Jazz Articles about Kyle Bruckmann

Kyle Bruckmann's Degradient: Dear Everyone

by Giuseppe Segala
June 11, 2018

Diceva Luciano Berio nel 1974, a proposito della ricerca di “analogie specifiche" tra linguaggio verbale e musica, che “proprio questo tipo di ricerca è un altro modo di vivere una delle condizioni più reali e permanenti della musica, che è quella di rincorrere senza sosta un'utopia di linguaggio," per “scoprire nuove e provvisorie relazioni tra suono e significato," per “insegnarci a vedere il mondo come insieme di processi che interagiscono." Compositore, solista di oboe e corno inglese, Kyle ...

Kyle Bruckmann's Wrack: …Awaits Silent Tristero’s Empire

by Alberto Bazzurro
September 15, 2014

Quarantatre anni, un po' chicagoano e un po' californiano, Kyle Bruckmann conferma in questo suo nuovo lavoro quanto sia per lui irrinunciabile tenere il piede in più scarpe. A suo tempo intruppato come fisarmonicista e tastierista in una “sgangherata rock band" (la definizione non è nostra) come i Lozenge, Bruckmann se n'è poi venuto fuori -fra le altre cose -con questo lussureggiante combo allargato, Wrack, in cui i vari input che convivono nella sua vulcanica inventiva trovano un'ideale valvola di ...

Kyle Bruckmann's Wrack: ...Awaits Silent Tristero's Empire

by Troy Collins
May 20, 2014

...Awaits Silent Tristero's Empire is an epic four-part suite based on the fictitious songs found scattered throughout celebrated author Thomas Pynchon's early novels V., The Crying of Lot 49, and Gravity's Rainbow. Oboist Kyle Bruckmann conceived this post-modern “musical phantasmagoria" as the first long-form composition written for Wrack, his experimental chamber jazz ensemble, employing an expanded version of the long-standing unit to realize the project's pan-stylistic scope.A former Chicago resident, Bruckmann relocated to San Francisco after the turn ...

Kyle Bruckmann: On Procedural Grounds

by Troy Collins
August 11, 2012

One of the most common methodologies embraced by the current generation of creative improvising musicians is polystylism--a seamlessly ingrained aesthetic sensibility that transcends the stylized post-modern dilettantism of earlier generations. Bay Area-based oboist Kyle Bruckmann has demonstrated the depth and breadth of this all-inclusive approach in myriad ways, from his art-damaged punk band Lozenge and genre-defying chamber group Wrack to electro-acoustic solo recitals. Accompanied by a handful of colleagues from San Francisco, as well as former associates from his Chicago ...

Kyle Bruckmann's Wrack: Cracked Refraction

by AAJ Italy Staff
July 16, 2012

Kyle Bruckmann è attivo nella Bay Area come specialista di oboe, compositore raffinato in bilico tra jazz, avanguardia da camera, elettronica, improvvisatore a 360 gradi. È a fianco del trombettista Ernst Karel nel duo EKG, componente del quartetto Lozenge, ma soprattutto leader di questo agguerrito Wrack, quintetto ad alta intensità jazzistica dallo spettro timbrico molto definito (oboe, viola, clarinetti più sezione ritmica). Ed è il carattere screziato, scuro ma con intelligenti morbidezze interne, a spiccare in questo eccellente lavoro. Il ...

Kyle Bruckmann: Purposeful Discontent

by James Taylor
December 5, 2006

When I spoke with oboist Kyle Bruckmann earlier this month, he was in the midst of a recording session with experimental metal act Oxbow (Hydrahead Records). Yeah... haven't heard of them, huh? Punknews.org called Oxbow's 2006 release Love That's Last “free-form psychedelia and an “infusion of jazz, rock and noise. So it should come as no surprise then that the eclectic Bruckmann would be recording oboe overdubs for Oxbow's latest record. Bruckmann's budding career as a creative ...

Kyle Bruckmann's Wrack: Intents & Purposes

by Nic Jones
October 26, 2006

Peter Hammill once described working with Van Der Graaf Generator as “serious fun," and anyone familiar with that band's music will have an idea also of the ambiguity of his description. VDGG specialised in a strain of the gothic as set down in literary terms by Edgar Allan Poe, and for all the idiomatic differences between their dark progressive rock and what's on offer here, there is an aesthetic of anxiety which bridges the divide between two disparate concerns.

On ...