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Tyshawn Sorey: Pillars
by Karl Ackermann
Tyshawn Sorey's musical career has been steadily moving away from jazz and toward new music in several forms. Verisimilitude (Pi Recordings, 2017) is dominated by a series of textural motions that create a dark mood. That album followed another Pi release, The Inner Spectrum of Variables (2016); an album that featured classical composition and improvisation. Sorey's new album, Pillars, is yet another departure for the composer/multi-instrumentalist; a three-disc set that is beyond categorization. Stephen Haynes, Joe Morris and ...
Continue ReadingTyshawn Sorey: Verisimilitude
by Giuseppe Segala
Il tocco ricco di sottili contrasti dinamici che Tyshawn Sorey mette in risalto alla batteria si avvicina per ampiezza espressiva a quello delle dita su un pianoforte: dalla pennellata acquosa al colpo ovattato, dall'urto leggero alla cupa, vigorosa stoccata. Sempre restando nell'ambito di una gamma elastica, mobile, rilassata. Una qualità che, unita alla plastica intelligenza musicale, gli ha dato modo in questi anni di collaborare in numerosi contesti degni di nota, da Vijay Iyer a Steve Lehman, da John Zorn ...
Continue ReadingBerlin Jazzfest 2017
by Henning Bolte
Haus der Berliner Festspiele Jazzfest Berlin Berlin November 4-5, 2017 This year it was the last edition of Berlin Jazzfest under the aegis of British artistic director Richard Williams. With its “In All Languages" adage running through the six-day program as red thread, the festival still had promising stuff in store for the last two days, like the appearance of North-American trumpeter Amir ElSaffar with the Berlin Zinc & Copper Ensemble, Wilco ...
Continue ReadingTyshawn Sorey: Verisimilitude
by Karl Ackermann
So much has been said and written about Tyshawn Sorey's presence as a composer, performer and educator, that there is a threat of redundancy, even in adding new superlatives. Each release, however, demands attention to his exceptional and unmatched creativity. Putting aside Sorey's leader dates for the moment, those who have sought him out as a colleague, constitute a who's-who of outstanding creative artists. Anthony Braxton, John Zorn, Steve Coleman, Steve Lehman, Roscoe Mitchell, Craig Taborn, Kris Davis, Ingrid Laubrock ...
Continue ReadingTyshawn Sorey: Verisimilitude
by Troy Dostert
Given Tyshawn Sorey's propensity for shattering the boundaries between jazz, free improvisation and classical music, it's noteworthy that he decided to stick with just his regular trio for his latest release, Verisimilitude. His previous record, last year's Inner Spectrum of Variables (Pi), drew heavily from the streams of classical and new music, with the additional presence of a string trio essential in giving that music a chamber-like feel, albeit with a good deal of open- ended improvisational space and even ...
Continue ReadingStephan Crump: Stephan Crump's Rhombal
by Stefano Merighi
Il nome di Stephan Crump viene in genere associato al jazz della scena recente, specie per la sua militanza nel trio del pianista Vijay Iyer. In realtà il bassista di Memphis vive a Brooklyn da oltre vent'anni e può vantare il curriculum di un veterano. Ha firmato da leader una decina di dischi, ha studiato ad Amherst sia strumento che composizione, ha ricevuto diversi risconoscimenti, ha composto musiche per il cinema. Attualmente guida il trio di corde Rosetta, suona con ...
Continue ReadingStephan Crump: Stephan Crump's Rhombal
by Mark Corroto
Often times, a jazz performance without a chordal instrument, a guitar or piano, is considered to be flying without a net. Exciting, but often without aim. It routinely relies on just one powerful figure to command the proceedings. That is, unless the ensemble is configured under egalitarian principles. Equal contribution and respect for the differing voices removes that fear of flying without the safety of a chordal net. If I can paraphrase Abraham Lincoln for you now, “a jazz quartet ...
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