If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
Powerhouse Swiss drummer Lucas Niggli augments this solo effort with ethnocentric percussion instruments, that largely emphasizes his well-rounded musical approach. He draws inspiration from his gardening hobby, classical composers and fellow countryman, drumming great Pierre Favre. As a leader and collaborator, Niggli's longstanding affiliation and extensive discography with this pioneering Swiss label features a cavalcade of genre-busting endeavors. The artist has recorded with the likes of New York experimental guitarist Elliot Sharp and Chinese zither performer Xu Fengia along with his Zoom and Big Zoom bands amid alliances with many Euro-jazz notables.
Niggli does not simply bash his drums or executes one drum solo after another. Instead, he angles his scope of attack with broad tonal ranges, melodic toms patterns and nouveau tribal expositions during many of these concisely enacted tracks. Sure, he engineers a host of polyrhythmic frameworks, using small percussion apparatuses constructed from wood and metal and a wide spectrum of cymbals. Niggli balances ricocheting effects with precision-oriented grooves, introspective world music-like interludes and ornamental shadings.
The drummer gives himself some latitude to expand and contract on "Tuned Arrow," where his gong hits project a transcendent background that is somewhat detached and provides depth, countered by his nimble bells and low-pitched drum articulations. Here, Niggli elicits imagery of exploring a newfound cave somewhere in an unexplored remote wilderness. Yet "Ooze," is characterized with strumming and scraping sounds, presumably using exotic instruments from Asia or Africa. Other movements are designed with shakers and tambourine style implements via sound-shaping jaunts that signal notions of ancient rituals or at the very least, a sense of antiquity. Thankfully, Niggli opts for a harmonious line of attack as each piece stands on its own, although there are some movements where he launches full-blown aerial assaults on his kit.
Track Listing: Alchemia Garden; Flora Glow; Bakossi Dew; Go Goblin; Tuned Arrow; Seeds ’n’ Roots; Ooze; Mimosa;
Pulsatilla; Booloobali; Ohia Lehua; Nelumbo Nero; Villa Caroba; Welwitschia; Hydnora.
I love jazz because it is the most diverse music genre.
I was first exposed to jazz a long time ago.
The best show I ever attended was Henry Threadgill's very very Circus at SJU jazzpodium in Utrecht.
The first jazz record I bought was Coleman Hawkins Big Band live at The Savoy Ballroom 1940.
My advice to new listeners is to attend as many concerts you can even though you may not know the musicians who are playing.
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.
Thanks for joining the All About Jazz community!