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Michael Attias: échos la nuit

Read "échos la nuit" reviewed by Karl Ackermann

In the early days of Rahsaan Roland Kirk's career, there were critics who viewed the blind man with three instruments hanging from his neck--two to be played simultaneously--as posturing. Then they heard him play. Forty years later, and filtered through the influence of four continents, Michaël Attias takes up the task of improvising on two different instruments at the same time, without overdubs or enhancements. Primarily known for his saxophone, Attias is also an accomplished pianist and on this album ...

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Michael Attias: Nerve Dance

Read "Nerve Dance" reviewed by John Sharpe

Like many, Michaël Attias cultivates multiple outlets for his vibrant alto saxophone. Having moved to NYC in 1994, Attias is now inescapably associated with that city's downtown scene. What unites his Quartet with his other outfits like Renku and Spun Tree is quality. In part that's down to the variety and imagination of the frameworks Attias provides, but also down to the rich pool of players he calls on for their realization. This time out pianist Aruán Ortiz, bassist John ...

ALBUM REVIEWS

Michaël Attias: Nerve Dance

Read "Nerve Dance" reviewed by Dan Bilawsky

Methodical design, rough-and-tumble play, and thoughtful exchange are often viewed as mutually exclusive concepts in jazz. Saxophonist Michaël Attias' Nerve Dance, however, obliterates that line of thinking and any potential obstacles that could separate those realms. This is a work that's cultured, contumacious, and conversational in nature. It's principled art unbound. Nerve Dance introduces a new quartet that consistently exhibits certain traits while also presenting differently from angle to angle and piece to piece. In many places, ...

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Renku: Live In Greenwich Village

Read "Live In Greenwich Village" reviewed by John Sharpe

Born in Israel, raised in Paris and the American Midwest, saxophonist Michael Attias has lived in NYC since 1994. But in spite of that lengthy sojourn, only relatively recently has Attias come to the fore. He might just have found his ideal vehicle in Renku. That's the name of the co-operative threesome rounded out by in demand bassist John Hébert and idiosyncratic drummer Satoshi Takeishi. The moniker derives from a collaborative style of Japanese poetry that balances freedom and rigor. ...

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Michael Attias: Spun Tree

Read "Spun Tree" reviewed by Glenn Astarita

Saxophonist Michael Attias seldom rests on his laurels. Always aligning with a superlative support structure, each of his solo outings offer a fluctuating refresher course on routes previously navigated. With nouveau ideologies in place, Attias' expansive cache of weaponry once again comes to the forefront. The band skirts between introspection, aggression, and fiercely driven free bop atop the ever-present avant-garde contingent. No particular slant or proposition dominates on Spun Tree, and the musicians' intrinsic synergy cannot be understated.

ALBUM REVIEWS

Michael Attias: Renku In Coimbra

Read "Renku In Coimbra" reviewed by Martin Longley

Within the realms of his Renku trio, the reed specialist Michaël Attias deliberately glides towards a contemplative space. His partners in sensitivity are bassist John Hébert and drummer Satoshi Takeishi. In this setting, Attias deliberately confines himself to the alto saxophone, although his sonic results are anything but self-shackled. Often, when Attias is playing around the city he'll be soloing more aggressively or crafting sharply jabbing themes as part of a thrusting frontline. Most of the pieces here inhabit a ...

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Micha

Read "Micha" reviewed by Celeste Sunderland

Paris has always been a haven for musicians. In the late 1980s a stream of jazz greats passed through the bar at Alan Silva's music school where saxophonist Michaël Attias manned the tap. “I remember pouring [saxophonist] Frank Wright a beer two weeks before he died, he recalled. “Sunny Murray, Jerome Cooper, Abbey Lincoln rehearsing...I remember her eyes... what a beautiful presence. At the time, many of the musicians discussed the work they had done in the 1960s, with reluctance. ...


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