Articles by Karl A.D. Evangelista

151

Album Review

John Lindberg / Karl Berger: Duets 1

Read "Duets 1" reviewed by Karl A.D. Evangelista


There are many kinds of duo albums, but the more successful ones treat the burden of cooperation as a psychological, and not merely aesthetic, endeavor--conscious that a sense of human sensitivity is necessary to register great conversation (much rarer, it would seem, than intelligent art). None of this goes to say that pathos and fury can serviceably replace careful planning and good ideas, only that closeness demands intimacy and, well, two people alone are often closer than two people in ...

364

Album Review

Steve Lacy: New Jazz Meeting Baden-Baden 2002

Read "New Jazz Meeting Baden-Baden 2002" reviewed by Karl A.D. Evangelista


Steve Lacy wore as many hats as any musician of his generation: instrumentalist par excellence, free music innovator, master composer, solo saxophone trailblazer, poetry buff, Monkian doyen, salvager of the soprano, world traveler, inspirational offbeatnik. The evolution of Lacy's aesthetic catholicism is a wonder to trace, dissect, and absorb, and it's fascinating to hear, even now, what late pieces have been added to the puzzle.

New Jazz Meeting documents the saxophonist's contribution to a real-time “remixing of a piece by ...

205

Album Review

J.C. Jones: Hosting Myself

Read "Hosting Myself" reviewed by Karl A.D. Evangelista


Outline and mien peg J.C. Jones as the prototypal improvising bassist--long and lanky, slumped into his instrument with a sort of focal intensity, like a surgeon--or a butcher--teasing at thick guts. The cover photo of Hosting Myself has all the bearings of an ancient iconology, and there are surely mystical undertones to that title--as if Jones's music were an act of self-sacrifice, a sonic communion.

As a bassist in the solo idiom, Jones engages among the holiest of practices; the ...

249

Album Review

Taylor Ho Bynum & Tomas Fujiwara: True Events

Read "True Events" reviewed by Karl A.D. Evangelista


The duet is an idea idiom: the scaffolding of improvisation laid bare, like wires gutted from a conduit. Here, musical dialogue becomes something about communicating, or miscommunicating, through paper cups. It's far less obvious that an improviser is making no sense, or has no sense, and/or no ideas, than when musicians are speaking ear to ear.

True Events hazards--if “hazard could describe music so careful--scrutiny, packed, coiled, and double-coiled with ideas. A less generous judgment might call this a “well-studied ...

196

Album Review

Rob Reddy's Gift Horse: A Hundred Jumping Devils

Read "A Hundred Jumping Devils" reviewed by Karl A.D. Evangelista


Rob Reddy's music conveys motion--a rare thing in an era when jazz often seems like the stuff of historians, when even the most astute artist might fail to create anything genuinely new. Doubtless, though, Reddy is a capable creative voice, and A Hundred Jumping Devils is far more than mere repertory work or pastiche.

Following the William Carlos Williams quote from which the album takes its title, Devils longs to be free from the torment of its materials, and in ...

151

Album Review

JD Parran & Mark Deutsch: Omegathorp: Living City

Read "Omegathorp: Living City" reviewed by Karl A.D. Evangelista


The spirit of the exotic weighs strongly on Omegathorp: Living City, the most recent collaboration between reedman J.D. Parran and stringman Mark Deutsch. It's no surprise: Parran was a crucial member of the Black Artists' Group--the seminal St. Louis artists collective and one of the first formal musicians' organizations to champion freely improvised black music--and Deutsch is an acclaimed performer of North Indian classical music. Nonetheless, there is hardly a trace of tension about the album; what might, in lesser ...

162

Multiple Reviews

Satoko Fujii: Kobe Yee!! & Undulation

Read "Satoko Fujii: Kobe Yee!! & Undulation" reviewed by Karl A.D. Evangelista


The Japanese-American axis of improvisation has a long and eventful history, further complicated in an age of confused identities. Satoko Fujii, one of Japan's brightest and most forward thinking musicians, wears this story on her sleeve, emerging from the bedrock of cultural confusion with, at last, the hope of progress.

Born in 1958, Fujii has cultivated an idiosyncratic approach to piano playing, composition, and arrangement, melding diverse, often conflicting narratives. Her music is stylistically elusive; it bears the inklings of ...


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