></dc:subject>
<dc:creator>Jerry D'Souza</dc:creator>
<dc:date>2012-01-30T00:05:03-07:00</dc:date>
</item>

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