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Vic Juris & Dizzy Reece

Read "Vic Juris & Dizzy Reece" reviewed by Joe Dimino

We keep our traction here in 2020 as we begin the 629th Episode of Neon Jazz with talented modern day drummer Tyshawn Sorey. We talked about his roots and influneces in jazz and he noted Duke Ellington, John Coltrane and Dizzy Gillespie. From there, we get into new tunes for the new year with Canadian cat Aaron Dolman and new politically charged music from a musician with deep Kansas City roots in Karrin Allyson. As the jazz world comes to ...

RADIO

Lisa Hoppe, Sorey & Crispell, Gebhard Ullman and More

Read "Lisa Hoppe, Sorey & Crispell, Gebhard Ullman and More" reviewed by Maurice Hogue

This episode is very wide-ranging in styles and sounds; the boundaries keep expanding. I was very impressed with bassist Lisa Hoppe's new trio, Third Reality, with saxophonist David Leon and guitarist Tal Yahalom. Very original stuff! It's on a German label—Jazzhausmusik—so do some digging to find it. It's well worth the effort. Drummer, composer and influencer Tyshawn Sorey believed so much in a concert that he recorded live with the great pianist Marilyn Crispell that he insisted there be no ...

ALBUM REVIEWS

Tyshawn Sorey and Marilyn Crispell: The Adornment of Time

Read "The Adornment of Time" reviewed by Karl Ackermann

Two of music's true geniuses, drummer-percussionist Tyshawn Sorey and pianist Marilyn Crispell, join forces on an extraordinary album. The Adornment of Time is a single-track project running almost sixty-five-minutes. The music was improvised and recorded live at the multi-purpose Greenwich Village club, The Kitchen. Outside their considerable composing and instrumental skills, Sorey and Crispell are known for their exceptional ability to listen and to empathize with colleagues. These personal traits make this album a benchmark for immediate creativity.

ALBUM REVIEWS

Tyshawn Sorey: Pillars

Read "Pillars" reviewed 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 ...

LIVE REVIEWS

Berlin Jazzfest 2017

Read "Berlin Jazzfest 2017" reviewed 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 ...

ALBUM REVIEWS

Tyshawn Sorey: Verisimilitude

Read "Verisimilitude" reviewed 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 ...

ALBUM REVIEWS

Tyshawn Sorey: Verisimilitude

Read "Verisimilitude" reviewed 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 ...


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