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Taylor Ho Bynum: Other Stories (Three Suites)
by Kurt Gottschalk
For a young musician, Taylor Ho Bynum has had an impressive career. He's appeared on as many albums as he is years old--that being thirty--and has worked with Cecil Taylor, Bill Dixon, and Anthony Davis. He studied under and toured with Anthony Braxton, and the pair released a strong recording, Duets (Wesleyan) 2002. He's also performed ...
Taylor Ho Bynum & SpiderMonkey Strings: Other Stories (Three Suites)
by Jerry D'Souza
Taylor Ho Bynum has immersed himself in different musical idioms over the years, giving voice to many colors in the context of several bands. The so-called SpiderMonkey Strings are one of the avenues he uses as a vent for his imagination. Stimulating the process are eight other musicians whose choice of instruments include violin, cello, viola, ...
Taylor Ho Bynum & SpiderMonkey Strings: Other Stories (Three Suites)
by Paul Olson
This is not a “cornet with strings album.Cornetist/composer Taylor Ho Bynum does include a string quartet on Other Stories, and he certainly plays cornet on the record--but anyone hoping for an hour of standard jazz soloing over strings will be nonplussed. Anyone else will simply be astonished and delighted. As the album's title states, ...
Taylor Ho Bynum & SpiderMonkey Strings: Other Stories (Three Suites)
by John Kelman
Trumpeter/composer Taylor Ho Bynum seems committed to defying those for whom music needs to be neatly compartmentalized. No surprise really, considering his association with renegade musical thinker Anthony Braxton, first coming into focus on Braxton's Composition No. 102 For Orchestra & Puppet Theater (Braxton House, 1996) and appearing with Braxton's sextet at the Musique Actuelle Festival ...
Aram Shelton: Arrive
by Michael McCaw
With obvious reference points to Jackie Mclean's '60s work with Bobby Hutcherson, Aram Shelton's Arrive works hard to update the alto saxophone/vibraphone front line format with varied, but generally engaging results. Hailing from Chicago since his move there in 1999, Shelton possesses a mathematically angular yet fluid tone reminiscent of both Anthony Braxton and McLean. As ...
Aram Shelton: Arrive
by John Kelman
When Document Chicago was released in 2003, it re-affirmed Chicago's unique place in contemporary improvised music. In the 1960s the Association for the Advancement of Creative Musicians (AACM) brought attention to forward-thinking artists like Henry Threadgill, Muhal Richard Abrams, and the Art Ensemble of Chicago. But recent years have seen a new wave of creative musicians ...
Aram Shelton: Arrive
by Jerry D'Souza
This, the ninth recording in the Document Chicago series, it continues to provide the listener with interesting twists and turns. Aram Shelton's music treads a path that is gentle in its ministrations and elevated by the sensibility of the musicians. This does not deny Shelton from blowing some pithy trajectories or keep Jason Roebke from spurring ...
Fonda/Stevens Group: Forever Real
by Ernest Barteldes
The mood on Forever Real goes from the pleasant groove of the title track to more experimental moments in which trumpet player Herb Robertson and pianist Michael Jefry Stevens exchange jabs, as on the eight-minute “From The Source and the more up-tempo “The Stalker (eleven minutes that go in every possible direction), in which Robertson makes ...
Greg Burk Trio: Nothing, Knowing
by Daniel Spicer
Let's presume it's not too obvious a question, almost a century since King Oliver taught Satchmo how to blow his soul out the end of his horn and say what he damn well felt like saying. Exactly what is the relationship between improvisation and jazz? Pianist Greg Burk tackles this question on Nothing, Knowing, with nine ...
Greg Burk Trio: Nothing, Knowing
by John Kelman
With the number of pianists whose style stems directly from Keith Jarrett, it's easy to forget that his biggest influence was Paul Bley. While Jarrett has moved on to forge his own personal aesthetic, Bley was the one first provided a more lyrical alternative to Cecil Taylor's aggressively cathartic free play: a more thoughtful, considered improvisation ...
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