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...
In a change of pace from their previous outingthe superb long form concert recording Bauhaus Dessau (Intakt, 2010) -the longstanding Schlippenbach Trio has created a program of 15 concise improvisations, captured during a two day stopover in Zurich during their customary winter tour schedule. Such practice stands as far from unprecedented in the unit's 43 year history. Inevitably they have mellowed since their early days (after all both pianist Alexander von Schlippenbach and saxophonist Evan Parker are over 70 now) and the palette they choose to work from appears more limited compared to say Pakistani Pomade (FMP, 1973). But that's because they have developed a collective language which allows them to say what they need and not a jot more.
Brevity precludes neither intensity or diversity. The energy hasn't gone, but it has been largely replaced by penetrating conversation. On some cuts ("Feature 3," "Feature 4") they touch on no less a number of moods than might be encountered in a more protracted performance. Of course they may not be sustained to the same degree, but there is the same level of alchemy on display via individual virtuosity placed entirely at the service of near telepathic democratic interchange. Conversely sometimes they do sustain a feeling as on the dreamy "Feature 7." Even though Schlippenbach often leads, the ensuing pieces advance as a group discussion through a variety of approaches.
At over eight minutes "Feature 10" is the longest track, and also the one which has the most distinctive structure. A squally beginning gives way to a rambunctious tenor saxophone/ drum duet which proceeds in synchronous eruptions, as Paul Lovens pushes Parker with a rumbling tattoo. Schlippenbach rejoins, then continues in percussive dialogue, with Lovens drumming now more sparse and tappy, before a fiery close in which Parker spits staccato gobbets. As a package the disc provides the opportunity to put the threesome's workings under the microscope and may particularly appeal to those who prefer to digest their improv in short elegant bursts rather than dig in for an extended session.
As a songwriter and vocalist, I love jazz for the experience of being in the center of intense creativity. It is the most potent form of music for keeping the artist and the audience in the 'now. Being in the moment is essential for humans, and we need help in learning how to do that. As a songwriter, I need the depth of musicality that jazz voicings can give my stories. My songs seem light and whimsical, but the message is not.
I met my main collaborator, Mark Fitzgibbon, at one of his gigs. I needed to do my first original album, and his playing was masterful, robust, and beautiful. At the time, I didn't realize how suited we were as a team. We're onto our 4rth album together.
My advice to new listeners is to listen to a really clear and simple version of a song so you can then hear what the musicians are doing and enjoy their creativity and musicality. Also, you have to see jazz live to appreciate it fully. You'll never feel it the same way listening to a CD or online. You need the vibration to go through your body to really get it!
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!