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...
Music as a means of free expression has many votaries, but trumpeter Birgit Ulher and alto saxophonist Heddy Brubaker bring an interesting perspective to their investigation and manipulation of sound. Ulher, who has been involved with experimental music and free improvisation since 1982, seeks to enhance the sound possibilities of the trumpet. By extension she explores the relationship between sound and silence. Boubaker is no slouch either, turning a crackling imagination into amazing concepts that scuttle barriers.
Boubaker plays the alto saxophone on Axon, recorded in July 2010. He has since stopped practicing the saxophone to concentrate on analog modular synth and electric bass. This, then, becomes an opportunity to witness how he brings the saxophone into uncharted zones to find common logic and unusual permutations in seven impulsive movements with Ulher.
The impulses driven by the moment take several forms. Shape finds its essence in various semblances that rise on the wings of imagination and logic. At first the approach is more exploratory, as on "Impulse 1," which shades slivers from the trumpet, flurries of breath and squiggles that are set up both as call-and-response and entwining tonalities. Objects, knobs and feedback knock into "Impulse 2," but here as well brass is used in the transmutation of sound to take the end game into a deeper trough.
Ulher and Boubaker expand the drive as they use their instruments to greater degree along the way, letting silence be a quick messenger that divines the interlocutory passages. They do it with an ingrained sense for the odd, yet distinctive, which makes for a listen both provocative and intriguing.
I was first exposed to jazz while learning to play chess with my uncles. They would play smooth jazz, and then switch up to more standard types of jazz. But, when they played Kind of Blue by Miles Davis, I was
hooked and I haven't looked back.