Home » Jazz Articles » New & Noteworthy » September 2003
September 2003
Omri Ziegele - Billiger Bauer
Intakt Records
This Switzerland-based modern jazz nonet minces garrulous horn charts with rock underpinnings in concert with a few rambunctiously rendered cosmic meltdowns. The title work is dedicated to the late Swiss saxophonist Urs Voerkel, whereas “Part IV – Echoes of R.C.” features American poet Robert Creeley’s text. The four-man horn section packs a mighty punch to coincide with a few zany diversions and hard-hitting ostinato motifs. Overall, the band melds various stylistic elements into an energized approach. A jubilant affair it is.
English Commonflowers
Martin Archer
Discus Music
Martin Archer hails from Great Britain. He’s performed within free jazz circles, primarily as a saxophonist. These days the artist uses a variety of synth-flavored keyboards, fuzz bass, and other instruments. Here, Archer and others execute otherworldly soundscapes. But his music is difficult to classify as he imparts an indelible stamp of authenticity to these asymmetrically devised works. You’ll hear grunge style guitar parts, odd-metered rhythmic interludes, airy EFX, and jazzy horn arrangements. In sum, Archer defies common notions of practicality, which in turn provides the luminous spark to these inventively concocted soundscapes.
Blue Muse
Kenny Burrell
Concord Records
Guitar great Kenny Burrell projects warmth as a vocalist here, paralleling his infamous fretwork consisting of meticulously designed voicings and subtle delicacies. Burrell explores a potpourri of swing vamps, featuring multi-reedman Herman Riley and others. As a guitarist, Burrell is a charmer, yet he also kicks it up a notch or two throughout this affable outing. It’s an undeniably tasteful small ensemble-based jazz event.
A Small Madness
David Binney/Jeff Hirshfield
Auand
Saxophonist David Binney uses electronics as a backdrop for this series of sprightly duets with drummer Jeff Hirshfield. And while the artists tear down the roof on occasion, this is a structured program. Sure, they improvise through a variety of divergent movements, although Binney’s compositions are primarily constructed upon memorable melodies. Nonetheless, it’s a well-thought out production containing nicely balanced freeform excursions and cohesively actualized frameworks.
Tags
PREVIOUS / NEXT
Become a Sustaining Member
Since 1995, All About Jazz has championed jazz as an art form and supported the musicians who create it. Over three decades, it has grown into one of the world's leading jazz resources, serving hundreds of thousands of readers, musicians, presenters and industry professionals each month.
Help Build the Future of All About Jazz
Your support helps us continue building All About Jazz for the next generation—expanding our editorial coverage, preserving jazz history, developing new community features and creating better ways to discover the music and the people behind it.
Become a sustaining member for as little as $20 per year and you'll immediately enjoy an ad-free experience along with access to subscriber features and future articles for a full year.
Together, we're not simply sustaining All About Jazz—we're building its future. Thank you for being part of the journey.




