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Welcome To Adventure
by Maurice Hogue
There are indeed some adventuresome artists in this edition of One Man's Jazz, although I pilfered the title for the show from the title of the Welcome To Adventure Vol. 2 by Daniel Carter, Matthew Shipp, William Parker & Gérald Cleaver. So far, their first volume has been the best-selling album in the history of 577 Records. This second volume may just outsell its predecessor. The music is outstanding. A trio with piano, cornet and electronics sounds like it's on ...
Continue ReadingDaniel Carter / Matthew Shipp / William Parker / Gerald Cleaver: Welcome Adventure! Vol. 2
by John Sharpe
Such is the magic of free jazz that even when uniting known quantities, the outcomes can still surprise and enchant. Welcome Adventure! Vol. 2 constitutes the second release from an October 2019 session which brought together four seasoned veterans of the NYC scene in reedman Daniel Carter, pianist Matthew Shipp, bassist William Parker and drummer Gerald Cleaver. Given countless prior collaborations, in all manner of permutations, it's not a bombshell that they form such a flexible and empathetic unit on ...
Continue ReadingWelcome, Adventures In Jazz!
by Bob Osborne
The title of the new release from Daniel Carter with Matthew Shipp, William Parker and Gerald Cleaver invites the listener to “Welcome Adventure," something that the avid jazz listener should be used to. These four stalwarts of the scene break new boundaries with a fresh approach to the music. In the same vein there are also great new releases from Manel Fortià, Tremid Spark, Michael Sarian and the Adema Manoukas Octet all mixing tradition with boundary breaking ideas. The mix ...
Continue ReadingAron Namenwirth, Daniel Carter, Joe Hertenstein, Zach Swanson: Live at the Bushwick Series
by Alberto Bazzurro
Un quartetto di cui il chitarrista Aron Namenwirth è il primo (e sul CD l'unico) firmatario ma che abbraccia in realtà il “vangelo" dell'improvvisazione collettiva (facendo non poco leva sul polistrumentismo quanto mai eclettico di Daniel Carter, che affianca alla tromba sax tenore, soprano e contralto) firma questo brillante lavoro il cui sdipanarsi (sei episodi svarianti dai quattro ai dieci minuti) non mostra mai la corda, rischio così frequente (verrebbe da dire quasi fisiologico) in una formula tanto praticata quanto ...
Continue ReadingWilliam Parker: Migration of Silence Into and Out of the Tone World
by Karl Ackermann
If multi-instrumentalist/composer William Parker's ten-CD Migration Of Silence Into And Out Of The Tone World suggests a cohesive, high concept plan, it is something more. The beautifully packaged clamshell box set is comprised of mutually exclusive projects—one dating back ten years—with some common themes. There is an overall dedication of the music to “all people of the world who are searching for freedom...." Pandemic downtime resulted in Parker's accumulating enough material for many of these albums. Viewed as a whole, ...
Continue ReadingJeff Pearring/Pearring Sound: Socially Distanced Duos
by Karl Ackermann
Jeff Pearring's background in jazz, classical, reggae and other genres has informed his creative process in ways that are not always apparent. That turns out to be a good thing as his ability to encapsulate influences without genuflecting is part of his music's appeal. The alto saxophonist, a Brooklyn-based Colorado native, is a Connie Crothers protégé with a similarly independent mindset. Billed as “Pearring Sound," the saxophonist surrounds himself with a rotation of players varying on three previous, self-produced albums, ...
Continue ReadingGunter Gruner: The Invisible Landscape
by Mike Jurkovic
An ardent student of no less a legend than Andrew Cyrille, drummer/composer Gunter Gruner's fondness for jumpy, adroit, noir landscapes comes with a decisively Pink Panther stroll: lanky, animated, wise-ass but humble. His side-street detours to survey The Invisible Landscape involve more than the usual walk down free-form lanes. With downtown, free-jazz giant Daniel Carter on sax reaching back to go further forward, Gruner's arrhythmic compositions involve the usual micro tonalities, fractured harmonics and head space, but never ...
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